Journal articles on the topic 'Cree – Children's books'

Using Technology in Mathematics and integrating mathematics and literature have become more common in recent years than in the past. Integrating mathematics, technology, and literature is even more powerful than combining mathematics with technology or literature alone. Using technology enables students to explore problems and mathematical ideas beyond those that might typically be found at a given grade level. Additionally, combining mathematics and literature gives the mathematics a context and enhances the literature. Many children's books lend themselves to integrating mathematics and literature. One of our favorites is One Grain of Rice (Demi 1997). We used this book in one of Phyllis Wisniewski's eighthgrade mathematics classes at Kings Creek Elementary School in Lenoir, North Carolina.

The main key in providing direction in teaching moral learning to children, then positive and negative morals are praiseworthy, good ethics depend on the mother when providing positive moral character education, building children to become children with beautiful personality qualities. This study aims to describe how mothers educate children according to an Islamic perspective. And how do mothers make children's attitudes or characters? And how do mothers apply characteristic education according to Islam to children? The type of research is library research, in which data is collected from library materials. The study was carried out on secondary data collection with concrete steps as follows; The author reads reviews of books, journals, articles, websites or the internet, and so on. Mothers have an important role in educating children, especially in the creed of knowledge, the most important thing introduced to children is tawhid, which is the child's effort to understand and believe in the existence of God.

Islamic education in the modern era contributes to the character and challenges of the times that precipitate charity. This article aims to create support, synergy and awareness of parents, schools and communities on the formation of children's character education from an early age. This research uses a qualitative approach using a qualitative approach with the type of library research. examine the content of the concept of Islamic education from an early age in the modern era based on information or sources of books or scientific journals from relevant literature. The results of this study conclude that the implementation of Islamic education from an early age in the modern era makes humans think, behave, act and assess all problems in accordance with Islamic guidance. AKHLAK becomes a bulwark in action to prevent this sophisticated modern impact It is necessary to strengthen the cultivation of Islamic values from an early age starting with the values of creed, morals and worship. which aims as a guideline for humans to develop character. Islamic education is supported by strategies to increase children's Islamic knowledge. Giving advice using appropriate methods in telling children with concrete examples, giving directions to children to control emotionally. To keep children from the influence of technology, restrictions on gadgets on early childhood begin with the role of parents observing the spectacle, gadgets and associations of children as a way of anticipating forming characters in the modern era.

In the Brazilian popular imagination, the discovery of oil was announced on August 9, 1938, by the Viscount of Corncob. The Donabentense Oil Company drilled Caraminguá’s first well, near the creek that passed through the Yellow Woodpecker Ranch (“Sítio do Picapau Amarelo,” in colloquial Portuguese). The latter was the name of a famous Brazilian children’s book. In fact, the first oil well flowed in Salvador, Bahia, on January 21, 1939, discovered by Manoel Ignácio Bastos (1891 - 1940), a Brazilian geographer engineer, whose business partner, Oscar Salvador Cordeiro (1890 - 1970), was the president of the Bahia Commodities Exchange. A brief analysis of documents, such as reports, Brazilian decrees and executive orders, as well as newspapers, detail the actions of these Brazilian oil pioneers. Statistical data analysis was also performed about onshore and offshore oil production between 1941 and 2019, as a part of Bastos and Cordeiros’ heritage.

Resumo: A crueldade contra animais coexiste habitualmente com uma vasta gama de outros problemas (violência interpessoal, comportamento anti-social, bullying, etc.) e pode ser identificada em crianças com idade inferior aos sete anos. A violência contra animais reflete diretamente na violência doméstica e interpessoale a crueldade contra seres indefesos e emocionalmente dependentes é parte de um ciclo insidioso de agressão. A formação de consciência crítica e individual se faz necessária nas etapas iniciais de vida do ser humano, portanto deve-se reconhecer e assumir que a criança é um ser social que constrói e cria cultura. O uso do lúdico através de jogos, teatros e brinquedos, é instrumento eficaz no desenvolvimento do pensamento e da autonomia infantil. Por isso, objetivou-se, através da ludicidade, que o público infantil aprendesse e transmitisse de forma adequada e segura, que os animais têm sentimentos; e que atos de crueldades contra eles não devem ser feitos ou repetidos. As atividades foram desenvolvidas de agosto de 2014 a novembro de 2015, nas cidades de Mineiros e Jataí, Goiás, Brasil. Foram realizadas ações pedagógicas aplicadas, como teatro, cantiga, cartilha educativa, brincadeiras interativas com massa de modelar e quebra-cabeça. Com a realização do projeto notou-se o interesse das crianças em aprender, transmitir a mensagem a seus familiares e, principalmente, colocar em prática o conhecimento adquirido por meio da dinâmica realizada. Como retorno, observou-se que a maneira lúdica e educativa foi eficiente em despertar o interesse das crianças contra a crueldade animal, quebrando neste caso o ciclo insidioso de violência. Palavras-chave: Extensão Universitária, bem estar animal, sensibilização, ensino fundamental. The university extension and ludicity in early childhood education against animal cruelty and interpersonal violence Abstract: Animal cruelty usually coexists with other problems (interpersonal violence, anti-social behavior, bullying, etc.) and it can be identified before the age of seven years. Criticism and individual conscience formation becomes necessary in the early stages of human life, and therefore, it must be recognized and assumed that the child is a social being who builds and creates culture. The use of the ludic activities such as games, theater and toys is an efficient instrument for the development of children's autonomy and cognitive skills. Thus, this project aimed at through ludicity promoting the awareness that animals have feelings and that acts of cruelty against them should not be made or repeated. The activities were carried out from August 2014 to November 2015 in the cities of Mineiros and Jataí, Goiás State, Brazil. Pedagogical actions such as theater, singing, educational spelling book, interactive play with modeling clay and puzzle were used as a resource for this initiative. After the project ended the children's interest in learning and transmitting the message to their families could be observed, and especially their desire to put into practice the knowledge acquired throughout the activities. In return, education through ludicity was observed and showed to be effective in fostering the interest of children against animal cruelty and breaking the insidious cycle of violence. Key-words: University Extension, Animal Welfare, Raising Awareness, Elementary School n. La extensión universitaria y lo lúdico en la educación infantil contra la crueldad animal y la violencia interpersonal Resumen: La crueldad animal suele coexistir con otros problemas (violencia interpersonal, comportamiento antisocial, acoso, etc.) y pueden ser identificados antes de la edad de siete años. La crítica y la formación de la conciencia individual se hace necesaria en las primeras etapas de la vida humana. Por lo tanto, debe-se reconocer y presuponer que el niño es un ser social que construye y crea cultura. El uso de las actividades lúdicas a través de juegos, teatro y juguetes es un instrumento eficaz para el desarrollo del pensamiento y la autonomía de los niños. Por lo tanto, el objetivo fue, a través de la ludicidad, que los niños aprenderán y transmitan correctamente y con seguridad que los animales tienen sentimientos y que los actos de crueldad contra ellos no deben hacerse o repetirse. Se realizaron las actividades de agosto 2014 a noviembre 2015 en las ciudades de Mineiros y Jataí, Estado de Goiás, Brasil. Acciones pedagógicas como el teatro, canción, libro de lectura educativa, juego interactivo con plastilina y el rompecabezas fueran utilizadas. Después de la finalización del proyecto se observó el interés de los niños en el aprendizaje y en transmitir el mensaje a sus familias, y sobre todo para poner en práctica los conocimientos adquiridos en las dinámicas realizadas. Además, se observó como resultado que la educación a través ludicidad fue eficaz en despertar el interés de los niños contra la crueldad animal, rompiendo en este caso el ciclo insidioso de la violencia. Palabras-clave: Extension Universitária, Bienestar de los Animales, Sensibilización, Escuela Primaria.

The call for this special issue was prompted by the International Conference on Women Empowerment deliberations. The conference, held on 10th December 2022 at International Islamic University Malaysia (IIUM), was inaugurated by Dr. Maulana Akbar Shah @ U Tun Aung, Head of Research in the department of Fundamental and Inter-Disciplinary Studies, AbdulHamid AbuSulayman Kulliyyah of Islamic Revealed Knowledge and Human Sciences (AHAS KIRKHS), who delivered a welcoming speech, followed by opening remarks by Prof. Shukran Bin Abd Rahman, Dean of AHAS KIRKHS. The event also featured speeches by distinguished guests, including the Honourable Rector of IIUM, Professor Emeritus Tan Sri Dato’ Dzulkifli bin Abdul Razak and Mr. Thomas Albrecht, Representative of UNHCR, Malaysia, Prof. Abdul Aziz Berghout, the Dean of the International Institute of Islamic Thought and Civilisation (ISTAC), IIUM, and Prof. Dawood Al-Hidabi, Director of International Institute for Muslim Unity (IIMU), IIUM. The conference aimed to explore the social conditions of women refugees living in Malaysia with a focus on their social status, living conditions, domestic violence, the impact of criminal activities in their environment, and lack of access to education for their children. It also aimed to promote academic excellence, cultivate future leaders in various disciplines within the realm of Islamic revealed knowledge and human sciences, and encourage high-quality research, scholarship, and academic work in specific areas. The conference brought together experts and professionals from different fields to share their perspectives on the social status of refugee women. It was attended by over 200 participants and its success was attributed to the efforts of the organizers and the dedication of the speakers and participants. Participants presented innovative ideas, findings, and insights that contributed to advancing knowledge in their fields. The call for this special issue, released in the first quota of the year 2023, triggered a number of conversations with a broad number of people about the topic and ultimately resulted in many submissions. Submissions covered a diverse range of topics and came from contributors mainly from AbdulHamid AbuSulayman Kulliyyah of Islamic Revealed Knowledge and Human Sciences. The contributions that make up this special issue are as follows. First, Family empowerment and role transformation: Observations on the importance of religion. This paper is an examination of the concept of family empowerment and role transformation from an Islamic perspective, emphasising the need for integrated value-driven frameworks to address issues of family roles and empowerment. The authors, Abdelaziz Berghout and Ouahiba Saoud, believe that studies and research on family empowerment have increased in recent years, enshrining the discourse, and providing insights and solutions to the questions associated with family empowerment. They argue among other things that there are numerous efforts in the Islamic world to strengthen family empowerment. The article explains the main elements that comprise the Islamic perspective of family empowerment and the need for role transformation. The articles contends that Islam emphasises the importance of understanding the goals and roles of family as a social entity and agent entrusted with the mission of Istikhalf (vicegerency) and I‘mar (civilisation) on earth. Second, Crucial requirements for children’s empowerment: In this paper Kabuye Uthman Sulaiman sheds light on the important and mostly neglected role that parents play in raising their children, namely empowerment through character development, impartment of knowledge and skills. The key objective of this article is to enhance the understanding of the concept of empowerment of children from the Islamic perspective and the importance of character and values education in today’s society. The article is structured around six core sections describing the role of parents in children’s (1) virtues and character formation and development, (2) physical development, (3) emotional development, (4) mental development, (5) intellectual development, and lastly their role in preparing children for the realities of life and death. The focus of this paper is character formation and development. Character development and impartment of knowledge and skills are the three crucial and mandatory requirements for children’s empowerment. The paper outlines the ideas underlying character refinement or character education focusing on its meaning, aims, importance, and the role of parents, teachers, and community as character educators. It outlines some of the moral qualities of the Prophet (peace and blessings be upon him) as the universal model of all virtues and goodness. This is qualitative research employing descriptive methods with literature review analysis. The primary sources of this paper comprise selected verses from the Qur’an and their exegesis (tafsir) and Hadith, both of which constitute the major source of guidance for Muslims. Its secondary sources consist of books, journals, and other materials. The main contention in this paper is that: first, knowledge, skills, and values or personality traits need to be combined for a thriving life; second, moral values are of paramount significance to peaceful coexistence and harmony in society. They are critical for sustainable living. Without them, there is no cohesion and solidarity among people. Hence, there is no civilization; third, learning is of little value and with no soul unless core ethical values are added to it. Hence, one of the aims of education is to graduate ethical individuals; fourth, the development of character in children is not just the responsibility of parents and schools, it is also the responsibility of those who come into contact with them; last but not least, character education should be included as a core component of schools’ curriculum. Third, A Critical Analysis of Bent-Rib Metaphor Ḥadīth: Embracing Women's Uniqueness and Empowerment. The authors, Nurul Jannah Zainan Nazri, Nurul Mukminah and Mohd Arif assert that the Bent-Rib Metaphor ḥadīth can be interpreted as a symbol of diversity, complexity, and complementarity between genders, rather than justifying women's subordination. By promoting a more nuanced understanding of the ḥadīth, this study advocates for a broader role for women in religious, social, economic, and political spheres. Fourth, A critical need for breastmilk collection centres for high-risk premature babies: In this paper Zainol Abidin and Wan Mazwati write that premature babies are very vulnerable and exposed to various life-threatening diseases. According to the report of World Health Organization, they quote, many premature babies are saved from morbidity and mortality when they are fed with breastmilk starting from within the first hour after their birth. They believe that: firstly, the rate of premature birth in Malaysia has increased exponentially since 2018. Therefore, hospitals should have enough supplies of breastmilk to save the lives of the precious premature babies. Secondly, only one hospital in Malaysia provides supplies of breastmilk on demand. Hence, the study argues for the establishment of breastmilk collection centre. It examines the concept of maqāṣid al-sharīʿah to justify the proposal for the establishment of breastmilk collection centres in hospitals throughout Malaysia to save the lives, intellects, and progenies of the at-risk premature babies. Fifth, Empowering Mothers Against a Malaysian Societal Convention: An Islamic Perspective: In this paper Nur Jannah Hassan believes thar: firstly, having greater women participations in the workforce potentially enhances the country’s prospects for growth; secondly, various agencies work towards increasing women’s participations in the labour force; thirdly, women’s contribution to the family’s and the nation’s income is significant. However, it is observed that the race to get women to ‘roll-up their sleeves’ economically is not without worrying downside trends, even at the current rate of only 55.5% of Malaysian women in the labour force. The paper deliberates on how this affects individuals’ and families’ well-beings, thus putting constrains on the family, society and the Nation at large. The paper draws guidance from the Qur’an and Prophetic traditions to propose a more realistic and well-balanced approach to empowerment of mothers. According to Nur Jannah, the demand to get women’s economic participation towards National growth is real. However, this should not endanger and threaten personal, familial, and societal holistic well beings. She adds, the role of motherhood, especially early motherhood must be included in the equation. Thus, the necessity to empower women. Sixth, Women Empowerment from Quranic perspective. The authors, Radwan Jamal, Rahmawati, and Ziyad Alhaq highlight present-day scenario of problems faced by women in education, social status, in job market, domestic violence, sexual assault etc. and presented a balanced Qur’anic approach to empower women. Seventh, Empowering Thinking and Moral Formation in Muslim Women Through the Philosophical Inquiry (PI) Approach: The authors of this paper, namely Norillah Abdullah and Mohamed Abdelmagid believe that much of what has been said about the social problems involving Muslim women in Malaysia is due to the lack of thinking skills and religious understanding. For this reason, this study is an attempt to highlight the PI method which integrates the Socratic questioning approach to help address the issue and lead to moral formation. This, according to them, would allow women to explore their thoughts and generate rational ideas and choices to achieve understanding and sound judgments (hikmah) and finally empower them in executing their roles and tasks. Eighth, The Role of Faith (Iman) in Women Empowerment: While the role of women in any development is undeniably very essential, the author of this paper Abdul Latif believes that there are women who are being side-lined; their role is being marginalized and consequently, they are being denied their rights. The purpose of his paper is to elaborate on the role of Iman in women empowerment. Abdul Latif describes a good believer as the one who upholds all the three integrated conditions that make the person strong and tranquil, namely profession by the tongue, conviction by heart and practice by limbs. He contends that true belief in Allah is the solution to many of the problems faced by women today. Ninth, The Role of Women in Achieving Sustainable Development Goals (SDGs) in Islam. Rownok Jahan and co-authors analyzed the role of women in achieving sustainable development goals according to Islam. The Islamic approach emphasizes a balanced realization of human rights, consumer welfare, social justice, ecological balance, and economic progress. Achieving these aims is not possible without the active involvement of women. Tenth, The Moral-sexual Empowerment of Women and Children in Hadith Literature: In this paper, Bachar Bakour describes sex as a human innate disposition and a basic need for the survival of the human race, and marriage as the primary appropriate avenue for satisfying sexual desire and living a moral and peaceful life. This article aims to briefly delineate the salient features of women and child sexual empowerment within the specific epistemic and cultural soil of Islamic tradition. Eleventh, A Close Study on Domestic Violence Against Women: Islamic Perspectives and Remedies: The authors of this paper, Maulana Akbar Shah @ U Tun Aung and Phoo Pwint Thu Aung, define women empowerment as: firstly, the process of giving women the power to take control of their lives, rights, and decision-making; secondly, the creation of a society where women are treated equally, with respect, and have access to the same opportunities as men. This, in their view, involves promoting women’s education, encouraging their participation in politics and breaking down gender stereotypes. Twelfth, Women’s Empowerment and Participation in Islamic Financial Planning Diversity, Equity and Inclusion: Evidence from Maqasid al-Shariah. Its authors Mohammad Habibullah, Rusni Hassan, and Nor Razinah Mohd Zain assert that it is imperative to consider the role played by women in the financial sector and their contribution to economic progress. Using an experiment, this study examined the relationship between confidence, gender, and race in relation to dealing with a financial planner among various groups and races with color and creed. The study demonstrates how women plan financially for retirement based on psychological concepts and sociodemographic variables, highlighting the importance of financial management and planning for women. Thirteenth, Muslim Women in Politics: Does it Align With Shari‘ah Parameters? In this paper Ahmad Akram Mahmad Robbi, Saidatolakma Mohd Yunus and Mohamad Faiq Mohamad Sharin examine the views of Muslim scholars regarding women's political participation. They opine that political participation is essential for women empowerment. Fourteenth, Empowerment and Faith: Unraveling the HUI Women’s Mosques in China: In this paper Mai Jianjun describes the Hui Muslims as the largest Muslim minority group in China and their mosques as a very unique phenomenon within the broader Muslim world. They (mosques) stand as a testament of the remarkable resilience of the Hui Muslims in preserving their Islamic faith and Muslim identity in a predominantly non-Muslim society heavily influenced by Confucian culture. Mai Jianjun argues that the previous studies on Hui women’s mosques left two crucial questions unanswered, i.e., why did Hui women’s mosque emerge exclusively in the eastern and central regions of China and not in northwestern region where the concentration of Hui Muslims’ population is higher? Why was this phenomenon limited to the Hui Muslim community and not observed among other Muslim ethnic groups in China? This study employs historical, analytical and contexture analysis approaches to accomplish three research objectives. Firstly, it aims to re-examine the historical background of the Hui Muslims and the emergence of Hui women's mosques during the Ming and Qing dynasties within this particular ethnic group. Secondly, the study seeks to address the aforementioned questions and reidentify the possible causes for the emergence of the Hui women’s mosques in specific regions in China. Thirdly, the study intends to provide an Islamic perspective to illuminate the unique phenomenon of Hui women's mosques in China. Fifteenth, Qadaya al-Mar’ah wa Anwa`uha fi daw’ al-Sunnah al-Nabawiyyah. Its author, Saad Eldin, sheds lights on various topics related to women's issues and their types, such as women's rights, sermons, the hadith concerning the deficiency of intellect and religion, and other issues related to women's rights in general. It also addresses the issue of the mahram (forbidden relationships) for women. Sixteenth, Dawr al-Mar’ah fi al-Marwiyyat al-Hadithiyyah: Mafahimuha wa Masaqatuha. Ahmed Elmogtaba in this article deals with the efforts of women in the narration of Hadiths, with a focus on the six major Hadith collections and the topics related to their narrations. It was found that the narrations of female scholars contributed to various areas of jurisprudence in general, and family laws in particular. The above observations and discussions are intended to prompt critical reflection on the current state of women and children and prompt researchers to consider areas where future research is needed. Editorial Team Associate Professor Dr. Kabuye Uthman Sulaiman, HOD, FIDS, AHAS KIRKHS, IIUM Associate Professor Dr. Maulana Akbar Shah @ U Tun Aung December 5, 2023

Highway, Tomson. Illus. John Rombough. Caribou Song. Markham, ON.: Fifth House, 2013. Print.While Tomson Highway’s English text remains consistent with the 2001 publication of this title illustrated by Brian Deines, this new version has been translated into a colloquial dialect of Cree rather than the original high Cree. It has been revitalized by John Rombough, a Chipewyan Dene artist from the Northwest Territories. His stylistic and intensely coloured illustrations make this a very different viewing experience from that of the softer and more realistic illustrations by Deines. Rombough’s illustrations are infused with great energy, which is especially intriguing since the broad black lines contain only static shapes of colour layered on the variously tinted pages. There is magic here that is highly reminiscent of stain glass artistry and, like the stained glass pieces, engage the viewer into active participation in the storytelling experience.The story, too, contains magic. Set in Northern Manitoba, the tale follows the adventures of two young brothers, Joe and Cody, who call the caribou with their accordion (kitoochigan) and singing. The caribou respond with great vigor, enabling the boys’ parents’ traditional hunt. There is much laughter between the boys but danger as well as the migrating animals enthusiastically stream between them. Thankfully the spirit voice of the caribou leads the boys to safety, much to the relief of their parents and the boys themselves.Many years ago, when speaking with Tomson about the translation of the first edition he expressed sorrow that it was in the more formal Cree language; he felt that it was not the dialect that was easily accessible by the very people he wished to reach with this book. I hope this translation satisfies and ratifies this aspiration for those who read Cree. It certainly satisfies the artistic appreciation of this reviewer. The 2001 version was the first book in a trilogy about Joe, Cody, their family and the traditional culture and life of the Cree in Northern Manitoba. Is this edition also the first in a trilogy? One can always hope.Highly recommended: 4 out of 4 stars Reviewer: Gail de VosGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

News and Announcements1) Canadian Children's Book News, Spring 2015 IssueIn recognition of the TD Canadian Children's Book Week and its theme "Hear Our Stories: Celebrating First Nations, Métis and Inuit Literature," this issue explores several facets of this vibrant part of children's literature. It includes a profile of author David Alexander Robertson and a look at the publishers and market for First Nations, Métis, and Inuit stories.2) TD Canadian Children's Book Week (May 2- May 9, 2015) is the single most important national event celebrating Canadian children’s books and the importance of reading. More than 28,000 children, teens, and adults participate in activities held in every province and territory across the country. Hundreds of schools, public libraries, bookstores, and community centres host events as part of this major literary festival. It is organized by the Canadian Children’s Book Centre, in partnership with the Storytellers of Canada/Conteurs du Canada.3) Free Comic Book Day (May 2, 2015) takes place annually on the first Saturday in May. It is a single day when participating comic book specialty shops and public libraries across North America and around the world give away comic books absolutely free to anyone who comes into their shops! For more information: http://www.freecomicbookday.com/Home/1/1/27/9924) Canadian Authors for Indies Day (May 2, 2015)Authors across Canada support independent bookstores by volunteering as guest book sellers. To see who may be in your local indie book store, go to http://www.authorsforindies.com/5) Storytellers of Canada/Conteurs du Canada conference: Where Languages Meet (July 2-5, 2015). This year’s conference is in Lévis, Quebec where a rich storytelling tradition awaits. La Maison Natale Louis Fréchette – birthplace of one of Quebec’s most celebrated poets – hosts the SC-CC conference which proudly brings a range of vibrant programming in both official languages storytellers and listeners. http://www.storytellers-conteurs.ca/en/conference/storytellers-conference-2015.html6) Words in 3 Dimensions Conference 2015: Intersections (May 22 to 24, 2015)Held at the Chateau Lacombe Hotel in Edmonton for this second edition, the conference connects writers, editors, publishers, and agents from across Canada. This weekend focuses on how and where a writer’s work with words intersects with other disciplines. http://www.wordsin3d.com/7) The 2015 Storytelling World Resource Awards (storytellingworld.com/2015/) includes the following Canadian titles :Stories for Pre-Adolescent Listeners: Not My Girl: the True Sotry of a Daughter's Cultural Adjustmentsby Christy Jordan-Fenton and Margaret Pokiak-Fenton (Annick Press)Stories for Adolescent Listeners: Hope Springs: a Story of Complassion and understanding by Eric Walters (Tundra Books)8) IBBY Canada (International Board on Books for Young People, Canadian section). Stop, Thief!, illustrated by Pierre Pratt and written by Heather Tekavec (Kids Can Press, 2014), is the winner of the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. Pierre was also nominated [again] by IBBY Canada for the prestigious Hans Christian Andersen Award.” www.ibby-canada.org/elizabeth-mrazik-cleaver-pratt/And now, a plethora of shortlist announcements:1) The 2015 Alberta Literary Awards ShortlistWinners will be announced and awards presented at the Alberta Literary Awards Gala on Saturday, May 23, 2015. The celebration will take place at the Chateau Lacombe Hotel (10111 Bellamy Hill Road) in Edmonton alongside the 2015 Words in 3 Dimensions Conference: Intersections (see above).A full list of award categories and nominees can be found at http://writersguild.ca/2015-alberta-literary-awards-shortlist/2) R. Ross Annett Award for Children's Literature (www.bookcentre.ca/awards/r_ross_annett_award_childrens_literature) Victor Lethbridge– You're Just Right (Tatanka Books)Leanne Shirtliffe– The Change Your Name Store (Sky Pony Press)Richard Van Camp– Little You (Orca Book Publishers) 3) 2014 Science in Society Book Awards Shortlists. Two annual book awards honour outstanding contributions to science writing. One is for books intended for children ages 8-12; the other for book aimed at the general public. Winners will be announced on Canada Book Day, April 23, 2015. http://sciencewriters.ca/awards/book-awards/Zoobots by Helaine Becker, Kids Can Press.Starting from Scratch by Sarah Elton, Owl Kids Books.It’s Catching by Jennifer Gardy, Owl Kids Books.The Fly by Elise Gravel, Penguin Random House.If by David J. Smith, Kids Can Press.4) 2015 Atlantic Book Awards ShortlistThe full shortlist for the eight different book prizes comprising the 2015 Atlantic Book Awards can be found www.atlanticbookawards.ca. Below are the nominees for the Ann Connor Brimer Award for Children’s Literature and the Lillian Shepherd Award for Excellence in Illustration. Winners will be announced Thursday, May 14, 2015.Ann Connor Brimer Award for Children’s LiteratureJack, the King of Ashes by Andy Jones (Running Goat Books & Broadsides)Flame and Ashes: The Great Fire Diary of Triffie Winsor (Dear Canada series) by Janet McNaughton (Scholastic Canada Ltd.)The End of the Line by Sharon E. McKay (Annick Press Ltd.)Lillian Sheperd Award for Excellence in IllustrationSydney Smith (nominee) Music is for Everyone by Jill Barber (Nimbus Publishing)Michael Pittman (nominee) Wow Wow and Haw Haw by George Murray(Breakwater Books)Nancy Rose (nominee) The Secret Life of Squirrels by Nancy Rose (Penguin Canada)5) Newfoundland and Labrador Book Award shortlist.During even-numbered years, these awards honour fiction and children’s/young adult fiction books; odd-numbered years recognise poetry and non-fiction. The winners will be announced May 27, 2015. This year’s list of finalists for the Newfoundland and Labrador Non-fiction Award are all first-time authors (http://wanl.ca/literary_awards)Alan Doyle for Where I Belong: From Small Town to Great Big Sea (Doubleday Canada)Janet Merlo for No One to Tell: Breaking My Silence on Life in the RCMP (Breakwater Books)Andrew Peacock for Creatures of the Rock (Doubleday Canada)Three acclaimed Newfoundland poets are shortlisted for the E.J. Pratt Poetry Award:Michael Crummey for Under the Keel(House of Anansi Press)Mary Dalton for Hooking (Véhicule Press)Carmelita McGrath for Escape Velocity (Goose Lane Editions)6) 2015 Information Book Award Shortlist announced by the Children’s Literature Roundtables of Canada. Voting Deadline: Saturday October 31, 2015.Any Questions? by Marie-Louise Gay.(Groundwood Books). A Brush Full of Colour: The World of Ted Harrison. by Margriet Ruurs & Katherine Gibson (Pajama Press).Do You Know Komodo Dragons? by Alain M. Bergeron, Michel Quintin, and Sampar. Illustrations by Sampar. Translated by Solange Messier (Fitzhenry & Whiteside).Dreaming in Indian: Contemporary Native American Voices. edited by Lisa Charleyboy and Mary Beth Leatherdale (Annick Press). Not My Girl. by Christy Jordan-Fenton and Margaret Pokiak-Fenton. Illustrated by Gabrielle Grimard (Annick Press). The Rat. by Elise Gravel (Tundra Books). Shapes in Math, Science and Nature: Squares, Triangles and Circles. by Catherine Sheldrick Ross. Illustrated by Bill Slavin (Kids Can Press). Take Shelter: At Home Around the World. by Nikki Tate and Dani Tate-Stratton (Orca Books). Tastes Like Music: 17 Quirks of the Brain and Body. by Maria Birmingham. Illustrated by Monika Melnychuk (Owl Kids). We All Count: A Book of Cree Numbers. by Julie Flett (Native Northwest).For more information about voting and submissions please contact the Information Book Award Chair, Kay Weisman at weismankay@gmail.com7) IBBY Canada (International Board on Books for Young People, Canadian section).Stop, Thief! illustrated by Pierre Pratt and written by Heather Tedavec (Kids Can Press, 2014) is the winner of the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. Pierre was also nominated [again] by IBBY Canada for the prestigious ans Chrisitan Andersen Award. (www.ibby-canada.org/elizabeth-mrazik-cleaver-pratt/)-----Presented by Gail de Vos. Gail is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and commic books and graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

New Year. In this edition of the news I am highlighting several online resources as well as conferences, tours, and exhibits of possible interest.First of all, I highly suggest you sign up at the Alberta School Library Council's new LitPicks site (aslclitpicks.ca). It is free, filled with promise, and includes only books recommended by the reviewers. The reviews are searchable by grade level and genre (e.g., animal, biographical fable, fantasy, humour, historical, horror, verse, realistic, mystery, myth) and include all formats. The reviews include curriculum connections and links to relevant resources. Library staff review titles based on engagement of story, readability, descriptive language, illustration excellence and integrity of data, and source for non-fiction titles. The target users are teachers, teacher-librarians, library techs, and others working in libraries. School library cataloguers can provide a link to the review from within the catalogue record.Another recommended resource is CanLit for Little Canadians, a blog that focuses on promoting children's and YA books by Canadian authors and illustrators. The blog postings can also be found on Facebook. (http://canlitforlittlecanadians.blogspot.ca/)First Nation Communities READ is another resource for your tool box. It is an annual reading program launched in 2003 by the First Nations public library community in Ontario and includes titles that are written and/or illustrated by (or otherwise involve the participation of) a First Nation, Métis, or Inuit creator and contain First Nation, Métis, or Inuit content produced with the support of First Nation, Métis, or Inuit advisers/consultants or First Nation, Métis, or Inuit endorsement. Julie Flett's Wild Berries - Pakwa Che Menisu, available in both English and Cree, was the First Nation Communities Read Selection for 2014-2015 and the inaugural recipient of the Periodical Marketers of Canada Aboriginal Literature Award. (http://www.sols.org/index.php/develop-your-library-staff/advice-consulting/first-nations/fn-communities-read)This resource should also be of great value for those schools and libraries participating in TD Canadian Children’s Book Week in 2015. Each May, authors, illustrators and storytellers visit communities throughout the country to share the delights of Canadian children’s books. Book Week reaches over 25,000 children and teens in schools and libraries across Canada every year. The theme for this year is Hear Our Stories: Celebrating First Nations, Métis and Inuit Literature, celebrating the remarkable variety of topics, genres and voices being published by and about members of our First Nations, Métis and Inuit (FNMI) communities in Canada. On a personal note, I will be touring as a storyteller in Quebec as part of this year’s Book Week tour.Freedom to Read Week: February 22-28, 2015. This annual event encourages Canadians to think about and reaffirm their commitment to intellectual freedom, which is guaranteed them under the Charter of Rights and Freedoms. This year’s Freedom to Read review marks the thirtieth anniversary of its publication and of Freedom to Read Week in Canada. It was first published in 1984 to explore the freedom to read in Canada and elsewhere and to inform and assist booksellers, publishers, librarians, students, educators, writers and the public. To commemorate Freedom to Read’s thirtieth anniversary, some of our writers have cast a look back over the past three decades. As usual, the review provides exercises and resources for teachers, librarians and students. This and previous issues of Freedom to Read, as well as appendices and other resources, are available at www.freedomtoread.ca.Half for you and Half for Me: Nursery Rhymes and Poems we Love. An exhibit on best-loved rhymes and poems and a celebration of the 40th anniversary of Alligator Pie held at the Osborne Collection in the Lillian H. Smith Library in Toronto until March 7, 2015.Serendipity 2015 (March 7, 2015). An exciting day exploring the fabulous world of young adult literature with Holly Black, Andrew Smith, Mariko Tamaki, Molly Idle, and Kelli Chipponeri. Costumes recommended! Swing Space Building, 2175 West Mall on the UBC campus. (http://vclr.ca/serendipity-2015/)For educators: Call for entries for the Martyn Godfrey Young Writers Award (YABS). An annual, juried contest open to all students in Alberta in grades 4 through 9. Students are invited to submit their short stories (500-1500 words) or comic book by March 31, 2015 to the YABS office, 11759 Groat Road, Edmonton, AB, T5M 3K6. Entries may also be emailed to info@yabs.ab.ca.Breaking News: The Canada Council for the Arts has revised the Governor General’s Literary Awards Children’s Literature categories (in consultation with the literary community) in the wake of controversy regarding graphic novels. The revised category titles and definitions:The new Children’s Literature – Illustrated Books category will recognize the best illustrated book for children or young adults, honouring the text and the illustrations as forming one creative work. It includes picture books and graphic novels, as well as works of fiction, literary non-fiction, and poetry where original illustrations occupy at least 30% of the book’s space.The Children’s Literature – Text category will recognize the best book for children or young adults with few (less than 30%) or no illustrations. http://www.bookcentre.ca/news/governor_general%E2%80%99s_literary_awards_revisions_children%E2%80%99s_literature_categoriesGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

Summer Reading ListsWith summer in full swing, there are a number of summer reading lists available to help find great books for your kids. The Canadian Children’s Book Centre (CCBC) list includes a great number of titles arranged by topic matter, reading level and age level. The CCBC has also recently launched of a new online edition of Best Books for Kids & Teens, an online version of the CCBC’s semi-annual selection guide to the best Canadian books for children and young adults. Other reading lists worth noting include the Association for Library Service to Children (ALSC) list for 2016, Bookology Magazine’s Quirky Book Lists and via the CBC 15 Pride reads for youth and 15 Canadian Indigenous Reads. Best wishes for a great summer of reading!Remembering Larry LoyieIt is with great sadness that we heard of the passing of Cree author Larry Loyie on April 18th, 2016. Loyie was born in Slave Lake Alberta and wrote a number of young adult and children’s books. Goodbye Buffallo Bay and As Long as the Rivers Flow told of his own experiences in a residential school when he was young. In The Moon Speaks Cree: A Winter Adventure a young boy learns about Cree culture and his award-winning Gathering Tree confronted issues of HIV with a younger audience. These books, along with many other works for adult audiences, will serve as a legacy to what was a powerful voice in first nations and Canadian children’s literature. Larry passed away at home in Edmonton. Festivals and EventsMost book festivals across Canada have already passed for the summer but if you are looking towards the fall you can look into the Taleblazers Literary Arts Festival for Children put on by the Young Alberta Book Society from October 3-November 4, 2016.I am pleased to be writing my first News, Awards and Announcements for the Deakin Review. I have served as a reviewer and editor in past years and I look forward to sharing news on children’s and young adult literature in Canada and beyond. I am always looking for suggestions, so if you have news you would like me to include in future issues please send me an email at hanne.pearce@ualberta.ca.Best wishes for a great summer of reading!HanneHanne Pearce has worked at the University of Alberta Libraries since 2004. Aside from being an avid reader, she has continuing interests in writing, photography, graphic design and knitting.

Bouchard, David. Nokum is My Teacher. Markham: Red Deer Press, 2006. Print.Through the creation of conversational inquiry, David Bouchard’s award-winning picture book Nokum is My Teacher carries the reader on a beautiful journey between a young Cree boy and his Nokum, his grandmother. The journey honours both the Cree and English languages by including the dual text in columns throughout the book. This format invites us to imagine the dialogue occurring in either language as the boy questions his place on the school landscape. He asks his grandmother for guidance and wonders how relevant his school learning is in his life when held in contrast to his experiences and knowing alongside his Cree family. Interwoven throughout the conversation, his grandmother responds to his wonders with questions as she gently guides him to seek answers from within his heart. Recognizing the importance of his traditional knowledge and ways of living alongside his Nokum, he begins to also see the value of the knowledge he will gain from his experiences in school. The young boy, steeped in his Nokum’s wisdom comes to see how new ways of knowing are essential in his life so he may continue to share his stories and experiences in multiple ways. Allen Sapp’s picturesque illustrations exquisitely show both contemporary and traditional Cree lives and invites readers to reflect on their own stories around the importance of place, family and community. A compact disc is included containing a reading of the story in English and Cree with the Cree reading accompanied by the award-winning Aboriginal drumming group, Northern Cree. The images in the book, the dual text, and the CD offer multiple ways for readers to experience this story with the rhythmic heartbeat of the drum bringing it to life.While this is a children's picture book it will appeal to all ages. We would recommend it be used in every classroom from elementary through to post-secondary as a way to invite conversation about the tensions children and families negotiate as they travel between home and school and as a way to honour multiple ways of knowing.Highly recommended: 4 out of 4 starsReviewers: Cindy Swanson & Trudy CardinalDoctoral candidate Cindy Swanson and Dr. Trudy Cardinal are Cree/Métis scholars from the University of Alberta whose research interests center on the experiences of Indigenous children and families on and off school landscapes. Both share a passion for children’s literature, especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families.

Dear Readers,We are delighted that this special issue includes book reviews from preschool to junior high readers!We would like to acknowledge Michelle St. Jean, Steven Campbell, Natalie Burns—the grade six and eight teachers from Ben Calf Robe - St. Clare Elementary/Junior High School—whose students completed the reviews as part of their class work. Assistant Principal Sonia Mangieri was our contact at the school who coordinated with the teachers to help make the vision of an issue entirely devoted to student reviews a reality. We would also like to thank Principal Rena Methuen for her school’s participation in this project. We are also grateful to teachers Ann Sheehan and Jenn Sych from the Child Study Centre’s Junior Kindergarten in the Faculty of Education at the University of Alberta for helping their students to provide class reviews of The Pirate’s Bed. Finally we would like to acknowledge our reviewers for contributing their thoughts on a wide range of reading materials and for sharing their favorite books and reading spots. Wishing you all a wonderful READ IN Week with enjoyable books and good friends.Warm wishes,Deakin Editors_________________________________________________________________Dear Readers,Welcome to this special edition of the Deakin Review. My name is Dr. Trudy Cardinal and I am very excited to be part of this edition highlighting the reviews of students from Ben Calf Robe St. Clare School and from the Child Study Centre’s Junior Kindergarten program in the University of Alberta’s Faculty of Education as part of the 2016 READ IN Week celebrations. This year’s theme is: One World, Many Voices, which was inspired in part by the words of Indigenous author Richard Wagamese in his introduction to One Story, One Song: “What binds us together as a human family is our collective yearning to belong, and we need to share our stories to achieve that” (2011, p. 5). As a Cree/Métis scholar I have always yearned to find children’s books that were more representative of the Cree/Métis life I lived as a little girl in northern Alberta but I never did find one. Rather I fell in love with Laura Ingalls Wilder from Little House on the Prairie and Lucy Maud Montgomery’s Anne of Green Gables feeling a kindred spirit in both of those characters – and yet, despite this love, I still yearned for more – someone more like me! Now, as a teacher educator and a Kokom (a Cree grandmother) I am so excited to find more and more beautiful children’s books, and more and more brilliant Indigenous authors who are creating stories that resonate with my soul. I can now go on grand adventures with Chuck in Jordon Wheeler’s Just a Walk. I see images of my niece Emma in Elizabeth Denny’s Jenneli’s Dance as she wins her first jigging prize and my heart-strings are tugged as I see the spitting image of my younger brother in the little boy in Peter Eyvindson’s Red Parka Mary. Finally, the yearning I have held for so long is beginning to abate as I come across such rich Indigenous literature depicting stories that are more representative of the life I lived as a Cree/Métis little girl. And in this issue, where the youngest readers are given opportunity to share stories of the books they are reading, Deakin Review helps to create spaces of belonging and nurtures the dreams of our youngest - now published - authors. Literacy, when we honor stories of lives, and create spaces for diverse voices in the ways that this issues does, contributes to that greater sense of belonging to which Richard Wagamese speaks. Happy reading!Trudy CardinalDr. Trudy Cardinal is an assistant professor in the department of Elementary Education at the University of Alberta. As a Cree/Métis scholar and Kokom (Cree grandmother), she has a particular passion for stories and storytelling including a love of children’s literature, especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families. Her current favorite book is Just a Walk by Jordon Wheeler because it makes her laugh and think of the many adventures she went on when walking in the woods behind her house! __________________________________________________________Dear Readers,My name is Jill McClay, and I am a reader. Throughout my life, I have held a number of jobs and lived in three countries, but one constant in my life is that I have been a reader for as far back as my memory goes. I am delighted to co-introduce this special issue of the Deakin Review because this issue reminds me of the great variety of readers of all ages. In reading these young readers’ reviews of their favourite stories, I make many connections –they love some of my favourite books, and they like or dislike stories for the same reasons as I do.These young people love some of the stories that I love—the Harry Potter series, anything that John Green writes, Lumberjanes -- and some others I don’t know but now want to read. They read a wide range of literature, from fantasy, science fiction, nonfiction, romance, realistic fiction, manga other graphic stories, mysteries, stories with movie tie-ins, and more. When they explain why they like reading, I nod in agreement at many of their comments: Jerlaine sums up my thoughts best when she writes that she likes to read “because it makes you feel like you’re with different people and different times.” I too like the feeling Aiden expresses, “The author makes you kind of feel like you’re tagging along with the characters in this story.”The readers featured in this issue also dislike stories for some of the same reasons that I do – Nathaniel notes that he “didn't like the part when Obi Wan got captured because he got distracted by cookies. Jedi don't get distracted by cookies.” Fair point! I note that nonfiction draws both great approval and definite disapproval by various readers, reminding us that we all have different tastes.This issue of the Deakin Review, featuring the responses of young readers to their reading, reminds me of the importance of allowing young people to follow their interests in reading. There are stories and books for us all. As friends, teachers, parents, and librarians, we can help each other and young readers find the books that will be important to us by talking about the stories we like.Best wishes,Jill McClayDr. Jill McClay is the Associate Dean of Graduate Studies in the Faculty of Education at the University of Alberta. She likes to read most kinds of fiction, especially young adult novels, picture books, and stories of families through the generations. Her favourite place to read is in her comfy red chair. She doesn’t have a favourite book but likes to re-read some of her favourites occasionally.

Hutchinson, Michael. The Case of Windy Lake. Second Story Press, 2019. Micheal Hutchinson is a citizen of the Misipawistik Cree Nation in the Treaty 5 territory and is no stranger to the Canadian media. He’s worked as a print reporter for The Calgary Straight and Aboriginal Times and became the host of APTN national news. Somehow in his busy life, he has found time to write two amazing children’s books. The Case of the Missing Auntie is Hutchinson’s second Mighty Muskrat Mystery book. It follows the cousins Chickadee, Otter, Samuel, and Atim (the Mighty Muskrats) of the Windy Lake First Nation. It takes place after the first book, but this time the Muskrats are leaving their reserve to spend time with family in the city. By setting the book in the city, the topic of urban Indigenous people arises. Hutchinson depicts a wide range of Indigenous people: nurses, students, musicians, and bullies. He doesn’t romanticize Indigenous people, opting to focus on realism and making the characters lifelike. The book makes sure to mention potential issues with moving/travelling from a reserve to a large city such as not fitting in and racism. The story has the same style as the previous Mighty Muskrat Mystery book with clear goals for the Muskrats to obtain: visit the Exhibition Fair, get Otter a ticket to see the band Wavoka’s Wail, and look for Auntie Charlotte who was taken during the 60’s scoop. One of the best parts is how realistic the story is, not everything goes the Mighty Muskrats way. This isn’t your typical “everything is going to work out just fine” story but that makes it a solid read—they need to come up with a plan B. It opens a dialogue on residential schools, the 60’s scoop, and the Truth and Reconciliation Commission. It felt like a good introduction to those tough topics, explaining what they are without dismissing them as something that happened a long time ago or minimizing their modern impacts. Instead, the story shows the aftermath, and how it affects the younger generation without limiting characters’ identities to only be their relationship to historical trauma. As such, this book could work as a discussion starter between children and adults on these topics and could be used to promote critical discussion around themes like Indigenous identities and experiences. Highly recommended: 4 out of 4 starsReviewer: Kaia MacLeod Reviewers BiographyKaia MacLeod, a member of the James Smith Cree Nation, is an MLIS candidate at the University of Alberta. Her bachelor’s degree was in Film Studies, which she sometimes likes to call a degree in “movie watching,” she enjoys exploring how folklore is represented on film and in online content.

Bouchard, David. The Song Within My Heart. Markham: Red Deer Press, 2015. Print.Similar to Nokum is My Teacher, David Bouchard and Allen Sapp team up to tell the story of a young boy and his Nokum, his grandmother. Drawing upon his memories, illustrator Allen Sapp paints rich, expressive images of his own Nokum while Bouchard, in the form of a poem, tells the story of a young boy’s first experience of a Pow-wow. Bouchard and Sapp warmly guide the reader to more deeply understand the sacredness of story and song. They highlight the importance of learning to listen with one’s whole being and not just with one’s ears; to crave more than a direct understanding of the words of a story or a song, but to feel its broader presence as a teaching, as a living part of the teller, and as part of an ongoing journey of learning and self-discovery. Through the wisdom of his Nokum both the narrator and we, as readers, come to know that “[a] story is a sacred thing,” and that stories – especially those we carry in our hearts and “call our own” – are more valuable than “toys or clothes,” than “jewels or cars.” Given the sacredness of stories, we are cautioned to “never use another’s tale, [u]nless he knows and he approves.” The book, along with the drum beats and voices present on the accompanying CD, invites us to think differently about what it means to learn and what it means to respect our own voices and internal knowing. As if to remind us that gentleness is always required in processes of learning, the book ends with a reminder not to worry if we cannot yet understand its message and encourages its readers to continue to listen in these more complex ways, to keep listening for a story they might come to hear, that no one else hears - a story of their very own. The book is written for elementary children and yet appeals to all ages. For those wanting to create spaces for the stories of Indigenous children and families, books such as The Song Within My Heart are essential. Not only does it give equal space upon the page for both English and Cree text but with the CD, also inclusive of both English and Cree Language versions and the music of Northern Cree, it also honours oral storytelling traditions.Recommended: 4 out of 4 starsReviewers: Trudy Cardinal & Sulya FenichelDr. Trudy Cardinal is a Cree/Métis scholar from the University of Alberta whose research interests center on the experiences of Indigenous children and families on and off school landscapes. Her passion for stories and storytelling includes a love of children’s literature especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families.Sulya Fenichel is a doctoral student at the University of Alberta. Mindful of important, and increasing, mandates to include Indigenous approaches to living and learning into contemporary curricula she is fascinated by the ‘how’ of interconnection and communication between people(s) and disciplines. In her research, she hopes to explore the ways in which key, and sometimes ideologically entrenched, ‘stakeholder’ groups might improve communication and collaboration in processes of education and sees storytelling, in all its forms, as central to this process.

Curtis, Andrea. Eat This! How Fast-Food Marketing Gets You to Buy Junk (and How to Fight Back). Illustrated by Peggy Collins. Red Deer Press, 2018. Andrea Curtis’s first children’s book was What’s for Lunch? What school children Eat around the World, and her latest book Eat This!: How fast Food marketing gets you to buy junk (and how to fight back) is written for the modern family. It talks about product placement, ads on the internet, the all-natural myth of orange juice and more. Even though this book is word-heavy (there is a glossary) there are bright colourful pictures, by Peggy Collins, accompanying almost every page. However, they cannot show the advertising of the actual products they want to talk about. So a box of frosted flakes becomes sugar rings with a tiger mascot, and any clown can represent McDonald's. Intermittently, it has real-world examples of people fighting fast-food marketing around the world. For example, the Game Changer campaign in Australia, which focuses on the ads in cricket for junk food, alcohol, and gambling. At the end of the book, there is a list of things to try to challenge fast food and marketing strategies. Their goal is to get the reader engaged with what they have just read, offering examples such as potlucks that celebrate diversity, or observing your favourite show for product placement. There are also multiple facts sprinkled into the book like how part of Philadelphia's soda tax is used for improving parks, or how Peru has banned junk food in schools. Overall the book discusses an important topic that is all too relevant in the age of the internet. Better yet, its goal is getting children to engage with advertising in a critical way. Children will benefit from the book, as it explains how advertisers don’t always have our best interests at heart and can help open a dialogue with adults on the subject. Highly recommended: 4 out of 4 stars Reviewer: Kaia MacLeod Kaia MacLeod, a member of the James Smith Cree Nation, is an MLIS candidate at the University of Alberta. Her bachelor’s degree was in Film Studies, which she sometimes likes to call a degree in “movie watching,” she enjoys exploring how folklore is represented on film and in online content.

We are looking for a tongue that speaks with reverence for life, searching for an ecology of mind. Without it, we have no home, have no place of our own within the creation. It is not only the vocabulary of science that we desire. We also want a language of that different yield. A yield rich as the harvests of the earth, a yield that returns us to our own sacredness, to a self-love and respect that will carry out to others (Hogan 122). Through storytelling the world is created and recreated: in the values and worldviews stories offer, in the patterns of thinking and knowing that listening and reading place in our spirits and minds, in the stories we tell and live. We walk in the ripples our old people left behind and we follow them up, just as our children and the generations after us will walk in shapes and patterns we make with our lives. Our delicate world is poised on a precipice with increasing species extinction and loss of habitat, deforestation, displacement of animal and human communities, changing weather patterns, and polluted waterways. How do we manage the environmental and cultural issues of our complex global world? How do we come together to look after each other and the world around us? Often there is a sense that science will save us, that if we keep “progressing” at a fast enough rate we can escape the consequences of our actions. However, science alone, no matter how sophisticated, cannot alter the fundamental truths of action and reaction in Country: that if you take too much, something, somewhere, will go without. As Guungu Yimithirr man Roy McIvor writes: Dad often spoke about being aware of the consequences of our actions. He used different stories as teaching tools, but the idea was the same. Like a boomerang, your bad actions will come back to hurt you (89). In the end, it will not be technological innovation alone that will alter the course we have set out for ourselves. Rather, it will be human beings embracing a different way of relating to the environment than the current dominant paradigm that sees people take too much, too often. With this is mind, we would like to consider the integral role children’s literature plays in sustaining knowledge patterns of Country and ecology for the future. In the context of children’s literature and ecology the idea of sustaining environmental and cultural awareness is shared via the written word—how it is used, presented, and read, particularly with ideas of the child reader in mind. Our children will be the ones who struggle with the ripples we leave in our wake and they will be the ones who count the cost of our decisions as they in turn make decisions for the generations that will follow them. If we teach the right values then the behaviour of our children will reflect those ideas. In the Aboriginal way it’s about getting the story right, so that they can learn the right ways to be in Country, to be a human being, and to look after the world they inherit. As Deborah Bird Rose states, Country is a “nourishing terrain; a place that gives and receives life” (Rose Country 7). This paper will examine two Aboriginal children’s stories that teach about a living, holistic, interrelated world and the responsibilities of human beings to look after it. Specifically, the authors will examine Joshua and the Two Crabs by Joshua Button and Dingo’s Tree by Gladys and Jill Milroy. Both stories are published by Aboriginal publisher Magabala Books and represent a genre of Aboriginal writing about Country and how to take care of it. They form part of the “language of that different yield” (Hogan 122) that Indigenous writer Linda Hogan advocates, a language that emerges from an ecology of the mind that locates human beings as an interconnected part of the patterns of the earth. The first text discussion focuses on the sharing of implicit meaning via textual form—that is, the lay out of the story, its peritext, and illustrations. The second textual discussion centres explicitly on content and meaning. Both textual analyses aim to open up a dialogue between Aboriginal ecology and children’s literature to provide inter-subjective approaches for Aboriginal and non-Aboriginal readers/listeners. Aboriginal Story Ecology In Aboriginal philosophy the universe is the creative expression of Dreaming Ancestors who created the world—the land, plants, animals, stars and elements—and then settled into the creation they had made: …white people also call this the Dreaming. The Tjukurpa tells how the landscape, animals, plants, and people were made and what they mean for one another. The Tjukurpa is in everything. It is in the rocks, in the trees, even in the mice, mingkiri (Baker xii). Through their actions they formed the pattern of reality that finds its expression in human beings and in everything around us—the stars, earth, rivers, trees, rocks, and forms of life that make up the world. Aboriginal knowledge systems understand the patterns of life and our relationships to them through the structure of story. Dreaming stories—stories about the creation of the world and how the fundamental Laws were handed down to the people—have special significance. However, the stories we make with our lives and experiences are also important—stories about funny things that happened and our relationships with our families and loved ones. These stories are also a part of Country because there is nothing that does not emerge and return to the land, nothing that is not part of the pattern that the Dreaming Ancestors made: The Story is the Land, and the Land is the Story. The Story holds the people, and the people live inside the Story. The Story lives inside the people also. It goes all ways to hold the land (Turner 45). The imprint of creation, the structure of the relationships that make up the world, is held in story. Thus, in Aboriginal logic the patterns of nature, the patterns of stories, and the patterns of language, society, and culture are reflections and expressions of the pattern of creation woven by the Dreaming Ancestors. As Yunipingu writes: …For us society and nature are not separate. We have Yirritja and Dhuwa, and these categories contain elements which are both natural and social. Also, of course, they have elements which Europeans call supernatural or metaphysical (9). Through stories we come to know not just the world but who we are and the proper ways of relating to the ecology’s around us. As we learn stories the pattern of learning grows inside of us, in our ways of thinking, doing, and being. They provide the framework for our spirit and mind to develop so we come to know and be in the world in a proper or straight way—to enhance the pattern of life, not to destroy it. This is an Aboriginal “Story Ecology” where stories serve as maps that teach us who we are and our role in the world. Yuin Elder Max Harrison (2009) observes the three truths on passing on traditional knowledge: See the land…the beautyHear the land….the storyFeel the land…the spirit (no pg). To sustain Country is to sustain the self. To tell, share, and know story is to know the environment and to sustain the environment. As Kathy Deveraux writes ‘it’s like the spider: a lot of things tie in together, so when you ask one thing, you get a whole big history’ (qtd in Rose, Country 7). Aboriginal story promotes ecological practice by enlivening the reader’s empathy toward the environment and nurturing a sense of union between what is within us and what is outside of us. The imagery and text of Aboriginal story often achieves this umbilical in two defining ways. The first is through the positioning of the age, setting, or backdrop. The second is born from the relationships animated between these vitally active surrounds and the characters contained therein. Makere Stewart-Harrawira states that: All human experiences and all forms of knowledge contributed to the overall understandings and interpretations. The important task was to find the proper pattern of interpretation. Hence it can be said that indigenous peoples have traditionally regarded knowledge as something that must be stood in its entire context. The traditional principles of traditional knowledge [...] remain fixed and provide the framework within which new experiences and situations are understood and given meaning. As such, these principles are the means by which cultural knowledge becomes remade and given meaning in our time. Another principle is that every individual element of the natural world, each individual rock and stone, each individual animal and plant, every body of land and of water, has its own unique life force (155). Examples of these features of Aboriginal story ecology can be seen in our analysis of the following two stories Joshua and the Two Crabs and Dingo’s Tree. Joshua and the Two Crabs In Joshua and the Two Crabs by Joshua Button, published by Magabala Books in 2008, the narrative, illustrations, and peritext all combine to enable alternative eco-cultural understandings and values. Joshua Button is a young Indigenous author from saltwater country, as is the protagonist in the text. Joshua, the character, observes the movements of country and its inhabitants and Joshua, the author and illustrator, expresses these meanings via words, colours, and illustrations. In particular, the text represents relationships with, and within, Crab Creek. The peritext offers information about Crab Creek—a tidal creek in the mangroves of Roebuck Bay in north-west Western Australia. “The area abounds with wildlife, including migratory birds, fruit bats, crabs and shellfish. It is a place for local people to spend the day fishing off the beach for a ‘pan-sized’ feed of salmon, queenfish, silver bream or trevally. Catching and cooking mud crabs is one of Joshua’s favourite things to do” (no pg). Story, place, and child are now formally positioned as the centre of the narrative and their relationship strengthened by the colours used to represent country and movement. The narrative focuses on Joshua’s family trip to Crab Creek and his interactions with the land, the water, and the animals. His story reveals a meeting of land and sea, a reading of land and sea, and a listening to land and sea. Country and its inhabitants are revealed as having multiple relationships. From the moment his mob arrives, the narrative emphasizes listening to and reading country: Joshua’s Mum moves faster when she reads the movement of the tides and when Joshua ventures into the mangroves he listens to the “Plop! Plop! Plop! Of the air rising up through the mud” (Button, no pg.). With his bucket and spear Joshua’s movements through country are observed and considered by the creatures around him; wader birds carefully watch him and Joshua engages in a dialogue with two big mud crabs that remind the boy that he has also been perceived by Country, which is itself sentient. Animals and country speak and observe—the tide moves, the sand is hot, mudskippers skip, and crabs escape and hide. Joshua’s relationship with the mud crabs is dependent on the boy and the crabs seeing each other and communicating: “‘I can see you two!’ ‘Well, we can see you too,’ said the crabs” (Button, no pg). The narrative provides a beautifully simplistic example of different perspectives and positions for the intended child reader. Both Joshua and the crabs’ perspectives are given space to be acknowledged and understood: one character is searching, another character is escaping. When Joshua finally catches the crabs he carefully brings them back to camp and the entire family have a good feed of them and the golden trevally Joshua’s Mum caught. “Afterwards they sat watching the tide empty out of the bay. Long-legged wader birds picked their way across the silvery mudflats. It had been a good day” (Button, no pg). The story offers a colourful, fun, and cyclical way of seeing country from a perspective that centres the relationship between family, food, and land. It presents this relationship and the implicit meaning of observing and living in country via traditional textual elements such as the written word, colour illustrations, and movement from left to right, but in doing so, the text becomes a form of sustaining relationship with country as well, not just for Joshua but also for the intended child reader. Dingo’s Tree Dingo’s Tree by Jill and Gladys Milroy is a much longer story than Joshua and the Two Crabs and also deals with more serious themes. The story is about Dingo who drew his own rain tree on a rock because the other animals didn’t share their shade with him. The tree then becomes real and grows beyond the limit of the sky and keeps Dingo’s waterhole full through the drought season. The others come to rely on Dingo’s waterhole and feel bad for not sharing with him and teasing him about his tree. As the water dries up, one single special raindrop is found on a little tree and Dingo decides to spare the drop even when all the waterholes become dry. Dingo feels that something is wrong when he sees that the raindrop is slowly growing larger. To survive, Dingo and his friend Wombat teach Little Tree to walk to water. He becomes known as Walking Tree and they are soon joined by all of the others in the land. On their way to the mountain to find water they see the river and half the mountain replaced by mining, and Walking Tree soon becomes overburdened with the weight of the others. The birds decide to carry him—his branches full of friends—and they succeed for a short time only to grow tired. Soon they are all falling toward their impending death until Dingo chooses to use the last raindrop, now much larger, and their fall is broken and a new waterhole is made. However, it is only enough for Walking Tree to live forever and because he is the last tree, the others (but one baby crow) go to the Heavens awaiting their return at the end of humankinds reign on the land. In the story of the Dingo’s Tree the adventure begins in “unspoiled country” with its inventory of cast members who, in real life, naturally inhabit the area. All are shown to be adjusting recurrently within the known cycles of drought and abundance, suggested by the authors in the line “the drought came”, then a subtle reference to patterns of migration as the season is introduced and the cast move to more reliable waterholes. Establishing the story in this space encourages the young reader to identify the natural landscape as “normal”, and part of that normality are the cycles that create and degenerate growth. It is the antagonist that is responsible for the creation of unnatural change. Mining becomes the assassin of country with men as poachers "carting away great loads of rock and earth in huge machines" (Milroy and Milroy 39). This scene is of great importance, although it is only allocated a single page, because it shows where the artery of country has been severed. Its effects have been cleverly woven into the storyline beforehand in several ways. The line “the drought stayed” illustrates a seasonal defiance. In turn, Dingo becomes aware of this imbalance: "for a while Dingo lived happily in his cave but lately he’d begun to worry about the country, something wasn’t right" (Milroy and Milroy 1). Dingo reads the signs of the country. His attention to the life cycles of the land are brought to the attention of the reader teaching children about the important role of observation in caring for country. In addition to this, a warning is given to Crow by the Rain Tree through a vision of a future landscape devastated and dying: "It is what your country will become…The mining is cutting too deep for the scars to heal. Once destroyed the mountains can’t grow again and give birth to the rivers that they send to the sea…"(Milroy and Milroy 20). Contained in this passage is a direct environmental truth, but the beauty of the passage lies in the language chosen by the authors. The phrase “cutting too deep for the scars to heal” links a human experience to an environmental one, as does the phrase “give birth to the rivers”. A child is able to recognise the physical pain of a cut and a child is also able to recognise that birth belongs to the Mother. The use of this language forges a powerful connection in the mind of the reader between the self and the Earth - the child and the Mother. Country feels pain, the mountains and rivers activate their own membership in life’s cycles, and even the far off Moon participates in thought and conversation, all of which awaken a consciousness within the reader toward the animate spirit of the natural world, parenting a considerate relationship to land. It is this animate relationship with the land that it is at the heart of the story. It is the mountain that sends the rivers to the sea, rather than the abstract force of gravity. If the authors were to omit this living relationship between the mountains, the rivers, and the sea, the readers understanding would be contained to simple geophysical processes with their life force reduced to an impersonal science, if thought of at all. Instead, the mountain chooses to send the rivers to the sea because it is the right way, so natural processes become exposed as conscious participants in story rather than being portrayed as passive or inanimate objects and this not only deepens the impact of their destruction later in the plot, it also deepens the connection between the reader and the land. Writing the Future Joshua and the Two Crabs and Dingo’s Tree offer two different Aboriginal stories with underlying commonalities: they both position relationships, Country, and people into an integrated web and provide a moral framework for sustaining the relationships around us. Children’s picture books and narratives are foundational initiations for many Australian child readers in their ecological education—whether overtly or covertly. How a society, a character, a narrative, represents, treats, and perceives the land influences how the reader encounters the landscape. We argue that Indigenous Australian children’s literature, written, illustrated, produced, and disseminated largely by Indigenous knowledges, offers counter-point views and stories about the land and accompanying interrelated relationships that provide the reader with a space to re-consider, re-inhabit, or transform their own ecological positioning. References Baker, Lynn. Mingkirri: A Natural History of Ulu-ru by the Mu-titjulu Community. Canberra: IAD Press, 1996. Button, Joshua. Joshua and the Two Crabs. Broome: Magabala Books, 2008. Harrison, Max. My Peoples Dreaming. Sydney: Finch Publishing, 2009. Hogan, Linda. “A Different Yield.” Reclaiming Indigenous Voice and Vision. Ed. Marie Battise. Toronto: UBC Press, 2000. 115 – 23. McIvor, Roy. Cockatoo: My Life in Cape York. Broome: Magabala Books, 2010. Milroy, Gladys and Jill Milroy. Dingo’s Tree. Broome: Magabala Books, 2012. Rose, Deborah Bird. Country of the Heart: An Indigenous Australian Homeland. Canberra: Aboriginal Studies Press, 2002. ——-. “Pattern, Connection, Desire: In Honour of Gregory Bateson”. Australian Humanities Review, 35 (2005). 14th June 2012, ‹http://wwwlib.latrobe.cdu.au/A1IR/archive!lssue-June 2005/rose.html›. Stewart-Harawira, Makere. “Cultural Studies, Indigenous Knowledge and Pedagogies of Hope.” Policy Futures in Education 3.2 (2005):153-63. Turner, Margaret. Iwenhe Tyerrtye: What It Means to Be an Aboriginal Person. Alice Springs: IAD Press, 2010. Yunupingu, Mandawuy. Voices from the Land. Canberra: Australian Broadcasting Corporation, 1994.

Moore, Christopher. The Big Book of Canada: Exploring the Provinces and Territories. Illustrated by Bill Slavin. Tundra Books-Random House Canada, 2017.This publication retains the contents and organizational structure of Moore’s 2002 edition of the same title. (It also revisits, reorganizes, and condenses material that he presented in The Story of Canada, Scholastic of Canada, 2016.) The Big Book of Canada is organized by province and territory, east to west, beginning with Newfoundland and Labrador. Each chapter opens with an illustrated map of the province or territory under discussion; however, nowhere is there an overall map that shows the geographic relationships of the provinces with each other, or with the country as a whole. This could be disorienting for the youngster who does not have immediate access to an atlas or a globe. A further problem exists. Each map occupies one-and-one-half pages at the start of each chapter; for example, the map for Nunavut occupies exactly the same page space as the map for Prince Edward Island. The young reader who has yet to develop an accurate spatial concept of Canada might easily come away with the false impression that all of the provinces and territories are equal in size. A map, even a pictorial one occupying the end papers, would have greatly improved the educational value of this publication.Because of The Big Book of Canada’s organization, I read the introduction, then turned to the chapter on Alberta—the province of my birth and my home for seven decades and counting. There, I found strengths and weaknesses that seemed to be mirrored in the other chapters.The “Landscapes” section in the Alberta chapter raised some concerns. Under “Parklands” the text reads as follows, ”…much of this is rich farming country with thick black soils …interspersed with aspen forests on the rolling hills” (157). The wording obscures an important reality: much grey-wooded soil prevails in the rolling hills. Also, because of their elevation, the hills experience a shortened growing season; spring comes late and frost comes early. Rich farms are not omnipresent. (Full disclosure here: my father had a quarter section in those “aspen forests on rolling hills.” We could grow hay crops successfully. We could pasture sheep. Beaver enjoyed the aspen and built a delightful series of dams on the creek that crossed our land diagonally. Sadly, none of these blessings led to our prosperity. We moved to Edmonton.) Further along, under the heading “Forests,” this statement appears: “In northern Alberta, the Athabaska River and the Peace River drain away to the Arctic Ocean” (157). A map would have clarified other vital components of the waterway’s approach to the Arctic: Lake Athabasca’s delta region, the Slave River, Great Slave Lake, Great Bear Lake, and, of course, the Mackenzie River.I found great satisfaction in the historical “Moments” section. Events significant in my own lifetime were listed. I noted the signal event in Alberta’s economic history that took place in my early childhood: the striking of oil in Leduc. Toward the end of Ernest Manning’s premiership I became a voter. I watched the changing orientation of my province under the leadership of such premiers as Peter Lougheed, Ralph Klein, and Rachel Notley. Even though Moore did not discuss every premiership throughout these years, I felt that his choice of major events in Alberta’s history was well done. Their significance rang true.The next section, however, the “Peoples” section, was an enigma. Perhaps because of its title, I expected it to be inclusive. Instead, it comprised a very limited, very arbitrary selection. To mention only the “Blackfoot Confederacy,” “Plains Cree,” and “Nakota (Stoney),” is to acknowledge a mere fraction of the First Nations people who occupy Treaty 6, 7, and 8 lands in Alberta. Acknowledging the “Hutterites” who, for religious reasons, live communally and separately from mainstream society, and noting the “Mormons” who settled at Cardston identifies two interesting aspects of religious practice in Alberta. But why is the larger picture ignored? In Alberta there are many faith communities, some large, some small, some who were persecuted in their countries of origin, some who were not. Each is a part of the fabric of our society. Finally, with regard to the commentary on the “South Asians,” had a broader concept—perhaps “Asian-Pacific Peoples”—been used, then all who have come here from that vast region might have been included; taken together, they currently make up about one eighth of Alberta’s population.If the purpose of the “Peoples” section were to highlight large minorities, why the utter silence about the Francophone populations of Alberta? If it were to note small but significant minorities, why not mention the Afro-Americans who fled here from the United States? And if it were intended to give a realistic sense of the diversity of the province, why completely exclude the huge proportions of people whose ancestors came from the British Isles, and Eastern or Western Europe? Finally, even as I write, people are migrating to this province and country from the Middle East, from Africa, Central and South America, and the Caribbean. Is this not worthy of mention?This book is intended for the school-aged reader who might well ask of its pages, “Where are my people?” Every child in Canada who reads this book has a right to feel included. The territories of our Indigenous people, and the countries from which immigrants came, could be effectively and economically communicated with visuals: maps, graphs, charts, and illustrations. The problem of limited inclusion appears to prevail in the “Peoples” sections of all the provinces and territories. I leave further commentary to other long-time residents of those parts of Canada. On a positive note, the sections on “The Famous and The Infamous” were hugely interesting. For all that the athletes, musicians, artists, authors, heroes, and villains were subjectively chosen, they were unarguably worthy of inclusion. It was also delightful to come upon entertaining trivia in the midst of all the serious geography and history, biography and sociology. I have not yet tried the “Blueberry Grunt” recipe of the Nova Scotians, but I have already begun to think of a bumblebee in the Newfoundland way as a “dumbledore.” In sum, though it is perfectly readable, The Big Book of Canada does not present a perfect picture of Canada.Recommended: 3 out of 4 starsReviewers: Leslie Aitken in consultation with Larry LaLibertéLeslie Aitken’s long career in librarianship involved selection of children’s literature for school, public, special and academic libraries. She is a former Curriculum Librarian for the University of Alberta.Larry LaLiberté is the current Geographic Information Systems Librarian of the University of Alberta.

Charleyboy, Lisa and Mary Beth Leatherdale (Eds.). Urban Tribes: Native Americans in the City. Toronto, ON: Annickpress Ltd., 2015, Print.Lisa Charleyboy and Mary Beth Leatherdale, editors of the highly acclaimed Dreaming in Indian (2014) have created another anthology, this time with a focus on Urban Indigenous youth and young adults (aged 13–35). From poets to financiers to Hollywood actors, the anthology provides a glimpse into over 30 lives of successful Indigenous young people.Pushing boundaries and troubling stereotypes, the editors offer a deeper understanding of the multiplicities of lives as they share stories of Indigenous youth and young adults negotiating who they are and are becoming in an urban landscape. The mixed media portrayal with an exquisite use of photographs and graphic art weaves together stories, each told in unique ways, inviting the reader into the lives of the youth and young adults in meaningful ways. This book is an honest and realistic portrayal of both the adversities and advantages experienced by Indigenous youth, some of whom have left tight-knit communities on reserves to follow their dreams in large cities and some of whom have lived in urban centers all of their lives. Calling our attention to notions of renaissance, shattering stereotypes, racism and identity the book does not shy away from the more difficult stories or the larger context that shape the lives of Indigenous Peoples. With the focus on individuals and their lives we are able to see the beauty in the myriad of ways that the youth respond as they create lives that are not bound by any one notion of success, inspiration or Indigenous culture. In the midst of the stories there are statistics, historical contexts and geographical understandings of the sometimes invisible lives of Urban Indigenous Peoples across North America making this anthology a great resource for all Canadian Classrooms ranging from junior high to post-secondary. From this anthology Indigenous Peoples and non-Indigenous alike are able to gain a better understanding and appreciation of the diversity and complexity of lives of Urban Indigenous Peoples.Highly Recommended: 4 out of 4 starsReviewers: Trudy Cardinal & Fran CaudronDr. Trudy Cardinal is a Cree/Métis scholar from the University of Alberta whose research interests center on the experiences of Indigenous children and families on and off school landscapes. Her passion for stories and storytelling includes a love of children’s literature, especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families.Fran Caudron (MRE) is a teacher in northern Alberta who teaches in a school that serves a large and diverse Indigenous student population. She graduated with her MRE from Newman Theological College in 2011, and is interested in using literature to promote and instill a love of reading and writing in her students.

Condie, Ally. 2016. Summerlost. New York: Dutton Children’s Books. Print.Cedar’s Mother has brought Cedar and her brother to Iron Creek, her hometown, for the summer. They have bought a house that her mother intends to rent over the rest of the year and keep it for them as a summer home. For Cedar, this is not just any ordinary summer vacation. Only a year ago, her father and brother Ben were killed in a car accident with a drunk driver. Haunted by memories of a father and brother no longer with them, the family is struggling to move forward, each of them dealing with the changes and the grief. Shortly after they arrive, Cedar finds a friend in Leo, a boy her age who is working at the local Shakespeare festival. Through Leo, she manages to get a job at the festival as well. She also learns about the legendary Lisette Chamberlain, a local girl who got her start in the festival, and later moved on to a career in Hollywood. As with many cases of stardom, Lisette had several romances and met a tragic end, when she was found dead in a local hotel. Cedar is fascinated by Chamberlain’s story, and she and Leo concoct a plan to offer private “Lisette” tours for festivalgoers, for extra money. Hiding their tours from festival officials and their parents prove difficult and then Cedar stumbles across a detail that might shed light on the mystery of Chamberlain’s death.Summerlost is a surprisingly layered story about a young girl’s formative summer. Intermixed between the sleuth work of Cedar and Leo, is the struggle of a family coming to terms with an immeasurable loss. Cedar must not only manage her own feelings of loss and confusion, but she is growing old enough to see her mother’s and brother’s struggles as well. The friendship between Leo and Cedar is quite wonderful, platonic and sincere. I will admit the Lisette Chamberlain mystery, while compelling in the beginning, became a bit tedious and felt anticlimactic in the end. Nevertheless, the story is touching mix of daydreams and hard truths. This story will appeal to both young and old. The young will see themselves in Cedar as they are now and adults will be taken back to their own childhoods, to relive their own bittersweet summers.Recommended: 3 out of 4 starsReviewer: Hanne PearceHanne Pearce has worked at the University of Alberta Libraries since 2004. Aside from being an avid reader, she has continuing interests in writing, photography, graphic design and knitting.

Engagement in any capacity with mainstream media since mid-2001 has meant immersion in the cross-platform, multimedia phenomenon of Harry Potter: Muggle outcast; boy wizard; corporate franchise. Consumers even casually perusing contemporary popular culture could be forgiven for suspecting they have entered a MÃbius loop in which Harry Potter-related media products and merchandise are ubiquitous: books; magazine cover stories; newspaper articles; websites; television specials; hastily assembled author biographies; advertisements on broadcast and pay television; children's merchandising; and theme park attractions. Each of these media commodities has been anchored in and cross-promoted by America Online-Time Warner's (AOL-TW) first instalment in a projected seven-film sequence—Harry Potter and the Philosopher's Stone.1 The marketing campaign has gradually escalated in the three years elapsing between AOL-TW subsidiary Warner Bros' purchase from J.K. Rowling of the film and merchandising rights to the first two Harry Potter books, and the November 2001 world premiere of the film (Sherber 55). As current AOL-TW CEO Richard Parsons accurately forecast, "You're not going to be able to go anywhere without knowing about it. This could be a bigger franchise than Star Wars" (Auletta 50). Yet, AOL-TW's promotional strategy did not limit itself to creating mere awareness of the film's release. Rather, its tactic was to create an all-encompassing environment structured around the immense value of the Harry Potter brand—a "brand cocoon" which consumers do not so much enter and exit as choose to exist within (Klein 2002). In twenty-first-century mass marketing, the art is to target affluent consumers willing to direct their informational, entertainment, and consumption practices increasingly within the "walled garden" of a single conglomerate's content offerings (Auletta 55). Such an idealised modern consumer avidly samples the diversified product range of the parent conglomerate, but does so specifically by consuming multiple products derived from essentially the same content reservoir. Provided a match between consumer desire and brand can be achieved with sufficient accuracy and demographic breadth, the commercial returns are obvious: branded consumers pay multiple times for only marginally differentiated products. The Brand-Conglomerate Nexus Recyclable content has always been embraced by media industries, as cultural commodities such as early films of stage variety acts, Hollywood studio-era literary adaptations, and movie soundtrack LPs attest. For much of the twentieth century, the governing dynamic of content recycling was sequential, in that a content package (be it a novel, stage production or film) would succeed in its home medium and then, depending upon its success and potential for translation across formats, could be repackaged in a subsequent medium. Successful content repackaging may re-energise demand for earlier formatting of the same content (as film adaptations of literary bestsellers reliably increase sales of the originating novel). Yet the cultural industries providing risk capital to back content repackaging formerly required solid evidence that content had achieved immense success in its first medium before contemplating reformulations into new media. The cultural industries radically restructured in the last decades of the twentieth century to produce the multi-format phenomenon of which Harry Potter is the current apotheosis: multiple product lines in numerous corporate divisions are promoted simultaneously, the synchronicity of product release being crucial to the success of the franchise as a whole. The release of individual products may be staggered, but the goal is for products to be available simultaneously so that they work in aggregate to drive consumer awareness of the umbrella brand. Such streaming of content across parallel media formats is in many ways the logical culmination of broader late-twentieth-century developments. Digital technology has functionally integrated what were once discrete media operating platforms, and major media conglomerates have acquired subsidiaries in virtually all media formats on a global scale. Nevertheless, it remains true that the commercial risks inherent in producing, distributing and promoting a cross-format media phenomenon are vastly greater than the formerly dominant sequential approach, massively escalating financial losses should the elusive consumer-brand fit fail to materialise. A key to media corporations' seemingly quixotic willingness to expose themselves to such risk is perhaps best provided by Michael Harkavy, Warner Bros' vice-president of worldwide licensing, in his comments on Warner Music Group's soundtrack for the first Harry Potter film: It will be music for the child in us all, something we hope to take around the world that will take us to the next level of synergy between consumer products, the [AOL-TW cable channel] Cartoon Network, our music, film, and home video groups—building a longtime franchise for Harry as a team effort. (Traiman 51) The relationship between AOL-TW and the superbrand Harry Potter is essentially symbiotic. AOL-TW, as the world's largest media conglomerate, has the resources to exploit fully economies of scale in production and distribution of products in the vast Harry Potter franchise. Similarly, AOL-TW is pre-eminently placed to exploit the economies of scope afforded by its substantial holdings in every form of content delivery, allowing cross-subsidisation of the various divisions and, crucially, cross-promotion of the Harry Potter brand in an endless web of corporate self-referentiality. Yet it is less frequently acknowledged that AOL-TW needs the Harry Potter brand as much as the global commercialisation of Harry Potter requires AOL-TW. The conglomerate seeks a commercially protean megabrand capable of streaming across all its media formats to drive operating synergies between what have historically been distinct commercial divisions ("Welcome"; Pulley; Auletta 55). In light of AOL-TW's record US$54.2b losses in the first quarter of 2002, the long-term viability of the Harry Potter franchise is, if anything, still more crucial to the conglomerate's health than was envisaged at the time of its dot.com-fuelled January 2000 merger (Goldberg 23; "AOL" 35). AOL-TW's Richard Parsons conceptualises Harry Potter specifically as an asset "driving synergy both ways", neatly encapsulating the symbiotic interdependence between AOL-TW and its star franchise: "we use the different platforms to drive the movie, and the movie to drive business across the platforms" ("Harry Potter" 61). Characteristics of the Harry Potter Brand AOL-TW's enthusiasm to mesh its corporate identity with the Harry Potter brand stems in the first instance from demonstrated consumer loyalty to the Harry Potter character: J.K. Rowling's four books have sold in excess of 100m copies in 47 countries and have been translated into 47 languages.2 In addition, the brand has shown a promising tendency towards demographic bracket-creep, attracting loyal adult readers in sufficient numbers to prompt UK publisher Bloomsbury to diversify into adult-targeted editions. As alluring for AOL-TW as this synchronic brand growth is, the real goldmine inheres in the brand's potential for diachronic growth. From her first outlines of the concept, Rowling conceived of the Potter story as a seven-part series, which from a marketing perspective ensures the broadscale re-promotion of the Harry Potter brand on an almost annual basis throughout the current decade. This moreover assists re-release of the first film on an approximately five-year basis to new audiences previously too young to fall within its demographic catchment—the exact strategy of "classic" rebranding which has underwritten rival studio Disney's fortunes.3 Complementing this brand extension is the potential to grow child consumers through the brand as Harry Potter sequels are produced. Harry Potter and the Philosopher's Stone director Chris Columbus spruiks enthusiastically that "the beauty of making these books into films is that with each one, Harry is a year older, so [child actor] Daniel [Radcliffe] can remain Harry as long as we keep making them" (Manelis 111). Such comments suggest the benefits of luring child consumers through the brand as they mature, harnessing their intense loyalty to the child cast and, through the cast, to the brand itself. The over-riding need to be everything to everyone—exciting to new consumers entering the brand for the first time, comfortingly familiar to already seasoned consumers returning for a repeat hit—helps explain the retro-futuristic feel of the first film's production design. Part 1950s suburban Hitchcock, Part Dickensian London, part Cluny-tapestry medievalism, part public school high-Victorianism, Harry Potter and the Philosopher's Stone strives for a commercially serviceable timelessness, in so doing reinforcing just how very twenty-first-century its conception actually is. In franchise terms, this conscious drive towards retro-futurism fuels Harry Potter's "toyetic potential" (Siegel, "Toys" 19). The ease with which the books' complex plots and mise-en-scene lend themselves to subsidiary rights sales and licensed merchandising in part explains Harry Potter's appeal to commercial media. AOL-TW executives in their public comments have consistently stayed on-message in emphasising "magic" as the brand's key aspirational characteristic, and certainly scenes such as the arrival at Hogwarts, the Quidditch match, the hatching of Hagrid's dragon and the final hunt through the school's dungeons serve as brilliant advertisements for AOL-TW's visual effects divisions. Yet the film exploits many of these "magic" scenes to introduce key tropes of its merchandising programme—Bertie Bott's Every Flavour Beans, chocolate frogs, Hogwarts house colours, the sorting hat, Scabbers the rat, Hedwig, the Remembrall—such that it resembles a series of home shopping advertisements with unusually high production values. It is this railroading of the film's narrative into opportunities for consumerist display which leads film critic Cynthia Fuchs to dub the Diagon Alley shopping scene "the film's cagiest moment, at once a familiar activity for school kid viewers and an apt metaphor for what this movie is all about—consumption, of everything in sight." More telling than the normalising of shopping as filmic activity in Harry Potter and the Philosopher's Stone is the eclipse of the book's checks on commodity fetishism: its very British sensitivity to class snubs for the large and impecunious Weasley family; the puzzled contempt Hogwarts initiates display for Muggle money; the gentle ribbing at children's obsession with branded sports goods. The casual browser in the Warner Bros store confronted with a plastic, light-up version of the Nimbus 2000 Quidditch broomstick understands that even the most avid authorial commitment to delimiting spin-off merchandise can try the media conglomerate's hand only so far. Constructing the Harry Potter Franchise The film Harry Potter and the Philosopher's Stone constitutes the indispensable brand anchor for AOL-TW's intricate publicity and sales strategy around Harry Potter. Because content recycling within global media conglomerates is increasingly lead by film studio divisions, the opening weekend box office taking for a brand-anchoring film is crucial to the success of the broader franchise and, by extension, to the corporation as a whole. Critic Thomas Schatz's observation that the film's opening serves as "the "launch site" for its franchise development, establishing its value in all other media markets" (83) highlights the precariousness of such multi-party financial investment all hinging upon first weekend takings. The fact that Harry Potter and the Philosopher's Stone broke (then standing) box office records with its 16 November 2001 three-day weekend openings in the US and the UK, garnering US$93.2m and GBP16m respectively, constituted the crucial first stage in AOL-TW's brand strategy (Collins 9; Fierman and Jensen 26). But it formed only an initial phase, as subsequent content recycling and cross-promotion was then structured to radiate outwards from this commercial epicentre. Three categories of recycled AOL-TW Harry Potter content are discernible, although they are frequently overlapping and not necessarily sequential. The first category, most closely tied to the film itself, are instances of reused digital content, specifically in the advance publicity trailer viewable on the official website, and downloads of movie clips, film stills and music samples from the film and its soundtrack.4 Secondly, at one remove from the film itself, is AOL-TW's licensing of film "characters, names and related indicia" to secondary manufacturers, creating tie-in merchandise designed to cross-promote the Harry Potter brand and stoke consumer investment (both emotional and financial) in the phenomenon.5 This campaign phase was itself tactically designed with two waves of merchandising release: a September 2000 launch of book-related merchandise (with no use of film-related Harry Potter indicia permitted); and a second, better selling February 2001 release of ancillary products sporting Harry Potter film logos and visual branding which coincided with and reinforced the marketing push specifically around the film's forthcoming release (Sherber 55; Siegel, "From Hype" 24; Lyman and Barnes C1; Martin 5). Finally, and most crucial to the long-term strategy of the parent conglomerate, Harry Potter branding was used to drive consumer take up of AOL-TW products not generally associated with the Harry Potter brand, as a means of luring consumers out of their established technological or informational comfort zones. Hence, the official Harry Potter website is laced with far from accidental offers to trial Internet service provider AOL; TimeWarner magazines Entertainment Weekly, People, and Time ran extensive taster stories about the film and its loyal fan culture (Jensen 56-57; Fierman and Jensen 26-28; "Magic Kingdom" 132-36; Corliss 136; Dickinson 115); AOL-TW's Moviefone bookings service advertised pre-release Harry Potter tickets on its website; and Warner Bros Movie World theme park on the Gold Coast in Australia heavily promoted its Harry Potter Movie Magic Experience. Investment in a content brand on the scale of AOL-TW's outlay of US$1.4m for Harry Potter must not only drive substantial business across every platform of the converged media conglomerate by providing premium content (Grover 66). It must, crucially for the long run, also drive take up and on-going subscriptions to the delivery services owned by the parent corporation. Energising such all-encompassing strategising is the corporate nirvana of seamless synergy: between content and distribution; between the Harry Potter and AOL-TW brands; between conglomerate and consumer. Notes 1. The film, like the first of J.K. Rowling's books, is titled Harry Potter and the Sorcerer's Stone in the "metaphysics-averse" US ("Harry Potter" 61). 2. Publishing statistics sourced from Horn and Jones (59), Manelis (110) and Bloomsbury Publishing's Harry Potter website: http://www.bloomsburymagazine.com/harryp.... 3. Interestingly, Disney tangentially acknowledged the extent to which AOL-TW has appropriated Disney's own content recycling strategies. In a film trailer for the Pixar/Disney animated collaboration Monsters, Inc. which screened in Australia and the US before Harry Potter sessions, two monsters play a game of charades to which the answer is transparently "Harry Potter." In the way of such homages from one media giant to another, it nevertheless subtly directs the audience to the Disney product screening in an adjacent cinema. 4. The official Harry Potter film website is http://harrypotter.warnerbros.com. The official site for the soundtrack to Harry Potter and the Philosopher's/Sorcerer's Stone is: http://www.harrypottersoundtrack.com. 5. J.K. Rowling." A page and a half of non-negotiable "Harry Potter Terms of Use" further spells out prohibitions on use or modification of site content without the explicit (and unlikely) consent of AOL-TW (refer: http://harrypotter.warnerbros.com/cmp/te...). References "AOL losses 'sort of a deep disappointment'." Weekend Australian 18-19 May 2002: 35. Auletta, Ken. "Leviathan." New Yorker 29 Oct. 2001: 50-56, 58-61. Collins, Luke. "Harry Potter's Magical $178m Opening." Australian Financial Review 20 Nov. 2001: 9. Corliss, Richard. "Wizardry without Magic." Time 19 Nov. 2001: 136. Dickinson, Amy. "Why Movies make Readers." Time 10 Dec. 2001: 115. Fierman, Daniel, and Jeff Jensen. "Potter of Gold: J.K. Rowling's Beloved Wiz Kid hits Screensand Breaks Records." Entertainment Weekly 30 Nov. 2001: 26-28. Fuchs, Cynthia. "The Harry Hype." PopPolitics.com 19 Nov. 2001: n.pag. Online. Internet. 8 Mar. 2002. Available <http://www.poppolitics.com/articles/2001-11-19-harry.shtml>. Goldberg, Andy. "Time Will Tell." Sydney Morning Herald 27-28 Apr. 2002: 23. Grover, Ronald. "Harry Potter and the Marketer's Millstone." Business Week 15 Oct. 2001: 66. Harry Potter and the Philosopher's Stone. Dir. Chris Columbus. Screenplay by Steve Kloves. Warner Bros, 2001. "Harry Potter and the Synergy Test." Economist 10 Nov. 2001: 61-62. Herman, Edward S., and Robert W. McChesney. The Global Media: The New Missionaries of Corporate Capitalism. London: Cassell, 1997. Horn, John, and Malcolm Jones. "The Bubble with Harry." The Bulletin/Newsweek 13 Nov. 2001: 58-59. Jensen, Jeff. "Holiday Movie Preview: Potter's Field." Entertainment Weekly 16 Nov. 2001: 56-57. Klein, Naomi. "Naomi KleinNo Logo." The Media Report. ABC Radio National webtranscript. Broadcast in Sydney, 17 Jan. 2002. Online. Internet. 19 Feb. 2002. Available <http://www.abc.net.au/rn/talks/8:30/mediarpt/stories/s445871.htm>. Lyman, Rick, and Julian E. Barnes. "The Toy War for Holiday Movies is a Battle Among 3 Heavyweights." New York Times 12 Nov. 2001: C1. "Magic Kingdom." People Weekly 14 Jan. 2002: 132-36. Manelis, Michele. "Potter Gold." Bulletin 27 Nov. 2001: 110-11. Martin, Peter. "Rowling Stock." Weekend Australian 24-25 Nov. 2001: Review, 1, 4-5. Pulley, Brett. "Morning After." Forbes 7 Feb. 2000: 54-56. Rowling, J.K. Harry Potter and the Philosopher's Stone. London: Bloomsbury, 1997. Schatz, Thomas. "The Return of the Hollywood Studio System." Conglomerates and the Media. Erik Barnouw et al. New York: New Press, 1997. 73-106. Sherber, Anne. "Licensing 2000 Showcases Harry Potter, Rudolph for Kids." Billboard 8 Jul. 2000: 55. Siegel, Seth M. "Toys & Movies: Always? Never? Sometimes!" Brandweek 12 Feb. 2001: 19. ---. "From Hype to Hope." Brandweek 11 Jun. 2001: 24. Traiman, Steve. "Harry Potter, Powerpuff Girls on A-list at Licensing 2000." Billboard 1 Jul. 2000: 51, 53. "Welcome to the 21st Century." Business Week 24 Jan. 2000: 32-34, 36-38. Links http://www.bloomsburymagazine.com/harrypotter/muggles http://www.harrypottersoundtrack.com http://harrypotter.warnerbros.com http://www.poppolitics.com/articles/2001-11-19-harry.shtml http://www.abc.net.au/rn/talks/8:30/mediarpt/stories/s445871.htm http://harrypotter.warnerbros.com/cmp/terms.html Citation reference for this article MLA Style Murray, Simone. "Harry Potter, Inc." M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/recycling.php>. Chicago Style Murray, Simone, "Harry Potter, Inc." M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/recycling.php> ([your date of access]). APA Style Murray, Simone. (2002) Harry Potter, Inc.. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/recycling.php> ([your date of access]).

Introduction: From Trifle to Tiramisu Tiramisu is an Italian dessert cake, usually comprising sponge finger biscuits soaked in coffee and liquor, layered with a mixture of egg yolk, mascarpone and cream, and topped with sifted cocoa. Once a gourmet dish, tiramisu, which means “pick me up” in Italian (Volpi), is today very popular in Australia where it is available for purchase not only in restaurants and cafés, but also from fast food chains and supermarkets. Recipes abound in cookery books and magazines and online. It is certainly more widely available and written about in Australia than the once ubiquitous English trifle which, comprising variations on the theme of sherry soaked sponge cake, custard and cream, it closely resembles. It could be asserted that its strong coffee taste has enabled the tiramisu to triumph over the trifle in contemporary Australia, yet coffee is also a recurrent ingredient in cakes and icings in nineteenth and early twentieth century Australian cookbooks. Acknowledging that coffee consumption in Australia doubled during the years of the Second World War and maintained high rates of growth afterwards (Khamis; Adams), this article draws on examples of culinary writing during this period of increasing popularity to investigate the use of coffee in cookery as well as a beverage in these mid-twentieth century decades. In doing so, it engages with a lively scholarly discussion on what has driven this change—whether the American glamour and sophistication associated with coffee, post-war immigration from the Mediterranean and other parts of Europe, or the influence of the media and developments in technology (see, for discussion, Adams; Collins et al.; Khamis; Symons). Coffee in Australian Mid-century Epicurean Writing In Australian epicurean writing in the 1950s and 1960s, freshly brewed coffee is clearly identified as the beverage of choice for those with gourmet tastes. In 1952, The West Australian reported that Johnnie Walker, then president of the Sydney Gourmet Society had “sweated over an ordinary kitchen stove to give 12 Melbourne women a perfect meal” (“A Gourmet” 8). Walker prepared a menu comprising: savoury biscuits; pumpkin soup made with a beef, ham, and veal stock; duck braised with “26 ounces of dry red wine, a bottle and a half of curacao and orange juice;” Spanish fried rice; a “French lettuce salad with the Italian influence of garlic;” and, strawberries with strawberry brandy and whipped cream. He served sherry with the biscuits, red wine with the duck, champagne with the sweet, and coffee to finish. It is, however, the adjectives that matter here—that the sherry and wine were dry, not sweet, and the coffee was percolated and black, not instant and milky. Other examples of epicurean writing suggested that fresh coffee should also be unadulterated. In 1951, American food writer William Wallace Irwin who travelled to, and published in, Australia as “The Garrulous Gourmet,” wrote scathingly of the practice of adding chicory to coffee in France and elsewhere (104). This castigation of the French for their coffee was unusual, with most articles at this time praising Gallic gastronomy. Indicative of this is Nancy Cashmore’s travel article for Adelaide’s Advertiser in 1954. Titled “In Dordogne and Burgundy the Gourmet Will Find … A Gastronomic Paradise,” Cashmore details the purchasing, preparation, presentation, and, of course, consumption of excellent food and wine. Good coffee is an integral part of every meal and every day: “from these parts come exquisite pate de fois, truffles, delicious little cakes, conserved meats, wild mushrooms, walnuts and plums. … The day begins with new bread and coffee … nothing is imported, nothing is stale” (6). Memorable luncheons of “hors-d’oeuvre … a meat course, followed by a salad, cheese and possibly a sweet” (6) always ended with black coffee and sometimes a sugar lump soaked in liqueur. In Australian Wines and Food (AW&F), a quarterly epicurean magazine that was published from 1956 to 1960, coffee was regularly featured as a gourmet kitchen staple alongside wine and cheese. Articles on the history, growing, marketing, blending, roasting, purchase, and brewing of coffee during these years were accompanied with full-page advertisements for Bushell’s vacuum packed pure “roaster fresh” coffee, Robert Timms’s “Royal Special” blend for “coffee connoisseurs,” and the Masterfoods range of “superior” imported and locally produced foodstuffs, which included vacuum packed coffee alongside such items as paprika, bay leaves and canned asparagus. AW&F believed Australia’s growing coffee consumption the result of increased participation in quality dining experiences whether in restaurants, the “scores of colourful coffee shops opening their doors to a new generation” (“Coffee” 39) or at home. With regard to domestic coffee drinking, AW&F reported a revived interest in “the long neglected art of brewing good coffee in the home” (“Coffee” 39). Instructions given range from boiling in a pot to percolating and “expresso” (Bancroft 10; “Coffee” 37-9). Coffee was also mentioned in every issue as the only fitting ending to a fine meal, when port, other fortified wines or liqueurs usually accompanied a small demi-tasse of (strong) black coffee. Coffee was also identified as one of the locally produced speciality foods that were flown into the USA for a consulate dinner: “more than a ton of carefully selected foodstuffs was flown to New York by Qantas in three separate airlifts … beef fillet steaks, kangaroo tails, Sydney rock oysters, King prawns, crayfish tails, tropical fruits and passion fruit, New Guinea coffee, chocolates, muscatels and almonds” (“Australian” 16). It is noteworthy that tea is not profiled in the entire run of the magazine. A decade later, in the second half of the 1960s, the new Australian gourmet magazine Epicurean included a number of similar articles on coffee. In 1966 and 1969, celebrity chef and regular Epicurean columnist Graham Kerr also included an illustrated guide to making coffee in two of the books produced alongside his television series, The Graham Kerr Cookbook (125) and The Graham Kerr Cookbook by the Galloping Gourmet (266-67). These included advice to buy freshly roasted beans at least once a week and to invest in an electric coffee grinder. Kerr uses a glass percolator in each and makes an iced (milk) coffee based on double strength cooled brewed coffee. Entertaining with Margaret Fulton (1971) is the first Margaret Fulton cookery book to include detailed information on making coffee from ground beans at home. In this volume, which was clearly aimed at the gourmet-inclined end of the domestic market, Fulton, then cookery editor for popular magazine Woman’s Day, provides a morning coffee menu and proclaims that “Good hot coffee will never taste so good as it does at this time of the day” (90). With the stress on the “good,” Fulton, like Kerr, advises that beans be purchased and ground as they are needed or that only a small amounts of freshly ground coffee be obtained at one time. For Fulton, quality is clearly linked to price—“buy the best you can afford” (90)—but while advising that “Mocha coffee, which comes from Aden and Mocha, is generally considered the best” (90), she also concedes that consumers will “find by experience” (90) which blends they prefer. She includes detailed information on storage and preparation, noting that there are also “dozens of pieces of coffee making equipment to choose from” (90). Fulton includes instructions on how to make coffee for guests at a wedding breakfast or other large event, gently heating home sewn muslin bags filled with finely ground coffee in urns of barely boiling water (64). Alongside these instructions, Fulton also provides recipes for a sophisticated selection of coffee-flavoured desserts such as an iced coffee soufflé and coffee biscuits and meringues that would be perfect accompaniments to her brewed coffees. Cooking with Coffee A prominent and popular advocate of Continental and Asian cookery in Melbourne in the 1950s, Maria Kozslik Donovan wrote and illustrated five cookery books and had a successful international career as a food writer in the 1960s and 1970s. Maria Kozslik was Hungarian by birth and education and was also educated in the USA before marrying Patrick Donovan, an Australian, and migrating to Sydney with him in 1950. After a brief stay there and in Adelaide, they relocated to Melbourne in 1953 where she ran a cookery school and wrote for prominent daily newspaper The Age, penning hundreds of her weekly “Epicure’s Corner: Continental Recipes with Maria Kozslik” column from 1954 to 1961. Her groundbreaking Continental Cookery in Australia (1955) collects some 140 recipes, many of which would appear in her column—predominantly featuring French, Italian, Viennese, and Hungarian dishes, as well as some from the Middle East and the Balkans—each with an informative paragraph or two regarding European cooking and dining practices that set the recipes in context. Continental Cookery in Australia includes one recipe for Mocha Torte (162), which she translates as Coffee Cream Cake and identifies as “the favourite of the gay and party-loving Viennese … [in] the many cafés and sweet shops of Salzburg and Vienna” (162). In this recipe, a plain sponge is cut into four thin layers and filled and covered with a rich mocha cream custard made from egg yolks, sugar and a good measure of coffee, which, when cooled, is beaten into creamed butter. In her recipe for Mocha Cream, Donovan identifies the type of coffee to be used and its strength, specifying that “strong Mocha” be used, and pleading, “please, no essence!” She also suggests that the cake’s top can be decorated with shavings of the then quite exotic “coffee bean chocolate,” which she notes can be found at “most continental confectioners” (162), but which would have been difficult to obtain outside the main urban centres. Coffee also appears in her Café Frappe, where cooled strong black coffee is poured into iced-filled glasses, and dressed with a touch of sugar and whipped cream (165). For this recipe the only other direction that Donovan gives regarding coffee is to “prepare and cool” strong black coffee (165) but it is obvious—from her eschewing of other convenience foods throughout the volume—that she means freshly brewed ground coffee. In contrast, less adventurous cookery books paint a different picture of coffee use in the home at this time. Thus, the more concise Selected Continental Recipes for the Australian Home (1955) by the Australian-born Zelmear M. Deutsch—who, stating that upon marrying a Viennese husband, she became aware of “the fascinating ways of Continental Cuisine” (back cover)—includes three recipes that include coffee. Deutsch’s Mocha Creams (chocolate truffles with a hint of coffee) (76-77), almond meringues filled with coffee whipped cream (89-90), and Mocha Cream Filling comprising butter beaten with chocolate, vanilla, sugar, and coffee (95), all use “powdered” instant coffee, which is, moreover, used extremely sparingly. Her Almond Coffee Torte, for example, requires only half a teaspoon of powdered coffee to a quarter of a pint (300 mls) of cream, which is also sweetened with vanilla sugar (89-90). In contrast to the examples from Fulton and Donovan above (but in common with many cookbooks before and after) Deutsch uses the term “mocha” to describe a mix of coffee and chocolate, rather than to refer to a fine-quality coffee. The term itself is also used to describe a soft, rich brown color and, therefore, at times, the resulting hue of these dishes. The word itself is of late eighteenth century origin, and comes from the eponymous name of a Red Sea port from where coffee was shipped. While Selected Continental Recipes appears to be Deutsch’s first and only book, Anne Mason was a prolific food, wine and travel writer. Before migrating to England in 1958, she was well known in Australia as the presenter of a live weekly television program, Anne Mason’s Home-Tested Recipes, which aired from 1957. She also wrote a number of popular cookery books and had a long-standing weekly column in The Age. Her ‘Home-Tested Recipes’ feature published recipes contributed by readers, which she selected and tested. A number of these were collected in her Treasury of Australian Cookery, published in London in 1962, and included those influenced by “the country cooking of England […] Continental influence […] and oriental ideas” (11). Mason includes numerous recipes featuring coffee, but (as in Deutsch above) almost all are described as mocha-flavoured and listed as such in the detailed index. In Mason’s book, this mocha taste is, in fact, featured more frequently in sweet dishes than any of the other popular flavours (vanilla, honey, lemon, apple, banana, coconut, or passionfruit) except for chocolate. These mocha recipes include cakes: Chocolate-Mocha Refrigerator cake—plain sponge layered with a coffee-chocolate mousse (134), Mocha Gateau Ring—plain sponge and choux pastry puffs filled with cream or ice cream and thickly iced with mocha icing (136) and Mocha Nut Cake—a coffee and cocoa butter cake filled and iced with mocha icing and almonds (166). There are also recipes for Mocha Meringues—small coffee/cocoa-flavoured meringue rosettes joined together in pairs with whipped cream (168), a dessert Mocha Omelette featuring the addition of instant coffee and sugar to the eggs and which is filled with grated chocolate (181) and Mocha-Crunch Ice Cream—a coffee essence-scented ice cream with chocolate biscuit crumbs (144) that was also featured in an ice cream bombe layered with chocolate-rum and vanilla ice creams (152). Mason’s coffee recipes are also given prominence in the accompanying illustrations. Although the book contains only nine pages in full colour, the Mocha Gateau Ring is featured on both the cover and opposite the title page of the book and the Mocha Nut Cake is given an entire coloured page. The coffee component of Mason’s recipes is almost always sourced from either instant coffee (granules or powdered) or liquid coffee essence, however, while the cake for the Mocha Nut Cake uses instant coffee, its mocha icing and filling calls for “3 dessertspoons [of] hot black coffee” (167). The recipe does not, however, describe if this is made from instant, essence, or ground beans. The two other mocha icings both use instant coffee mixed with cocoa, icing sugar and hot water, while one also includes margarine for softness. The recipe for Mocha Cup (202) in the chapter for Children’s Party Fare (198-203), listed alongside clown-shaped biscuits and directions to decorate cakes with sweets, plastic spaceships and dolls, surprisingly comprises a sophisticated mix of grated dark chocolate melted in a pint of “hot black coffee” lightened with milk, sugar and vanilla essence, and topped with cream. There are no instructions for brewing or otherwise making fresh coffee in the volume. The Australian culinary masterwork of the 1960s, The Margaret Fulton Cookbook, which was published in 1968 and sold out its first (record) print run of 100,000 copies in record time, is still in print, with a revised 2004 edition bringing the number of copies sold to over 1.5 million (Brien). The first edition’s cake section of the book includes a Coffee Sponge sandwich using coffee essence in both the cake and its creamy filling and topping (166) and Iced Coffee Cakes that also use coffee essence in the cupcakes and instant coffee powder in the glacé icing (166). A Hazelnut Swiss Roll is filled with a coffee butter cream called Coffee Creme au Beurre, with instant coffee flavouring an egg custard which is beaten into creamed butter (167)—similar to Koszlik’s Mocha Cream but a little lighter, using milk instead of cream and fewer eggs. Fulton also includes an Austrian Chocolate Cake in her Continental Cakes section that uses “black coffee” in a mocha ganache that is used as a frosting (175), and her sweet hot coffee soufflé calls for “1/2 cup strong coffee” (36). Fulton also features a recipe for Irish Coffee—sweetened hot black coffee with (Irish) whiskey added, and cream floated on top (205). Nowhere is fresh or brewed coffee specified, and on the page dedicated to weights, measures, and oven temperatures, instant coffee powder appears on the list of commonly used ingredients alongside flour, sugar, icing sugar, golden syrup, and butter (242). American Influence While the influence of American habits such as supermarket shopping and fast food on Australian foodways is reported in many venues, recognition of its influence on Australian coffee culture is more muted (see, for exceptions, Khamis; Adams). Yet American modes of making and utilising coffee also influenced the Australian use of coffee, whether drunk as beverage or employed as a flavouring agent. In 1956, the Australian Women’s Weekly published a full colour Wade’s Cornflour advertorial of biscuit recipes under the banner, “Dione Lucas’s Manhattan Mochas: The New Coffee Cookie All America Loves, and Now It’s Here” (56). The use of the American “cookie” instead of the Australian “biscuit” is telling here, the popularity of all things American sure to ensure, the advert suggested, that the Mochas (coffee biscuits topped with chocolate icing) would be so popular as to be “More than a recipe—a craze” (56). This American influence can also been seen in cakes and other baked goods made specifically to serve with coffee, but not necessarily containing it. The recipe for Zulu Boys published in The Argus in 1945, a small chocolate and cinnamon cake with peanuts and cornflakes added, is a good example. Reported to “keep moist for some time,” these were “not too sweet, and are especially useful to serve with a glass of wine or a cup of black coffee” (Vesta Junior 9), the recipe a precursor to many in the 1950s and 1960s. Margaret Fulton includes a Spicy Coffee Cake in The Margaret Fulton Cookbook. This is similar to her Cinnamon Tea Cake in being an easy to mix cake topped with cinnamon sugar, but is more robust in flavour and texture with the addition of whole bran cereal, raisins and spices (163). Her “Morning Coffee” section in Entertaining with Margaret Fulton similarly includes a selection of quite strongly flavoured and substantially textured cakes and biscuits (90-92), while her recipes for Afternoon Tea are lighter and more delicate in taste and appearance (85-89). Concluding Remarks: Integration and Evolution, Not Revolution Trusted Tasmanian writer on all matters domestic, Marjorie Bligh, published six books on cookery, craft, home economics, and gardening, and produced four editions of her much-loved household manual under all three of her married names: Blackwell, Cooper and Bligh (Wood). The second edition of At Home with Marjorie Bligh: A Household Manual (published c.1965-71) provides more evidence of how, rather than jettisoning one form in favour of another, Australian housewives were adept at integrating both ground and other more instant forms of coffee into their culinary repertoires. She thus includes instructions on both how to efficiently clean a coffee percolator (percolating with a detergent and borax solution) (312) as well as how to make coffee essence at home by simmering one cup of ground coffee with three cups of water and one cup of sugar for one hour, straining and bottling (281). She also includes recipes for cakes, icings, and drinks that use both brewed and instant coffee as well as coffee essence. In Entertaining with Margaret Fulton, Fulton similarly allows consumer choice, urging that “If you like your coffee with a strong flavour, choose one to which a little chicory has been added” (90). Bligh’s volume similarly reveals how the path from trifle to tiramisu was meandering and one which added recipes to Australian foodways, rather than deleted them. Her recipe for Coffee Trifle has strong similarities to tiramisu, with sponge cake soaked in strong milk coffee and sherry layered with a rich custard made from butter, sugar, egg yolks, and black coffee, and then decorated with whipped cream, glace cherries, and walnuts (169). This recipe precedes published references to tiramisu as, although the origins of tiramisu are debated (Black), references to the dessert only began to appear in the 1980s, and there is no mention of the dish in such authoritative sources as Elizabeth David’s 1954 Italian Food, which features a number of traditional Italian coffee-based desserts including granita, ice cream and those made with cream cheese and rice. By the 1990s, however, respected Australian chef and food researcher, the late Mietta O’Donnell, wrote that if pizza was “the most travelled of Italian dishes, then tiramisu is the country’s most famous dessert” and, today, Australian home cooks are using the dish as a basis for a series of variations that even include replacing the coffee with fruit juices and other flavouring agents. Long-lived Australian coffee recipes are similarly being re-made in line with current taste and habits, with celebrated chef Neil Perry’s recent Simple Coffee and Cream Sponge Cake comprising a classic cream-filled vanilla sponge topped with an icing made with “strong espresso”. To “glam up” the cake, Perry suggests sprinkling the top with chocolate-covered roasted coffee beans—cycling back to Maria Koszlik’s “coffee bean chocolate” (162) and showing just how resilient good taste can be. Acknowledgements The research for this article was completed while I was the recipient of a Research Fellowship in the Special Collections at the William Angliss Institute (WAI) of TAFE in Melbourne, where I utilised their culinary collections. Thank you to the staff of the WAI Special Collections for their generous assistance, as well as to the Faculty of Arts, Business, Informatics and Education at Central Queensland University for supporting this research. Thank you to Jill Adams for her assistance with this article and for sharing her “Manhattan Mocha” file with me, and also to the peer reviewers for their generous and helpful feedback. All errors are, of course, my own.References “A Gourmet Makes a Perfect Meal.” The West Australian 4 Jul. 1952: 8.Adams, Jill. “Australia’s American Coffee Culture.” Australasian Journal of Popular Culture (2012): forthcoming. “Australian Wines Served at New York Dinner.” Australian Wines and Food 1.5 (1958): 16. Bancroft, P. A. “Let’s Make Some Coffee.” Australian Wines & Food Quarterly 4.1 (1960): 10. Black, Jane. “The Trail of Tiramisu.” Washington Post 11 Jul. 2007. 15 Feb. 2012 ‹http://www.washingtonpost.com/wp-dyn/content/article/2007/07/10/AR2007071000327.html›. Bligh, Marjorie. At Home with Marjorie Bligh: A Household Manual. Devonport: M. Bligh, c.1965-71. 2nd ed. Brien, Donna Lee. “Australian Celebrity Chefs 1950-1980: A Preliminary Study.” Australian Folklore 21 (2006): 201-18. Cashmore, Nancy. “In Dordogne and Burgundy the Gourmet Will Find … A Gastronomic Paradise.” The Advertiser 23 Jan. (1954): 6. “Coffee Beginnings.” Australian Wines & Food Quarterly 1.4 (1957/1958): 37-39. Collins, Jock, Katherine Gibson, Caroline Alcorso, Stephen Castles, and David Tait. A Shop Full of Dreams: Ethnic Small Business in Australia. Sydney: Pluto Press, 1995. David, Elizabeth. Italian Food. New York: Penguin Books, 1999. 1st pub. UK: Macdonald, 1954, and New York: Knoft, 1954. Donovan, Maria Kozslik. Continental Cookery in Australia. Melbourne: William Heinemann, 1955. Reprint ed. 1956. -----.“Epicure’s Corner: Continental Recipes with Maria Kozslik.” The Age 4 Jun. (1954): 7. Fulton, Margaret. The Margaret Fulton Cookbook. Dee Why West: Paul Hamlyn, 1968. -----. Entertaining with Margaret Fulton. Dee Why West: Paul Hamlyn, 1971. Irwin, William Wallace. The Garrulous Gourmet. Sydney: The Shepherd P, 1951. Khamis, Susie. “It Only Takes a Jiffy to Make: Nestlé, Australia and the Convenience of Instant Coffee.” Food, Culture & Society 12.2 (2009): 217-33. Kerr, Graham. The Graham Kerr Cookbook. Wellington, Auckland, and Sydney: AH & AW Reed, 1966. -----. The Graham Kerr Cookbook by The Galloping Gourmet. New York: Doubleday, 1969. Mason, Anne. A Treasury of Australian Cookery. London: Andre Deutsch, 1962. Mason, Peter. “Anne Mason.” The Guardian 20 Octo.2006. 15 Feb. 2012 Masterfoods. “Masterfoods” [advertising insert]. Australian Wines and Food 2.10 (1959): btwn. 8 & 9.“Masters of Food.” Australian Wines & Food Quarterly 2.11 (1959/1960): 23. O’Donnell, Mietta. “Tiramisu.” Mietta’s Italian Family Recipe, 14 Aug. 2004. 15 Feb. 2012 ‹http://www.miettas.com/food_wine_recipes/recipes/italianrecipes/dessert/tiramisu.html›. Perry, Neil. “Simple Coffee and Cream Sponge Cake.” The Age 12 Mar. 2012. 15 Feb. 2012 ‹http://www.theage.com.au/lifestyle/cuisine/baking/recipe/simple-coffee-and-cream-sponge-cake-20120312-1utlm.html›. Symons, Michael. One Continuous Picnic: A History of Eating in Australia. Adelaide: Duck Press, 2007. 1st. Pub. Melbourne: Melbourne UP, 1982. ‘Vesta Junior’. “The Beautiful Fuss of Old Time Baking Days.” The Argus 20 Mar. 1945: 9. Volpi, Anna Maria. “All About Tiramisu.” Anna Maria’s Open Kitchen 20 Aug. 2004. 15 Feb. 2012 ‹http://www.annamariavolpi.com/tiramisu.html›. Wade’s Cornflour. “Dione Lucas’ Manhattan Mochas: The New Coffee Cookie All America Loves, and Now It’s Here.” The Australian Women’s Weekly 1 Aug. (1956): 56. Wood, Danielle. Housewife Superstar: The Very Best of Marjorie Bligh. Melbourne: Text Publishing, 2011.

Introduction The Disney brand has become synonymous with magic through its numerous depictions of spells, curses, prophecies, and pixie dust. Thus, it is ironic that in 2023, the 100th anniversary of the Walt Disney Studio’s founding (“Disney History”), the final film released during Walt Disney’s life, The Sword in the Stone (celebrating its 60th anniversary) remains stuck in obscurity (Aronstein 129) despite being steeped in magic and wizardry. The Sword in the Stone is regarded as “one of the most obscure [films] in the Disney animated canon” (Booker 38). Although it performed moderately well during its debut in 1963, its 1983 re-release and home video sales failed to renew public interest. To date, The Sword in the Stone has no games, comic series, or even Disneyland merchandise (Aronstein 129). The film is hardly a technical marvel; its sketchy animation style and blue-slate backgrounds create a dingy, unfinished look (Beck 272), while its simplistic storyline and anachronistic humour have been criticised for being ill-matched with its Arthurian subject matter (Gossedge 115). Despite these flaws, The Sword in the Stone offers the studio’s most fully rendered representation of Disney magic as benevolent forces sourced in learning and discipline that enable good-hearted protagonists to prepare for future leadership roles. By approaching the film as a didactic text separate from its Arthurian origins, I will demonstrate how The Sword in the Stone defines magic, not by nebulous spells or hexes, but by its facilitation of societal advancement and transformative powers via the educated mind. Young Arthur’s Humble Beginnings Based loosely on T.H. White’s 1938 novel of the same name (Valle 224), The Sword in the Stone takes place in medieval Europe, with most of its action occurring in a rotting castle and surrounding wolf-infested forests. In this threatening world, magic takes many forms, from powerful acts of “sorcery” to comical displays of “Latin business”. The first allusion to magic occurs during the film’s opening song, which establishes its setting (“when England was young”) and primary conflict (“the good king had died, and no one could decide who was rightful heir”). Without a ruler, England will be destroyed by civil war unless miraculous forces intervene on its behalf. This ‘miracle’ is the eponymous sword in the stone that the rightful ruler of England will free. The sword is destined for King Arthur, but as he is only an orphaned child living in obscurity at the film’s beginning, no one manages to retrieve the sword in his stead, and so the ‘miracle’ seemingly fails. The film’s off-screen narrator describes this leaderless period as “a dark age … where the strong preyed upon the weak”. As a force that trumps brute strength, magic is prized by those who can wield it, particularly the wizard Merlin. Magic is regarded with suspicion by the majority who cannot practice it (Valle 234), though they still recognise its legitimacy. Even Arthur’s practical stepfather, Sir Ector, begs Merlin not to practice any “black magic” on his family after Merlin creates an indoor “wizard blizzard” to prove his seriousness in tutoring Arthur. Merlin is a far cry from the mysterious soothsayer of Arthurian legend. He has been Disneyfied into a caricature of the famed wizard, appearing more like an eccentric academic than an all-seeing mystic (Beck 272). Susan Aronstein describes him as “the reification of Disney’s post-World War II rebranding of itself as a leader in education in the wake of a postwar shift in American child rearing” (130)—a playful pedagogue who makes learning fun for Arthur and audiences. After meeting Arthur in the woods near his home, Merlin becomes determined to rectify the boy’s educational deficiencies. It is not yet clear whether Merlin knows who Arthur is or will become; Merlin merely repeats to his owl companion, Archimedes, that the boy needs an education—specifically, a modern education. In addition to presenting Arthur with evidence of his travels to the future, such as helicopter models, Merlin rattles off a litany of subjects common to twentieth-century American curricula (English, science, mathematics) but hardly the sort of fare pages of Arthur’s status would study in fifth-century England. Because Arthur’s royal lineage is unknown to him, he aspires to be a squire for his soon-to-be-knighted stepbrother and so must learn the rules of jousting and horsemanship when not otherwise preoccupied with page duties. These include scrubbing pots and pans, cleaning floors, and fetching anything his stepfather requests. While Arthur is not resistant to Merlin’s attempts to teach him, he struggles to balance Merlin’s demands on his time with Sir Ector’s (Pinsky 85). Young Arthur’s gangly stature conveys how stretched the boy is between his indentured servitude to Ector and Merlin’s insistence upon his liberation through education. Arthur is constantly in motion, scurrying from one task to the next to please all parties involved and often failing to do so. Each time Merlin’s instruction causes the boy to miss Sir Ector’s call, Arthur is punished with additional duties (Holcomb et al.). Merlin’s Instructive Magic Merlin uses magic to bridge the gap between Arthur’s responsibilities to his present and his future. The word “magic” is spoken fifteen times in the film, six by Merlin himself. The wizard first utters the word after packing his entire house (furniture and all) into a carpet bag. Arthur is impressed, but Merlin warns him that magic is no panacea: “don’t you get any foolish ideas that magic will solve all your problems”. Even Merlin struggles to convince Sir Ector to let him tutor Arthur and to prevent predatory animals from killing the boy during their adventures together. Magic has limits. It cannot penetrate the minds of humans nor quell the instincts of wild animals. Its impact seems restricted to the physical world. Merlin primarily uses magic for physical transformation; his lessons centre on changing Arthur into different animals to enable the future king to experience life from others’ perspectives. Merlin turns Arthur into a fish, a squirrel, and a bird, with each animal’s situation representing increasingly complex problems that Arthur must overcome. Each lesson also corresponds with one or more levels of Maslow’s hierarchy of needs: (1) safety and survival, (2) love and belonging, and (3) self-esteem and self-actualisation (Lester 15). As a perch swimming around the castle moat, Arthur learns to use his intellect to evade a toothy pike that nearly eats him alive. As a squirrel, Arthur observes the heartbreak of unrequited love, foreshadowing his complicated love triangle with Guinevere and Lancelot (Grellner 125). In avian form, Arthur experiences a much-needed boost in his self-worth after Sir Ector strips him of his squire-in-training status. In flight, Arthur seems most in his element. After struggling with the logistics of swimming as a fish and navigating trees as a squirrel, Arthur soars over the countryside, even showing off his acrobatics to Archimedes flying alongside him. Although Arthur relishes these experiences, he does not seem to grasp their broader implications. He describes his first magical lesson as “so much fun” (despite having nearly died) and pauses only momentarily at the end of his second lesson to reflect on the emotional damage he causes a heartbroken female squirrel who falls madly in love with him. Still, Arthur faces mortal danger with each lesson, so one could argue that by transforming the young boy into different animals, Merlin is honing Arthur’s problem-solving skills (Holcomb et al.). Madam Mim’s Destructive Magic When Arthur is turned into a bird, his third lesson takes an unexpected turn. After narrowly escaping a hawk, Arthur flies into the forest and falls down the chimney of a rival magician named Mad Madam Mim. After introducing herself, Mim insists to Arthur that she has far more magic “in one little finger” than Merlin possesses in his entire repertoire. She displays her powers by killing plants, changing sizes, and making herself monstrous or lovely according to her whims. Mim’s demonstrations suggest a breezy familiarity with magic that Merlin lacks. Whereas Merlin sometimes forgets the “Latin business” needed to invoke spells, Mim effortlessly transitions from one transformation to another without any spell use. The source of her power soon becomes apparent. “Black sorcery is my dish of tea”, she croons to Arthur. Compared to Merlin’s Latin-based magic, Mim’s “black sorcery” is easier to master and well-suited to her undisciplined lifestyle. Mim’s cottage is filthy and in disrepair, yet she is playing solitaire (and cheating) when Arthur stumbles into her fireplace. This anachronism (since playing cards would not be introduced to Europeans until the fourteenth century; DeBold) characterises, through visual shorthand, Mim’s idle hands as the Devil’s workshop; she also possesses a modern dartboard that she throws Arthur against. Unlike Merlin’s domicile, Mim’s cottage contains no books, scientific instruments, or other props of study, indicating that there is no deeper understanding behind her magic. As Latin is the root language of science and law, it seems fitting that Latin is not part of Mim’s repertoire. She simply points a finger at an unfortunate subject, and it bends to her will—or dies. Efficient though Mim’s magic may be, its power is fleeting. Mim briefly changes herself into a beautiful young woman. But she concedes that her magic is “only skin deep” and turns herself back into “an ugly old creep”. Evidently, her magic’s potency does not last long, nor is it capable of improving her situation, as she continues living in her broken-down cottage as a bored, friendless hermit. Her black magic may be easy to master but cannot impart meaningful change. And so, while Merlin can use his magic to improve Arthur’s life, Mim’s magic can only serve the status quo described at the film’s beginning: the strong preying upon the weak. Although Mim lives outside the feudal social hierarchy, she uses her magic to terrorise any unfortunate creatures who wander into her clutches, including Arthur. When Arthur (still in bird form) states that he prefers the benevolence and usefulness of Merlin’s magic, an infuriated Mim transforms herself into a hungry cat and chases Arthur around the cottage until Merlin arrives to save the boy. Merlin then challenges Mim to a wizard’s duel, during which he and Mim attack each other in animal forms ranging from foxes and caterpillars to tigers, goats, and elephants. Each time Mim transforms, she does so seamlessly, requiring no momentary pause to recall a spell, unlike Merlin, who stumbles across the Latin phrases necessary to change himself into something faster or bigger. But after Merlin transforms into a walrus and squashes a clucking chicken Mim, the momentum shifts in his favour. Her magic becomes tinged with rage that causes her to make mistakes, including biting herself as a snake and ramming herself into a tree in rhinoceros form. Merlin’s disciplined playing style is nearly errorless. Although he becomes frightened when Mim transforms into a fire-breathing dragon, Merlin continues to play sensibly and courageously. His final winning move is to transform himself into a measle-like germ that incapacitates Mim with violent sneezing and cold flashes (Perciaccante and Coralli 1171). Arthur is astonished by the brilliant manoeuvring of his mentor, who manages to win the duel fairly “by dint of his knowledge and study” (Pinsky 86). After stating the lesson’s summative point for Merlin—“knowledge and wisdom is the real power”—Arthur vows to redouble his efforts to complete his education. Education: The Film’s Real Magic The lesson for viewers is simple enough: an education has a magical impact on one’s life. Put more succinctly, education is magic. Merlin defeats Mim because of his greater knowledge and cleverer use of spells. Arthur will overcome his low social status and ascend to the throne by becoming literate and sharpening his intellect. But as with Merlin’s acquisition of magical knowledge through intense study, Arthur’s royal ascension must be earned. He must learn the literal ABCs of language acquisition to gain others’ shared knowledge, as illustrated by a scene in which Archimedes painstakingly teaches Arthur how to write the alphabet in preparation for reading an enormous stack of books. Merlin cannot magically impart such knowledge to the future king; Arthur must learn it through sustained effort. He also must learn to make informed decisions rather than respond to panic or anger as Mim does during her duel with Merlin. Herein lies the distinction between Mim’s and Merlin’s magic: transformative impact. Mim’s black magic has locked her into her chosen fate. By using her powers to amuse herself or cause others harm, Mim perpetuates her outcast status as the stereotypical witch to be feared (Valle 234). While her cottage contains anachronistic elements such as playing cards (suggesting that she, like Merlin, has time-travelled), it contains no evidence of the modern advances that Merlin shares with Arthur, like aeroplane models, nor anything that might improve their feudal society. Merlin’s magic, by contrast, facilitates immediate changes to Arthur’s world and offers the promise of technological advancements in the centuries to come. To reduce the boy’s workload, for instance, Merlin magically conjures up a factory-style assembly line of brushes, tubs, and mops to wash dishes and scrub kitchen floors. Merlin also shares his knowledge of humankind’s future achievements with Arthur to advance his education, providing him with models, maps, globes, and hundreds of books. To become a proper king, Arthur must learn how to use such information to others’ advantage, not just his own. As Caroline Buts and Jose Luis Buendia Sierra observe of magic’s paradox, “using the wand without knowing properly the rules may sometimes lead to catastrophic situations” (509). This point is reaffirmed in the film’s final sequence, which takes place in London on New Year’s Day at a jousting tournament, the winner of which will be crowned king of England. Arthur, now a squire to his recently knighted stepbrother, forgets to bring his stepbrother’s sword to the tournament grounds. He attempts to replace the missing weapon with the sword in the stone when he spots the aging relic in a nearby churchyard. As Arthur pulls out the sword, angelic choral music swells, signalling that the rightful ruler of England has fulfilled the prophecy. After some scepticism from the assembled masses, Sir Ector and the other knights and spectators bow to the befuddled twelve-year-old. The film’s final scene shows a panic-stricken Arthur conceding that he does not know how to rule England and crying out for Merlin. When the wizard blows in from his most recent trip to the twentieth century, he confirms that he has known all along who Arthur is and assures the boy that he will become a great king. Arthur seems ready to put in the work, recognising that his knowledge and wisdom will improve the lives of England’s inhabitants. Conclusion Magic is thus portrayed as an intervening force that either facilitates or stymies societal progress. Good magic ensures that intelligent, educated individuals such as Arthur become great leaders, while those who would attain positions of power through brute force are thwarted from doing so. At the film’s conclusion, Arthur has not been fully transformed into a great leader because his education is far from finished; he has only learned enough to realise that he knows too little to rule effectively. Yet, from the Socratic perspective, such self-awareness is the germination for attaining true wisdom (Tarrant 263). Arthur also already knows that he will not be able to learn how to rule well through trickery or shortcuts, even with a powerful magician by his side. But the film’s closing scene reiterates this point with Merlin promising Arthur that he will succeed. “Why, they might even make a motion picture about you!” he exclaims in a clever fourth-wall joke (Gellner 120). The Sword in the Stone’s mere existence proves that Arthur will acquire the knowledge and wisdom necessary to become a truly great monarch. The fledgling pupil will live long and rule well, not because of pixie dust or magic spells, but because of his willingness to learn and to be transformed by his education into a wise and fair ruler. References Aronstein, Susan. “‘Higitus Figitus!’ Of Merlin and Disney Magic.” It’s the Disney Version! Popular Cinema and Literary Classics. Eds. Douglas Brode and Shea T. Brode. Lanham, MD: Rowman & Littlefield. 129-139. Beck, Jerry. The Animated Movie Guide. Chicago: A Capella, 2005. Booker, M. Keith. Disney, Pixar, and the Hidden Messages of Children's Films. Santa Barbara: ABC-CLIO, 2010. Buts, Caroline, and Jose Luis Buendia Sierra. “The Sword in the Stone.” European State Aid Law Quarterly 16.4 (2017): 509-511. 10 June 2023 <https://www.jstor.org/stable/10.2307/26694185>. DeBold, Elizabeth. “Fortune’s Fools: Early Tarot Cards.” The Collation: Folger Shakespeare Library 2 Feb. 2021. 5 June 2023 <https://www.folger.edu/blogs/collation/fortunes-fools-early-tarot-cards/>. “Disney History.” D23, 2023. <https://d23.com/disney-history/>. Gossedge, Rob. “The Sword in the Stone: American Translatio and Disney’s Antimedievalism.” The Disney Middle Ages: A Fairy-Tale and Fantasy Past. Eds. Tison Pugh and Susan Aronstein. Palgrave Macmillan: 2012. 115–131. Grellner, Alice. “Two Films That Sparkle: The Sword in the Stone and Camelot.” Cinema Arthuriana: Twenty Essays. Rev. ed. Ed. Kevin J. Harty. Jefferson, NC: McFarland, 2010. 118-126. Holcomb, Jeanne, Kenzie Latham, and Daniel Fernandez-Baca. “Who Cares for the Kids? Caregiving and Parenting in Disney Films.” Journal of Family Issues 36.14 (2015): 1957–81. DOI: 10.1177/0192513X13511250. Lester, David. “Measuring Maslow’s Hierarchy of Needs.” Psychological Reports: Mental & Physical Health 113.1 (2013): 15-17. 20 May 2023 <https://doi.org/10.2466/02.20.PR0.113x16z1>. Perciaccante, Antonio, and Alessia Coralli. “The Virus Defeating Madam Mim.” American Journal of Infection Control 45.10 (2017): 1171. 1 June 2023 <http://doi.org/10.1016/j.ajic.2017.07.017>. Pinsky, Mark I. The Gospel According to Disney: Faith, Trust, and Pixie Dust. Louisville, KY: Westminster John Knox Press, 2004. The Sword in the Stone. Dir. Wolfgang Reitherman. Perf. Karl Swenson and Rickie Sorensen. Buena Vista, 1963. Tarrant, Harold. “Socratic Method and Socratic Truth.” A Companion to Socrates. Eds. Sara Ahbel-Rappe and Rachana Kamtekar. Malden, MA: Blackwell, 2006. 254-272. Valle, Maria Luiza Cyrino. "The New Matter of Britain: T.H. White's The Sword in the Stone." Estudos Germânicos 5.1 (1984): 224-265.

Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over resources, and the intensity with which colonists pursued their “claims” for food, land, and water, quickly transformed amicable relationships into hostile rivalries. Jennifer Gall has written that, as “European settlement expanded in the late 1820s, violent exchanges between settlers and Aboriginal people were frequent, brutal and unchecked” (58). Indeed, the near-annihilation of the original custodians of the land was, if viewed through the lens of time, a process that could be described as one that was especially efficient. As John Morris notes: in 1803, when the first settlers arrived in Van Diemen’s Land, the Aborigines had already inhabited the island for some 25,000 years and the population has been estimated at 4,000. Seventy-three years later, Truganinni, [often cited as] the last Tasmanian of full Aboriginal descent, was dead. (84) Against a backdrop of extreme violence, often referred to as the Black War (Clements 1), there were some, admittedly dubious, efforts to contain the bloodshed. One such effort, in the late 1820s, was the production, and subsequent distribution, of a set of Proclamation Boards. Approximately 100 Proclamation Boards (the Board) were introduced by the Lieutenant Governor of the day, George Arthur (after whom Port Arthur on the Tasman Peninsula is named). The purpose of these Boards was to communicate, via a four-strip pictogram, to the Indigenous peoples of the island colony that all people—black and white—were considered equal under the law. “British Justice would protect” everyone (Morris 84). This is reflected in the narrative of the Boards. The first image presents Indigenous peoples and colonists living peacefully together. The second, and central, image shows “a conciliatory handshake between the British governor and an Aboriginal ‘chief’, highly reminiscent of images found in North America on treaty medals and anti-slavery tokens” (Darian-Smith and Edmonds 4). The third and fourth images depict the repercussions for committing murder, with an Indigenous man hanged for spearing a colonist and a European man also hanged for shooting an Aborigine. Both men executed under “gubernatorial supervision” (Turnbull 53). Image 1: Governor Davey's [sic - actually Governor Arthur's] Proclamation to the Aborigines, 1816 [sic - actually c. 1828-30]. Image Credit: Mitchell Library, State Library of NSW (Call Number: SAFE / R 247). The Board is an interesting re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of images on the bark of trees. Such trees, often referred to as scarred trees, are rare in modern-day Tasmania as “the expansion of settlements, and the impact of bush fires and other environmental factors” resulted in many of these trees being destroyed (Aboriginal Heritage Tasmania online). Similarly, only a few of the Boards, inspired by these trees, survive today. The Proclamation Board was, in the 1860s, re-imagined as the output of a different Governor: Lieutenant Governor Davey (after whom Port Davey, on the south-west coast of Tasmania is named). This re-imagining of the Board’s creator was so effective that the Board, today, is popularly known as Governor Davey’s Proclamation to the Aborigines. This paper outlines several other re-imaginings of this Board. In addition, this paper offers another, new, re-imagining of the Board, positing that this is an early “pamphlet” on crime, justice and punishment which actually presents as a pre-cursor to the modern Australian true crime tale. In doing so this work connects the Proclamation Board to the larger genre of crime fiction. One Proclamation Board: Two Governors Labelled Van Diemen’s Land and settled as a colony of New South Wales in 1803, this island state would secede from the administration of mainland Australia in 1825. Another change would follow in 1856 when Van Diemen’s Land was, in another process of re-imagining, officially re-named Tasmania. This change in nomenclature was an initiative to, symbolically at least, separate the contemporary state from a criminal and violent past (Newman online). Tasmania’s violent history was, perhaps, inevitable. The island was claimed by Philip Gidley King, the Governor of New South Wales, in the name of His Majesty, not for the purpose of building a community, but to “prevent the French from gaining a footing on the east side of that island” and also to procure “timber and other natural products, as well as to raise grain and to promote the seal industry” (Clark 36). Another rationale for this land claim was to “divide the convicts” (Clark 36) which re-fashioned the island into a gaol. It was this penal element of the British colonisation of Australia that saw the worst of the British Empire forced upon the Aboriginal peoples. As historian Clive Turnbull explains: the brutish state of England was reproduced in the English colonies, and that in many ways its brutishness was increased, for now there came to Australia not the humanitarians or the indifferent, but the men who had vested interests in the systems of restraint; among those who suffered restraint were not only a vast number who were merely unfortunate and poverty-stricken—the victims of a ‘depression’—but brutalised persons, child-slaughterers and even potential cannibals. (Turnbull 25) As noted above the Black War of Tasmania saw unprecedented aggression against the rightful occupants of the land. Yet, the Aboriginal peoples were “promised the white man’s justice, the people [were] exhorted to live in amity with them, the wrongs which they suffer [were] deplored” (Turnbull 23). The administrators purported an egalitarian society, one of integration and peace but Van Diemen’s Land was colonised as a prison and as a place of profit. So, “like many apologists whose material benefit is bound up with the systems which they defend” (Turnbull 23), assertions of care for the health and welfare of the Aboriginal peoples were made but were not supported by sufficient policies, or sufficient will, and the Black War continued. Colonel Thomas Davey (1758-1823) was the second person to serve as Lieutenant Governor of Van Diemen’s Land; a term of office that began in 1813 and concluded in 1817. The fourth Lieutenant Governor of the island was Colonel Sir George Arthur (1784-1854); his term of office, significantly longer than Davey’s, being from 1824 to 1836. The two men were very different but are connected through this intriguing artefact, the Proclamation Board. One of the efforts made to assert the principle of equality under the law in Van Diemen’s Land was an outcome of work undertaken by Surveyor General George Frankland (1800-1838). Frankland wrote to Arthur in early 1829 and suggested the Proclamation Board (Morris 84), sometimes referred to as a Picture Board or the Tasmanian Hieroglyphics, as a tool to support Arthur’s various Proclamations. The Proclamation, signed on 15 April 1828 and promulgated in the The Hobart Town Courier on 19 April 1828 (Arthur 1), was one of several notices attempting to reduce the increasing levels of violence between Indigenous peoples and colonists. The date on Frankland’s correspondence clearly situates the Proclamation Board within Arthur’s tenure as Lieutenant Governor. The Board was, however, in the 1860s, re-imagined as the output of Davey. The Clerk of the Tasmanian House of Assembly, Hugh M. Hull, asserted that the Board was the work of Davey and not Arthur. Hull’s rationale for this, despite archival evidence connecting the Board to Frankland and, by extension, to Arthur, is predominantly anecdotal. In a letter to the editor of The Hobart Mercury, published 26 November 1874, Hull wrote: this curiosity was shown by me to the late Mrs Bateman, neé Pitt, a lady who arrived here in 1804, and with whom I went to school in 1822. She at once recognised it as one of a number prepared in 1816, under Governor Davey’s orders; and said she had seen one hanging on a gum tree at Cottage Green—now Battery Point. (3) Hull went on to assert that “if any old gentleman will look at the picture and remember the style of military and civil dress of 1810-15, he will find that Mrs Bateman was right” (3). Interestingly, Hull relies upon the recollections of a deceased school friend and the dress codes depicted by the artist to date the Proclamation Board as a product of 1816, in lieu of documentary evidence dating the Board as a product of 1828-1830. Curiously, the citation of dress can serve to undermine Hull’s argument. An early 1840s watercolour by Thomas Bock, of Mathinna, an Aboriginal child of Flinders Island adopted by Lieutenant Governor John Franklin (Felton online), features the young girl wearing a brightly coloured, high-waisted dress. This dress is very similar to the dresses worn by the children on the Proclamation Board (the difference being that Mathinna wears a red dress with a contrasting waistband, the children on the Board wear plain yellow dresses) (Bock). Acknowledging the simplicity of children's clothing during the colonial era, it could still be argued that it would have been unlikely the Governor of the day would have placed a child, enjoying at that time a life of privilege, in a situation where she sat for a portrait wearing an old-fashioned garment. So effective was Hull’s re-imagining of the Board’s creator that the Board was, for many years, popularly known as Governor Davey’s Proclamation to the Aborigines with even the date modified, to 1816, to fit Davey’s term of office. Further, it is worth noting that catalogue records acknowledge the error of attribution and list both Davey and Arthur as men connected to the creation of the Proclamation Board. A Surviving Board: Mitchell Library, State Library of New South Wales One of the surviving Proclamation Boards is held by the Mitchell Library. The Boards, oil on Huon pine, were painted by “convict artists incarcerated in the island penal colony” (Carroll 73). The work was mass produced (by the standards of mass production of the day) by pouncing, “a technique [of the Italian Renaissance] of pricking the contours of a drawing with a pin. Charcoal was then dusted on to the drawing” (Carroll 75-76). The images, once outlined, were painted in oil. Of approximately 100 Boards made, several survive today. There are seven known Boards within public collections (Gall 58): five in Australia (Mitchell Library, State Library of NSW, Sydney; Museum Victoria, Melbourne; National Library of Australia, Canberra; Tasmanian Museum and Art Gallery, Hobart; and Queen Victoria Museum and Art Gallery, Launceston); and two overseas (The Peabody Museum of Archaeology and Ethnology, Harvard University and the Museum of Archaeology and Ethnology, University of Cambridge). The catalogue record, for the Board held by the Mitchell Library, offers the following details:Paintings: 1 oil painting on Huon pine board, rectangular in shape with rounded corners and hole at top centre for suspension ; 35.7 x 22.6 x 1 cm. 4 scenes are depicted:Aborigines and white settlers in European dress mingling harmoniouslyAboriginal men and women, and an Aboriginal child approach Governor Arthur to shake hands while peaceful soldiers look onA hostile Aboriginal man spears a male white settler and is hanged by the military as Governor Arthur looks onA hostile white settler shoots an Aboriginal man and is hanged by the military as Governor Arthur looks on. (SAFE / R 247) The Mitchell Library Board was purchased from J.W. Beattie in May 1919 for £30 (Morris 86), which is approximately $2,200 today. Importantly, the title of the record notes both the popular attribution of the Board and the man who actually instigated the Board’s production: “Governor Davey’s [sic – actually Governor Arthur] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30].” The date of the Board is still a cause of some speculation. The earlier date, 1828, marks the declaration of martial law (Turnbull 94) and 1830 marks the Black Line (Edmonds 215); the attempt to form a human line of white men to force many Tasmanian Aboriginals, four of the nine nations, onto the Tasman Peninsula (Ryan 3). Frankland’s suggestion for the Board was put forward on 4 February 1829, with Arthur’s official Conciliator to the Aborigines, G.A. Robinson, recording his first sighting of a Board on 24 December 1829 (Morris 84-85). Thus, the conception of the Board may have been in 1828 but the Proclamation project was not fully realised until 1830. Indeed, a news item on the Proclamation Board did appear in the popular press, but not until 5 March 1830: We are informed that the Government have given directions for the painting of a large number of pictures to be placed in the bush for the contemplation of the Aboriginal Inhabitants. […] However […] the causes of their hostility must be more deeply probed, or their taste as connoisseurs in paintings more clearly established, ere we can look for any beneficial result from this measure. (Colonial Times 2) The remark made in relation to becoming a connoisseur of painting, though intended to be derogatory, makes some sense. There was an assumption that the Indigenous peoples could easily translate a European-styled execution by hanging, as a visual metaphor for all forms of punishment. It has long been understood that Indigenous “social organisation and religious and ceremonial life were often as complex as those of the white invaders” (McCulloch 261). However, the Proclamation Board was, in every sense, Eurocentric and made no attempt to acknowledge the complexities of Aboriginal culture. It was, quite simply, never going to be an effective tool of communication, nor achieve its socio-legal aims. The Board Re-imagined: Popular Media The re-imagining of the Proclamation Board as a construct of Governor Davey, instead of Governor Arthur, is just one of many re-imaginings of this curious object. There are, of course, the various imaginings of the purpose of the Board. On the surface these images are a tool for reconciliation but as “the story of these paintings unfolds […] it becomes clear that the proclamations were in effect envoys sent back to Britain to exhibit the ingenious attempts being applied to civilise Australia” (Carroll 76). In this way the Board was re-imagined by the Administration that funded the exercise, even before the project was completed, from a mechanism to assist in the bringing about of peace into an object that would impress colonial superiors. Khadija von Zinnenburg Carroll has recently written about the Boards in the context of their “transnational circulation” and how “objects become subjects and speak of their past through the ventriloquism of contemporary art history” (75). Carroll argues the Board is an item that couples “military strategy with a fine arts propaganda campaign” (Carroll 78). Critically the Boards never achieved their advertised purpose for, as Carroll explains, there were “elaborate rituals Aboriginal Australians had for the dead” and, therefore, “the display of a dead, hanging body is unthinkable. […] being exposed to the sight of a hanged man must have been experienced as an unimaginable act of disrespect” (92). The Proclamation Board would, in sharp contrast to feelings of unimaginable disrespect, inspire feelings of pride across the colonial population. An example of this pride being revealed in the selection of the Board as an object worthy of reproduction, as a lithograph, for an Intercolonial Exhibition, held in Melbourne in 1866 (Morris 84). The lithograph, which identifies the Board as Governor Davey’s Proclamation to the Aborigines and dated 1816, was listed as item 572, of 738 items submitted by Tasmania, for the event (The Commissioners 69-85). This type of reproduction, or re-imagining, of the Board would not be an isolated event. Penelope Edmonds has described the Board as producing a “visual vernacular” through a range of derivatives including lantern slides, lithographs, and postcards. These types of tourist ephemera are in addition to efforts to produce unique re-workings of the Board as seen in Violet Mace’s Proclamation glazed earthernware, which includes a jug (1928) and a pottery cup (1934) (Edmonds online). The Board Re-imagined: A True Crime Tale The Proclamation Board offers numerous narratives. There is the story that the Board was designed and deployed to communicate. There is the story behind the Board. There is also the story of the credit for the initiative which was transferred from Governor Arthur to Governor Davey and subsequently returned to Arthur. There are, too, the provenance stories of individual Boards. There is another story the Proclamation Board offers. The story of true crime in colonial Australia. The Board, as noted, presents through a four-strip pictogram an idea that all are equal under the rule of law (Arthur 1). Advocating for a society of equals was a duplicitous practice, for while Aborigines were hanged for allegedly murdering settlers, “there is no record of whites being charged, let alone punished, for murdering Aborigines” (Morris 84). It would not be until 1838 that white men would be punished for the murder of Aboriginal people (on the mainland) in the wake of the Myall Creek Massacre, in northern New South Wales. There were other examples of attempts to bring about a greater equity under the rule of law but, as Amanda Nettelbeck explains, there was wide-spread resistance to the investigation and charging of colonists for crimes against the Indigenous population with cases regularly not going to trial, or, if making a courtroom, resulting in an acquittal (355-59). That such cases rested on “legally inadmissible Aboriginal testimony” (Reece in Nettelbeck 358) propped up a justice system that was, inherently, unjust in the nineteenth century. It is important to note that commentators at the time did allude to the crime narrative of the Board: when in the most civilized country in the world it has been found ineffective as example to hang murderers in chains, it is not to be expected a savage race will be influenced by the milder exhibition of effigy and caricature. (Colonial Times 2) It is argued here that the Board was much more than an offering of effigy and caricature. The Proclamation Board presents, in striking detail, the formula for the modern true crime tale: a peace disturbed by the act of murder; and the ensuing search for, and delivery of, justice. Reinforcing this point, are the ideas of justice seen within crime fiction, a genre that focuses on the restoration of order out of chaos (James 174), are made visible here as aspirational. The true crime tale does not, consistently, offer the reassurances found within crime fiction. In the real world, particularly one as violent as colonial Australia, we are forced to acknowledge that, below the surface of the official rhetoric on justice and crime, the guilty often go free and the innocent are sometimes hanged. Another point of note is that, if the latter date offered here, of 1830, is taken as the official date of the production of these Boards, then the significance of the Proclamation Board as a true crime tale is even more pronounced through a connection to crime fiction (both genres sharing a common literary heritage). The year 1830 marks the release of Australia’s first novel, Quintus Servinton written by convicted forger Henry Savery, a crime novel (produced in three volumes) published by Henry Melville of Hobart Town. Thus, this paper suggests, 1830 can be posited as a year that witnessed the production of two significant cultural artefacts, the Proclamation Board and the nation’s first full-length literary work, as also being the year that established the, now indomitable, traditions of true crime and crime fiction in Australia. Conclusion During the late 1820s in Van Diemen’s Land (now Tasmania) a set of approximately 100 Proclamation Boards were produced by the Lieutenant Governor of the day, George Arthur. The official purpose of these items was to communicate, to the Indigenous peoples of the island colony, that all—black and white—were equal under the law. Murderers, be they Aboriginal or colonist, would be punished. The Board is a re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of drawings on the bark of trees. The Board was, in the 1860s, in time for an Intercolonial Exhibition, re-imagined as the output of Lieutenant Governor Davey. This re-imagining of the Board was so effective that surviving artefacts, today, are popularly known as Governor Davey’s Proclamation to the Aborigines with the date modified, to 1816, to fit the new narrative. The Proclamation Board was also reimagined, by its creators and consumers, in a variety of ways: as peace offering; military propaganda; exhibition object; tourism ephemera; and contemporary art. This paper has also, briefly, offered another re-imagining of the Board, positing that this early “pamphlet” on justice and punishment actually presents a pre-cursor to the modern Australian true crime tale. The Proclamation Board tells many stories but, at the core of this curious object, is a crime story: the story of mass murder. Acknowledgements The author acknowledges the Palawa peoples: the traditional custodians of the lands known today as Tasmania. The author acknowledges, too, the Gadigal people of the Eora nation upon whose lands this paper was researched and written. 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