Walking Trees

I remember when my sons were young, they were encouraged to keep the sidewalks, the schoolyard and the neighbourhood clean, and not throw their bubble-gum wrappers on the ground, and to do their part by picking up any bits of trash. The first signs of people wanting a cleaner world. A few years later, they were told to recycle glass and plastic. It was hard to interest children in doing this because, in a way, it was too abstract. Recycling and picking up trash did not change their environment that much.

My new picture-book Walking Trees was inspired by an article I read describing a fabulous ecological art project called Bosk (which means "forest") created by landscape architect Bruno Doedens and the late Joop Mulder. The project took place in the Dutch city of Leeuwarden where volonteers pushed native trees planted in huge wheeled wooden containers to different parts of the city.

The "Walking Forest" showed people that a greener urban landscape could create shade, beauty, cooler temperatures and relaxation.

What struck me was the immediate visual impact of these actions and it a crystal-clear example of how people can change their environment in small ways. I wanted to write a story involving children that empowers them to understand that they also could be actors in their neighbourhood, their city and their world.

So I created Lily, a little girl who visits a forest for the first time in her life and falls in love, one tree at a time. She eventually asks her father if she could have a tree for her birthday. An impractical gift, since she and her father lived in a small dark apartment on the fifth floor of a tall gray building. But Lily insists that her tree will live on their tiny balcony and she will water it every day. She will name him George.

Lily wants George to see the world, so she places him in a wagon and pulls him around their gray, treeless neighbourhood. Soon Lily realizes that George can offer shade and cool air to the people she meets in the sweltering city: to old Mrs. Lee sitting breathless on a sidewalk bench, to people waiting at a bus stop under a burning  sun and to two friends with their melting popsicles, who soon join her with their own "walking trees."

In time, Lily's action convinces neighbours and friends to walk their own trees, creating a wonderful green space in their quarter... which opens up in a lovely large gatefold image towards the end of the book.

If you look closely at the illustrations, you will see a progression in the colour palette from scribbly pencil lines in monochromatic shades of grays and whites that change into brighter spots of  watercolour greens and yellows as George and Lily make their way through the drab neighbourhood, then explosions of poppy reds, orange, blue and cool purple in the shadows. A visual reminder of how trees and greenery can affect the landscape.

I live in a city that has treeless, greenless neighbourhoods with huge expanses of asphalt that  transform these areas into sweltering hot spots in the summer. And a few blocks away there are other districts with huge old trees lining the sidewalks and large shady parks where the air is many degrees cooler. I would like children to notice this in their own urban landscape. I hope that Walking Trees will inspire them (and their parents and teachers) to find their own way of changing their environment in small but concrete ways: planting seedlings in sidewalk cracks and vacant lots, gathering seeds from flowers and fruit, etc.

I hope this book will empower children to reimagine a greener world for everyone.

HOPSCOTCH


The following is an interview I did with OPEN BOOK in August 2023, for the full article go to :

https://open-book.ca/News/Marie-Louise-Gay-on-Getting-Personal-about-Tough-Childhood-Moments-in-Her-Magical-New-Picture-Book

 

For a kid, moving to a new house and finding friends in a new school can be extremely tough. In iconic KidLit creator Marie-Louise Gay's new picture book, Hopscotch (Groundwood Books), Ophelia uses the power of her imagination to make a new, painful situation feel magical instead of intimidating.

At first, Ophelia's hyper-charged imagination is working against her: with Gay's trademark creativity, we see giant rabbits with sharp teeth at her new house, scary ogres on the way to school, and crow-witches in the trees as Ophelia can't help but imagine the scariest version of her new life after yet another move. 

But when she arrives in her new school, with everyone staring at the "new kid"—the only one who doesn't speak French—Ophelia puts her whimsical, powerful imagination to good use, creating her own kind of magic and connecting with her new classmates. 

A story of the big feelings of childhood, Hopscotch is Gay at her best, acknowledging the rich, vast world of childhood and the depth of kids' emotions and experiences, as well as the power of their creativity. Hopscotch's intimate storytelling and lush, whimsical artwork draws close-to-home inspiration from Gay's own childhood in Quebec.

We're excited to welcome one of Canada's most talented kids' book creators to Open Book today as part of our Kids Club interview series. Gay, who is known for her beloved storytelling including the popular Stella and Sam series, tells us about how she finally came to be ready to let readers get a glimpse of her own childhood experiences, explains why she loves the freedom of not knowing a story's end when she starts writing, and shares her two strategies for getting through a project's toughest points. 

Open Book:

Tell us about your new book and how it came to be.

Marie-Louise Gay:

Over the years, since I wrote the Stella and Sam series, I have been struck by the fact that people ask me over and over again if Stella was me as a child. Was Stella's childhood similar to mine? Was Stella one of my children? As it is often said, writers put a little bit of themselves in every one of their characters, so I can truthfully say that Stella resembles me in certain ways, mainly for her optimism, her whimsicality, and imagination. But my childhood was different, not as easy-going or as carefree as in the Stella series. I finally understood that I had written the Stella stories as a way to recreate the childhood I wanted to have. So I decided to revisit an uncertain, precarious time of my childhood and see what kind of story would emerge. After all, writing is a process of discovery.

It became the story of Ophelia, the little girl who is the main character in Hopscotch, who lives in a family that moves around a lot. She often has to leave friends and stability behind. Like Jackson, the tiny dog who lives next door, and who was soon to be her friend, but who disappears just before Ophelia has to move again with her family. Ophelia despairs of ever seeing him again even though, she tells us, "Every day I cross my fingers and wait for Jackson to come back. At night I make a wish on every shooting star. I rub the magic stone I found in my yellow rain boot. I draw a magic hopscotch. I hop forward on one leg, I hop backward with my eyes closed..."

Ophelia believes in spells, charms, magic, and enchantment, and has a vivid imaginary world where giant rabbits roam and crow-witches cackle in the trees that tower over her temporary home in a decrepit motel. She meets a huge ogre on her way to her new school where she finds out what her mother hadn't told her: everybody speaks a language she cannot understand. Even the fairy princess teacher. Ophelia is sad and scared and lonely, but is also resilient and creative and manages to find a way to cope with her dilemma. The story is fictional, though based on some elements and memories that have stayed with me since childhood.

OB:

Did the book look the same in the end as you originally envisioned it when you started working, or did it change through the writing process?

 MLG:

I think that every book that I have written and illustrated has taken a different route than the one I envisioned at the very beginning, when ideas float around and are not tied down yet. I think it would be tedious and frankly boring to follow word by word a preconceived scenario to the very end. I actually never know the ending of a story when I start writing and that is important because I feel free to wander off the beaten track, to change my mind, to backtrack, to expand my ideas in other directions.

An outstanding example of this is my book Caramba. For three years I wrote and rewrote a story about a little boy and his cat whom he loved more than anything or anyone in the world. I wrote and illustrated lovely scenes of tenderness and complicity. It was a lovely idea but it wasn't compelling. There was no conflict, no resolution. I dropped the boy character and there was the cat all by himself: "Caramba looked like any other cat. He had soft fur and a long stripy tail. He ate fish. He purred. He went for long walks. But Caramba was different from other cats. He couldn't fly." Just like that, the story went in another direction.

In Hopscotch, I wanted to explore certain events and emotions in my childhood, a story that would be in part autobiographical but very much fictional. I ended up exploring the border between reality and a vivid imaginary world that children cross into so easily when they need to understand and absorb, in their own way, what is happening to them. Their imagination is also a place of refuge and hope. I remembered how I believed in superstition and magic when I was young: crossing my fingers, not stepping on a sidewalk crack or wishing on a shooting star. I expanded and enlarged the presence of magic and imagination in Ophelia's story and everything came together. It made me aware that the story could speak in a subliminal way to children who would identify with the underlying emotions of sadness, fear, uncertainty and loneliness which are part of many children's childhoods. Then they might understand that imagination and creativity can become a form of resilience.   

OB:

How do you cope with setbacks or tough points during the writing process? Do you have any strategies that are your go-to responses to difficult points in the process?

MLG:

I have two strategies: I either drop everything, stop writing and engage in a physical or manual activity: gardening, cycling or walking. I try to empty my mind of any thoughts about the story that I have been working on. This creates a space where eventually new, fresh ideas might appear.  

Or I switch to my other creative process which is, of course, drawing. I sketch and draw randomly, letting my pencil lead the way, I draw shapes that become people or animals or fantastic objects, I play with colours and forms, I let my mind wander and meander until ideas emerge from this form of visual meditation: a new character who could possibly intervene, a different landscape or setting that would affect the course of the story. I might also start exploring the various emotional states of my hero through facial expressions or body positions. In short, I spend hours drawing and sketching until I find my way back into my story. Then I go back to writing. I write with words as well as with pictures.   

I'm Not Sydney!

Looking out the window

The window of my studio looks over a tree-lined alleyway and a patchwork of small urban gardens. In the summer this alleyway and the gardens are filled with joyful, chaotic gangs of small children running back and forth, hiding, playing ball or hopscotch but especially playing very involved and complicated games based on long rambling stories with a lot of role-playing.

Sketch followed by final illustration

 

What is striking is the intensity with which these children play. They immerse themselves so much in a story that reality disappears and a new country or landscape emerges which is only visible to them.

 

They become animals, kings, witches, warriors, ghosts and monsters. They don't need costumes or accessories: a stick becomes a sword, stones change into gold nuggets, leaves serve as camouflage, puddles are stormy seas, a tree becomes a fort and a long sturdy branch of the same tree becomes a perfect hanging perch for an upside down sloth.

 

And this is where Sidney became a sloth,

 hanging upside down from a branch, his fur glistening in the sun as:

"... leaves and flowers unfurled and birds of every colour flew through the tropical forest..." 

 When his friend Sami comes looking for him he says in a soft slow voice:

"...I'm not Sydney , I am a sloth!"

 

Sami, who thinks sloths are too slow scampers up the tree and leaps into the tropical forest as a spider monkey, her long tale curling and uncurling behind her.

One by one Sydney's friends, or rather, the sloth's friends transform themselves into animals as the landscape changes from tropical jungle to savanna to scrubby bushland.

 

As they climb, crawl, lumber, leap and soar in or around the tree, as they play out their extraordinary animal characters, laughing, chatting, trumpeting , eating ants and leaves, the reader inhabits  their imaginary world until the elephant brings them back to reality...

 

But the last pages tell us that their wonderful adventure lingers on through the night because when you change the ordinary into the extraordinary even for minute, an hour or a day, bits and pieces of the extraordinary stay with you and transform you.

 

I started writing and sketching this book at the beginning of  the year 2020 when the world was first confined because of the pandemic. It was my way of escaping reality and of immersing myself in a childhood game of powerful imagination.

The illustrations were done in sunny watercolours and in quick pencil strokes while looking out the window of my studio at an almost deserted alleyway.

Although...I still could see and hear a few "animals" scampering about.

 

 

 

FERN & HORN !

How children recreate the world…

Fern & Horn Cover colour sample.jpeg

 

Fern and Horn was published in the fall of 2019, but I felt like talking about it now during this uncertain time of confinement because nothing can confine a child's imagination.  

Character sketches for Fern and HornÉtude de caractères

Character sketches for Fern and Horn

Étude de caractères

 

Fern and Horn is an ode to imagination. I wanted to explore how children, if left to themselves and have time and space, will use their imagination to create brilliant, inventive, inspiring stories and scenarios. Fern and Horn, are twins who compete with each other to create the most beautiful, wild, fantastical world. From flower-stomping elephants to trees constellated with stars to hungry polar bears or impregnable castles, Fern and Horn create the impossible in a joyful chaos of pencils and crayons, paints and torn paper, stars and dragons. 

Partial storyboard for Fern and Horn, coloured pencils.Mon storyboard pour Zig et Zag: crayons de couleur…

Partial storyboard for Fern and Horn, coloured pencils.

Mon storyboard pour Zig et Zag: crayons de couleur…

 

In my illustrations, I wanted to show how children create with abandon. My bright acrylic paint and scribble backgrounds that can't 'stay in the lines', mixed with torn-paper and cardboard collages tries to reflect the joy and exuberance of children's art.

My drawing table in the chaos of work in progress. This illustration did not make the cut…Ma table à dessin en plein travail. Cette illustration n’a finalement pas fait partie de ce livre.

My drawing table in the chaos of work in progress. This illustration did not make the cut…

Ma table à dessin en plein travail. Cette illustration n’a finalement pas fait partie de ce livre.

 

Fern and Horn has also been published in French (Zig et Zag) and will soon be published in Brazil and Turkey.

You can see a video of my reading Fern and Horn in my studio in Montréal, during the confinement. (In the videos section of this website)

 

 Zig et Zag

Zig et Zag a été publié à l'automne 2019, mais j'ai voulu en parler en ce temps incertain de confinement parce que rien ne peut confiner l'imaginaire des enfants.

FernAndHorn_DPO_01-10.jpg

 

Zig et Zag est une ode à l'imagination sans limite des enfants. J'ai voulu explorer comment les enfants s'abandonnent dans la créativité avec un bonheur contagieux, si on leur laisse le temps, la liberté et l'espace de création.

 

Mur de mon studio lors de la création de Zig et ZagWall of my studio while working on Fern and Horn.

Mur de mon studio lors de la création de Zig et Zag

Wall of my studio while working on Fern and Horn.

Zig et Zag, des jumeaux, rivalisent gentiment l'un avec l'autre, utilisant leur imagination féconde pour créer le plus merveilleux, le plus fantaisiste, le plus joyeux des mondes.

Les éléphants fleuris galopent dans le salon, les arbres sont constellés d'étoiles qui sont dévorées par un ours polaire affamé, le tout dans un chaos joyeux de coups de crayons, de pinceaux et de papiers déchirés.

Éléphant crée lors d’un bricolage-lecture à la sympathique et merveilleuse librairie Bric à brac à Montréal.Éléphant created by kids at a reading and bricolage at the wonderful Bric à brac bookstore in Montréal

Éléphant crée lors d’un bricolage-lecture à la sympathique et merveilleuse librairie Bric à brac à Montréal.

Éléphant created by kids at a reading and bricolage at the wonderful Bric à brac bookstore in Montréal

 

Avec mes illustrations un peu échevelées: les fonds lumineux de peinture acrylique brossés à la hate, les collages de papier et carton déchirés, les coups de crayons à vive allure, j'ai voulu recréer l'exubérance et la joie qu'on retrouve dans les dessins d'enfants.

20190929_222309.jpg

 

Happy New Year /Bonne Année/ Feliz Año Nuevo 2020

My warmest wishes for the coming year: wishes of hope that the world will start turning in the right direction, wishes of safe shelter, love and sharing, wishes of reading great books that inspire and change the way we see the world…Mes souhaits les…

My warmest wishes for the coming year: wishes of hope that the world will start turning in the right direction, wishes of safe shelter, love and sharing, wishes of reading great books that inspire and change the way we see the world…

Mes souhaits les plus joyeux pour l’année qui vient: souhaits d’espoir pour un monde meilleur, souhaits de refuge, d’amour et de partage, souhaits de belles lectures qui inspirent et changent notre vision du monde…

Marie-Louise Gay's books are available from your favourite wholesaler or bookstore.
Or visit Groundwood Books.