Laura E. Williams, illustrated by Craig Orback,
The Can Man
Lee and Low Books, 2010.
Ages 5-10
In Laura E. Williams’ The Can Man, a young boy awakens to compassion. Tim’s bi-racial family remembers when Mr. Peters lived in their building, so they don’t respond to him as the homeless can collector he’s become since he lost his job. Plot tension develops quickly: Tim wants a skateboard for his birthday; his family, not well off themselves, can’t afford it, and Tim’s solution is morally dubious.
Craig Orback’s respectful, sensitive oil paintings depict life in a tree-lined neighborhood of neat three-story apartment buildings. One day Tim gets an idea, and while young readers will identify with his excitement as he begins to collect cans himself to earn money, they’ll also experience an unsettling prick of conscience, for Tim hasn’t realized, as they will have, that he’s taking the cans Mr. Peters relies on for income.
The neighborhood grocer and Tim’s mom both mention that Mr. Peters usually collects those cans, but Tim’s fixation on the skateboard has deafened his conscience. It’s only when he runs into Mr. Peters himself, clutching at his tattered coat on a winter Saturday, his shopping cart nearly empty, that Tim begins to consider the consequences of his greed.
Orback and Williams, who have each won numerous awards for their respective projects, make a fine team for The Can Man. Both Mr. Peters and Tim get what they need by the end of the story. Between the lines and through the images, an unspoken message is that young people develop moral sensitivity through the example of their elders. Tim has wise role models in his mother and the grocer as well as in Mr. Peters, whose humanity shines through despite potentially embittering circumstances. Tim is a fortunate boy, and young readers will likely take in many levels of meaning from this subtle, powerful story.
Charlotte Richardson
March 2011
Born and raised in the USA, Elsa Marston is a children’s author who specializes in books, both fiction and non-fiction, about the Middle East. “A lot of my writing is about the Middle East and Arab-Americans.” says Elsa. “That’s because my late husband, Iliya Harik, was from Lebanon; family connections and his work as a political scientist (Indiana University) took us to that part of the world many times. I want to share with young readers my own interest in those lands and peoples, and equally important, help contribute to better understanding of the Arab/Muslim world. In that way I hope to continue Iliya’s life’s work, along with my own.”
From June 12 to the 14, Elsa will be attending an international conference on children’s literature in Beirut, Lebanon and told us:
I think this is the first time anything quite like this, at least with this scale and scope, has been done in the Arab countries, although there are IBBY chapters in Lebanon and Palestine and probably elsewhere. The preliminary program looks very interesting… an idea of some of the concerns that are gradually starting to take hold in the literature of that part of the world. Up till very recently, literature for children and teens consisted mostly of translations of European fairy tales and simplified western novels, and Arabian Nightsy stories. The idea that fiction for young people could reflect the lives of those young people and their societies had not quite caught on. (It must be admitted, the same thing was true here with respect to the Middle East, until about a dozen years ago! And that’s basically what I’ll be talking about.)
Elsa expects the conference to be largely in Arabic, with English and French mixed in liberally; and program highlights include:
Day #1
1st session: Social and Cultural Environment in Children’s Books
Illustration of Children’s Books in Italy (Italian speaker)
Illustration of Children’s Books in Sudan
2nd session: Representation of Conflict in Children’s Books
Beverley Naidoo speaking about conflict and resolution in her own work (re South Africa)
Conflict and the Enemy Image in Syrian Children’s Books
Palestinian Children’s Books: Occupation, Violence, Displacement
Day #2
1st Session: Influence of Censorship on Writing
Censoring Children’s Books in Nazi Germany and After the War (German speaker)
Censoring Children’s books in Iraq’s Past Regime
2nd session: The Role of the Family in Children’s Books
Effect of New Teaching Methods on Children’s Books in France (French speaker)
The Role of Family in Tunisian Children’s Books
The Role of Family Members in Lebanese Children’s Books
Day #3:
1st session: Art and Imagination in Children’s Books
Illustrating War: Comparing an Egyptian and a Lebanese Book
Imagination in Lebanese Children’s Illustration
Impact of Color in Illustrated Books
2nd session: Artistic Structure
Collage in Children’s Drawings in Iran
The Birth of Snakedog (European speaker)
U.S. Literature for Young People About the Arab World (Elsa Marston)
