In preparation for an author interview with Sana Rafi, both Noureen and Amna read and reviewed Little Seeds of Promise. The following are their takes on this lovely picture book.
Review: Little Seeds of Promise
Rafi, Sana. Little Seeds of Promise. Illus. by Renia Metallinou. 2021. 48p. The Innovation Press, $15.99. (ISBN 9781943147939). Grades K-3
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Amna’s Review
In this memorable and beautifully illustrated title by Sana Rafi, we see how Maya, the main character adjusts to life as an immigrant. The transition to a new country and the challenges of meeting people, is illustrated by her constant awareness that she is now ‘here,’ as opposed to ‘there,’ where she had a strong sense of security. She misses her grandmother, Nani, and the feeling of being connected, loved and safe. Her Nani gives her seeds before she leaves, and tells her to “bloom where you are planted,” which is something very unusual to Maya, who feels that her new ground in ‘here’ is as cold and unfriendly as the people in her school.
Although never specifically stated, she seems to be Muslim as there are mentions of the call to prayer, the Adhaan, the greeting of Salaam, and praying in the flowers. She also seems to have moved to a multiracial and multiethnic country as seen in the diversity of the other children in her class that have different shades of hair and skin.
The illustrations are especially stunning and the colour palette of blues and pinks rotating between each page really help to tie all the elements of the story together. The contrast between the two countries is even more evident in the vibrant colours shown in Maya’s home country as opposed to the greys and blacks in Maya’s new home. Even Maya’s wardrobe, once so colourful, is now just a sea of gray and blue. We relate even more with Maya as she fondly remembers her grandmother’s wise words of letting herself stretch, grow, and accept some kindness. The message, of learning to accept oneself and accepting others, is an important one and is well explained in this story. It may work best for ages 4-8, as a shared story or even as a read-aloud.
Noureen’s Review
New immigrant Maya, struggles to adapt to a new place and make new friends at school in this sweet intergenerational and universally relatable story. Simple, yet powerful text, and beautiful illustrations have readers empathize with Maya’s sadness from the very first page. The world around her feels cold, unfriendly, and lonely. At the heart of the story is the bond between Maya and her Nani (maternal grandmother). When Maya left her country of origin, her grandma gave her special seeds, and advice to “bloom where you are planted.” The seeds are analogous for new life, growth, and embracing change. Ultimately, they remind Maya that with warmth, care, and patience, new life will sprout even from hard and stubborn soil. The memories of her Nani helps her stay patient and let go of what is holding her back from blooming in her own way.
The seed analogy is possibly an overreach for very young readers (the targeted age is listed as 3-7) and may be better understood conceptually with elementary students or require an adult to more fully explain how successfully planting seeds in hard soil is analogous to coming out one’s comfort zone and opening up to new experiences.
The book is rich with cultural and religious references, such as waking up to the adhan (call to prayer), people greeting each other by saying “As-salaam-Alaikum,” praying among flowers, playing in the monsoon rain, and the inclusion of a night watchman.
This reference brought back fond memories from my own childhood, when the night watchman on our street would call out with an assuring voice, “Jagtaay Raho” (stay alert), and we could sleep peacefully knowing he would stand sentry through the night. These cultural references offer the opportunity for readers, particularly South Asian readers of the current generation, to learn and connect with parents and grandparents about these cultural references, some evergreen and others, like night watchmen that are relics of the past.
Another tie, both universal and culturally specific, are the memories of grandparents. Maya’s sweet Nani, with “a thousand wrinkles on her face” always smells like jasmine flowers. The jasmine is the national flower of Pakistan, and many households have a jasmine plant. Often worn as an adornment by married women in older generations and special occasions, like weddings, it so naturally fits in with the depiction of Maya’s grandmother and the nostalgia of the story’s setting.
The illustrations are intricate and detailed, further enriching the story, and patterns on the clothing, colors, and jewelry are a beautiful representation of elements commonly seen across South Asia. Additionally, the depiction of Maya without hijab is refreshing. Despite hijab being a religious marker that is most associated with adult women and Muslim girls that are post-pubescent, it is often shown in children’s literature on pre-pubescent girls as a way to emphasize the ethnicity, religion, or develop the story line when it is not always in a religious setting or age appropriate.
Verdict: Filled with hope and tenderness, this book will resonate with immigrant children and children facing transitions of any kind, and create opportunities for connection and empathy. It gently encourages and ensures readers that adjustments and acclimation to new environments comes with time, patience, and loving support.
A Mermaid Girl by Sana Rafi
This review was originally published in 
Gr 1-5- At eight years old, Hannah’s family says she is too young to fast from dawn to sunset through the month of Ramadan, but Dada Jaan has an idea of how Hannah can help. He says that Ramadan is a reminder to Muslims to help those in need and helping neighbors is worth the world. In her independent actions in school and at home, the girl finds that helping is more difficult than it seems. At the end of Ramadan, celebrating with her religious and ethnically diverse community, Hannah wonders what, if any, impact her actions have made and whether it is enough. Human rights activist, attorney, and former candidate for Virginia State Senate Rashid’s narrative shows the positive and local action children can take and the wisdom and kindness gained through learning from elders. 
Jaleel’s palette of saturated pinks, purples, yellows, and aqua conveys the passage of time through the month while tying in common Islamic geometric patterns and decor. Language and visual markers indicate Hannah and her family are South Asian and an author’s note describes Eid with family and community in Pakistan and in the United States. Though this narrative is accessible to all Muslims and non-Muslim readers, it particularly reflects Rashid’s Ahmadiyya Muslim values in service to humanity, peace, and love of mankind.
Khalil and Mr. Hagerty and the Backyard Treasures
This gentle and heart-warming story explores an intergenerational friendship and the power of words. Khalil moves to the upper floor of a house with his loud and busy family, while Mr. Hagerty, an older white man, lives on the floor below. During the summer, Khalil and Mr. Hagerty spend time in the backyard – Khalil searching for bugs, rocks, and other treasures while Mr. Hagerty works in his garden. They bond, as Mr. Hagerty helps Khalil read his library books and Khalil helps him remember the names of things he’s forgotten i.e. what his “digging thing, [his] hole-maker” is called. One day, when things don’t go as planned, they take a break over “chocolate cake and tall, cold glasses of milk.” That night, over their respective dinners, they each come up with an idea to brighten the others’ day. The clever and sweet ending is a perfect way to portray a growing friendship and sharing the simple pleasures of life.
Taherian’s playful collage-style illustrations portray the juxtaposition of the two households. For example, in one spread Khalil and family can be seen through the upper window; their curtains with bright and bold patterns, texture, and colors conveying their liveliness, whereas in the lower window Mr. Hagerty sits alone, reading—his curtains simple and monochrome. Springstubb’s simple text pairs well with Taherian’s illustrations, both working to highlight the purity and simplicity of the relationship.
While Khalil and his family are not identified as Muslims and there is no reference in the text or visuals to Islam, the name Khalil, meaning “friend” in Arabic is a possible indication that the family is Muslim. In this