Mira and Baku

Mira feels confused and angry when her mother tells her that her father won’t be home for her birthday. She does not understand where her dad is and why he is not with them. So, she decides to search for him with her imaginary friend, Baku. Together, they fly over the countryside looking for Papa. They visit the store they used to own only to find it abandoned. Similarly, their previous home is standing vacant. Visiting these places brings back memories of Papa and their family, but the pair cannot find him. Finally, they fly far, far away where they do find Papa looking tired and dirty working in a camp in the bush.

Within each of these vignettes, Mira remembers the tradition she and her father share of collecting stones. Each stone holds a memory of when it was found. She keeps the stones in a special bag and loves to make patterns with them. On the day of Mira’s birthday, her father sends her a letter and includes a new stone to add to the collection. Mira knows her father does remember her as she remembers him and the life they had before.

Michelle Theodore uses a muted pallet for her watercolour illustrations; an appropriate choice for a story of loss and memory. The countryside is filled with lush greens. The memories are portrayed in soft yellows and golds.

Often an author’s note is used to provide additional details to a story that are helpful but not necessary to the enjoyment of the tale. For this picture book, using a forward may have been a better choice since it would have provided the context prior to the reading of the book. The author’s note at the end of the story explains about the Japanese internment which occurred in Canada during World War II. It also explains that “in Japanese folklore a ‘baku’ is a magical creature who eats nightmares.”

Although younger children can relate to the disappointment caused by a parent missing a birthday, the use of the images to provide the context of the family’s separation may be too sophisticated for a child without an understanding of the historical period. The story is too grounded in a specific context for general appeal.

On the other hand, Mira and Baku would make an excellent read-aloud or additional resource to support student learning about the Japanese Internment in World War II. It depicts a child’s confusion of events that she doesn’t understand. In this context, the book’s message is powerful.

I don’t agree with the publisher’s age recommendation of 4-7 for Mira and Baku. The inferred story told through the images may be too sophisticated for the younger child. It will be evocative, however, as a read-aloud or within a unit of study.