A quiet story…of love and resistance.… Flett’s collage illustrations, with their simplicity and earthy colors, are soulful and gentle…. All readers will connect with how Nókom lives in celebration of colors, her long hair, her language, and, most of all, her family.
The Horn Book Magazine - a starred review
Robertson's text moves between the present and the past, the girl's questions and Nókom's memories, which deepen and intensify the quiet, powerful way she lives out her own culture, day by day, in the present. A beautifully rendered story of resisitance and love, this is made all the more luminous by Flett's art - not just by flashes of fuschsia or scarlet among ochre grasses, but by her precisely observed images of the compact bodies of the uniformed children, bowed beneath the weight of the scissors, or lovingly tending each other's hair. Highly recommended.
Toronto Star - Deirdre Baker
Robertson’s soft rhythmic text and Julie Flett’s simple, yet expressive, illustrations combine to create a beautiful story of strength and resistance. The muted colours used in the pictures of residential school life remind readers of the suffering endured by Indigenous children. The contrast between these pages, and the vibrant greens, reds, and blues of the illustrations depicting residential school students temporarily escaping into nature, is heartbreakingly effective. Robertson never tries to disguise the underlying tragedy of Nókom’s experience, but together he and Flett have crafted a book that is still suitable for younger readers, in spite of the intense subject matter.
When We Were Alone is an incredible work of art and is very highly recommended.
National Reading Campaign - Roseanne Gauthier
When We Were Alone is rare. It is exquisite and stunning, for the power conveyed by the words Robertson wrote, and for the illustrations that Flett created. I highly recommend it.
American Indians in Children's Literature - Debbie Reese
Julie’s Flett’s illustrations are impeccable. The contrast between the colourful and bleak illustrations perfectly match the narrative. The relatively small size of the book makes it perfect for sharing with younger children.
When We Were Alone addresses the topic of residential schools and, just as importantly, aspects of Cree culture and language. There is such gentleness about When We Were Alone that makes it an appropriate book for the even youngest of readers. Simply put, this is a much-needed book.
Highly Recommended.
CM Magazine - Dr. Kristen Ferguson
Flett's spring palette of warm blues and browns punctuated with splashes of red contrasts the loving moments between grandmother and granddaughter with stark winter whites and grays depicting boarding school life. The repetitive structure creates a predictable narrative; together the illustrations and Robertson's child-centred text make the boarding school experience accessible to a young audience without glossing over its harshness. Verdict: a poignant family story covering a part of history too often missing from library collections.
Hennepin County Library - Chelsea Couillard-Smith
"Calm, quiet illustrations with deep colors echo the conversation and the telling of history. This is a moving story, with a lot of unspoken history."
Youth Services Book Reviews
Flett's art is gentle even when it deals with traumatic subjects, like Canada's history of residential schools in the book When We Were Alone , written by David Robertson, which won the 2017 Governor General's Literary Award in Young People's Literature.
"When We Were Alone is rare. It is exquisite and stunning, for the power conveyed by the words Robertson wrote, and for the illustrations that Flett created. I highly recommend it." - Debbie Reese, American Indians in Children's Literature .
"…Robertson handles a delicate task here admirably well: explaining residential schools, that shameful legacy, and making them understandable to small children. It’s a dark history, and the author doesn’t disguise that, but he wisely focuses the grandmother’s tale on how, season by season, the students use creativity, imagination, and patience to retain their sense of identity. A beautifully quiet, bold strength arises from the continued refrain “When we were alone” and in how the children insisted on being themselves. Flett’s gorgeous, skillful illustrations have a flattened, faux naïve feel to them, like construction paper collage, a style that works perfectly with the story. She nicely contrasts the school’s dull browns and grays with the riotous colors surrounding Nókom and gets much expression from her simple silhouettes.
Spare, poetic, and moving, this Cree heritage story makes a powerful impression." - Kirkus Reviews
"Beautiful, painful, and shining with truth and dignity." - Richard Van Camp "Julie’s Flett’s illustrations are impeccable. The contrast between the colourful and bleak illustrations perfectly match the narrative. The relatively small size of the book makes it perfect for sharing with younger children.
When We Were Alone addresses the topic of residential schools and, just as importantly, aspects of Cree culture and language. There is such gentleness about When We Were Alone that makes it an appropriate book for the even youngest of readers. Simply put, this is a much-needed book.
Highly Recommended."
- Dr. Kristen Ferguson, CM Magazine
A quiet story…of love and resistance.… Flett’s collage illustrations, with their simplicity and earthy colors, are soulful and gentle…. All readers will connect with how Nókom lives in celebration of colors, her long hair, her language, and, most of all, her family. - The Horn Book Magazine, a starred review Flett's spring palette of warm blues and browns punctuated with splashes of red contrasts the loving moments between grandmother and granddaughter with stark winter whites and grays depicting boarding school life. The repetitive structure creates a predictable narrative; together the illustrations and Robertson's child-centred text make the boarding school experience accessible to a young audience without glossing over its harshness. Verdict: a poignant family story covering a part of history too often missing from library collections. - Chelsea Couillard-Smith, Hennepin County Library, MN Robertson's text moves between the present and the past, the girl's questions and Nókom's memories, which deepen and intensify the quiet, powerful way she lives out her own culture, day by day, in the present. A beautifully rendered story of resisitance and love, this is made all the more luminous by Flett's art - not just by flashes of fuschsia or scarlet among ochre grasses, but by her precisely observed images of the compact bodies of the uniformed children, bowed beneath the weight of the scissors, or lovingly tending each other's hair. Highly recommended. - Deirdre Baker, Toronto Star "Done simply, but with devastating clearness this is the story of a woman telling her granddaughter of her time in one of the boarding schools to which Canadian First Nation children were taken. She tells of the brutal methods used to strip them of their own cultures and how they managed to quietly, but firmly resist this. The lovely illustrations further the powerful emotional clout of this important book." - Monica Edinger, Educating Alice
"Done simply, but with devastating clearness this is the story of a woman telling her granddaughter of her time in one of the boarding schools to which Canadian First Nation children were taken. She tells of the brutal methods used to strip them of their own cultures and how they managed to quietly, but firmly resist this. The lovely illustrations further the powerful emotional clout of this important book." - Monica Edinger, Educating Alice
Educating Alice - Monica Edinger
A quiet story…of love and resistance.… Flett’s collage illustrations, with their simplicity and earthy colors, are soulful and gentle…. All readers will connect with how Nókom lives in celebration of colors, her long hair, her language, and, most of all, her family. - The Horn Book Magazine, a starred review
02/01/2017 K-Gr 3—A young girl learns about family and heritage in this gentle picture book about the legacy of Native American boarding schools. Working in the garden with her grandmother, a pigtailed girl asks why her "Nókom" wears colorful clothing and her hair in a long braid. Her grandmother explains that as a child, she was sent far away from her family to a school where she was forced to wear plain clothing and chop off her hair. "They wanted us to be like everyone else," she explains. But when they were alone, the children would cover themselves in the fall leaves and braid grasses into their hair in order to recapture the identities they left behind. As her grandmother speaks Cree to a passing bird and sits laughing with her brother, she shares how it feels to be forbidden to speak the only language you know and how stolen moments with a sibling can feel like a lifeline to home. "Now, I am always with my family," the grandmother says. Flett's spring palette of warm blues and browns punctuated with splashes of red contrasts the loving moments between grandmother and granddaughter with stark winter whites and grays depicting boarding school life. The repetitive structure creates a predictable narrative; together the illustrations and Robertson's child-centered text make the boarding school experience accessible to a young audience without glossing over its harshness. VERDICT A poignant family story covering a part of history too often missing from library collections. A first purchase.—Chelsea Couillard-Smith, Hennepin County Library, MN
2016-10-12 In this illustrated book for children ages 4 to 8, a curious girl learns about how her grandmother held on to cultural touchstones when she was a child at a Native American residential school. The young girl who narrates this book notices one day, while helping her grandmother in the garden, that her Nókom (Cree for "grandmother") always does certain things. She dons colorful clothes; wears her hair long; speaks in Cree; and spends time with her brother, talking and laughing. But why? The book explains in the rhythm of a poem or song, repeating the structure of question and answer. For example, the girl asks, "Nókom, why do you wear so many colours?" and the grandmother replies, "Well, Nósisim…" and begins her story. She explains that as a girl, she once liked to wear many colors, but at her far-away school, all the children were dressed the same. Why? " ‘They didn't like that we wore such beautiful colours,' Nókom said. ‘They wanted us to look like everybody else.' " But in autumn, the girls would pile kaleidoscopic fallen leaves on themselves and found happiness that way. Now, Nókom always wears the most beautiful hues. Similar explanations follow: the school cut the girls' hair, wouldn't let them speak Cree, and separated family members, all to enforce conformity. Today, though, Nókom can flaunt her culture openly. Robertson (The Chief: Mistahimaskwa, 2016, etc.) handles a delicate task here admirably well: explaining residential schools, that shameful legacy, and making them understandable to small children. It's a dark history, and the author doesn't disguise that, but he wisely focuses the grandmother's tale on how, season by season, the students use creativity, imagination, and patience to retain their sense of identity. A beautifully quiet, bold strength arises from the continued refrain "When we were alone" and in how the children insisted on being themselves. Flett's (We Sang You Home, 2016, etc.) gorgeous, skillful illustrations have a flattened, faux naïve feel to them, like construction paper collage, a style that works perfectly with the story. She nicely contrasts the school's dull browns and grays with the riotous colors surrounding Nókom and gets much expression from her simple silhouettes. Spare, poetic, and moving, this Cree heritage story makes a powerful impression.