![]() ![]() In certain manga sketches and official artwork, this sometimes changes. In the anime, Sakura has short brown hair, short all-round with 2 raised partings, 2 curved ahoges, and 2 long thin strands on sides, and emerald green eyes. In Clear Card Arc storyline, she is a freshman attending Tomoeda Junior High School. Sakura is introduced as a 10-year-old girl who lives in the town of Tomoeda in Japan, where she attends Tomoeda Elementary School during the Clow Card Arc and Sakura Card Arc storyline. Sakura Kinomoto (木之本 桜, Kinomoto Sakura) is the eponymous heroine, and the protagonist character of CLAMP's manga series Cardcaptor Sakura and its anime adaptation. " Everything will definitely be alright." Dreaming Sharing via Akiho (subconsciously).Transform Clow Cards into Sakura Cards (3rd season).Seal and utilize the Clow Cards (1st-2nd seasons).This article was amended on 5 February 2023 to correct the spelling of the book Bridge to Terabithia.Sonomi Daidouji (1st cousin once removed) Her books have been shortlisted for many awards including the NSW Premier’s History Award, the Readings Children’s Prize, and Japan’s Sakura Medal Nova Weetman is a writer of 16 books for children and young adults, including Sick Bay, The Edge of Thirteen (winner of the ABIA Award 2022), Elsewhere Girls and The Jammer. And when they finish a book, it might stay with them and change their world, just a little, like Wilbur the Pig did for me. Regardless of the genre and of the tone of our stories, books are a place children come to hide, to learn, to laugh, and sometimes even, to cry. But many.Īnd I think we owe it to young readers to be honest, and not to pretend things are easy just because they are children. Books are a way we can teach young people how to understand the world is not just theirs. ![]() And I think it’s important to help children understand the incomprehensible so they can be more empathic and kinder. It won’t happen to most children in their young lifetimes. Not every kid will want to read about a parent dying. They just have to make us feel like we belong. Characters can seem like our best friends when we are kids. My teenage son made a new friend this year. So much so that six months after he had died, some of my daughter’s social group still didn’t know. They didn’t want to be known as the kids with the dead dad when they went back to school after the lockdowns ended. When my kids lost their dad, they didn’t want to talk about it. And then slowly she starts to let her step-uncle Graham share little moments of her grief because his mother died when he was young, and he understands what it feels like to mourn. She won’t discuss it with anyone, not even her dad. In The Jammer, Fred doesn’t talk about her mum dying. If they don’t understand something, then they’ll skip that bit or simply close the book. And the beauty of books is that children will take what they need when they are reading. We can explore death in children’s books through humour, fantasy, ghost stories and realism. It is also about love, hope, friendship and joy, because those are often the feelings that accompany the grief and the loss. It is not about her death, it is about Fred’s journey to finding a new family of disparate people, and about her realising that it is OK to feel sad and happy and everything in-between. My latest middle grade book, The Jammer, is about a 12-year-old girl called Fred whose mother has died before the story starts. Books can help children to process emotions while feeling safe. ![]() Now more than ever, in the light of everything that is going on in the world, we need to equip children with the skills to navigate emotional terrain – not protect them from it. We don’t need to overload young people with everything that adults carry, but we do need to honour them by being as truthful as we can for their age, and we can do this by leading them gently, and by giving them hope that things can change, or be survived. We must trust authors and illustrators to know how to present these experiences to children in age-appropriate ways. I believe that death, grief and other intense emotions have a place in children’s fiction. They watch films, they talk to their friends, they lose grandparents and pets and sometimes even parents, and they understand that life isn’t forever, and that sometimes people can die too soon. But dying isn’t something we can shield them from. The world is grim enough without handing them books that make them contemplate death. We want them to feel safe, loved and happy. Instead, it allowed me to feel the depths of sadness, anger and acceptance that Jesse feels.Īs parents, we want to protect our children from experiencing unnecessary heartache. Yes, it upset me, but it didn’t scare me or make me wary of living. Bridge to Terabithia was my literary introduction into the idea that a girl like me could die. ![]()
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