Botanist and educator Kimmerer, the author of Braiding Sweetgrass and The Serviceberry, recently made her picture book debut with Bud Finds Her Gift, illustrated by Naoko Stoop (Allida), about a girl finding her place in the natural world.

You’ve written several books that have resonated with adult readers. What inspired you to contemplate writing a children’s book—and why now?

The work of the cultural transformation to caring for the Earth is a long game, and it has to involve children. It’s particularly timely as children are increasingly engaged with computer screens. They’re not outside; they’re suffering from what has been called nature deficit disorder, so the idea of inviting children outside, reminding them of everything that is there for them, the lessons for them seems particularly important.

Coupled with this, is that in this time, when our values and when the land are under assault, adults and children can feel scared; they can feel powerless. I want to say to children that you have gifts you can give back to the Earth in return for everything you’ve been given. I want to cultivate agency for children in caring for the Earth. I want to help children feel their own power.

Do you worry that perhaps you’re preaching to the choir?

When you preach to the choir, they sing louder—they are more joyful. That then tends to attract people who think that this is a really great thing, and so they join the choir. That’s also the beauty of a children’s book: parents, no matter what their persuasion, experience those intimate moments when they’re reading to their child at bedtime. Parents are changed or influenced just as much as children are. A children’s book can be a surreptitious way to engage audiences who wouldn’t pick up Braiding Sweetgrass or The Serviceberry, but in large part because of Naoko’s stunning art, they will pick up Bud Finds Her Gift and hear a message that I think transcends difference.

Speaking of the illustrations, what are your thoughts on Stoop’s artwork?

One of my dearest hopes for the book was that there would be so much to notice that the children will, of course, be engaged with the text, but all the while, their eyes are moving over the page. The illustrations capture what I want readers to feel when they’re reading this book: joy. Naoko created magic for the reader.

Will you be writing another children’s book?

I have lots of ideas percolating in my head, but there’s nothing on the immediate horizon. I certainly have enjoyed this kind of collaboration, of working with an illustrator. I would absolutely be open to another children’s book.

Part of the learning curve for me in writing a picture book is that, oftentimes, the editor would say, No, you don’t have to say that: the illustrator will say that through her art. That movement from having to say everything to knowing that things will be shown is kind of liberating.

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