84 books like Fog Island

I make music. I write books. I’m drawn to scenarios in which people make music or books or art collaboratively, often spontaneously. I enjoy making music with kids because of how they can be creative spontaneously. Sometimes adults pretend to be creative in a way that a child might relate to, but a child can generally sniff out a pretender. And a pretend pretender can be unpleasant company for children and adults alike. These books were written by adults who know their inner child. Wonder, play and a tangential regard for social norms are their baseline to share the stories they’ve chosen to share.

I’m the happy father of five children, born between 2000 and 2017. So in my adult years, I have quite constantly lived in the company of young children, and I’ve started inventing stories for them. I have now six albums published in France, all of which were originally imagined for my kids just before we switch off the light for sleeping. Born in 1975, I live in Paris, I’m the chief editor of Philosophie magazine (a monthly publication with 50 000 readers), and I’ve published twenty novels and essays alas not available in English. I’m the president and co-founder of a creative writing school located in Paris, Les Mots.

I’m the happy father of five children, born between 2000 and 2017. So in my adult years, I have quite constantly lived in the company of young children, and I’ve started inventing stories for them. I have now six albums published in France, all of which were originally imagined for my kids just before we switch off the light for sleeping. Born in 1975, I live in Paris, I’m the chief editor of Philosophie magazine (a monthly publication with 50 000 readers), and I’ve published twenty novels and essays alas not available in English. I’m the president and co-founder of a creative writing school located in Paris, Les Mots.

I love the experience of reading a book that combines a known (to me or not!) story combined with elements that make it new again. It could be a parody, a “fractured fairy tale,” or a new retelling, funny or serious. For my book Little Red and the Cat Who Loved Cake, I read so many nursery rhymes and fairy tales in order to populate the town with fun versions of recognizable characters for Little Red to encounter, it makes me appreciate these books even more.

I’m the happy father of five children, born between 2000 and 2017. So in my adult years, I have quite constantly lived in the company of young children, and I’ve started inventing stories for them. I have now six albums published in France, all of which were originally imagined for my kids just before we switch off the light for sleeping. Born in 1975, I live in Paris, I’m the chief editor of Philosophie magazine (a monthly publication with 50 000 readers), and I’ve published twenty novels and essays alas not available in English. I’m the president and co-founder of a creative writing school located in Paris, Les Mots.

I make music. I write books. I’m drawn to scenarios in which people make music or books or art collaboratively, often spontaneously. I enjoy making music with kids because of how they can be creative spontaneously. Sometimes adults pretend to be creative in a way that a child might relate to, but a child can generally sniff out a pretender. And a pretend pretender can be unpleasant company for children and adults alike. These books were written by adults who know their inner child. Wonder, play and a tangential regard for social norms are their baseline to share the stories they’ve chosen to share.

I make music. I write books. I’m drawn to scenarios in which people make music or books or art collaboratively, often spontaneously. I enjoy making music with kids because of how they can be creative spontaneously. Sometimes adults pretend to be creative in a way that a child might relate to, but a child can generally sniff out a pretender. And a pretend pretender can be unpleasant company for children and adults alike. These books were written by adults who know their inner child. Wonder, play and a tangential regard for social norms are their baseline to share the stories they’ve chosen to share.

I make music. I write books. I’m drawn to scenarios in which people make music or books or art collaboratively, often spontaneously. I enjoy making music with kids because of how they can be creative spontaneously. Sometimes adults pretend to be creative in a way that a child might relate to, but a child can generally sniff out a pretender. And a pretend pretender can be unpleasant company for children and adults alike. These books were written by adults who know their inner child. Wonder, play and a tangential regard for social norms are their baseline to share the stories they’ve chosen to share.

I'm a writer and poet who loved reading books set in fantasy worlds like Narnia as a child. When I began writing for children, I realised my own magical experiences had been on family trips to India, where goddesses and temples, palaces swarming with monkeys, ice-capped mountains, and elephant rides were part of everyday life. The term ‘magic realism’ seemed to better fit my own fantasy world, Indica. Here, elemental magic is rooted in the myths and culture of young hero Minou Moonshine, expanding her experiences and guiding the search for her destiny. The children’s books I've chosen also contain supernatural and magical elements which are intrinsic to the protagonist’s world – no wardrobe needed!

Reading allows us to climb inside other people’s heads, to think their thoughts and feel their feelings. For children, in particular, books can be a way to understand new emotions. To name them and start to think about where they come from. As my son started to grow up, I wanted to write a story that helped him think about other people’s feelings. And that’s what The Hug and its follow-ups are all about.