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“You going back for home or for your pet?” “They’re the same thing.” PAX by Sara Pennypacker & illustrated by Jon Klassen

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War has many consequences, both great and small.
Oftentimes it is extremely difficult to do the right thing.

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What are the effects of war?
What defines "family"?

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KIRKUS REVIEW

A motherless boy is forced to abandon his domesticated fox when his father decides to join soldiers in an approaching war.

Twelve-year-old Peter found his loyal companion, Pax, as an orphaned kit while still grieving his own mother's death. Peter's difficult and often harsh father said he could keep the fox "for now" but five years later insists the boy leave Pax by the road when he takes Peter to his grandfather's house, hundreds of miles away. Peter's journey back to Pax and Pax's steadfastness in waiting for Peter's return result in a tale of survival, intrinsic connection, and redemption. The battles between warring humans in the unnamed conflict remain remote, but the oncoming wave of deaths is seen through Pax's eyes as woodland creatures are blown up by mines. While Pax learns to negotiate the complications of surviving in the wild and relating to other foxes, Peter breaks his foot and must learn to trust a seemingly eccentric woman named Vola who battles her own ghosts of war. Alternating chapters from the perspectives of boy and fox are perfectly paced and complementary. Only Peter, Pax, Vola, and three of Pax's fox companions are named, conferring a spare, fablelike quality. Every moment in the graceful, fluid narrative is believable. Klassen's cover art has a sense of contained, powerful stillness. (Interior illustrations not seen.)

Moving and poetic. (Animal fantasy. 9-13)

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PAX by Sara Pennypacker , Jon Klassen | Kirkus Reviews

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A motherless boy is forced to abandon his domesticated fox when his father decides to join soldiers in an approaching war. Twelve-year-old Peter found his loyal companion, Pax, as an orphaned kit while still grieving his own mother's death.

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There is some mature content (violence, death) and vocabulary but if an adult & child are reading it together, I'd agree with the 8-12 recommendation.There is some mature content (violence, death) and vocabulary but if an adult & child are reading it together, I'd agree with the 8-12 recommendation. I'm reading it with a second grader and we're taking time to discuss the complexities and to talk about the harrowing parts of the drama. As a librarian and parent, I'll recommend it to adults too...it's a beautiful story. ...more (less)

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There is some mature content (violence, death) and vocabulary but if an adult & child are reading it together, I'd agree with the 8-12 recommendation.There is some mature content (violence, death) and vocabulary but if an adult & child are reading it together, I'd agree with the 8-12 recommendation.

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Sara Pennypacker, acclaimed author of the popular "Clementine" series (Disney-Hyperion), is best known for crafting lovable characters, relatable drama, and laugh-out-loud moments. Her forthcoming middle grade novel, Pax (HarperCollins/Balzer + Bray, Feb. 2, 2016), is a step in a new-and much darker-direction. The tale of a boy named Peter and his tame pet fox, Pax, who are separated and struggle to find their way back to each other in the midst of a war, has already earned four starred reviews, including one from SLJ, in which we called it "a startling work of fiction that should be read-and discussed-by children and adults alike." Children's literature gurus from Betsy Bird to John Schumacher to K.T. Horning have praised the work for its visceral storytelling, complex themes, and artful narrative. Pennypacker caught up with SLJ to chat about this deeply moving story, her research and writing process, and how this book has forever changed her relationship with foxes.
This is a tale of friendship and love, but it's also very much a story about war and the destruction and violence of human conflict-and those most vulnerable to that violence. What sparked this story in you? What made you want to explore this topic for middle grade readers?
For a long time, I'd wanted to write about the injustice of adults committing wars and children paying for them, but I never felt strong enough to tackle such a heavy subject. It was the other side of the book-the relationship between Peter and Pax, which represents the amazing bonds that children can form with animals-that made writing it possible. I'm careful not to take a position in Pax, but I do pose the question "What does war cost?" Middle graders are the perfect audience-they are passionate about books, passionate about justice, and just opening up to the big questions in the world.
Peter and Pax's story is set in an undefined time and place-it could be the past or modern day or the near future. It might take place in America but not necessarily. Why did you set your story against this type of backdrop?
I didn't want to allow readers the comfort of seeing the setting as "another": another place or another time. My goal was to have readers feel that what happens in the book could happen in their town tomorrow. Because, sadly, it could.
Peter's best friend, whom he must leave behind in the heartbreaking first scene, is a tame fox. Why a fox? Did you always know it would be a fox, or were there other animals you considered?
Early on, I auditioned several animals for the role! Once I decided the book would be realistic instead of allegorical, the field was narrowed to only those wild animals that could be tamed and that shared certain characteristics with humans-foxes are extremely smart, and they're loyal, social, and playful. As a plus, they behave in some ways like dogs and in some ways like cats, which makes them relatable to kids.
Did you do a lot of research on the behavior of foxes? Did you discover anything interesting or surprising?
I did do a lot of research-what amazing creatures! They are so adaptable that they thrive on every continent except Antarctica, in both cities and wilderness. The most interesting thing I learned was that foxes are the only animals that actually become smarter through the process of domestication. All others-dogs, cows, sheep, etc.-lose intelligence. The more I learned about them, the more respectful I became, and that led me to ask a red fox expert to read the manuscript to make sure the behavior is correct.
The plot is well structured. It feels almost Shakespearean. What was your process like? Did you outline the major aspects? Did you start with character? Did you always know how things would end?
You're right- Pax is tightly structured along the classic Hero's Journey, the three-act structure, more than any other book I've written. First of all, because it is a journey story. But mostly because of the dual narrative-I feared getting off-track with the expanded territory two stories naturally could cover, so I plotted tightly and ruthlessly cut any scenes that strayed. I also did it because an underlying theme of the book is that all creatures on Earth are journeying on paths that parallel or intersect each other. We all encounter similar challenges and experiences; we are not isolated. "Two but not two," as Vola explains it.

The book began with character-it was always going to be a sentient animal commenting on human war. In the beginning, though, Peter didn't have his own narrative-he was merely going to be "the boy" who belonged to my main character. But I saw such richness in inviting him to tell his side that halfway through writing Pax, I opened the book up.

The ending was set early on. I was walking in the woods, and it just came to me in a bolt: the ending image needed to be the same as the image that set the plot in motion-although it would have a completely different meaning for both Pax and Peter the second time and would show how each character had grown.
This book has haunted me. After reading the last line, I shut the cover and cried for a bit. Then I turned it over and started reading again. I find myself wondering about Peter and Pax and Vola. Do your characters haunt you? Do you ever talk to them once a book is completed?
Oh, thank you so much for telling me this! It's exactly the reader response I want, and I tried many endings to get to a place that leaves you wondering what happens in the following minutes and in the following months and years. When I wrote the ending from Pax's point of view, by the way, it made me cry too much-Pax is experienced enough to now understand that his boy might be "false-acting" when he throws that toy the last time. That inevitable loss of innocence was heartbreaking to me, so I actually chose the softer ending!

Yes, the characters do stay with me. For one thing, the very same things are happening all over the world, every day, to children wherever there is war. Every time I read the news, I personalize the facts with Peter and Vola and Pax. And of course these characters have a certain reality for me as an author. Pax is the one I wish I could talk to-now, whenever I see a fox, I try to engage by stopping in my tracks and looking directly at it, trying to project some kind of empathy. It feels like a valuable thing to do.

Luckily, I know that all of the characters go on to live the lives they were meant to have, but could not have achieved that if they hadn't intersected with one another.
When you get a chance to read, what do you enjoy? Are there any recent books you'd recommend?
I love fiction. On my bedside table there are usually both an adult title and a middle grade novel. But recommending titles is too hard-I'll give you the answer I gave the readers who asked me that at a school visit yesterday: The book I love best is the one I'm in the middle of, and that changes weekly.

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War Through a Child's-and a Fox's-Eyes: Sara Pennypacker on Her New Novel, Pax | Under the Covers

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Sara Pennypacker, acclaimed author of the popular "Clementine" series (Disney-Hyperion), is best known for crafting lovable characters, relatable drama, and laugh-out-loud moments. Her forthcoming middle grade novel, Pax (HarperCollins/Balzer + Bray, Feb. 2, 2016), is a step in a new-and much darker-direction.

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Foxes are fable animals: Their fur carries the electric charge of literary history. As with cats, their faces suggest they have no need of us, and in literature they have all the power that goes with independence. There are the foxes in Machiavelli's "The Prince" ("One must therefore be a fox to recognize traps. . . . ") and Jean de La Fontaine's verses, and there's Disney's Robin Hood, matinee idol that he was. For me the most memorable literary fox until now has been the baby fox in Ted Hughes's poem "Epiphany" - a distilled ball of "mannerless energy" and "old smell," and a test of the poet's ability to bend his life and marriage to fit the presence of something so wild and destructive, and so beautiful. Pax, the eponymous fox of Sara Pennypacker's new novel, is built on the model of Hughes's cub, half wild and half domesticated, a galvanic presence fit to join the ranks of fiction's great foxes.

The novel is told through alternating chapters, with one strand following 12-year-old Peter and the other Pax, as each grows wilder and tougher. After the death of his mother, we learn, Peter had rescued a baby fox from the cold and reared it as a pet and friend. When his father enlists in an unspecified war ("It's heading for our town. They'll take the river"), Peter is sent to live with his grandfather, and Pax is sent into the wild, the car speeding away as he watches in bewilderment.

In the opening chapters Peter rebels, slipping out in the night to walk 200 miles back to the spot where Pax was released. What follows is, structurally, a classic quest narrative; Peter walks through dark woods both literally and metaphorically, breaks his foot, encounters characters who help or threaten him. The most vivid of these is Vola, a female war veteran with a prosthetic leg who takes Peter in, and together they face down their own traumas: the suffering of war, physical pain and inherited anger. What makes the book truly remarkable are two things: the quality of Pennypacker's prose, which is sharp and restless and vulpine, and the pull of the love between Peter and Pax.

There are resonances in this love of Katherine Applegate's Newbery Medal-winning "The One and Only Ivan," which shares the intimate use of the animal voice. "Pax" also offers a meditation on the bond between children and animals, and how the longing for closeness to the animal world shapes childhood: the desire to touch, to squeeze, to be loyal to something as familiar and as unknowable as a pet.

Of course, for a writer to give voice to an animal is to purport to offer up a secret, and the difficulty becomes how to tell it without shading into cuteness. Many writers, even Kipling, have failed, in books in which the animal becomes the mouthpiece for the moral. Like Applegate and E. B. White before her, Pennypacker succeeds. In an author's note, she explains that "fox communication is a complex system of vocalization, gesture, scent and expression. The 'dialogue' in italics in Pax's chapters attempts to translate their eloquent language." Pennypacker, the author of several well-regarded books for children, including the "Clementine" early chapter-book series, uses the chapters in which Pax speaks to deliver something more, too: a sense of enchantment in a landscape freshly discovered, as Pax explores the natural world for the first time in the company of feral foxes. "Pax" is not comparable tonally to "Charlotte's Web" - it has less irony and wit and a less insouciant protagonist - but Pennypacker does share White's resistance to sentimentality, offering in its place a pragmatic kind of awe. White wrote that he "always felt charged with the safekeeping of all unexpected items of worldly or unworldly enchantment, as though I might be held personally responsible if even one were to be lost." In this aspect, Pennypacker, with "Pax," may be his heir.

The book is illustrated by the Caldecott Medal winner Jon Klassen, whose style is a perfect fit. His sharpness of line maps onto the jagged, sharp-edged quality of growing up, which Peter must do. In the end, Peter builds himself back up from scratches and mistakes, piecemeal, and ends the journey braver and bolder and wiser than he began it. "Pax" the book is like Pax the fox: half wild and wholly beautiful.

PAX

By Sara Pennypacker

Illustrated by Jon Klassen

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Foxes are fable animals: Their fur carries the electric charge of literary history. As with cats, their faces suggest they have no need of us, and in literature they have all the power that goes with independence. There are the foxes in Machiavelli's "The Prince" ("One must therefore be a fox to recognize traps.