SATA

• Our Lake - 2025 Kokila, New York, NY

• Angie Kang website - https://www.angiekang.net/

  Angie Kang is the author-illustrator of OUR LAKE (Kokila, 2025) and the illustrator of NAVIGATING NIGHT (Anne Schwartz Books, 2026), written by Julie Leung. She is also the Art Director of Vestal Review.

  The recipient of the Ezra Jack Keats Fellowship at MacDowell, she has also been supported by organizations such as the Virginia Center of the Creative Arts, Tin House, VONA/Voices, Napa Valley Writers’ Conference, the Sundress Academy of Arts. She was featured in Best Small Fictions 2024, named one of Narrative’s “30 under 30” writers, and shortlisted for the 2023 Cartoonist Studio Prize. Her work has appeared in The New Yorker, The Believer, The Rumpus, Ecotone, and elsewhere.

  For book-related enquiries, please contact Anjali Singh at The Anjali Singh Agency. For all other work enquiries, email angie.kang8@gmail.com.

  Selected Press:
  It’s Nice That
  Let’s Talk Picture Books
  Famous Writing Routines
  VAINE Mag
  The Peak
  New Pages
  The Patron Saint of Superheroes
  Shoutout LA

  Selected Clients:
  The New Yorker
  Penguin Random House
  Chronicle Books
  Levine Querido
  Holiday House
  Didier Jeunesse
  High Country News
  Sitka Fine Arts Camp

• The Anjali Singh Agency - https://www.anjalisinghagency.com/about-angie-kang

  Angie Kang is a Chinese-American writer and illustrator living in the Bay Area. She has been published in The Believer, The Rumpus, Narrative, The Offing, Okay Donkey Mag, Wildness, and others. She won the Beth Lisa Feldman Prize in Children’s Literature and April Sinclair selected her as the winner of the 2021 Subnivean Fiction Award. She was previously a Design Fellow at Chronicle Books and is presently the Art Editor of Vestal Review. Angie recently graduated from the Brown-RISD Dual Degree Program with a BFA in Illustration from RISD and a BA in Literary Arts from Brown University.

• Macdowell - https://www.macdowell.org/artists/angie-kang

  Angie Kang
  Region: Los Angeles, CA
  Residencies: 2024
  More: www.angiekang.net
  Angie Kang is a Chinese American illustrator and writer whose work has appeared in Narrative, Catapult, The Believer, The Rumpus, Ecotone, and elsewhere. She has received support from Tin House, the Napa Valley Writers’ Conference, VONA/Voices, and the Sundress Academy of Arts. She was shortlisted for the Cartoonist Studio Prize in 2023 and her debut children's book, Our Lake, will be published with Kokila in March 2025.

  At MacDowell, Kang worked on the script for a hybrid graphic/prose novel about twins. It is a linked short-story collection about three generations of a Chinese family: the first two generations, in prose, follow twin sisters, and the third generation, in sequential art, features an only son. As families with twins have an increased genetic likelihood of having more twins, twinhood becomes a means to explore inherited trauma.

• Famous Writing Routines - https://famouswritingroutines.com/interviews/interview-with-angie-kang/

  Writing Routines
  Interviews
  Interview with Angie Kang: “Sometimes when I’m struggling, I just don’t have much to say.”

  Written by
  Famous Writing Routines
  0
  Angie Kang is a Chinese-American artist & writer presently based in the Bay Area. Her work has appeared or is forthcoming in Catapult, The Believer, The Rumpus, and elsewhere. She is currently working on her debut picture book, Our Lake, coming out in 2025.

  Angie graduated from the Brown|RISD Dual Degree Program with a BA in Literary Arts and a BFA in Illustration. Previously a Design Fellow at Chronicle Books, Angie is currently the Art Editor of Vestal Review.

  Looking for inspiration to help you achieve your writing goals? Subscribe to our newsletter for exclusive insights into the routines, habits, and techniques of some of the most celebrated authors in history.

  Hi Angie, welcome to Famous Writing Routines, we’re so glad to have you here with us today! Your work spans across various genres, including fiction, poetry, and nonfiction, as seen in publications such as The Believer, The Rumpus, and Narrative Mag. How do you approach each genre differently and what draws you to each one?
  Thank you so much for having me—it’s an honor!

  I love the flexibility of working between different forms, but lately I’ve started feeling like the boundaries between genres are arbitrary. To me, the only difference between nonfiction and fiction is that I get to make up things in the latter. And even then, so much of my life seeps into my fiction.

  Poetry, however, has been a stranger to me for most of my life. The title “poet” feels heavy and important, and I don’t know if I will ever consider myself one. I do, however, love trying to write poems and letting language take the lead. Oftentimes, what starts in the form of a poem becomes a tunnel to a larger piece, fictive or otherwise.

  The distinction of genre I struggle with is actually between art and words. In addition to writing, I have a painting practice, and I’ve been interested in finding that intersection in graphic essays and/or other forms of sequential work. Sometimes I don’t know whether I want to describe or visually represent an image or action.

  These days, I’m always searching for the right way to say something, and it’s frustrating when I can’t tell which form would best house it. I’ve moved the same story through different genres trying to find a fit—it can feel like a huge waste of time.

  Recently, a writing mentor, Morgan Thomas, told me that shifting between forms, whether be from text to graphic or between poetry to prose, is a type of revision and productive play that allows us to better understand the content. I’ve been trying to hold onto that mindset as I experiment in my work.

  Your debut picture book Our Lake is highly anticipated. Can you give us a sneak peek into what readers can expect from the book, and what inspired you to write it?
  Our Lake is a story of two brothers returning to a lake they’ve visited many times before, but this time after losing their father. It’s a story about loss and healing, although rather than talking explicitly through and about grief, I try to write around it.

  This book actually started as a poem! Sometimes when I’m feeling particularly unmotivated, I’ll write a quick, low-pressure ekphrastic poem to loosen up. I find it easier to create based off of something that already exists. Our Lake was inspired by Milton Avery’s “Quarry Bathers” (1937), a painting depicting three figures: one diving into the quarry and the other two watching. My original poem described an imagined series of events ending with this dive.

  After my partner read it, he suggested I turn it into a picture book. In the next hour, I changed the ages of the characters, fine-tuned the language, and started working on sketches. It was a rare instance where everything came together quickly—I wish I could say that the process is always so smooth!

  As a former Design Fellow at Chronicle Books and current Art Editor of Vestal Review, you have had a wealth of experience in the publishing world. Can you share your journey and any advice you have for aspiring writers and artists looking to get their work published?
  In some ways, I think I entered the writing world through a side door. By having adjacent jobs in the industry, I learned so much about my own writing practice. When I started with Vestal Review, I was still in undergrad, deeply anxious about the future.

  I used to surf Submittable for job postings, and I happened upon this flash magazine that was looking for a web designer. I familiarized myself with VR, applied, and after being hired, I was able to learn the inner workings of a literary magazine. Similarly, the Chronicle Design Fellowship taught me everything from print design to the logistical structures of publishing books. I’m so grateful for the mentorship and the spaces that the folks at Chronicle carefully and deliberately nourished.

  Some trite but true advice that I remind myself of daily: Take your time. The publishing world moves at a glacial pace, and there’s no rush—not only in regards to one’s career, but also with each story. A good friend once told me that they needed to experience years of life before they knew how to complete certain stories. I think it’s easy to become fixated on one idea and want to single-mindedly see it through before starting anything else, but there’s no need to finish anything all at once. Your work will always be there, and you might just bring something new every time you return to it.

  Do you struggle to stay focused while writing? You’re not alone! That’s why Famous Writing Routines recommends Freedom – the ultimate app and website blocker for Mac, Windows, Android, iOS, and Chrome. With over 2.5 million users, Freedom helps writers stay on task and avoid distractions. Get started for free today and reclaim your productivity!

  Your work has been recognized through numerous awards and nominations, such as the Subnivean Fiction Award and the Casey Shearer Memorial Award for Excellence in Creative Nonfiction. How does it feel to receive recognition for your writing, and do awards play a role in your creative process?
  I’m always so grateful for awards, but receiving recognition can feel dangerously good. While it feels nice to know there are people reading and enjoying my work, I don’t think I’m a good writer when I’m too concerned about how it’s going to be received. That being said, I think it’s important to be able to celebrate yourself and your accomplishments—like everything else, it’s a balance, and I’m working on it!

  In your role as the Art Editor of Vestal Review, what criteria do you look for in pieces you select for publication, and how do you balance your responsibilities as an editor with your own artistic pursuits?
  Being an Art Editor is so fun! I’m able to uplift and connect with so many artists that I deeply admire. I’m always on the lookout for pieces that are tonally complex and intriguing—I love a painting or drawing that asks questions. I’ve found that the process of searching for artists and describing why I’m drawn to their work helps me distill and understand my taste. What are the constants (colors, subjects, themes) I’m attracted to, and how can I apply that in my own work, visual or literary?

  I think flexibility is the key to balance. I used to love rigid schedules, but I would become flustered when anything unexpected cropped up. Nowadays, I’m a little more relaxed, and I’m happy to move things around as they make sense. Somedays, I can stay up late and work a little longer if I’m feeling inspired; other days, I’ll have an unexpectedly large workload and have to shuffle my creative practice to the side—that’s just the way it goes.

  The writing and revision process can be challenging. Can you share your approach to this process and any tips you have for staying motivated and inspired?
  I love writing, but I am often stuck. I used to sit down and try to force the words out, but that’s never really worked for me. Sometimes, stream-of-consciousness writing helps me get going, but what I’ve realized is that sometimes when I’m struggling, I just don’t have much to say.

  In those cases, I need to fill myself with art (paintings, books, films) and life (friends, family, strangers). Bit by bit, the ideas start to drip in and after a while, when I’ve saved enough, then I can sit down and pour those collected experiences out in writing.

  I’ve heard of writers who never revise, but for me, writing is so iterative. There are two main types of revision for me: The first includes structural changes, and the other is fine-tuning the words. I think those two kinds can be conflated, and it’s important to know what your story needs. Sometimes, I jump into line revisions when the heart of the story hasn’t been fleshed out enough.

  Then, I’ll have to make structural edits and delete things I feel precious about. I’ve learned it’s easier to make changes when everything is new and malleable. Change the large things first! And this piece of evergreen advice has never steered me wrong: give yourself time to edit, and time before you edit.

  Can you tell us about your writing routine? What does a typical day look like for you?
  Since I freelance, every day looks a bit different depending on what projects I’m working on. Many days are full of work, life, or chores, and I don’t write at all. But when I am in the middle of a long term project, I’m usually excited enough to start the day early, right after I wake up.

  I like to write in complete silence, so I either put in earbuds as I work next to my partner (also a freelance artist), or I shut myself away in a dark little nook. I’ll reread and assess what I wrote yesterday, making minor edits as they come.

  Then, I start writing. The secret to actually getting started for me is how I end the writing day. I like to stop with one thread still loose, right before I’m completely out of ideas. That lingering thought helps guide me back into the story and it’s much easier to slip into the mindset of writing. The difficult part—starting—is over and momentum propels me forward.

  Lately, I’ve been trying to take more breaks! I know it’s unhealthy for a body to remain immobile for so long. Sometimes, if I have multiple projects I’m working on, I’ll stop writing briefly and move to something else (illustrations, editing, art directing, designing, etc) and then return when I’m tired of that task. It’s like targeting different muscles at the gym—one muscle is getting rest, but I’m maximizing the time I can spend working (out) overall.

  I’ve started ending my work days after dinnertime, choosing instead to spend that time actively resting—maybe watching a show, seeing friends, or reading.

  If you could have a conversation with any author throughout history about their writing routine and creative process, who would that person be?
  Ooh. This is a tough one—there are so many contemporary writers today that I’d love to speak to now, but if it’s anyone throughout history, I’ll choose someone from the past. I think maybe Margaret Wise Brown, most known for the iconic Goodnight Moon! I read a New Yorker article that described her as mercurial and mystical, with an electric life and radical, thoughtful writing. I’d love to chat with her about children’s literature and hear her theories about both shaping and entertaining an adolescent mind.

  I’d love to know about the books you’re reading at the moment. What have been some of your favorite recent reads?
  I’ve been reading a lot of graphic novels lately: I just read Men I Trust by Tommi Parrish, which is a gorgeous book (completely hand-painted!) that examines intimacy through two unhealthy characters who begin an intense friendship. I also recently finished Shubeik Lubeik by Deena Mohamed, a graphic novel following interconnected characters in a world where wishes can be bought and sold. Mohamed constructs an elaborate system for these wishes, complete with a colonial history, religious conflicts, and political organizing surrounding them—an expertly told and deeply fascinating book!

  What does your current writing workspace look like?
  I have a long, beautiful desk that doubles as my painting space—I like to keep its surface as clear as possible. However, this past winter, I’ve also found myself writing on my laptop in bed, with a water bottle nearby and my phone as far away as possible.

• Let's Talk Picture Books - https://www.letstalkpicturebooks.com/2025/03/lets-talk-illustrators-314-angie-kang.html

  March 4, 2025
  Let's Talk Illustrators #314: Angie Kang
  I was so lucky to catch up with up-and-coming author-illustrator Angie Kang about her debut picture book Our Lake. I hope you enjoy taking a look at this beautiful, sweet book with us and how it came together!

  About the book:
  Today, Brother is taking me up to swim in the lake like Father used to.

  I want to thank him for bringing us here, but I can’t find the words.
  Instead, I loop my arms around his torso, and he does the same back.

  Here, in our lake, the water holds us close.

  On a sweltering hot day, a little boy mirrors his brother as he takes off his shirt, stretches, and walks toward the edge of the tall rock, ready to dive into the cool lake waters glistening below. Only this time, Father is not here. And the water looks so far away. How can he take the plunge?

  Peek underneath the dust jacket:

  And check out the endpapers:

  Let's talk Angie Kang!

  LTPB: Where did the idea for Our Lake come from? Why did you choose to tell this story?

  AK: Our Lake actually began as an exercise! Sometimes before writing, I warm up by drafting quick, no-pressure ekphrastic poems based on paintings I like. One day, I came across the painting "Quarry Bathers" by Milton Avery. I dashed off a quick narrative poem that began with “Brother takes me to go bathing in the quarry”—similar to the opening of the book, but not quite. It was a totally different piece then: My poem told a fairly straightforward story of two that culminated in the speaker diving into the water and thinking his reflection is another person reaching out toward him. Retrospectively, what was interesting about the poem is how I had excised an entire character from the piece upon which it was based—Avery’s painting features three figures, but my poem only had two. I really had no intention of doing anything with the poem, but I shared it with my husband after I had finished, and he told me I should try to turn it into a picture book. It wasn’t there yet, he clarified, but it had the bones of something promising.

  I had been working on several picture book manuscripts at the time, but nothing felt right. Looking back, I realize that I had been subconsciously changing my register when approaching text for children. While keeping an audience in mind is important, I was writing what I thought children’s books sounded like without staying trusting to my sensibilities or voice. Only when I wrote without expectation did something come out that felt true. Maurice Sendak said it best: “I don’t write for children. I write, and someone tells me ‘That’s for children.’”

  When my husband told me that I had finally hit on something, I returned to revise with renewed inspiration. In editing, I started paying attention to the figure that I had removed from the story. What if his absence was itself a presence? At the time I wrote this poem, someone in my life had lost someone important to them. I don’t think I was consciously writing about their loss, but grief was certainly on my mind. There are so many things that can shape art, and so much of it is unconscious—only visible in retrospect.

  In the subsequent draft of this book, I decided that each brother would have separate experiences with grief. The book is told through younger brother’s point of view, so we have more insight on his emotional journey and understand that his newfound fear of the lake stems from his sadness. Conversely, I wrote older brother to be a boy who hides his pain. Throughout the story, he attempts to stand in for Father—he guides his younger brother to the lake, models the rituals of disrobing, stretching, and diving, and encourages his brother to come into the water after him. He literally wears Father’s hat! While he acts as solace for his younger brother, he is still hurting in private. It isn’t until later in the book when little brother realizes his older brother might be grieving as well do the two come together and offer comfort to each other. Grief is heavy, better shared together.

  In addition to adding the layer of Father (and his absence), I also later changed the quarry into a lake as quarry swimming can be quite dangerous. Many details ended up different from the initial poem, but in the end, the brothers were still brothers, the dive was still a dive, and the reflection at the end of that first poem began to carry more meaning in the final book.

  LTPB: Can you talk a little bit about the visual evolution of the book? As you got to know the characters and found the right tone for the book, how did your illustrations evolve?

  AK: I think what enabled me to find the voice for the story was ironically what held me back in the visual art. Because I was inspired by Avery’s painting, I envisioned the lake as a similar sort of place—a sharp landscape with a steep cliff edge. When I sketched it out, there was hardly any foliage around the lake—just a bald stone and deep water. I was really attached to that nonexistent lake. And when it came to fleshing out the location, I tried to find a lot of reference for this lake I was imagining. But of course, there was nothing I found that was quite right. I eventually had to let go of referencing a literal place and give myself permission to make the space up completely. And in doing so, I felt more free. I started adding foliage here and there, designing trees with unusual colors and having fun with the process.

  I did two rounds of sketches—the first when I shared my dummy, and the second when I was trying to clarify important decisions like colors and value. Compositionally, I shifted things around too, but that wasn’t always for the better. Sometimes the sketches would go through several changes just to end right back where they started!

  For the flashback scenes, I wanted the past to be tinged red—like how sun looks when you close your eyes. The past actually has more naturalistc colors than the present, which is infused with purples in the shadows and water. When she saw my color sketches, my brilliant editor Namrata Tripathi pointed out that shift can speak to how grief alters a landscape, and how it can make even a familiar landscape feel strange and unfamiliar. After hearing that, I really leaned into that!

  Also, last minute, after all my paintings had been scanned, I decided I wanted to add a little red bird to accompany the boys on their journey to the lake. As red is the color of Father’s hat (and the color that tinges his past) I wanted this bird to show how Father would still be with them in these small ways: even in a hat, even in a bird. Last minute, I drew a sheet of red birds to digitally add into select scenes, notably the one where younger brother finally soars! (On the same sheet, I also drew a polaroid of the boys and their father, just for fun. It ended up appearing on the copyright page.)

  LTPB: What did you find most difficult in creating this book? What did you find most rewarding?

  AK: Going into this, I had a lot of preconceptions about what one “has to do” when making paintings that I had to unlearn. For instance, professors had told me that you “have to” paint larger so that when you shrink it down to print, everything looks tighter. I made a few paintings at 120%, but it was tricky for me to get the same marks, details, and feeling from my sketches. I like to work small in my personal paintings, and I felt I had to ask permission from my editor to do so (which I literally did. She said yes). I ended up working at 80%, which helped the art feel even looser and the texture more apparent. Later I was surprised to learn that what I had been doing wasn’t illicit, but rather a fairly commonplace practice for many artists! While putting together these illustrations, I realized there’s no right way to make a book—just whatever gets the best result at the end.

  This may be less of an interesting process, but I also found the color matching to be difficult! In the beginning, the colors weren’t scanning right. Though I had committed to having a lake that looked nearly violet, the initial scans were looking far more purple than intended. My wonderful art director, Jasmin Rubero, was tireless in her efforts to get the colors just so. It was a lot of back and forth with test prints and edits, and I’m enormously grateful for her attention to detail and eagle eyes!

  LTPB: What did you use to create the illustrations in this book? Is this your preferred medium?

  AK: I used gouache, Caran D’ache crayon, and Prismacolor colored pencil for this book, which is what I typically use for other illustrations. I like having a mess of supplies all laid out in front of me so I can grab whatever I need at the moment. I also appreciate the texture of drawing utensils and how crayon in particular can melt into the paint. Gouache in particular is so portable, versatile, and dependable. These days, it’s my favorite medium to work in.

  I used only paint in oils, but I have trouble scanning it properly, and both the drying time and fumes make it a bit prohibitive in an apartment-space. Maybe someday I’ll return to it, but for now I’m really happy with my toolbox as is.

  LTPB: What are you working on now? Anything you can show us?

  AK: I’m working on Navigating Night, a book written by the inimitable Julie Leung (Anne Schwartz Books)! It’s about a girl and her Baba who deliver food together at night and over the night, reach an understanding together. It’s a really touching story that makes me think of my own father and our many hours together in the car. I’m stretching myself with these illustrations. As the book takes place over the course of a night and largely in a car, it’s a departure from the imagined lake in the hot sun! I’m able to explore things I wouldn’t have naturally gravitated toward, and I feel so lucky to be illustrating this one. Hoping to share some work from this soon!

  I’m also working on my next author/illustrator picture book with Kokila loosely based off of my life. It’s also a change from the fictionalized Our Lake, and I’m really excited about this new, personal direction.

  LTPB: If you got the chance to write your own picture book autobiography, who (dead or alive!) would you want to illustrate it, and why?

  AK: Wow, it’s tough to pick! I’d have to choose Lisbeth Zwerger, whose work was foundational to my understanding of composition and mood. I love how she can reimagine beloved texts (her versions of The Wizard of Oz, Swan Lake, and The Nutcracker immediately come to mind). I’d be fascinated as to how she might take my life and defamiliarize it to me as only she could—thereby making it seem more interesting and whimsical, I hope!

  A lake-sized thank you to Angie for taking time to answer some questions! Our Lake publishes from Kokila TODAY!

Kang, Angie OUR LAKE Kokila (Children's None) $19.99 3, 4 ISBN: 9780593698235

Grief and remembrances of times past converge on a hot day.

A pair of unnamed, East Asian-presenting siblings hike to a nearby lake that holds memories both cherished and painful. As they approach the water, both fear and sadness keep the younger sibling, who narrates, from jumping in. The children's beloved father has apparently died, and the protagonist can't help thinking of how he used to accompany the kids on swims. After Brother takes the plunge and spurs his sibling to follow suit, the younger child shakes off the fear, conveyed through squiggly green lines emanating from the little one's body, resembling the ripples of the water. The protagonist draws strength not only from Brother's encouragement, but also in the comforting memories of the good times they both had with their father. The siblings realize that despite their sadness, they still have each other: "Here in our lake, / we are all together." Debut author/illustrator Kang has created an effective look at how activities that once brought joy can fill us with dread following loss. The gouache, crayon, and colored pencil illustrations, with their warm yellows and deep blues and purples, convey a sense of calm and comfort while also acknowledging the anxiety of the unknown.

A sensitive look at the delicate process of navigating loss.(Picture book. 5-8)

Copyright: COPYRIGHT 2025 Kirkus Media LLC
http://www.kirkusreviews.com/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
"Kang, Angie: OUR LAKE." Kirkus Reviews, 15 Jan. 2025. Gale General OneFile, link.gale.com/apps/doc/A823102194/ITOF?u=schlager&sid=bookmark-ITOF&xid=90917016. Accessed 28 July 2025.

* Our Lake

by Angie Kang; illus. by the author

Primary Kokila/Penguin 40 pp. 3/25 9780593698235 $19.99

e-book ed. 9780593698242 $10.99

At the start of this bittersweet ode to the enduring bonds of family, the unnamed young narrator and "Brother" embark on a summer outing, hiking to a jewel-like lake complete with a massive rock perfect for diving. Although they follow all the same rituals (changing, stretching) that "Father used to," the narrator hangs back, afraid, even as Brother fearlessly dives into the lake's cobalt depths. What's changed? The answer prompts the narrator to relive memories of earlier visits to "our lake" with Father and thereby reclaim some former courage. Art rendered in gouache with colored pencil and crayon is saturated with the colors of midsummer. Dark blue and green trees, whose shapes seem to mimic heat waves, rise into a lemon-yellow sky; memory takes shape through teal and chartreuse swirls that mingle with the sky and with the lake's rich blues. The play of bubbles, light, and shadow on water is especially striking. Without being explicit, the story encourages readers to draw their own conclusions about the siblings' shared loss. Kang's debut picture book is a quiet portrait of the ways in which grief takes us by surprise, and its glorious final celebratory splash offers a radiant reminder of how joy and connection can exist alongside sadness.

Copyright: COPYRIGHT 2025 A wholly owned subsidiary of Media Sources, Inc. No redistribution permitted.
http://www.hbook.com/magazine/default.asp
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
Piehl, Norah. "Our Lake." The Horn Book Magazine, vol. 101, no. 3, May-June 2025, pp. 64+. Gale General OneFile, link.gale.com/apps/doc/A839824595/ITOF?u=schlager&sid=bookmark-ITOF&xid=697d1ea7. Accessed 28 July 2025.

Our Lake

Angie Kang. Kokila, $19.99 (40p)

ISBN 978-0-593-69823-5

* Kang debuts with a deeply felt story about siblings returning to a cherished place--"Brother is taking me up to swim in the lake like Father used to." In loosely painted, expressive gouache, crayon, and colored pencil spreads, two figures head up a slope amid deeply saturated blues, greens, and magentas. The duo prepare to swim in the bright sun: "Brother takes off his shirt. I take off my shirt. Brother stretches. I stretch." After Brother dives easily off a rock into the water, the younger sibling freezes, the sequence capturing each beat of the child's overwhelm ("How did I ever do this before?"). Then the image of a bearded man in a j aunty red hat appears ("On the inside of my eyelids, I see Father"). Next, Father's reflection materializes in the water, and the child's diving in offers a kind of reunion. Kang pictures the dreamlike moment the two meet, hands outstretched ("He has my nose and my eyes"). Foregrounding the hard work of moving forward, this story about loss offers a vision of a place where "we are all together." Characters are portrayed with dark hair and pale skin. Ages 4-8. Agent: Anjali Singh, Ayesha Pande Literary. (Mar.)

Copyright: COPYRIGHT 2025 PWxyz, LLC
http://www.publishersweekly.com/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
"Our Lake." Publishers Weekly, vol. 272, no. 2, 6 Jan. 2025, p. 67. Gale General OneFile, link.gale.com/apps/doc/A828300420/ITOF?u=schlager&sid=bookmark-ITOF&xid=b557244a. Accessed 28 July 2025.

"Kang, Angie: OUR LAKE." Kirkus Reviews, 15 Jan. 2025. Gale General OneFile, link.gale.com/apps/doc/A823102194/ITOF?u=schlager&sid=bookmark-ITOF&xid=90917016. Accessed 28 July 2025. Piehl, Norah. "Our Lake." The Horn Book Magazine, vol. 101, no. 3, May-June 2025, pp. 64+. Gale General OneFile, link.gale.com/apps/doc/A839824595/ITOF?u=schlager&sid=bookmark-ITOF&xid=697d1ea7. Accessed 28 July 2025. "Our Lake." Publishers Weekly, vol. 272, no. 2, 6 Jan. 2025, p. 67. Gale General OneFile, link.gale.com/apps/doc/A828300420/ITOF?u=schlager&sid=bookmark-ITOF&xid=b557244a. Accessed 28 July 2025.

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