SATA
ENTRY TYPE:
WORK TITLE: Victor, the Wolf with Worries
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: www.catherinerayner.co.uk/
CITY: Edinburgh
STATE:
COUNTRY: United Kingdom
NATIONALITY: British
LAST VOLUME: SATA 407
RESEARCHER NOTES:
PERSONAL
Born in the United Kingdom; married; husband’s name Colin; children: two.
EDUCATION:Attended Leeds College of Art; Edinburgh College of Art, B.A. (visual communication and illustration; with honours).
ADDRESS
CAREER
Author and illustrator. Inaugural artist-in-residence at Edinburgh International Book Festival, 2010; has also served as illustrator in residence at Edinburgh Zoo. Exhibitions: Works exhibited at galleries in Edinburgh, Scotland, and elsewhere in the United Kingdom, including the Sarah Wiseman Gallery, Oxford, England, ca. 2013—.
AWARDS:Booktrust Early Years Award for Best New Illustrator, Bookseller, and Victoria & Albert Illustration Award shortlist, both 2006, and Kate Greenaway Medal short list and Royal Mail Scottish Children’s Book Award shortlist, both 2007, all for Augustus and His Smile; Kate Greenaway Medal, Booktrust Early Years Award shortlist, and UKLA Children’s Book Award shortlist, all 2009, all for Harris Finds His Feet; Booktrust Early Years Awards shortlist, 2009, for Sylvia and Bird; Kate Greenaway Medal shortlist and Booktrust Early Years Awards shortlist, both 2011, both for Ernest; UKLA Children’s Book Award and Kate Greenaway Medal nomination, both 2012, both for Iris and Isaac; Kate Greenaway Medal shortlist and Scottish Children’s Book Award shortlist, both 2012, and Picture Book of the Year award, Collectieve Propaganda van het Neder landse Boek (Netherlands), 2014, all for Solomon Crocodile; Kate Greenaway Medal nomination, 2014, for Abigail.
WRITINGS
SIDELIGHTS
A writer and illustrator based in Scotland, Catherine Rayner is the creator of such popular children’s books as Augustus and His Smile, Iris and Isaac, Arlo the Lion Who Couldn’t Sleep, and Abigail. Featuring animal protagonists, her stories explore friendship, self-confidence, and other themes familiar to young readers. Rayner has received a host of honors for her works, among them a Kate Greenaway Medal for Harris Finds His Feet. Discussing her work for children, a contributor to the Booktrust website praised the “subtle variations of texture and colour” found in Rayner’s illustrations.
Asked by an interviewer on the Federation of Children’s Book Groups website about her origins as an artist, Rayner responded, “I have been drawing for as long as I can remember! I’ve always found drawing therapeutic, and I’ve always loved books. (I was the child who secretly loved it when it rained as it meant you could stay indoors and draw.) I used to draw our pets, we had a sausage dog called Wilfred and he featured in most of my pictures. The first book I ever wrote, illustrated and made was about him being naughty. My mum still has it. I was about four. I think I knew then I wanted to be an author and illustrator.”
To create her debut picture book, Augustus and His Smile, Rayner camped out at the Edinburgh Zoo and used the sketches she made as models for her illustrations. The work describes the tiger’s quest—to find the smile he once possessed—as he travels through forests, over mountains, and even into the sea. Readers of Rayner’s self-illustrated tale are treated to “a simple poetic story that will have [them] … speculating about what makes them feel good,” wrote Susan E. Murray in School Library Journal. Although a Publishers Weekly contributor maintained that the story resolves in a “pat conclusion,” Rayner’s “poetic sensibility” and “masterful art will engage readers on a deeply sensual level.”
A search of another sort is recounted in Harris Finds His Feet. Harris is a hare, and since he is short of stature, he seriously questions why he needs such large feet. Counsel from his wise Granddad assures the hare that his feet are more than just for walking, and the confidence gained while learning to hop, dig, and run inspires the young animal to explore the world beyond his family burrow. Writing in Booklist, Shelle Rosenfeld called Rayner’s tale “charmingly illustrated” and “affirming” and School Library Journal critic Lisa Egly Lehmuller described the silk-screen-and-ink illustrations for Harris Finds His Feet as both “lovely and evocative.” In Kirkus Reviews a critic also had praise for Rayner’s picture book, dubbing it “a lovely lesson delivered with a deft touch.”
In Iris and Isaac two polar bear companions learn a valuable lesson about forgiveness after a quarrel nearly ruins their friendship. Rayner’s illustrations here “are attractively loose and fluid and … wonderfully expressive, describing emotion most eloquently through gesture and stance,” as Lucinda Jacob commented in School Librarian. A hungry bruin gives part of his tasty porridge to an equally ravenous mouse and raccoon, making a couple of new friends in the process, in The Bear Who Shared. “The varied and inventive spreads show animals with an array of emotions,” Sara Lissa Paulson remarked in School Library Journal, and Booklist contributor Randall Enos noted that Rayner “conveys plenty of swift and graceful movement” in her ink-and-watercolor paintings.
In Ernest, the Moose Who Doesn’t Fit readers are introduced to a gentle creature so immense that he simply cannot squeeze into the pages of his own book. Fortunately, Ernest’s imaginative and artistic pal Chipmunk comes to the rescue by engineering a clever solution to the problem. “The language is engaging and inventive,” a critic observed in appraising Rayner’s story in Kirkus Reviews, and in School Library Journal, Kathleen Flynn noted that the book’s “loose, textured line drawings humorously depict the predicament of the gangly Ernest and his furry friend.”
Solomon Crocodile follows the exploits of a pesky reptile whose rambunctiousness so upsets his neighbors in the swamp that they denounce him. Lonely and dispirited, Solomon soon encounters a kindred spirit who joins him in mischief-making. Although the plot—a misunderstood soul makes a new friend—may be a familiar one, according to Yelena Alekseyeva-Popova in School Library Journal, in Solomon Crocodile, “Rayner imbues it with new life through her delightfully energetic illustrations and perfect interplay of text and image.” With the toothy Solomon, a Publishers Weekly reviewer noted, Rayner “offers a playful hero with expressive eyes, a sly smile and paint-spattered skin.”
In Solomon and Mortimer, a sequel, the mischievous protagonist and his crocodile companion make an ill-fated decision to tangle with a much larger creature. Unsuccessful in their efforts to climb a tree and capture lizards, Mortimer and Solomon devise a plot to surprise an apparently unsuspecting hippopotamus. Ignoring the warnings of their fellow animals, the duo proceed with their plan, only to discover that the hippo was quite aware of their approach “The jungle river and its hubbub menagerie is the perfect backdrop for Rayner’s glorious watercolours, which burst with life and light,” Max Rutherford noted in School Librarian.
In Abigail, another self-illustrated work, Rayner introduces a mathematically minded giraffe. Abigail loves to count things, but when she tries to tally Ladybug’s spots, the insect scurries away. Zebra and Cheetah will not stand still either, further frustrating the giraffe. When night falls, however, Abigail develops a clever solution to her dilemma. “The story is simple, with an appropriately brief text that reads aloud smoothly,” remarked School Library Journal critic Amy Lilien-Harper. A writer in Kirkus Reviews applauded the artwork, stating that “Rayner’s sumptuous watercolors both realistically portray the animals … and give readers a sense of the evocative atmosphere of the African savanna.”
Arlo the Lion Who Couldn’t Sleep centers on a young creature who simply cannot settle down for the night until a wise owl offers some gentle advice. “There’s a real art to creating a bedtime story that can slow buzzing children down,” observed London Guardian critic Imogen Carter. “Pace, repetition and the conjuring of a cosy, comforting world are key, as classics such as Margaret Wise Brown’s Goodnight Moon perfectly demonstrate. Arlo the Lion Who Couldn’t Sleep … hits the spot.” The exhausted lion’s “mane—teeming with pencil lines, ink lines, watercolors, light blue and lavender bit … never looks busy; though nonrepresentational, it looks utterly organic (and spellbinding),” a Kirkus Reviews contributor noted.
A decade after the publication of her debut, Augustus and His Smile, Rayner adapted the illustrations to create the counting book One Happy Tiger. Exploring the jungle, the title tiger makes friends with everyone from two bright bugs to nine “splishy” fish. A Kirkus Reviews writer called this “successful” transformation of the earlier tale an “engrossing, luscious board book that’s sure to become a staple.”
Rayner captures the life of a household friend in My Pet Goldfish. Owned by a doting four-year-old—the narrator—who likes to run her hand along the tank, Richard has a pleasant life. He gets to know the girl, and through her older friend Sandy, readers get to know a great deal about goldfish, like how well they see colors. As Richard grows, Sandy offers to let the fish live and grow to his heart’s content in an outdoor fish pond. In School Library Journal, Sarah Simpson found Rayner’s illustrations “lively and ethereal, conveying a sense of drifting underwater movement.” Simpson noted that the “peppering of little-known facts … help to elevate this title.” A Kirkus Reviews writer proclaimed that the “lovely and delicate mixed-media illustrations sparkle with color” and praised My Pet Goldfish as an “appealing … charming book” that proves “delightful and validating for first-time or would-be goldfish guardians.”
An amiable animal trio headlines a pair of self-illustrated titles by Rayner, starting with Molly, Olive, and Dexter Play Hide-and-Seek. Molly the hare is excited to introduce her friends Olive the owl and Dexter the fox to the game hide-and-seek. But she does not fully explain the rules, making for some misunderstandings and frustration—especially when Molly cannot find her companions at all. Upon emerging, Olive and Dexter reassure Molly that they will always be there for her. A Kirkus Reviews writer enjoyed the “lightly abstracted mixed-media illustrations in a soft spring palette” and appreciated how the disagreements are “all gentle and easily sorted out,” making for a “lighthearted look at conflict resolution.”
In addition to her solo efforts, Rayner has provided the artwork to several titles by other writers. In Julia Donaldson’s The Go-Away Bird, a cantankerous winged creature learns a valuable lesson about friendship. School Librarian reviewer Eleanor Rutherford described the work as “visually delightful,” citing “Rayner’s beautiful, colourful and wonderfully characterful illustrations.” Written by zoologist Nicola Davies, Emperor of the Ice: How a Changing Climate Affects a Penguin Colony demonstrates all the problems penguins encounter as warming air and oceans reduce their ice space and disrupt migration patterns. A Kirkus Reviews writer commented that “Rayner’s stunning, full-bleed illustrations complement the text and show off the Antarctic’s changing colors.”
Discussing her frequent use of animal protagonists, Rayner commented in a Books for Keeps essay, “I feel that the most wonderful thing about creatures in books, is that every child or adult in the world can relate to them on a level that is sometimes not possible with an illustration of a human.” She further noted, “My artwork travels all over the world and an emotional connection with the characters is what brings them to life.”
In addition to her work creating picture books, Rayner enjoys visiting schools to demonstrate her artistic techniques. “Children inspire me,” she remarked in a Books for Keeps interview with George Hunt. “You watch their faces and see what makes them light up,” she added. “We seem to permanently underestimate these little balls of energy.”
BIOCRIT
PERIODICALS
Booklist, June 1, 2008, Shelle Rosenfeld, review of Harris Finds His Feet, p. 88; December 1, 2010, Ilene Cooper, review of Ernest, the Moose Who Doesn’t Fit, p. 64; April 1, 2011, Randall Enos, review of The Bear Who Shared, p. 63; October 1, 2011, Randall Enos, review of Solomon Crocodile, p. 95; September 1, 2020, Kay Weisman, review of Arlo the Lion Who Couldn’t Sleep, p. 112.
Books for Keeps, July, 2008, Valerie Coghlan, review of Posy; November, 2010, Elizabeth Schlenther, review of Iris and Isaac; May, 2012, George Hunt, author profile; February, 2020, “Windows into Illustration: Catherine Rayner” (autobiographical essay).
Guardian (London, England), October 2, 2010, Julia Eccleshare, review of Iris and Isaac, p. 14.
Horn Book, November-December, 2011, Kitty Flynn, review of Solomon Crocodile, p. 87.
Kirkus Reviews, April 15, 2008, review of Harris Finds His Feet; September 15, 2010, review of Ernest, the Moose Who Doesn’t Fit; October 15, 2011, review of Solomon Crocodile; September 1, 2013, review of Abigail; July 1, 2017, review of One Happy Tiger; August 1, 2020, review of Arlo the Lion Who Couldn’t Sleep; November 1, 2021, review of My Pet Goldfish; December 1, 2022, review of Emperor of the Ice: How a Changing Climate Affects a Penguin Colony; June 1, 2023, review of Molly, Olive, and Dexter Play Hide-and-Seek.
Publishers Weekly, March 27, 2006, review of Augustus and His Smile, p. 78; September 20, 2010, review of Ernest, the Moose Who Doesn’t Fit, p. 62; January 31, 2011, review of The Bear Who Shared, p. 48; October 24, 2011, review of Solomon Crocodile, p. 50; August 12, 2013, review of Abigail, p. 56.
School Librarian, fall, 2010, Michael Holloway, review of The Bear Who Shared, p. 158; winter, 2010, Lucinda Jacob, review of Iris and Isaac, p. 222; spring, 2012, Margaret Mallett, review of Solomon Crocodile, p. 30; summer, 2016, Max Rutherford, review of Solomon and Mortimer, p. 96; summer, 2019, Eleanor Rutherford, review of The Go-Away Bird, p. 91.
School Library Journal, August, 2006, Susan E Murray, review of Augustus and His Smile, p. 96; August, 2008, Lisa Egly Lehmuller, review of Harris Finds His Feet, p. 101; January, 2009, Kara Schaff Dean, re view of Posy, p. 82; October, 2010, Kathleen Finn, review of Ernest, the Moose Who Doesn’t Fit, p. 93; March, 2011, Sara Lissa Paulson, review of The Bear Who Shared, p. 133; November, 2011, Yelena Alekseyeva-Popova, review of Solomon Crocodile, p. 93; November, 2013, Amy Lilien-Harper, review of Abigail, p. 88; September, 2021, Sarah Simpson, review of My Pet Goldfish, p. 114.
Scotsman (Edinburgh, Scotland), July 11, 2009, Lee Randall, author interview, p. 4.
Sunday Times (London, England), April 25, 2010, Nicolette Jones, review of Norris, the Bear Who Shared, p. 49.
ONLINE
Booktrust website, http://www.booktrust.org.uk/ (February 18, 2009), author interview.
Catherine Rayner website, https://www.catherinerayner.co.uk (November 27, 2023).
Federation of Children’s Book Groups website, https://fcbg.org.uk/ (October 23, 2021), “Q&A with Catherine Rayner.”
Guardian, https://www.theguardian.com/ (July 28, 2020), Imogen Carter, review of Arlo the Lion Who Couldn’t Sleep.
iNews, https://inews.co.uk/ (November 28, 2016), Alex Watson, “Author and Illustrator Catherine Rayner on Creating Award-Winning Books for Children.”
My Book Corner, https://www.mybookcorner.co.uk/ (November 27, 2023), “Illustrator Interview: Catherine Rayner.”
MyLittleStyleFile, https://mylittlestylefile.com/ (May 12, 2021), Catherine O’Dolan, “Meet the Author: Catherine Rayner.”
Peachtree Publishing Company website, https://peachtree-online.com/ (September 18, 2020), “Author Interview: Catherine Rayner on Arlo the Lion Who Couldn’t Sleep.”
Sarah Wiseman Gallery website, https://www.wisegal.com/ (November 27, 2023), author profile.*
Multi-award-winning author and illustrator Catherine Rayner has written over 20 books for children and illustrated many more for other well-known authors including Julia Donaldson and Michael Morpurgo. Her books have been adapted for musicals, television and theatre.
Originally from Yorkshire, Catherine studied Illustration at Edinburgh College of Art. She fell in love with the city and still lives there with her husband, two young sons, and a small menagerie of animals, including the latest addition - a miniature dachshund called Otto. Catherine loves animals and is inspired by the creatures which surround her.
Her second book, Harris Finds His Feet, won the 2009 CILIP Kate Greenaway Medal, and Catherine has now been shortlisted six times for this prestigious award.
Catherine also exhibits her original artwork worldwide, has her own illustrated card range, and often works on other exciting and unusual collaborations. In 2021 Catherine launched her own babywear label. She loves meeting little readers and can regularly be found visiting libraries, schools and book festivals to talk about children’s literature, and to encourage and inspire children to draw, read and write.
FAQ's
Catherine Rayner - ButterflyWhy did you become an illustrator?
I’ve always found drawing therapeutic, and I’ve always loved books. (I was the child who secretly loved it when it rained as it meant you could stay indoors and draw.) I used to draw our pets, we had a sausage dog called Wilfred and he featured in most of my pictures. The first book I ever wrote, illustrated and made was about him being naughty. My mum still has it. I was about four. I think I knew then I wanted to be an author and illustrator. But, like most dreams, you don’t expect them to come true...
What paper do you use?
I tend to do all my roughs on basic computer printer paper. I like the smoothness of it. I’ll paint final artwork on board or thick paper. I use GF Smith Papers or John Purcell papers and when it comes to colour work.
What art medium do you use?
Acrylic ink, Indian ink, screen printing, pencils (usually Staedtler ‘H’), Blackwing pencils, watercolour, Watercolour pencil crayons, oil bar, fineliners (all sizes!) acrylic paint…the list goes on, I’ll draw with pretty much anything that’ll make a mark on a piece of paper!
What inspires you?
I am still inspired by my own pets. My horse and cat especially. When I’m riding I take in the shapes of the countryside, plants and trees and I try to absorb the colours. I often collect leaves and branches and bring them home to scan and draw. I then use these in my silk screen printing. I often use draw houseplants and flowers from my garden – or ask the florist at the end of our street if I need a new and unusual shape.
Do you run courses and masterclasses for adults?
From time to time I will run a workshop. Details of upcoming events can be found here
How do you get an idea for a children’s book?
Usually, an animal just pops in to my head and I start to doodle! I can be doodling that creature for months, sometimes years, before a story emerges. My words are inspired by something in the way the animal looks, or an expression he or she might be making. It’s a very organic process.
How would you advise others to go about starting to make a book?
I would advise others to try to work in the same way (see above). Just keep drawing and inspiration will strike at some point. Try not to get too hung up on how you think something should look and instead just enjoy the process. This helps to keep drawings lively too!
Do you have advice for someone starting out on their illustration journey?
Draw as much as you possibly can. Practice is the only way to improve a skill. You’ll need to work hard. Be prepared to take other peoples feedback on board and be honest with yourself about your ability. The Writers and Artists Year Book has loads of really good information in it for people who are starting out.
How do you capture the character of an animal?
It’s a funny thing really, the characters kind of emerge as the drawing is being done. I do a lot of drawings that aren’t quite right, but if I keep on trying to capture the same creature over and over again I eventually sketch one that looks as though he or she could jump, slither or creep off the paper. That’s when I know I have found the character!
It’s really important to observe the animal properly before putting pencil to paper. Luckily, if you can’t visit an animal in real life we now have access to plenty of footage online. It’s amazing be able to watch how a creature actually moves, how it makes contact with the ground and how it’s form changes when it’s doing different things. It’s good to know your subject as well as you can before creating a picture of them. If your first few drawings don’t look great don’t worry – just keep looking and sketching until you feel comfortable drawing their shape. I find that the more I actually watch the animal moving – the more alive my drawing will eventually look!
Can I buy your signed books?
Yes - they are available to buy here.
What is the difference between a Giclée print and a silk screen print?
I have written about how all of my different prints are made here.
Artist Statement
Catherine employs the use of subtle colour and tone whilst playing with scale, composition and open space to create paintings and silk-screen prints of animals.
Her creatures are brought to life using spontaneous and vivacious line that explores movement and personality. With effortless flow Catherine's artwork explores the natural habitat and beauty of creatures many of us take for granted. Facial expressions illustrate curiosity whilst the animals' postures suggest that they have simply strayed into the frame and might just as easily leave it again.
The space Catherine allows her subjects to exist in provides a powerful and sometimes poignant backdrop.
Primarily it offers an uninterrupted view of the subject's carefully studied form. Perhaps more importantly however, it asks of the viewer that they use their own intuition, prompting them to contemplate what lies both within and beyond the frame. In effect, this space acts as an imaginative springboard that invites the viewer into the image to explore it for themselves.
A gallery filled with Catherine’s silk-screen prints acts like an open-ended storybook. Each image is a new page and in each we encounter a new and different character, the events of whose life we are invited to consider. Not surprisingly it is Catherine’s experience as a children’s book illustrator that has heightened not only her awareness but also her fascination with the design aspect of each artwork.
Catherine Rayner - MouseWhen creating a children’s book the layout of each page must be carefully considered: how one image follows on from another, where the text fits, and precisely how much visual information a child needs in order to fill in the ‘blanks’ for themselves.
In this respect it is just as important to consider which parts of the page to leave empty as it is to decide which parts are to be filled. Indeed, Catherine’s use of surrounding space becomes seminal to her depiction of the animal itself, encouraging in the reader a more thorough understanding of movement, texture, and mood without unnecessary distraction.
This doesn’t mean to say that background is never apparent in Catherine’s picture book work. On the contrary, she will often employ a carefully positioned strand of meadow grass, or a suspended leaf, or subtly suggest a pair of receding footprints in order to give just the right amount of understanding of the creature and its habitat. Added to this, Catherine’s considered use of colour, weight of line and texture helps the animal to ‘live’ within each image.
Donaldson, Julia BERT, THE BOWERBIRD Boxer Books (Children's None) $18.99 12, 3 ISBN: 9781915801845
To woo a mate, a male bowerbird gathers enticing objects to decorate his home.
Scruffy, bighearted Bert places a purple flower outside his new bower and awaits his bride. "Haughty" Nanette arrives, sniffs, and makes clear that a simple flower won't be enough. Hurt, Bert flies off to gather more objects to improve his chances at love. A cumulative rhyme structure anchors his multiple attempts to please Nanette: "The snail shell, the silver bell, / The wrapper from the caramel, / Plus the pretty purple flower. / 'Nowwill you come inside my bower?'" Fickle Nanette continues to reject Bert. Alas, a second male bird, Claude, arrives and tricks Bert, sending him on a doomed expedition to find a gold ring for Nanette. While Bert flies off, Claude steals his treasures and, ultimately, Nanette. Donaldson's intricate rhymes, together with Rayner's illustration of a dejected, slumping Bert, convey his heartbreak: "Where were the comb, the gnome, the foam, / The green pea, the strawberry." Rayner's mixed-media illustrations capture the eager-to-please Bert's open nature, using an earthy palette that pops whenever the purple flower appears. Bert considers giving up on love, but the purple flower's bold color still has some magic to work. He hears another bird approach: "She look[s] Bert over once or twice / And add[s], "You look very nice, / And what a pretty purple flower!" Could he, at long last, have found his mate?
Delightful rhyming combined with clever illustrations elevate a simple search for love. (brief information on bowerbird behavior)(Picture book. 3-6)
Copyright: COPYRIGHT 2024 Kirkus Media LLC
http://www.kirkusreviews.com/
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"Donaldson, Julia: BERT, THE BOWERBIRD." Kirkus Reviews, 1 Oct. 2024. Gale General OneFile, link.gale.com/apps/doc/A810315371/ITOF?u=schlager&sid=bookmark-ITOF&xid=1724a59d. Accessed 7 Nov. 2025.
Rayner, Catherine VICTOR, THE WOLF WITH WORRIES Boxer Books (Children's None) $18.99 1, 7 ISBN: 9781915801838
A young wolf learns how to manage his anxieties with the help of a friend.
Victor frets about lots of things--for starters, he worries that he isn't wolfish enough. His fellow pack members are big, brave, fierce, and confident--wolfish indeed! Victor pretends to be like his packmates, but what if they expect him to do brave things that he's not capable of? Or what if he scares the others by being too ferocious? His anxiety grows. Victor's best friend, Pablo, encourages him to open up, but Victor is reluctant. "If you share your worry, it will feel smaller to you," Pablo reassures him. One by one, Victor shares his concerns, and not only does he feel better, but he realizes that Pablo had the same worries, too! Pablo's strategies--talking about feelings, mentally putting worries in imaginary bubbles to float away, and engaging in play to reduce anxiety--aren't just for fearful wolf pups; Rayner's coping strategies and clear message will be perfect for children who are hesitant to share their feelings. Her watercolor illustrations are artfully drawn. The visually appealing earth tones perfectly reflect the outdoors while accurately capturing Victor's emotional journey from being anxiously uneasy to feeling confident, knowing he's learned how to navigate his wolfish worries.
A lovable character and a gentle lesson make this tale a great conversation starter for kids with their own worries.(Picture book. 4-8)
Copyright: COPYRIGHT 2024 Kirkus Media LLC
http://www.kirkusreviews.com/
Source Citation
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MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
"Rayner, Catherine: VICTOR, THE WOLF WITH WORRIES." Kirkus Reviews, 15 Nov. 2024. Gale General OneFile, link.gale.com/apps/doc/A815560572/ITOF?u=schlager&sid=bookmark-ITOF&xid=12e0fd55. Accessed 7 Nov. 2025.