Publisher Profile: Tapioca Stories
2025 marked the 5th anniversary of Tapioca Stories!
The CBC asks Yael Berstein, Founder and Publisher, questions about the publisher.
How did your publishing house start out?
The idea for Tapioca Stories came from a very personal moment. I was searching for birthday gifts for my kids’ friends, something meaningful that would spark joy and reflect the stories we love at home. I wanted books in English so they could be shared with families here in the U.S. Naturally, I thought of Marcelo, Martelo, Marmelo by Ruth Rocha, a Brazilian classic adored for generations. To my surprise, it had never been translated into English, nor had many other remarkable Latin American titles.
That realization was a turning point. I saw a real gap in access to these beautiful stories and decided to start Tapioca Stories with the mission of bringing Latin American children’s literature to English-speaking readers while honoring its original spirit and artistic integrity. Our goal has always been to create a cultural bridge and offer young readers voices and perspectives they might not otherwise encounter.
What is your publishing house most known for?
Tapioca Stories is recognized for its visually stunning, thought-provoking picture books from Latin America. Our titles celebrate imagination and emotional depth, combining bold illustrations with poetic language. We take pride in every detail, from high-quality translations to design and production, so that each book feels like a work of art and invites readers to experience something truly special.
In our 5 years as publishers, one of our most wonderful lessons has been…
In five years, we’ve learned that stories truly transcend borders. Children welcome new voices with curiosity and joy, and when adults embrace these books, they help cultivate empathy and wonder, building bridges that connect us all.
Which formats does your house prefer to publish?
We primarily publish hardcover picture books because we believe reading should be a tactile, immersive experience. Paper quality, color fidelity, and design matter as much as the words and art. Each book is crafted as a piece of art you can hold in your hands. Every element is thoughtfully considered so the final book reflects the artist’s vision and offers a lasting experience.
What are some of your house’s publishing priorities over the next few years?
Our next chapter focuses on amplifying new voices from Latin America and bringing more original works to readers. There are so many incredible creators in the region, and we’re excited to keep building those connections. Equally important is making these stories accessible to more families, not just English readers, but also Spanish-speaking and Brazilian communities who want to see their stories represented.
Which title has your house recently rallied behind?
The Lighthouse Keeper! This is our first fully original title published by Tapioca Stories, marking a meaningful step for us, not just as a house that translates Latin American literature, but also as one that nurtures new stories from the region. This poetic and atmospheric tale about resilience and selfless courage is deeply rooted in the emotional landscape we love to explore. We’re proud that The Lighthouse Keeper was honored with a New York Times / New York Public Library Best Illustrated Children’s Book Award, a recognition that celebrates its exceptional artwork and emotional depth.
Which title does your house feel deserved more love than it got?
The Beach by Chilean author-illustrator Sol Undurraga, is a playful, visually rich story that won the Opera Prima at the Bologna Children’s Book Fair and is beloved in Europe and Latin America, yet it hasn’t received the attention it deserves in English-speaking markets. The book captures a full day at a bustling beach, filled with whimsical details and hidden surprises that make the reading experience immersive and fun. From a flying elephant in a zeppelin to a clever search-and-find of beach essentials. Every page invites discovery, making this poetic, layered work a true gem that more readers should experience.
Which upcoming titles is your house buzzing about?
We’re excited about The Green Otter / La Nutria Verde, an original picture book inspired by a tender short story by Guatemalan author Eduardo Halfon, adapted by the author himself in both English and Spanish. Illustrated by Argentinian artist María José de Tellería, it explores childhood wonder and the quiet dramas of parenting from a father’s perspective.
We’re also thrilled about our next Brazilian title, Dive (Mergulho), written by Volnei Canônica and illustrated by Mariana Massarani, with a beautiful English translation by Bruna Dantas Lobato. It’s a poetic and visually vibrant story that invites readers to take a deep breath and plunge into the unknown, whether that’s the ocean or a new experience. This heartfelt narrative follows the journey of a worried mother and a compassionate doctor as they explore the enchanting inner world of a uniquely special boy, and how the world feels through his eyes.
Which of your titles would be great for a school or public library?
Undoubtedly, Marcelo, Martello, Marshmallow, the Brazilian classic by Ruth Rocha that’s been part of school curricula in Brazil since 1976, is a perfect fit for school and public libraries. This playful, imaginative story sparks curiosity and celebrates creative thinking. It’s a fantastic read-aloud that gets kids laughing while encouraging them to explore language and keep asking those wonderful “why” questions.
With its inventive wordplay and humorous, relatable narrative, Marcelo makes language fun and fosters a lifelong love of reading. It was even recognized on the Outstanding International Book List by USBBY, showing how stories like this can cross borders and inspire young readers everywhere.
Which of your frontlist titles would be great for a classroom? Which grade?
Croco is a wonderful choice for classrooms, especially for grades K–2. It’s a humorous and visually engaging story that explores identity, belonging, and friendship. Its simple text and expressive illustrations make it accessible for early readers while offering depth for classroom conversations about emotional growth, resilience, and friendship. The book’s clever design makes it even more special.
Croco is available in both English and Spanish and is part of our growing bilingual collection, along with Future/Futuro and the stunning Natura.
Which of your frontlist tiles would you like to see get more attention from bookstores?
I’d love to see No One Slept by Rafael Sica get more attention. It’s such a unique book, a bedtime story for ghosts and families that blends spookiness with tenderness. Rafael is well-known in Brazil for his comics for adults, and this is his first children’s book. His ink-based illustration style has even been compared to Edward Gorey, and interestingly, he bears a resemblance to Gorey himself, beard and all! It’s a beautiful celebration of storytelling and a perfect pick for readers who enjoy something whimsical, slightly eerie, and visually striking.
Name a few of your favorite backlist titles that people should check out.
The Elevator has a very special place in my heart; it was our very first title, and when I found it, I knew that this should be Tapioca’s inaugural title. It’s such a sweet story about the unexpected encounters between residents during an elevator ride. Beyond the heartwarming and humorous narrative, with that distinct Argentine sense of humor, the book is a perfect example of how a picture book can fully explore the physicality of the book as an object. Its elongated design resembles an elevator, and the playful perspectives of the hallway change with each floor, making the reading experience immersive and fun.
Another favorite is The Invisible, a poetic and playful book by the Brazilian writer Alcides Villaca, who wrote this poem inspired by the superpower he wished he had as a child: to be invisible and do everything he dreamed without being seen. It’s a profound reflection on invisibility in different senses, opening rich conversations about identity and presence. The illustrator hand-lettered the text and designed an interactive experience with transparent pages that make the boy appear and disappear as you turn them. It’s truly a book that can only be enjoyed by holding it in your hands.
What else would you like to tell us about your house and the amazing work you all do?
I truly hope we can continue bringing many more Latin American picture books to English readers, and I’m so grateful for the growing appreciation of these stories, even though they’re often quite different (in a wonderful way) from narratives originally published in English. Children are naturally open to new voices, art styles, and perspectives, but having open-minded adults embrace these books is essential. They’re the ones who introduce these stories to children and help them discover new ways of seeing our shared humanity.
We put great care into every detail, from translations that preserve cultural nuance to designs that make each book an experience. Introducing children to global stories early on helps them see the world through many lenses, fostering openness, imagination, and empathy. I’m proud to be part of a growing movement that values the power of stories to connect us, and deeply thankful to everyone who makes this possible.
Thank you, Tapioca Stories!
