Chili-Chili-Chin-Chin is a donkey that knows what it likes and what it dislikes. Complementing Yang’s color-saturated artwork is a simple text that makes clear Chili-Chili-Chin-Chin’s purpose and declaration: “Some people say, ‘Chili-Chili-Chin-Chin, you sweet donkey, I want to ride you, I want to own you.’ ‘Oh, no, never! Impossible!’ I tell them, and send them on their way,” with a hoof to the hindquarters. There is one person Chili-Chili-Chin-Chin enjoys spending time with: the little boy who named him, after the sounds of the bells around the donkey’s neck. They travel around the countryside, season to season, in pursuit of blossoms in spring and turtles in summer, persimmons in the fall, and laying down a fresh set of tracks in the snow. They are pals who appreciate the subtlety of friendship, as when “he gives me room to be alone with my thoughts.” Whether giving room or sharing good times, Chili-Chili-Chin-Chin and the boy’s approach gives friendship an enviable suppleness. (Picture book. 3-8)
Pub Date: May 1, 1999
ISBN: 0-15-202006-3
Page Count: 32
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1999
Lunge-Larsen and Preus debut with this story of a flower that blooms for the first time to commemorate the uncommon courage of a girl who saves her people from illness. The girl, an Ojibwe of the northern woodlands, knows she must journey to the next village to get the healing herb, mash-ki- ki, for her people, who have all fallen ill. After lining her moccasins with rabbit fur, she braves a raging snowstorm and crosses a dark frozen lake to reach the village. Then, rather than wait for morning, she sets out for home while the villagers sleep. When she loses her moccasins in the deep snow, her bare feet are cut by icy shards, and bleed with every step until she reaches her home. The next spring beautiful lady slippers bloom from the place where her moccasins were lost, and from every spot her injured feet touched. Drawing on Ojibwe sources, the authors of this fluid retelling have peppered the tale with native words and have used traditional elements, e.g., giving voice to the forces of nature. The accompanying watercolors, with flowing lines, jewel tones, and decorative motifs, give stately credence to the story’s iconic aspects. (Picture book/folklore. 4-8)
Pub Date: March 1, 1999
ISBN: 0-395-90512-5
Page Count: 32
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1999
This vibrant, thoughtful book from Katz (Over the Moon, 1997) continues her tribute to her adopted daughter, Lena, born in Guatemala. Lena is “seven. I am the color of cinnamon. Mom says she could eat me up”; she learns during a painting lesson that to get the color brown, she will have to “mix red, yellow, black, and white paints.” They go for a walk to observe the many shades of brown: they see Sonia, who is the color of creamy peanut butter; Isabella, who is chocolate brown; Lucy, both peachy and tan; Jo-Jin, the color of honey; Kyle, “like leaves in fall”; Mr. Pellegrino, the color of pizza crust, golden brown. Lena realizes that every shade is beautiful, then mixes her paints accordingly for portraits of her friends—“The colors of us!” Bold illustrations celebrate diversity with a child’s open-hearted sensibility and a mother’s love. (Picture book. 6-8)
Pub Date: Sept. 1, 1999
ISBN: 0-8050-5864-8
Page Count: 28
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1999
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