Arcimboldo meets Mad Magazine as a monster that looks like a cross between an octopus and a compost pile bargains with a young narrator willing to sacrifice his prized soccer ball, and even his new bike, rather than eat peas. The creature wears a battered top hat above its many waving eyestalks and tentacles, and there’s a Seussian (or Clement Clarke Moore) flavor to the rhymed text as well: “His ears were like mushrooms, his chin like a beet, / And he balanced himself on two big stinky feet,” etc. Coming to regret each treasure’s loss, the lad at last screws his courage to the sticking place and samples the dreaded green stuff—only (unsurprisingly) to discover that he likes it. The monster shrivels away forthwith. Though readers may find it hard to swallow the ending (and some lines of text are swallowed by the art over which they’re printed), the rollicking rhythms and madcap, over-the-top art give this successor to Sarah Wilson’s out-of-print Muskrat, Muskrat Eat Your Peas (1989) plenty of comic energy. On to Faust. (Picture book. 8-10)
Pub Date: Sept. 1, 2001
ISBN: 1-56145-216-5
Page Count: 32
Publisher: Peachtree
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2001
BOOK REVIEW
Alert readers will find the implicit morals: know your audience, mostly, but also never underestimate the power of “rock”...
The theme of persistence (for better or worse) links four tales of magic, trickery, and near disasters.
Lachenmeyer freely borrows familiar folkloric elements, subjecting them to mildly comical twists. In the nearly wordless “Hip Hop Wish,” a frog inadvertently rubs a magic lamp and finds itself saddled with an importunate genie eager to shower it with inappropriate goods and riches. In the title tale, an increasingly annoyed music-hating witch transforms a persistent minstrel into a still-warbling cow, horse, sheep, goat, pig, duck, and rock in succession—then is horrified to catch herself humming a tune. Athesius the sorcerer outwits Warthius, a rival trying to steal his spells via a parrot, by casting silly ones in Ig-pay Atin-lay in the third episode, and in the finale, a painter’s repeated efforts to create a flattering portrait of an ogre king nearly get him thrown into a dungeon…until he suddenly understands what an ogre’s idea of “flattering” might be. The narratives, dialogue, and sound effects leave plenty of elbow room in Blocker’s big, brightly colored panels for the expressive animal and human(ish) figures—most of the latter being light skinned except for the golden genie, the blue ogre, and several people of color in the “Sorcerer’s New Pet.”
Alert readers will find the implicit morals: know your audience, mostly, but also never underestimate the power of “rock” music. (Graphic short stories. 8-10)Pub Date: June 18, 2019
ISBN: 978-1-59643-750-0
Page Count: 112
Publisher: First Second
Review Posted Online: April 27, 2019
Kirkus Reviews Issue: May 15, 2019
In these 12 retellings, the Immortals come across as unusually benign. Dionysius at first suggests to King Midas that he give his excess wealth to the poor, for instance; the troubles that Pandora releases are originally imprisoned in the box by Prometheus’s brother Epimetheus out of compassion for humankind; and it’s Persephone herself who begs for a compromise that will allow her to stay with her beloved Hades for six months out of every year. Kimmel relates each tale in easy, natural-sounding language. And even though his Andromeda looks more Celtic than Ethiopian (as the oldest versions of the story have it), Montserrat’s figures combine appropriate monumentality with an appealing expressiveness. The stories are all familiar and available in more comprehensive collections, but the colorful illustrations and spacious page design make this a good choice for shared reading. (foreword) (Nonfiction. 8-10)
Pub Date: Feb. 5, 2008
ISBN: 978-1-4169-1534-8
Page Count: 112
Publisher: McElderry
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2007
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