Golden-brown puppy George had his own existential difficulties finding his voice in Feiffer’s last offering (Bark, George!, 1999). This time, a boy named Bobby has an existential emergency of his own when he declares (repeatedly and loudly), “I’m not Bobby!” It’s the old deny-thy-parent-and-refuse-thy-name ruse, not for reasons of a familial feud, but just to get away from a demanding mother’s agenda. Bobby’s mother is always yelling for him, shown in three-inch-tall letters hand-scrawled across the page in thick, black lines. She yells his name, issues vague threats, and enlists the help of other relatives to chase him, but Bobby is busy transforming himself (through his considerable imagination) into commanding animals, monsters, and vehicles, with a running first-person text at the bottom of each page. Bobby’s powerful emotions fairly burst off the page in Feiffer’s edgy watercolors, especially when he turns into a whirling wild thing of a monster. (“A monster comes all right. And it tears you to pieces.”) Eventually, after a fanciful journey in his spaceship, Bobby gets hungry and transforms himself back into a lion with “a Bobby face,” who returns home, where he expects to find dinner and the restoration of his TV privileges by his parents. (“Or I’ll eat them.”) Some adults will object to Bobby’s emotional excesses, and others will object to the mother’s screams and threats, but plenty of youngsters who are wild things at heart will eat this up. (Picture book. 3-6)
