An origin tale as messy as humans can be.
In this multicultural mashup, the duo behind Glass Slipper, Gold Sandal: A Worldwide Cinderella (2007) weaves a wonderfully chaotic creation story.
It all begins with darkness. Fleischman’s retelling then slips through bits and pieces of creation tales culled from cultures originating in Egypt, Mali, the Banks Islands, Israel, and many other geographical locations. Commonalities and unifying themes among the disparate stories soon arise. These threads depend on the details: the first humans born from the tears of the sun god, Ra (Egypt), Quat making the first humans out of wood and bringing them to life with the beat of a drum (Banks Islands), and so on. Woven together, the tales both contrast against and emphasize one another’s specificities. Much of the cohesiveness is due to Paschkis’ folk-art illustrations, which once again shine. Bold lines and vibrant colors characterize most spreads; curves, sharp diagonal lines, and other striking shapes coalesce as each scene spills into the next. One particular double-page spread depicting human-caused destruction (Mozambique) and an angry God setting fire to the earth (Gabon) embodies this pictorial unity to an electrifying degree. Yet the narrative stumbles a bit under its weight. Certain scenes flow better together, while others pull attention in different directions. Still, this wide canvas amazes.
An origin tale as messy as humans can be. (author’s note) (Picture book/folklore. 4-8)Pub Date: Sept. 20, 2016
ISBN: 978-1-62779-101-4
Page Count: 32
Publisher: Henry Holt
Review Posted Online: June 21, 2016
Kirkus Reviews Issue: July 1, 2016
Although the love comes shining through, the text often confuses in straining for patterned simplicity.
A collection of parental wishes for a child.
It starts out simply enough: two children run pell-mell across an open field, one holding a high-flying kite with the line “I wish you more ups than downs.” But on subsequent pages, some of the analogous concepts are confusing or ambiguous. The line “I wish you more tippy-toes than deep” accompanies a picture of a boy happily swimming in a pool. His feet are visible, but it's not clear whether he's floating in the deep end or standing in the shallow. Then there's a picture of a boy on a beach, his pockets bulging with driftwood and colorful shells, looking frustrated that his pockets won't hold the rest of his beachcombing treasures, which lie tantalizingly before him on the sand. The line reads: “I wish you more treasures than pockets.” Most children will feel the better wish would be that he had just the right amount of pockets for his treasures. Some of the wordplay, such as “more can than knot” and “more pause than fast-forward,” will tickle older readers with their accompanying, comical illustrations. The beautifully simple pictures are a sweet, kid- and parent-appealing blend of comic-strip style and fine art; the cast of children depicted is commendably multiethnic.
Although the love comes shining through, the text often confuses in straining for patterned simplicity. (Picture book. 5-8)Pub Date: April 1, 2015
ISBN: 978-1-4521-2699-9
Page Count: 40
Publisher: Chronicle Books
Review Posted Online: Feb. 15, 2015
Kirkus Reviews Issue: March 1, 2015
Visually accomplished but marred by stereotypical cultural depictions.
Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”
Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.
Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)Pub Date: Feb. 24, 2015
ISBN: 978-0-7636-6529-6
Page Count: 40
Publisher: Candlewick
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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