Books by Reeve Lindbergh

HOMER THE LIBRARY CAT by Reeve Lindbergh
Released: Nov. 1, 2011

"Pleasantly predictable, this quiet adventure breaks no new ground but offers a charming diversion for cat (and library) lovers. (Picture book. 4-7)"
Like many of his predecessors, the striped feline star of this story finds a happy home at his local library. Read full book review >
Released: April 1, 2008

"A powerful antidote to Nora Ephron's I Feel Bad About My Neck."
Entering her 60s with grace and equanimity, Lindbergh (No More Words: A Journal of My Mother, Anne Morrow Lindbergh, 2001, etc.) has more important concerns than wrinkles or graying hair. Read full book review >
Released: April 1, 2007

An enchantingly cozy world of window seats, trellises and rose-patterned curtains is Tom's little grandmother's physical world, and her home's familiar surroundings help comfort her deteriorating brain. Soft watercolors and ink create an ordered loveliness, which complement the equally gentle rhyming couplets. Her mental condition worsens, so on the last pages, she is living with her son's family, no longer able to live at home: "My little grandmother lives with me now. She doesn't know why and she doesn't know how. She can't find her cat, and she loses her way"—yet she feels safe, because she has Tom, who looks like Roy, her beloved son when he was a boy, "so she thinks she will stay." Tom describes his relationship with her in simple descriptive words, evocative of grandmother's confusion and deepening loss. Though he's as tall as a grocery-store shopping cart, she isn't much taller and his confident presence makes all the difference. This is a truly brilliant treatment of memory loss, in which grandmother's connection with her life is found again and again in little flashes because of her favorite things being close at hand: blue-china teacup, big orange cat and Tom. Worlds of understanding flow from Lindbergh, whose long experience with her own mother's slow demise enlightens each page with tender reality. (Picture book. 3-5)Read full book review >
THE VISIT by Reeve Lindbergh
Released: March 1, 2005

It would take a hard heart indeed not to love Halperin's signature watercolor-and-pencil illustrations with their dulcet colors. They have the architecture of altarpieces, with a large, half-round frame surmounting a frieze of smaller images. Lindbergh's verse, four lines per spread, with the first and last line the same, seems as artless as this siblings' trip to a family farm, sweetened into gossamer memory. Two sisters, Jill and Beth, go for a visit to their aunt and uncle's farm. There are biscuits and honey, nooks and crannies inside and out, flowers and berries, sheep, cows and barn cats. At night, with "fireflies and stars," when Beth hears a noisy freight train and a singing thrush, she misses her parents and is comforted in the gentlest way by Jill. It's a remembered dream of a farm, where everything is rosy and the kitchen always smells of baking. The relationship between "tall sister" and "small sister" is charming and tender, and the poetry is rhythmic without being clunky. (Picture book. 3-7)Read full book review >
OUR NEST by Reeve Lindbergh
Released: April 1, 2004

Luminous undertones in McElmurry's neatly brushed landscapes and cozy close-ups reflect and enhance the lyricism of Lindbergh's rhyme. Cataloguing nests, the poet begins with a reader or listener snuggled in bed and a dog nestled nearby, then moves ever outward, from a mama cat on a pile of clothes and a hen out in the barn, to the ocean nested upon our planet, which is in turn nesting in the universe, and back, step by step, to a heartfelt finish: "We're here in the nest of creation / With the earth and the stars up above. / And you're here, safe and warm, / In the nest of my arms, / When I wrap them around you with love." Bedtime reads lie thick upon the ground, but for its comforting message, flowing text, warm sentiment, and jewel-like art, this comes close to such standards as Margaret Wise Brown's Goodnight Moon or Kate Banks's And If the Moon Could Talk (1998). (Picture book. 5-8)Read full book review >
Released: Feb. 1, 2003

Famed author Lindbergh, in a much lighter poetic vein than On Morning Wings (2002), limns a bouncy and exuberant rhyme wherein a girl extols her hippie grandma: "She hasn't cut her hair at all / Since nineteen sixty-nine." Not only that, but she drives a purple bus, has a mustachioed, guitar-playing boyfriend named Jim, and a cat named Woodstock. The girl helps her grandmother in the garden, and helps her sell goods at the Farmers Market as well as to picket City Hall when necessary. "My mother is a lawyer. / My dad works on TV," says the girl, and grandma tells her she will find her own perfect job, perhaps "find the cure for cancer / And save the human race." But she knows that she wants to be a Hippie Grandmother herself, some day, "JUST LIKE YOU!" The pictures are a wonder, in electric kool-aid acid colors, full of sunshine and love beads and tie-dye. Carter (The Invisible Enemy, not reviewed, etc.) has an energetic line; her watercolor and gouache figures fairly dance off the page. Grandma's home, with its colorful pottery, array of plants, and occasional '60s artifact (don't miss the lava lamp), is utterly engaging. For children who may have such a grandma, or know such a grandma, and for more than a few adults who may recognize themselves in the words and pictures: a sheer delight. (Picture book. 4-8)Read full book review >
ON MORNING WINGS by Reeve Lindbergh
Released: Aug. 1, 2002

Lindbergh first recast Psalm 139 in simple, rhymed couplets in her anthology In Every Tiny Grain of Sand (2000). Here, Caldecott Honor Medalist Meade (Hush, 1996) expands the verse with watercolor and collage using geometric forms and color both matte and translucent to create satisfying, accessible images. In the frontispiece, a little girl peers down from her top bunk to see if her little brother, snuggled with his bear, is awake yet. The siblings (and the bear) proceed on a sunlit day to frolic with two friends, one a dark-skinned boy, the other a café-au-lait girl. They climb trees, build sandcastles, play in and by the lake, toast marshmallows, and at last turn in for the night, flashlight at the ready, in a tent outside. The text begins, "Lord, you look at me and know me, / Every step I take, you show me." It continues through the sense of the psalm, "When I'm lonely, you are near, / When I'm angry, you stay here. / High as heaven bright, you greet me, / Down in darkness, too, you meet me." The Divine as an all-caring presence is underscored in the structure of the pictures: no adults appear, but the activities, like boating and building a campfire, imply adult action in loving support and unobtrusive care. There is a certain heaviness to the beat of the couplet format, but that is mitigated somewhat by pictorial clarity and sincere reverence. (Picture book. 4-8)Read full book review >
Released: Oct. 11, 2001

"A wise and elegiac tribute to a mother, a writer, and a brave spirit, from a loving but clear-eyed daughter."
A moving but frank account of the last year of Anne Morrow Lindbergh's life, by her daughter, that poignantly details an often difficult relationship between a loving parent and her now-adult child. Read full book review >
Released: July 1, 2000

The first week of September means the annual back-to-school shopping spree for school supplies, and even not-quite-civilized aardvarks need new backpacks, notebooks, and markers (both the fat kind and the skinny kind, as every parent of a first-grader knows). The author and illustrator (The Awful Aardvarks Go to School,1997) team up for this second accounting of amusing aardvark antics, with Lindbergh's clever rhyming couplets and a continuing device of the shopping list repeating on the border of each two-page spread. The quartet of Awful Aardvarks romps through the Shop-All-Day Mall as items are crossed off their list, causing mischief in one shop after another and headaches for the animal shopkeepers. Pearson's loose watercolors are a busy delight, with expressive faces on the horrified store clerks and fellow shoppers and lots of little details to discover in multiple readings. Just after exiting a candy store with sticky hands and faces, the aardvarks cause particular trouble for the bowtied bear shopkeepers in the Bears and Bubbles Bookstore. "All the shoppers stopped shopping and gave them weird looks. The Aardvarks were stuck—they were stuck to the books!" (Don't miss the display of award-winning "Called-a-Cat Books.") No money changes hands for all the aardvark purchases, and no shopping bags (or momma aardvark) are seen to hold all the new supplies, but who needs a realistic view of the modern mall when you can have roly-poly aardvarks racing on Rollerblades or trying on feather boas? A rollicking romp of a picture book that will make an excellent first-day-of-school story for primary-grade kids. (Picture book. 4-7) Read full book review >
UNDER A WING by Reeve Lindbergh
Released: Oct. 2, 1998

Published at almost the same time as A Scott Berg's materful biography of Lindbergh, a sweetly moving memoir of growing up as the daughter of Charles and Anne Morrow Lindbergh. The novelist (The Names of the Mountains, 1992, etc.) is the youngest of five Lindbergh children, all born after the tragic kidnapping of the famous couple's first-born son. Few knew the Lindberghs had such a large family, and that was how the family wanted to keep it. To escape publicity, they moved frequently, finally settling in an old stone house in Connecticut, where Reeve grew up after WWII. Her father traveled habitually, consulting for government and industry, but was a devoted—if domineering—parent when home, exercising "affection and discipline in equal measure, often at the same time." Her mother was a quieter, less controlling presence; she wished to "heal, soothe, and uplift us." Although Reeve learned little of her kidnapped brother, eventually she too lost a son when he was not yet two years old. Her mother sat with her by the little boy's body, and together they mourned the lost babies. After Charles Lindbergh died nearly 25 years ago, Reeve sought him out again in his boyhood home in Little Falls, Minn., now a state park site. She reflected there on how to reconcile public and private images of famous parents, as well as on the man who taught his children that intolerance was "repellent and unspeakable"—yet who himself wrote and uttered anti-Semitic statements. Anne Lindbergh, now in her 90s, suffering from the aftereffects of stroke, often doesn't recognize her daughter. Reeve writes about her mother's illness with sorrow, anger, humor, and acceptance. She also remembers her grandmothers, her siblings—especially her sister, who died of cancer five years ago—and pleasant summers in Maine. An eloquent recollection of a happy childhood in a tightly knit family whose parents' celebrity complicated but did not contort their lives. Read full book review >
Released: Sept. 1, 1997

There are plenty of alphabet books around—and not a few really good ones—so it may not be the faults of Lindbergh and Pearson (the team behind There's a Cow in the Road!, 1993) that they make, here, the merest of ripples. A troupe of trouble- making aardvarks stages a smash-and-grab raid at an elementary school attended by animals: ``They Angered the Anteater, Ate All the Ants, And Bullied the Bunny (they pulled down his pants).'' On they go, chasing chickens, flicking fleas, launching the llama's lunchbox, tossing turtles—until finally they are off to the zoo for some additional havoc. As Pearson draws them in congenial watercolors, these aardvarks are more gleeful than rude (and not nearly as mischievous as the carolers in her own We Wish You a Merry Christmas (1983, not reviewed), so the priggish snappings—``Understand if you will, it was Utterly awful, Those Vandals were Vicious, and Very unlawful''—come across as much ado about nothing. (Picture book. 3-7) Read full book review >
Released: April 1, 1997

Lindbergh (Nobody Owns the Sky, 1996, etc.) personifies spring as a voice ``deep as the river and high as a bird,'' calling all things in the north woods to awaken and begin—foxes and frogs, wild ducks and wolves, buds, bats, and bears. Rhymed couplets attempt to entice readers long cold, but fail to fully evoke the senses or engage the emotions. ``Swoop out, swift bat, flutter fast, flitter-flit./Snatch a moth on the wing; make a meal of it.'' The text bursts, leaps, tumbles, and wiggles, but never captures the anticipation and explosion of the season. In her debut, Sivertson turns animals and landscapes into impressionistic shapes of color with undelineated features, motif-like in their primitive forms. They whirl and swirl against textured canvases thick with paint, more pattern in motion than still life or scenery. The art is powerful and accomplished on its own, but in this context acts as a filter between the emotions summoned by the already straining text and readers. A glossary of ``Animal Notes'' provides brief facts about the creatures mentioned in the text. (Picture book. 4-7) Read full book review >
Released: Nov. 1, 1996

Homage to a brave and dedicated aviation pioneer summoned in lyrical verse and paint-drenched, joyous illustrations. Lindbergh (There's a Cow in the Road!, 1993, etc.) writes an inspiring poem about Bessie Coleman, who in 1922 became the first licensed African-American aviator in the world. ``Nobody owns the sky'' is Bessie's response when anyone tries to talk her out of becoming an aviator. After being turned away by schools in the US, Bessie left her job as a manicurist for flying lessons in France. Once she was licensed, she became a stunt flyer and gave speeches. Then tragedy struck: ``But in Jacksonville, Florida, everyone cried,/Because Bessie's plane failed, and she fell, and she died.'' Vivid illustrations beautifully depict the upbeat message about pursuing dreams. One particularly vibrant painting of birds soaring in the cloud-filled sky illustrates the freedom inherent in flight: ``With the wind on their wings, flying free, flying true/You can call to them all, you can say, `Hey, you!/I'm coming up there, too!' '' (Picture book. 6-9) Read full book review >
THERE'S A COW IN THE ROAD! by Reeve Lindbergh
Released: Aug. 1, 1993

``...She's a big one too,/Browsing on blossoms/Drenched with dew.'' In spritely verse, a child getting ready for school reports the drama accumulating outside her Vermont farmhouse window: traffic halts, minutes pass, and more animals congregate- -plus a paperboy treed by ``...a goat in the road! At the edge of our drive/As I pull on my socks/At seven-oh-five.'' By the time the school bus comes at ``seven forty-four,'' there are half a dozen noisy, friendly creatures waiting with the kids. The cadence propels the verse like a well-oiled ticking clock, while Pearson's dancing lines and effervescent watercolors embroider the humor at every turn, from a heap of toy animals on the little girl's bed—as numerous as those outdoors—to the cheerful crowd waving goodbye at the end. A joyous, comical pacesetter for a busy morning. (Picture book. 4-7) Read full book review >
Released: Dec. 1, 1992

According to the author, daughter of Charles and Anne Morrow Lindbergh (cf. Dorothy Herrmann's biography, below), this slight, graceful little family study is fully fictional (``the events did not happen''). Righto...but: all the background matters mentioned here—from the death of the father in Hawaii to the loss of a first baby, etc.—plant an identifying flag squarely in Lindbergh territory, and add a special poignancy to this portrait of a family dealing with the incursions of age on their mother, through their love for her and one another. Driving from her home in Vermont with two teenaged girls and a little boy, Cressida travels to Connecticut and 80-year-old mother Alicia. Eventually, all of Alicia's children arrive, plus her sister and a loving neighbor; and throughout the few days of her visit, Cressida contemplates present worries (Alicia's loss of memory, a brother's divorce) and tragedies (the death of Cressida's first baby son), and she also remembers: the patriarch, the famous flyer Cal, known to the younger generation as only a photo in a history book, and now recalled by his daughter with both fear and love. Did Cal know ``how often she [Alicia] escaped right out from under the blaze of words and into the shadowy protected realms of her inner self''? Some of Cressida's meditations have a stunning resonance with the Lindbergh story: Cal and Alicia were like ``a couple living perpetually with the sense of being watched, of guarding against watchers [but they] wrote volumes about themselves for publication.'' As for the present family: ``We watch ourselves; we hide and protect ourselves; and we hide and protect our parents.'' In this tribute to her aged mother, Lindbergh stresses ``Alicia's'' loving gentleness, but also her strong life apart. Lindbergh's prose has a gentle cadence and charm (see her eloquent juvenile View from the Air, p. 1140). Pleasant, and with special value as an insight into a famous family. Read full book review >
Released: Sept. 1, 1992

In his last flights as a pilot, in 1971 and 1972, Lindbergh carried Richard Brown, a young nature photographer who wanted to try aerial photography. Here, voicing her father's enthusiasms and concerns, Reeve Lindbergh provides hymn-like verse celebrating the joy of flight and, especially, the earth's beauty, as exemplified in these northern New England landscapes. The color photos are lovely; the carefully honed poetry makes an eloquent plea for preservation; and knowing that the great aviator also saw these vistas, while piloting, gives them a special power. (Poetry/Picture book. 4+) Read full book review >