The tales of Wilhelm Hauff (18021827)—almost unknown in the U.S.—belong on every child's shelf. Shepard retells ``The Caliph Stork,'' a stylized imitation of the Arabian Nights that has become a part of Middle Eastern folklore. A merchant sells the Calif[sic] of Baghdad a magic snuffbox, which contains a powder that transforms him and his vizier into storks. But the magic word that is to turn them back into humans has no effect, and they find themselves trapped in their new forms. Wandering through the woods, the two storks meet a woodpecker who tells them that she is a princess put under the spell by a sorcerer. When they follow her to the sorcerer's hide-out, they discover that he is none other than the merchant who sold them the snuffbox. They overhear him bragging about his trick, whereupon he reveals the real magic word that will transform them. The Gothic overtones of Hauff's KunstmÑrchen have been removed in Shepard's simplified version (for example, in the original, the storks more tragically forget the magic word), but the story still works. In his first work, Dianov, with rich, ornately three- dimensional watercolors, displays his sensitivity to the oriental charms of the tale, paying as much attention to the details of costume and architecture as to the characters themselves. Everything has a cartoon-like plasticity, or unrealness; his colorful pictures, full of beards, turbans, and minarets, look as if they were made out of candy. (Picture book/folklore. 5-7)
Pub Date: April 24, 1995
ISBN: 0-395-65377-0
Page Count: 32
Publisher: Clarion Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1995
An impending school visit by a celebrity chef sends budding cook Ollie into a tailspin. He and his classmates are supposed to bring a favorite family food for show and tell, but his family doesn’t have a clear choice—besides, his little sister Rosy doesn’t like much of anything. What to do? As in their previous two visits to Room 75, Kenah builds suspense while keeping the tone light, and Carter adds both bright notes of color and familiar home and school settings in her cartoon illustrations. Eventually, Ollie winkles favorite ingredients out of his clan, which he combines into a mac-and-cheese casserole with a face on top that draws delighted praise from the class’s renowned guest. As Ollie seems to do his kitchen work without parental assistance, a cautionary tip or two (and maybe a recipe) might not have gone amiss here, but the episode’s mouthwatering climax and resolution will guarantee smiles of contentment all around. (Easy reader. 6-7)
Pub Date: Dec. 1, 2007
ISBN: 978-0-06-053561-2
Page Count: 48
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2007
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Appropriately bound in brown paper, this makes its profound point more directly than such like-themed tales as Marisabina...
Dedicated “to children everywhere sitting in cardboard boxes,” this elemental debut depicts a bunny with big, looping ears demonstrating to a rather thick, unseen questioner (“Are you still standing around in that box?”) that what might look like an ordinary carton is actually a race car, a mountain, a burning building, a spaceship or anything else the imagination might dream up.
Portis pairs each question and increasingly emphatic response with a playscape of Crockett Johnson–style simplicity, digitally drawn with single red and black lines against generally pale color fields.
Appropriately bound in brown paper, this makes its profound point more directly than such like-themed tales as Marisabina Russo’s Big Brown Box (2000) or Dana Kessimakis Smith’s Brave Spaceboy (2005). (Picture book. 5-7)Pub Date: Dec. 1, 2006
ISBN: 0-06-112322-6
Page Count: 32
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2006
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