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YOU HAVE TO FUCKING EAT

Name: YOU HAVE TO FUCKING EAT
Author: Adam Mansbach
ISBN: 978-1-61775-378-7

by Adam Mansbach ; illustrated by Owen Brozman ‧ RELEASE DATE: Nov. 12, 2014

A likable variation on a universal fucking theme.

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Mansbach’s (Rage Is Back, 2013, etc.) second children’s book satire/foulmouthed balm for exhausted parents spotlights the agony of managing toddlers at mealtime.

Go the Fuck to Sleep, the 2011 surprise hit by the otherwise serious novelist, was a canny blend of Dr. Seuss’ patter and Irvine Welsh’s profanity, all the funnier for the oddness of its sweet-and-sour combination. The book became an international best-seller, and Mansbach is careful not to mess with success for the sequel. A new illustrator, Brozman, is on board, but the overall strategy remains the same: There’s a problem (picky eaters) introduced in a lilting pastoral lullaby (“The bunnies are munching on carrots…”) that is then undone at the end of each quatrain with some angry-dad sputtering (“The fucking meal’s served. Time to eat”). Every parent of a toddler endures a series of crises daily (cleaning up toys, going potty, picking out clothes), and this series is bound to be tediously repetitive should it continue. But Mansbach and Brozman do just enough here to entertainingly tweak the formula, particularly in terms of its art. Unlike Ricardo Cortés’ gentle, painterly illustrations for Sleep, Brozman’s are more overtly cartoonish and absurd, like a cheetah stoically tolerating a boy’s tableside slovenliness and a panda parent glumly pushing a shopping cart through a bamboo forest. Mansbach voices genuine frustration in a way that would be irresponsible in kid lit and unprofessional in parenting guides—it’s a joke that, like most good jokes, has a serious point behind it. The lines are sometimes rhythmically clumsy: “You’re not finished, and no, you can’t go to school / In pajamas, a hat, and bare feet.” A world of weary moms and dads deserves better scansion, but then nobody’s here for the poetry.

A likable variation on a universal fucking theme.

Pub Date: Nov. 12, 2014

ISBN: 978-1-61775-378-7

Page Count: 32

Publisher: Akashic

Review Posted Online: Oct. 4, 2014

Kirkus Reviews Issue: Oct. 15, 2014

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE GOLEM OF BROOKLYN
by Adam Mansbach

- BOOK REVIEW
I HAD A BROTHER ONCE
by Adam Mansbach

- BOOK REVIEW
A FIELD GUIDE TO THE JEWISH PEOPLE
by Dave Barry & Adam Mansbach & Alan Zweibel

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.