Textured, colorful gouache illustrations portray exuberant Lottie with stylized proportions: thin, gangly arms and legs...

LOTTIE PARIS LIVES HERE

Sure, she lives here, but she also plays, pretends and occasionally gets in trouble in this lively story about a young African-American girl and her Papa Pete. 

Textured, colorful gouache illustrations portray exuberant Lottie with stylized proportions: thin, gangly arms and legs topped by a veritable explosion of brown hair. She is clearly the focus here. Papa Pete's face is never shown, although readers see other parts of him: his feet when he relaxes on the porch; his lower half when he's holding Lottie's hand. Papa Pete is patient, dangling Lottie's little shoes from his fingertips (she wears his) when it's time to go walking and allowing her to eat a cookie before her vegetables; however, he's gently firm when necessary. Text and art generally complement one another: When it's stated "Now, this is Papa Pete leaving the room and his phone....," then "And this is Lottie in the quiet chair—again," it's up to the art to show the broken cell phone. Unfortunately, it's confusing when the text mentions a "babysitter," but Papa Pete is shown; is he her father, grandfather or just someone watching her? Perhaps it doesn't matter; their loving relationship is the point here.

Pub Date: Aug. 30, 2011

ISBN: 978-0-689-87377-5

Page Count: 32

Publisher: Simon & Schuster

Review Posted Online: June 28, 2011

Kirkus Reviews Issue: July 1, 2011

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Plotless and pointless, the book clearly exists only because its celebrity author wrote it.

YOUR BABY'S FIRST WORD WILL BE DADA

A succession of animal dads do their best to teach their young to say “Dada” in this picture-book vehicle for Fallon.

A grumpy bull says, “DADA!”; his calf moos back. A sad-looking ram insists, “DADA!”; his lamb baas back. A duck, a bee, a dog, a rabbit, a cat, a mouse, a donkey, a pig, a frog, a rooster, and a horse all fail similarly, spread by spread. A final two-spread sequence finds all of the animals arrayed across the pages, dads on the verso and children on the recto. All the text prior to this point has been either iterations of “Dada” or animal sounds in dialogue bubbles; here, narrative text states, “Now everybody get in line, let’s say it together one more time….” Upon the turn of the page, the animal dads gaze round-eyed as their young across the gutter all cry, “DADA!” (except the duckling, who says, “quack”). Ordóñez's illustrations have a bland, digital look, compositions hardly varying with the characters, although the pastel-colored backgrounds change. The punch line fails from a design standpoint, as the sudden, single-bubble chorus of “DADA” appears to be emanating from background features rather than the baby animals’ mouths (only some of which, on close inspection, appear to be open). It also fails to be funny.

Plotless and pointless, the book clearly exists only because its celebrity author wrote it. (Picture book. 3-5)

Pub Date: June 9, 2015

ISBN: 978-1-250-00934-0

Page Count: 32

Publisher: Feiwel & Friends

Review Posted Online: April 15, 2015

Kirkus Reviews Issue: May 1, 2015

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The book is available in just about every format--but this is the perfect one.

GUESS HOW MUCH I LOVE YOU

POP-UP

It's hard to believe that a pop-up wasn't the creators' original intention, so seamlessly do moveable parts dovetail into this modern classic's storyline.

In contrast to the tale's 1998 pop -up version, the figures here move on every page, and with an unusually graceful naturalism to boot. From pulling down Big Nutbrown Hare's ears on the opening spread to make sure he's listening to drowsily turning his head to accept a final good-night kiss in a multi-leveled pull-down tableau at the close, all of Little Nutbrown Hare's hops, stretches and small gestures serve the poetically spare text—as do Big Nutbrown's wider, higher responses to his charge's challenges. As readers turn a flap to read Big Nutbrown's "But I love you this much," his arms extend to demonstrate. The emotional connection between the two hares is clearer than ever in Jeram's peaceful, restrained outdoor scenes, which are slightly larger than those in the trade edition, and the closing scene is made even more intimate by hiding the closing line ("I love you right up to the moon—and back") until an inconspicuous flap is opened up.  

The book is available in just about every format--but this is the perfect one. (Pop-up picture book. 3-6)

Pub Date: Sept. 13, 2011

ISBN: 978-0-7636-5378-1

Page Count: 16

Publisher: Candlewick

Review Posted Online: Sept. 21, 2020

Kirkus Reviews Issue: Nov. 1, 2011

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