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HOMEPLACE

This quick skip through seven generations of farmers living in the same, ever-expanding house seems less a celebration of family roots than a showcase for Halperin's distinctive talents. Shelby (We Keep A Store, Orchard, 1990, etc.) uses poetic language (``She grew like a bean vine up a pole, like honeysuckle on a fencerow...'') and a comfortably repetitive structure; the narrative moves quickly, each generation passing in a few lines and generally sounding much like the others. Halperin's illustrations take longer to appreciate. Even more than those found in Tres Seymour's wonderful Hunting the White Cow (Orchard, 1993), her country scenes recall those found in late Renaissance illuminated manuscripts, with decorated initials, flowered borders, and arcs and strips of small views surrounding or superimposed on larger panels—all filled with tiny, exactly rendered details. There are some anachronistic touches—would a farmhouse have a telephone in 1880? Would trains of that era have spoked wheels?—but that hardly matters for the pleasure of picking them out, and of watching the ``homeplace'' grow from a log cabin to a rambling, cozy steading. (For a different take on a similar subject, see Alice Schertle's Maisie, above.) (Picture Book. 5-8)

Pub Date: March 1, 1995

ISBN: 0-531-06882-X

Page Count: 32

Publisher: Orchard

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 1995

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BERRY MAGIC

Sloat collaborates with Huffman, a Yu’pik storyteller, to infuse a traditional “origins” tale with the joy of creating. Hearing the old women of her village grumble that they have only tasteless crowberries for the fall feast’s akutaq—described as “Eskimo ice cream,” though the recipe at the end includes mixing in shredded fish and lard—young Anana carefully fashions three dolls, then sings and dances them to life. Away they bound, to cover the hills with cranberries, blueberries, and salmonberries. Sloat dresses her smiling figures in mixes of furs and brightly patterned garb, and sends them tumbling exuberantly through grassy tundra scenes as wildlife large and small gathers to look on. Despite obtrusively inserted pronunciations for Yu’pik words in the text, young readers will be captivated by the action, and by Anana’s infectious delight. (Picture book/folktale. 6-8)

Pub Date: June 1, 2004

ISBN: 0-88240-575-6

Page Count: 32

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 2004

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RAPUNZEL

Rapunzel, Rapunzel, let down your dreads! Isadora once again plies her hand using colorful, textured collages to depict her fourth fairy tale relocated to Africa. The narrative follows the basic story line: Taken by an evil sorceress at birth, Rapunzel is imprisoned in a tower; Rapunzel and the prince “get married” in the tower and she gets pregnant. The sorceress cuts off Rapunzel’s hair and tricks the prince, who throws himself from the tower and is blinded by thorns. The terse ending states: “The prince led Rapunzel and their twins to his kingdom, where they were received with great joy and lived happily every after.” Facial features, clothing, dreadlocks, vultures and the prince riding a zebra convey a generic African setting, but at times, the mixture of patterns and textures obfuscates the scenes. The textile and grain characteristic of the hewn art lacks the elegant romance of Zelinksy’s Caldecott version. Not a first purchase, but useful in comparing renditions to incorporate a multicultural aspect. (Picture book/fairy tale. 6-8)

Pub Date: Oct. 1, 2008

ISBN: 978-0-399-24772-9

Page Count: 32

Publisher: Putnam

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Sept. 1, 2008

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