by Anthony Browne & illustrated by Anthony Browne ‧ RELEASE DATE: April 12, 2001
Greenaway and Hans Christian Andersen medallist Browne presents a sweet-natured celebration of Dad in all his infinite variety. Browne, a master of the colored-pencil and wash illustration, has an almost preternatural gift for balancing delicious detail with winning whimsy. Here, warmly appealing, carefully composed pictures feature a simple and wonderfully appealing motif—an umber, sepia, and sunny yellow-toned plaid bathrobe fabric as unique visual shorthand for, well . . . Dad. From our first view of him (clasping a mug of tea at the breakfast table) to last (clasping the androgynous child narrator in a feet-off-the-ground hug), he’s reliably clad in his all-occasion snappy blue-and-white-striped pajamas, cozy red slippers, and his “signature” woolen plaid dressing gown. Whether Browne depicts him as a horse tucking into a huge mound of beans, chips, eggs, and tomatoes, a professional wrestler, competing in school field day, or even as weightlifting gorilla, he’s the man in plaid. The publisher may have done a disservice to Dads as well as the book in their well-meaning attempt at improved accessibility for the American audience. In a central spread, bath-robed and mortarboard-clad owl as Dad is posed professorially against a chalkboard covered with arithmetic problems. The facing page then depicts Dad proudly posed (à la American Gothic) with a stiff push broom that pleasingly matches his equally stiff and contoured, flat-top hair—once called a “brush cut.” The original text reads: “He’s as wise as an owl and as bristly as a brush. He’s all right my dad.” The newest version instead captions Dad with broom: “except when he tries to help. He’s all right my dad.” Click. A singularly unfortunate default to the stereotype that any man who engages in any family “life support” activities (like cleaning) is de facto inept. This disappointing spread is even more out-of-step in a book that celebrates the “every-Dad” in every way. Does this flaw/defect detract enough to merit a knee-jerk rejection? No. We can only hope the publisher will return to the original in future reprints. In the meantime, you might want to stock up for Father’s Day. This one has family favorite written all over it. (Picture book. All ages)
Pub Date: April 12, 2001
ISBN: 0-374-35101-5
Page Count: 32
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2001
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by Anthony Browne ; illustrated by Anthony Browne
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by Arthur Dorros & illustrated by Elisa Kleven ‧ RELEASE DATE: Sept. 1, 1991
Rosalba imagines how the grandmother who takes her to the park might soar with her over the city (New York), sharing the sights. Since ``Abuela'' speaks ``mostly Spanish,'' Rosalba mentions many Spanish words for what they see, and in their conversations. Though the storyline here is slight, the relationship glows with affection; the Spanish vocabulary is well integrated and clear in context. Kleven's illustrations—jewel- like collages of sparkling images and patterns, crammed with intriguing details—effectively transmit Rosalba's joy in her narrative. Pronouncing glossary. (Picture book. 3-8)
Pub Date: Sept. 1, 1991
ISBN: 0-525-44750-4
Page Count: 40
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1991
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by Arthur Dorros ; illustrated by Raúl Colón
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by Arthur Dorros & illustrated by Rudy Gutierrez
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by Arthur Dorros & illustrated by Ann Grifalconi
by Stephen King ; illustrated by Maurice Sendak ‧ RELEASE DATE: Sept. 2, 2025
Menacing and most likely to appeal to established fans of its co-creators.
Existing artwork from an artistic giant inspires a fairy-tale reimagination by a master of the horror genre.
In King’s interpretation of a classic Brothers Grimm story, which accompanies set and costume designs that the late Sendak created for a 1997 production of Engelbert Humperdinck’s opera, siblings Hansel and Gretel survive abandonment in the woods and an evil witch’s plot to gobble them up before finding their “happily ever after” alongside their father. Prose with the reassuring cadence of an old-timey tale, paired with Sendak’s instantly recognizable artwork, will lull readers before capitalizing on these creators’ knack for injecting darkness into seemingly safe spaces. Gaping faces loom in crevices of rocks and trees, and a gloomy palette of muted greens and ocher amplify the story’s foreboding tone, while King never sugarcoats the peach-skinned children’s peril. Branches with “clutching fingers” hide “the awful enchanted house” of a “child-stealing witch,” all portrayed in an eclectic mix of spot and full-bleed images. Featuring insults that might strike some as harsh (“idiot,” “fool”), the lengthy, dense text may try young readers’ patience, and the often overwhelmingly ominous mood feels more pitched to adults—particularly those familiar with King and Sendak—but an introduction acknowledges grandparents as a likely audience, and nostalgia may prompt leniency over an occasional disconnect between words and art.
Menacing and most likely to appeal to established fans of its co-creators. (Picture book. 4-8)Pub Date: Sept. 2, 2025
ISBN: 9780062644695
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 15, 2025
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