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LUCILLE

Name: LUCILLE
Author: Arnold Lobel
ISBN: 0060239662

by Arnold Lobel ‧ RELEASE DATE: March 11, 1964

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The author-illustrator of the amusing Mister Muster books (the last was A Holiday for Mr. Muster, 1963, p. 595, J-197) has created a glum plowhorse, Lucille, who is depressed when she sees herself as a "dull and dirty" creature. The farmer's wife who "drinks tea and listens to the radio" all day, sympathizes with Lucille's wishes, and takes her to town where she transforms the horse, via red shoes, straw hat and white dimity, into a lady. Lucille becomes a house dweller, but soon pines for the comfortable outdoors world. A calamitous tea party at which Lucille nearly destroys a few of the guests, results in a return to the unclad life of a plowhorse as a new contented Lucille. The colorful, spontaneous art work combines with the very simple text — words are repeated but not monotonously — to make a forthright belly-laugher for first year readers.

Pub Date: March 11, 1964

ISBN: 0060239662

Page Count: 64

Publisher: Harper & Row

Review Posted Online: May 1, 2012

Kirkus Reviews Issue: March 1, 1999

Categories:

CHILDREN'S GENERAL CHILDREN'S

- BOOK REVIEW
THE TURNAROUND WIND
illustrated by Arnold Lobel

- BOOK REVIEW
THE RANDOM HOUSE BOOK OF MOTHER GOOSE
by Arnold Lobel

- BOOK REVIEW
THE ROSE IN MY GARDEN
by Arnold Lobel & illustrated by Anita Lobel

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THERE'S A MONSTER IN YOUR BOOK

From the Who's in Your Book? series

by Tom Fletcher ; illustrated by Greg Abbott ‧ RELEASE DATE: Sept. 5, 2017

Playful, engaging, and full of opportunities for empathy—a raucous storytime hit.

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Readers try to dislodge a monster from the pages of this emotive and interactive read-aloud.

“OH NO!” the story starts. “There’s a monster in your book!” The blue, round-headed monster with pink horns and a pink-tipped tail can be seen cheerfully munching on the opening page. “Let’s try to get him out,” declares the narrator. Readers are encouraged to shake, tilt, and spin the book around, while the monster careens around an empty background looking scared and lost. Viewers are exhorted to tickle the monster’s feet, blow on the page, and make a really loud noise. Finally, shockingly, it works: “Now he’s in your room!” But clearly a monster in your book is safer than a monster in your room, so he’s coaxed back into the illustrations and lulled to sleep, curled up under one page and cuddling a bit of another like a child with their blankie. The monster’s entirely cute appearance and clear emotional reactions to his treatment add to the interactive aspect, and some young readers might even resist the instructions to avoid hurting their new pal. Children will be brought along on the monster’s journey, going from excited, noisy, and wiggly to calm and steady (one can hope).

Playful, engaging, and full of opportunities for empathy—a raucous storytime hit. (Picture book. 2-7)

Pub Date: Sept. 5, 2017

ISBN: 978-1-5247-6456-2

Page Count: 32

Publisher: Random House

Review Posted Online: June 4, 2017

Kirkus Reviews Issue: June 15, 2017

Categories:

CHILDREN'S GENERAL CHILDREN'S

- BOOK REVIEW
THERE'S A BEAR IN YOUR BOOK
by Tom Fletcher ; illustrated by Tom Fletcher

- BOOK REVIEW
THERE'S A UNICORN IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

- BOOK REVIEW
THERE'S A WITCH IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

- BOOK REVIEW
THERE'S A BEAR IN YOUR BOOK
by Tom Fletcher ; illustrated by Tom Fletcher

- BOOK REVIEW
THERE'S A UNICORN IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

- BOOK REVIEW
THERE'S A WITCH IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

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HOME

by Carson Ellis ; illustrated by Carson Ellis ‧ RELEASE DATE: Feb. 24, 2015

Visually accomplished but marred by stereotypical cultural depictions.

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Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”

Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.

Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)