A stunning work of creative genius sure to captivate the young and lend pure delight to beachcombers of any age.
A riveting collection of puppets made from found objects at the seashore.
Coretta Scott King–Virginia Hamilton Lifetime Achievement winner Bryan here presents the uncanny fruit of over 50 years of artistry and beachcombing. A child of the Depression, Bryan early on developed a penchant for collecting cast-off items from New York City sidewalks. As an adult, when walking the shores of Maine’s Little Cranberry Island, he does the same, now turning much of his seaside bounty into the more than 30 hand puppets captured here in exquisite detail by photographer Hannon. Not only do shells, sea glass and driftwood find new life in Bryan’s African folklore–inspired creations, but bits of net, marbles, thumbtacks, gloves, twine, all kinds of bones, watchbands, forks, fur and a bedpost—not to mention the occasional button—and more amazingly transform into appendages and accessories. As if his wildly fashioned creatures don’t have enough character, Bryan gives each of his puppets a name and poem describing both what it’s made from and its vision. Says the shamanlike Spirit Guardian: “We are born of cast-off pieces / And, like magic, brought alive / By your own imagination. / That’s the gift / By which we thrive.”
A stunning work of creative genius sure to captivate the young and lend pure delight to beachcombers of any age. (Picture book/poetry. 4 & up)Pub Date: July 8, 2014
ISBN: 978-1-4424-8728-4
Page Count: 80
Publisher: Atheneum
Review Posted Online: April 29, 2014
Kirkus Reviews Issue: May 15, 2014
Broccoli: No way is James going to eat broccoli. “It’s disgusting,” says James. Well then, James, says his father, let’s consider the alternatives: some wormy dirt, perhaps, some stinky socks, some pre-chewed gum? James reconsiders the broccoli, but—milk? “Blech,” says James. Right, says his father, who needs strong bones? You’ll be great at hide-and-seek, though not so great at baseball and kickball and even tickling the dog’s belly. James takes a mouthful. So it goes through lumpy oatmeal, mushroom lasagna and slimy eggs, with James’ father parrying his son’s every picky thrust. And it is fun, because the father’s retorts are so outlandish: the lasagna-making troll in the basement who will be sent back to the rat circus, there to endure the rodent’s vicious bites; the uneaten oatmeal that will grow and grow and probably devour the dog that the boy won’t be able to tickle any longer since his bones are so rubbery. Schneider’s watercolors catch the mood of gentle ribbing, the looks of bewilderment and surrender and the deadpanned malarkey. It all makes James’ father’s last urging—“I was just going to say that you might like them if you tried them”—wholly fresh and unexpected advice. (Early reader. 5-9)
Pub Date: May 1, 2011
ISBN: 978-0-547-14956-1
Page Count: 48
Publisher: Clarion Books
Review Posted Online: April 4, 2011
Kirkus Reviews Issue: April 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Visually accomplished but marred by stereotypical cultural depictions.
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)Pub Date: Feb. 24, 2015
ISBN: 978-0-7636-6529-6
Page Count: 40
Publisher: Candlewick
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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