Still, another solid addition to tall-tale collections.
Miller and Lloyd team up for another rollicking tall-tale adventure (Davy Crockett Gets Hitched, 2009).
While gathering onions on a bone-cold morning in woods so thick the sun can’t shine through, Miss Sally Ann Thunder, dressed in her best bear fur, and Fireeyes, the “hugeceously smart and mean as tarnation” panther, come face to face, each coveting the other’s coat to keep out the winter chill. The rip-roaring battle that ensues changes the world around them—a new gorge is formed, skunks lose their stripes, the Milky Way curdles—but neither is able to gain the upper hand. By the next morning’s light, they stop to appreciate each other's fine fighting skills…and smile at one another, suddenly great friends. Fireeyes lives with Miss Sally Ann now, helping around the house and lying on her feet to keep them warm in the winter, her best bear fur around his shoulders. Miller’s rambunctious read-aloud is peppered with word itching to be shared—thunderific, swaggerous, conbobberation, terrifiacious, ripsnorting, as well as the delightful, though too-often-repeated, varmint. Lloyd’s acrylic artwork masterfully conveys texture, each hair on the panther and needle on the evergreens sharply defined. Miss Sally Ann’s larger-than-life personality comes through as she wrestles with the giant cat, though some readers may have trouble with her pioneer attitudes: She collects eagle eggs for eggnog and wants to kill the panther just for his pelt.
Still, another solid addition to tall-tale collections. (Picture book/tall tale. 4-8)Pub Date: Sept. 1, 2012
ISBN: 978-0-8234-1833-6
Page Count: 32
Publisher: Holiday House
Review Posted Online: July 31, 2012
Kirkus Reviews Issue: Aug. 15, 2012
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A validating and breathtaking next chapter of a Mother Goose favorite.
Humpty Dumpty, classically portrayed as an egg, recounts what happened after he fell off the wall in Santat’s latest.
An avid ornithophile, Humpty had loved being atop a high wall to be close to the birds, but after his fall and reassembly by the king’s men, high places—even his lofted bed—become intolerable. As he puts it, “There were some parts that couldn’t be healed with bandages and glue.” Although fear bars Humpty from many of his passions, it is the birds he misses the most, and he painstakingly builds (after several papercut-punctuated attempts) a beautiful paper plane to fly among them. But when the plane lands on the very wall Humpty has so doggedly been avoiding, he faces the choice of continuing to follow his fear or to break free of it, which he does, going from cracked egg to powerful flight in a sequence of stunning spreads. Santat applies his considerable talent for intertwining visual and textual, whimsy and gravity to his consideration of trauma and the oft-overlooked importance of self-determined recovery. While this newest addition to Santat’s successes will inevitably (and deservedly) be lauded, younger readers may not notice the de-emphasis of an equally important part of recovery: that it is not compulsory—it is OK not to be OK.
A validating and breathtaking next chapter of a Mother Goose favorite. (Picture book. 4-8)Pub Date: Oct. 3, 2017
ISBN: 978-1-62672-682-6
Page Count: 45
Publisher: Roaring Brook Press
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
Pretty, though as condensations go, less Wonder-full than Robert Sabuda’s pop-up Alice (2003) or the digital Alicewinks...
A much-abridged version of the classic’s first five chapters, dressed up with large and properly surreal illustrations.
Rhatigan and Nurnberg retain “Curiouser and curiouser!” and other select bits of the original while recasting the narrative in various sizes of type and a modern-sounding idiom: “Tiny Alice needed something special to eat to get back to her regular girl size.” They take Carroll’s bemused young explorer past initial ups and downs and her encounter with a certain (here, nonsmoking) Blue Caterpillar. Looking more to Disney than Tenniel, Puybaret casts Alice as a slender figure with flyaway corn-silk hair and big, blue, widely spaced eyes posing with balletic grace against broadly airbrushed backdrops. Leafless trees and barren hills give Wonderland an open, autumnal look. The odd vegetation adds an otherworldly tone, and compact houses and residents from the White Rabbit and the Dodo to occasional troupes of mice or other small creatures in circus dress are depicted with precise, lapidary polish. A marginally relevant endpaper map (partly blocked by the flaps) leads down the River of Tears, past a turnoff for a Bathroom and on toward “the Tea Party.”
Pretty, though as condensations go, less Wonder-full than Robert Sabuda’s pop-up Alice (2003) or the digital Alicewinks (2013). (Picture book. 5-8)Pub Date: Feb. 24, 2015
ISBN: 978-1-62354-049-4
Page Count: 28
Publisher: Charlesbridge
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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