A lively, colorful celebration of unmediated living.


A little robot boy goes on an urban adventure.

Each morning, Doug’s parents plug him in so that he can download lots of facts and become “the smartest robot ever.” On the second spread, Doug sits atop a stool, plugged into a computer that looks like ENIAC, with the goal of learning all about the city. He waves goodbye to his parents as they walk off the verso, briefcases in hand, presumably headed off to work. The next page opening has the appearance of a circuit board or retro video game screen, with a tiny picture of plugged-in Doug in the upper-left corner. The spread is designed like a map through everything he is to learn that day, complete with a yellow line highlighting his planned path to various points, with facts about taxis, fountains, skyscrapers, pigeons and so on. When Doug sees a real pigeon on his windowsill, he decides to unplug and venture out to learn about the city in person. He encounters everything from the screen, but the best part of his adventure comes when he befriends a boy in the park. They play together until the boy realizes he doesn’t know where his parents are, and then Doug helps reunite them—only to decide he wants to go home, following the classic home-away-home story arc. Yaccarino’s retro palette and style suit this robot tale to a T.

A lively, colorful celebration of unmediated living. (Picture book. 3-5)

Pub Date: Feb. 12, 2013

ISBN: 978-0-375-86643-2

Page Count: 40

Publisher: Knopf

Review Posted Online: Dec. 26, 2012

Kirkus Reviews Issue: Jan. 15, 2013

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Though this celebration of community is joyful, there just is not much here.


A sugary poem, very loosely based on the familiar song, lacks focus.

Using only the refrain from the original (“One love, one heart, let’s get together and feel all right!”), the reggae great’s daughter Cedella Marley sees this song as her “happy song” and adapts it for children. However, the adaptation robs it of life. After the opening lines, readers familiar with the original song (or the tourism advertisement for Jamaica) will be humming along only to be stopped by the bland lines that follow: “One love, what the flower gives the bee.” and then “One love, what Mother Earth gives the tree.” Brantley-Newton’s sunny illustrations perfectly reflect the saccharine quality of the text. Starting at the beginning of the day, readers see a little girl first in bed, under a photograph of Bob Marley, the sun streaming into her room, a bird at the window. Each spread is completely redundant—when the text is about family love, the illustration actually shows little hearts floating from her parents to the little girl. An image of a diverse group getting ready to plant a community garden, walking on top of a river accompanies the words “One love, like the river runs to the sea.”

Though this celebration of community is joyful, there just is not much here. (afterword) (Picture book. 3-5)

Pub Date: Oct. 5, 2011

ISBN: 978-1-4521-0224-5

Page Count: 32

Publisher: Chronicle Books

Review Posted Online: April 5, 2011

Kirkus Reviews Issue: Sept. 15, 2011

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This book wants to be feminist.

Princess Penelope Pineapple, illustrated as a white girl with dark hair and eyes, is the Amelia Bloomer of the Pineapple Kingdom. She has dresses, but she prefers to wear pants as she engages in myriad activities ranging from yoga to gardening, from piloting a plane to hosting a science fair. When it’s time for the Pineapple Ball, she imagines wearing a sparkly pants outfit, but she worries about Grand Lady Busyboots’ disapproval: “ ‘Pants have no place on a lady!’ she’d say. / ‘That’s how it has been, and that’s how it shall stay.’ ” In a moment of seeming dissonance between the text and art, Penny seems to resolve to wear pants, but then she shows up to the ball in a gown. This apparent contradiction is resolved when the family cat, Miss Fussywiggles, falls from the castle into the moat and Princess Penelope saves her—after stripping off her gown to reveal pink, flowered swimming trunks and a matching top. Impressed, Grand Lady Busyboots resolves that princesses can henceforth wear whatever they wish. While seeing a princess as savior rather than damsel in distress may still seem novel, it seems a stretch to cast pants-wearing as a broadly contested contemporary American feminist issue. Guthrie and Oppenheim’s unimaginative, singsong rhyme is matched in subtlety by Byrne’s bright illustrations.

Skip it . (Picture book. 3-5)

Pub Date: Sept. 12, 2017

ISBN: 978-1-4197-2603-3

Page Count: 32

Publisher: Abrams

Review Posted Online: July 2, 2017

Kirkus Reviews Issue: July 15, 2017

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