Well-meant but heavy-handed.
A Pennsylvania Dutch folk tale about the origin of the robin’s red breast is woven into a story of a girl and her grandmother preparing for Easter together.
This interpretation offers new illustrations for a work that was originally published as The Story of the Easter Robin and illustrated by Anna Vojtech (2010). The cheery, new cover shows a little blonde white girl and her appealing dog gazing out a window at a robin’s nest with five eggs (though the text clearly specifies four eggs). Tressa and her grandmother watch as a pair of robins builds a nest right outside their window in the days before Easter. Tressa worries about the safety of the eggs, and her grandmother reassures her repeatedly that God will take care of the robins. They make bird decorations from dyed eggs, and Gran tells Tressa a legend about robins and why their breasts are red. At the crucifixion of Jesus, a robin pulled a thorn out of Jesus’ forehead, and a drop of blood stained the bird’s breast. The illustrations of the girl and the grandmother are cheerful and contemporary, but the depictions of the robin at the crucifixion shift to a dark sepia palette with frightening overtones. Jesus is shown carrying the cross, wearing the crown of thorns, and a menacing hand with a whip strikes out at both Jesus and the robin. (Birders will quibble that the robin depicted in the crucifixion story is American, a geographical impossibility.) The relatively lengthy text veers from chipper to lugubrious, with a preachy tone overall.
Well-meant but heavy-handed. (author’s note) (Religion/picture book. 4-7)Pub Date: Feb. 1, 2016
ISBN: 978-0-310-74964-6
Page Count: 32
Publisher: Zonderkidz
Review Posted Online: Jan. 19, 2016
Kirkus Reviews Issue: Feb. 1, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Not enough tricks to make this a treat.
Another holiday title (How To Catch the Easter Bunny by Adam Wallace, illustrated by Elkerton, 2017) sticks to the popular series’ formula.
Rhyming four-line verses describe seven intrepid trick-or-treaters’ efforts to capture the witch haunting their Halloween. Rhyming roadblocks with toolbox is an acceptable stretch, but too often too many words or syllables in the lines throw off the cadence. Children familiar with earlier titles will recognize the traps set by the costume-clad kids—a pulley and box snare, a “Tunnel of Tricks.” Eventually they accept her invitation to “floss, bump, and boogie,” concluding “the dance party had hit the finale at last, / each dancing monster started to cheer! / There’s no doubt about it, we have to admit: / This witch threw the party of the year!” The kids are diverse, and their costumes are fanciful rather than scary—a unicorn, a dragon, a scarecrow, a red-haired child in a lab coat and bow tie, a wizard, and two space creatures. The monsters, goblins, ghosts, and jack-o'-lanterns, backgrounded by a turquoise and purple night sky, are sufficiently eerie. Still, there isn’t enough originality here to entice any but the most ardent fans of Halloween or the series. (This book was reviewed digitally.)
Not enough tricks to make this a treat. (Picture book. 4-7)Pub Date: Aug. 2, 2022
ISBN: 978-1-72821-035-3
Page Count: 40
Publisher: Sourcebooks Wonderland
Review Posted Online: May 10, 2022
Kirkus Reviews Issue: June 1, 2022
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
As ephemeral as a valentine.
Daywalt and Jeffers’ wandering crayons explore love.
Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.
As ephemeral as a valentine. (Picture book. 4-6)Pub Date: Dec. 24, 2019
ISBN: 978-1-5247-9268-8
Page Count: 32
Publisher: Penguin Workshop
Review Posted Online: Feb. 1, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
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