A playful, dreamily illustrated adventure.
In Blough’s picture book, a young girl treks from bedroom to breakfast table while imagining herself to be a polar bear.
Emma, depicted at the outset of the story as a polar bear cub, wakes one morning in her ice-cavern bedroom, her mother calling her to breakfast. Anticipating a feast of berries, seaweed, and fish, Emma sets out, following her nose up icy cliffs, down slippery slopes, across shimmering plains, and over jagged crevasses. Along the way, she encounters a bristly, tusked walrus intent on stealing her meal. They roll and tumble, but Emma wins out. She claims her delectable prize, which turns out to be... pancakes. Though skeptical of the human breakfast staple in polar-bear form, Emma as a blonde human girl finds them delicious. She and her brother polish off their meal and go to play some more. (“LEFT PAW, RIGHT PAW, LEFT PAW AGAIN, repeating her steps till she reached the end.”) Blough narrates Emma’s story via a straightforward, loosely rhymed text placed strategically amid the unfolding action and rendered bold and EXTRA-LARGE where emphasis demands. Mongodi, making sublime use of subdued, arctic colors, provides a two-page spread of digital illustrations that sparkle with a sense of place and personality. Capturing the essence of traditional acrylic and oil paintings, these images render bear-cub Emma a most delightful and expressive protagonist, transforming her imaginings into wondrous works of art. Young readers will thrill and tumble along to the denouement.
A playful, dreamily illustrated adventure.Pub Date: Nov. 20, 2025
ISBN: 9798991726719
Page Count: 32
Publisher: Bluebird Lane
Review Posted Online: Nov. 6, 2025
Review Program: Kirkus Indie
A silly snack guaranteed to satisfy the funny bone; kids will eat it up and ask for more.
In this droll tale, ostensibly straightforward instructions are a recipe for absurdity.
To obtain the two slices of bread that a jelly sandwich calls for, a brown-skinned youngster named Frankie instructs readers to head to the store. But NOT to the bakery aisle! Instead, buy “one orange [traffic] cone, scuba flippers, and a yellow inner tube.” Using those items to fashion a duck disguise, you’ll score the bread from a brown-skinned elder feeding wildfowl in the park. And if the ducks see through your pretense, you might have to practice your “quack-cent.” Similar maneuvers are required to open the jelly jar: You’ll need peanuts, a playground with a “whirly-go-round,” and an elephant with a strong trunk grip. (But if the jar is carelessly opened upside down, you’ll get a “jellyphant.”) To spread the jelly, you must first scrub a dog in your bathtub. (Dip the clean tail in the jelly, then pet and praise the dog until it happily wags its tail over the bread slices.) Putting the slices together requires a knightly tournament, but cutting the sandwich, “the least complicated step of all,” involves training a hamster to ride a unicycle. The final pages propose an alternative (but just as outrageous) method and invite readers to think up their own ridiculous techniques. Burach’s scenarios are inventive and hilarious, while his exaggerated cartoon illustrations reinforce the delicious jokiness each step of the way.
A silly snack guaranteed to satisfy the funny bone; kids will eat it up and ask for more. (Picture book. 4-8)Pub Date: April 21, 2026
ISBN: 9781338877090
Page Count: 40
Publisher: Scholastic
Review Posted Online: March 9, 2026
Kirkus Reviews Issue: April 1, 2026
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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