A timeless message with modern meaning to spare.
Children and adults have wildly different reactions to a magical woman’s gift.
The rumors are true. In a small village, a woman named Nanty Solo arrives, claiming to be able to turn children into birds. The adults call it “balderdash” but warn their kids away from Nanty Solo anyway. Young Dorothy Carr (pale-skinned with dark hair) is the first to disobey and swoops “into the blue” as a swallow for a few minutes before turning back into a girl. As Nanty Solo whispers the words, “Go on. Be happy. Up you go,” more children become birds until the grown-ups tell Nanty Solo to leave. She agrees but asks, “But what on earth are you frightened of?” The grown-ups fly last of all and have a marvelous time as Nanty Solo leaves to visit more towns. With the cadence of a fable, the book revels in the deliciousness of language. Adults don’t merely dismiss the magic woman but call her work “claptrap, tommyrot, piffle, bunkum!” Lisssome mixed-media art expertly showcases children of various skin tones transforming and leaving the world behind; Nanty Solo has skin the color of the page. And if the lesson of overcoming fear and letting children soar may be missed by some, it has all the hallmarks of a book destined to become a family favorite for others. (This book was reviewed digitally.)
A timeless message with modern meaning to spare. (Picture book. 3-6)Pub Date: Oct. 18, 2022
ISBN: 978-1-5362-1996-8
Page Count: 32
Publisher: Candlewick Studio
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
The book is available in just about every format--but this is the perfect one.
It's hard to believe that a pop-up wasn't the creators' original intention, so seamlessly do moveable parts dovetail into this modern classic's storyline.
In contrast to the tale's 1998 pop -up version, the figures here move on every page, and with an unusually graceful naturalism to boot. From pulling down Big Nutbrown Hare's ears on the opening spread to make sure he's listening to drowsily turning his head to accept a final good-night kiss in a multi-leveled pull-down tableau at the close, all of Little Nutbrown Hare's hops, stretches and small gestures serve the poetically spare text—as do Big Nutbrown's wider, higher responses to his charge's challenges. As readers turn a flap to read Big Nutbrown's "But I love you this much," his arms extend to demonstrate. The emotional connection between the two hares is clearer than ever in Jeram's peaceful, restrained outdoor scenes, which are slightly larger than those in the trade edition, and the closing scene is made even more intimate by hiding the closing line ("I love you right up to the moon—and back") until an inconspicuous flap is opened up.
The book is available in just about every format--but this is the perfect one. (Pop-up picture book. 3-6)Pub Date: Sept. 13, 2011
ISBN: 978-0-7636-5378-1
Page Count: 16
Publisher: Candlewick
Review Posted Online: Sept. 21, 2020
Kirkus Reviews Issue: Nov. 1, 2011
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IN THE NEWS
Still, this young boy’s imagination is a powerful force for helping him deal with life, something that should be true for...
Oliver, of first-day-of-school alligator fame, is back, imagining adventures and still struggling to find balance between introversion and extroversion.
“When Oliver found his egg…” on the playground, mint-green backgrounds signifying Oliver’s flight into fancy slowly grow larger until they take up entire spreads; Oliver’s creature, white and dinosaurlike with orange polka dots, grows larger with them. Their adventures include sharing treats, sailing the seas and going into outer space. A classmate’s yell brings him back to reality, where readers see him sitting on top of a rock. Even considering Schmid’s scribbly style, readers can almost see the wheels turning in his head as he ponders the girl and whether or not to give up his solitary play. “But when Oliver found his rock… // Oliver imagined many adventures // with all his friends!” This last is on a double gatefold that opens to show the children enjoying the creature’s slippery curves. A final wordless spread depicts all the children sitting on rocks, expressions gleeful, wondering, waiting, hopeful. The illustrations, done in pastel pencil and digital color, again make masterful use of white space and page turns, although this tale is not nearly as funny or tongue-in-cheek as Oliver and His Alligator (2013), nor is its message as clear and immediately accessible to children.
Still, this young boy’s imagination is a powerful force for helping him deal with life, something that should be true for all children but sadly isn’t. (Picture book. 3-5)Pub Date: July 1, 2014
ISBN: 978-1-4231-7573-5
Page Count: 40
Publisher: Disney-Hyperion
Review Posted Online: May 18, 2014
Kirkus Reviews Issue: June 1, 2014
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