An ingenious, if unevenly successful, showpiece.
Twenty-six pop-up letters—both resolutely minimalist and a tour de force of paper design.
Gathered into a small, square volume, the pop-up letters are all capitals and take up one spread each with printed capital and lowercase characters in the lower corner. The rectos are all white, the versos a solid color that is often echoed in the architectural counters or eyes in the central figures. Sometimes, though, Hawcock only suggests his letterforms with cut edges and negative spaces; a technique that works nicely for “C” and “E” but leaves “K” just a set of abstract angles and “R” with a solid top and no distinct lower leg. He also makes inventive use of origami folds—earning style points with reverse-folded colored counters for “B” and “O,” for instance, and crafting “X” simply from the unmarked top ridges of a water bomb base. Readers may be drawn to this as a sometimes-challenging exercise in letter recognition, but it also provides food for thought about ways in which artists can get away from drawn lines and use space, straight or curved edges, and color to create a broad range of forms.
An ingenious, if unevenly successful, showpiece. (Pop-up alphabet book. 3 & up)Pub Date: Sept. 1, 2015
ISBN: 978-1-85707-809-1
Page Count: 52
Publisher: Tango Books
Review Posted Online: July 21, 2015
Kirkus Reviews Issue: Dec. 1, 2015
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
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SEEN & HEARD
SEEN & HEARD
A bit predictable but pleasantly illustrated.
Bill Martin Jr and John Archambault’s classic alphabet book Chicka Chicka Boom Boom (1989) gets the Halloween treatment.
Chung follows the original formula to the letter. In alphabetical order, each letter climbs to the top of a tree. They are knocked back to the ground in a jumble before climbing up in sequence again. In homage to the spooky holiday theme, they scale a “creaky old tree,” and a ghostly jump scare causes the pileup. The chunky, colorful art is instantly recognizable. The charmingly costumed letters (“H swings a tail. / I wears a patch. J and K don / bows that don’t match”) are set against a dark backdrop, framed by pages with orange or purple borders. The spreads feature spiderwebs and jack-o’-lanterns. The familiar rhyme cadence is marred by the occasional clunky or awkward phrase; in particular, the adapted refrain of “Chicka chicka tricka treat” offers tongue-twisting fun, but it’s repeatedly followed by the disappointing half-rhyme “Everybody sneaka sneak.” Even this odd construction feels shoehorned into place, since “sneaking” makes little sense when every character in the book is climbing together. The final line of the book ends on a more satisfying note, with “Everybody—time to eat!”
A bit predictable but pleasantly illustrated. (Picture book. 3-7)Pub Date: July 15, 2025
ISBN: 9781665954785
Page Count: 40
Publisher: Beach Lane/Simon & Schuster
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
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