A solid introduction to Africa’s fauna—happy (letter) hunting. (Informational picture book. 4-6)
The Jouberts, National Geographic Explorers-in-Residence, introduce young readers to the African animals they have studied for years and give them a lesson in letters at the same time.
A large capital letter frames every page (sadly, without its lowercase counterpart), while the photography takes center stage. A short paragraph either introduces a fact or two about the animal or describes what is happening in the photograph. Heavy alliteration encourages kids to look for each instance of the featured letter on the page—how many b’s are on the baboon page? Attempts to include the featured letter in the paragraph sometimes feel forced, overly anthropomorphic or inappropriate; for example, after cheetahs catch their dinner, they “chomp and chew with delight.” But the letter hunt will be secondary for most children—the photographs will keep them riveted. Beverly Joubert gives readers an up-close and personal view of each animal, capturing the features that make them unique. A brief glossary helps young readers with some of the more challenging vocabulary: boisterous, rambunctious, vociferous. Backmatter also includes a list of sources for more information and a double-page spread showing each letter of the alphabet, a thumbnail photo of the animal it represents and a brief listing of facts, including habitat, size, food, sounds and how many babies they have at a time.
A solid introduction to Africa’s fauna—happy (letter) hunting. (Informational picture book. 4-6)Pub Date: May 1, 2011
ISBN: 978-1-4263-0781-2
Page Count: 48
Publisher: National Geographic
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: April 15, 2011
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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BOOK REVIEW
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SEEN & HEARD
SEEN & HEARD
Echoes of Runaway Bunny color this exchange between a bath-averse piglet and his patient mother. Using a strategy that would probably be a nonstarter in real life, the mother deflects her stubborn offspring’s string of bath-free occupational conceits with appeals to reason: “Pirates NEVER EVER take baths!” “Pirates don’t get seasick either. But you do.” “Yeesh. I’m an astronaut, okay?” “Well, it is hard to bathe in zero gravity. It’s hard to poop and pee in zero gravity too!” And so on, until Mom’s enticing promise of treasure in the deep sea persuades her little Treasure Hunter to take a dive. Chunky figures surrounded by lots of bright white space in Segal’s minimally detailed watercolors keep the visuals as simple as the plotline. The language isn’t quite as basic, though, and as it rendered entirely in dialogue—Mother Pig’s lines are italicized—adult readers will have to work hard at their vocal characterizations for it to make any sense. Moreover, younger audiences (any audiences, come to that) may wonder what the piggy’s watery closing “EUREKA!!!” is all about too. Not particularly persuasive, but this might coax a few young porkers to get their trotters into the tub. (Picture book. 4-6)
Pub Date: March 1, 2011
ISBN: 978-0-399-25425-3
Page Count: 32
Publisher: Philomel
Review Posted Online: Jan. 25, 2011
Kirkus Reviews Issue: Feb. 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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