A clever, humorous approach to the world of letters, words, and literacy.
When Dog spots the letters of the alphabet floating overhead and is not sure what they might be, Cat interrupts a bath to explain what the letters are for and how they are used.
With a certain sardonic wit, knowledgeable Cat demonstrates to the less-informed Dog how letters are rearranged to make words. Cat begins to poke the letters with a stick, and after they come crashing down, some on Dog’s head (“Ouch! You did that on purpose”), Dog begins to sweep them away. “These things are dangerous.” Cat quickly interrupts to show how they can begin to put the letters together. “Let’s try spelling our names.” This results in a cheeky, literal “our names,” which prompts Dog to attempt a version with “dat and cog.” Cat then creates a long affirmative statement: “letters can make words that are brilliant and awesome or dark and scary or sunny and happy or rainy and sad.” (The arrangement of these block letters on a double-page spread may require a moment or two to parse.) Dog complains, weeping and pounding the floor: “BUT IT’S ALL SO COMPLICATED!” Yet Cat, armed with a stack of books, asserts the best thing to be done with letters is to make lots of words. Black-and-white cartoon art against a very stark white backdrop extends this duo’s banter. Splashes of color add emphasis, such as Cat’s large stack of colorfully covered books.
A clever, humorous approach to the world of letters, words, and literacy. (Picture book. 4-6)Pub Date: March 1, 2020
ISBN: 978-0-8075-1096-4
Page Count: 32
Publisher: Whitman
Review Posted Online: Jan. 11, 2020
Kirkus Reviews Issue: Feb. 1, 2020
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
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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