The title reference to Gershwin’s Porgy and Bess has no bearing upon the content of this story, making it seem like a gimmick rather than a thoughtful choice. Characters are not African Americans, but anthropomorphic animals: Porky, a sloppy pig, and Bess, a fastidious mother cat. Throughout five short chapters, the odd-couple friends at turns enjoy one another’s company and struggle to see past their differences. Winborn’s watercolor illustrations enhance the story (of particular note is the humorous clothing she creates for Porky) and provide visual cues for readers as they follow Porky’s efforts to bake a cake (aided by Bess) and to write a poem in tribute to their friendship. Readers will likely arrive at the concluding rhyme Porky struggles to create well before he does: “And when the day is at an end, / I like that Bess is my best friend.” The brief chapters are broken into short paragraphs, and although this isn’t a particularly exciting read, this structure and the story’s resolution will be satisfying for new readers. (Early reader. 6-8)
Pub Date: Feb. 23, 2010
ISBN: 978-0-375-85458-3
Page Count: 48
Publisher: Random House
Review Posted Online: Dec. 30, 2010
Kirkus Reviews Issue: Feb. 15, 2010
Rylant (Henry and Mudge and the Sneaky Crackers, 1998, etc.) slips into a sentimental mode for this latest outing of the boy and his dog, as she sends Mudge and Henry and his parents off on a camping trip. Each character is attended to, each personality sketched in a few brief words: Henry's mother is the camping veteran with outdoor savvy; Henry's father doesn't know a tent stake from a marshmallow fork, but he's got a guitar for campfire entertainment; and the principals are their usual ready-for-fun selves. There are sappy moments, e.g., after an evening of star- gazing, Rylant sends the family off to bed with: ``Everyone slept safe and sound and there were no bears, no scares. Just the clean smell of trees . . . and wonderful green dreams.'' With its nice tempo, the story is as toasty as its campfire and swaddled in Stevenson's trusty artwork. (Fiction. 6-8)
Pub Date: April 1, 1998
ISBN: 0-689-81175-6
Page Count: 48
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1998
With wordplay reminiscent of Margie Palatini at her best, Helakoski takes four timorous chickens into, then out of, the literal and figurative woods. Fleeing the henhouse after catching sight of a wolf, the pusillanimous pullets come to a deep ditch: “ ‘What if we can’t jump that far?’ ‘What if we fall in the ditch?’ ‘What if we get sucked into the mud?’ The chickens tutted, putted, and flutted. They butted into themselves and each other, until one by one . . . ” they do fall in. But then they pick themselves up and struggle out. Ensuing encounters with cows and a lake furnish similar responses and outcomes; ultimately they tumble into the wolf’s very cave, where they “picked, pecked, and pocked. They ruffled, puffled, and shuffled. They shrieked, squeaked, and freaked, until . . . ” their nemesis scampers away in panic. Fluttering about in pop-eyed terror, the portly, partly clothed hens make comical figures in Cole’s sunny cartoons (as does the flummoxed wolf)—but the genuine triumph in their final strut—“ ‘I am a big, brave chicken,’ said one chicken. ‘Ohh . . . ’ said the others. ‘Me too.’ ‘Me three.’ ‘Me four’ ”—brings this tribute to chicken power to a rousing close. (Picture book. 6-8)
Pub Date: Feb. 1, 2006
ISBN: 0-525-47575-3
Page Count: 32
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2005
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