It’s conceptually clever enough, but metatexts and reader participation are plentiful these days, and the art can’t compare...



A factory producing black-and-white items faces adjustment.

A panda, a zebra, and a bespectacled penguin—two wearing ties, one holding a clipboard—welcome readers: “You’ve just won a tour of the top-secret Black and White Factory.” By turning the page, says a tiny-font footnote, readers swear to obey the rules: no messes, no colors, no surprises. This factory makes tuxedos, eight balls, and dice; it’s even developing black-and-white–checkered paint and polka-dot paint (older readers will pause, then grin). In the Animal Room, Dalmatians get “splatched” with black; a poster reminds workers of the correct direction of zebra stripes. Unexpectedly, in the Bar Code Room, colors start appearing. The guides beg readers for help—“Use your fingers to wipe the color off the bar code!”; “Rub the colors with your sleeve. Or your elbow. Something”—but change is inevitable. Before the upheaval, Funck’s illustrations are entirely black and white (natch), with speech bubbles and savvily expressive eyebrows; however, soft edges and crowded composition belie the text’s claim that “Everything is perfectly clean. Everything has its place” and undermine the attempted visual contrast of the color surge.

It’s conceptually clever enough, but metatexts and reader participation are plentiful these days, and the art can’t compare with Hervé Tullet’s Mix It Up (2014) or Deborah Freedman’s Blue Chicken (2011). (Picture book. 4-7)

Pub Date: Aug. 30, 2016

ISBN: 978-1-4998-0277-1

Page Count: 40

Publisher: Little Bee

Review Posted Online: May 14, 2016

Kirkus Reviews Issue: June 1, 2016

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A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history.


Ferry and the Fans portray a popular seasonal character’s unlikely friendship.

Initially, the protagonist is shown in his solitary world: “Scarecrow stands alone and scares / the fox and deer, / the mice and crows. / It’s all he does. It’s all he knows.” His presence is effective; the animals stay outside the fenced-in fields, but the omniscient narrator laments the character’s lack of friends or places to go. Everything changes when a baby crow falls nearby. Breaking his pole so he can bend, the scarecrow picks it up, placing the creature in the bib of his overalls while singing a lullaby. Both abandon natural tendencies until the crow learns to fly—and thus departs. The aabb rhyme scheme flows reasonably well, propelling the narrative through fall, winter, and spring, when the mature crow returns with a mate to build a nest in the overalls bib that once was his home. The Fan brothers capture the emotional tenor of the seasons and the main character in their panoramic pencil, ballpoint, and digital compositions. Particularly poignant is the close-up of the scarecrow’s burlap face, his stitched mouth and leaf-rimmed head conveying such sadness after his companion goes. Some adults may wonder why the scarecrow seems to have only partial agency, but children will be tuned into the problem, gratified by the resolution.

A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history. (Picture book. 4-6)

Pub Date: Sept. 3, 2019

ISBN: 978-0-06-247576-3

Page Count: 40

Publisher: Harper/HarperCollins

Review Posted Online: May 8, 2019

Kirkus Reviews Issue: June 1, 2019

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A gray character tries to write an all-gray book.

The six primary and secondary colors are building a rainbow, each contributing the hue of their own body, and Gray feels forlorn and left out because rainbows contain no gray. So Gray—who, like the other characters, has a solid, triangular body, a doodle-style face, and stick limbs—sets off alone to create “the GRAYest book ever.” His book inside a book shows a peaceful gray cliff house near a gray sea with gentle whitecaps; his three gray characters—hippo, wolf, kitten—wait for their arc to begin. But then the primaries arrive and call the gray scene “dismal, bleak, and gloomy.” The secondaries show up too, and soon everyone’s overrunning Gray’s creation. When Gray refuses to let White and Black participate, astute readers will note the flaw: White and black (the colors) had already been included in the early all-gray spreads. Ironically, Gray’s book within a book displays calm, passable art while the metabook’s unsubtle illustrations and sloppy design make for cramped and crowded pages that are too busy to hold visual focus. The speech-bubble dialogue’s snappy enough (Blue calls people “dude,” and there are puns). A convoluted moral muddles the core artistic question—whether a whole book can be gray—and instead highlights a trite message about working together.

Low grade. (glossary) (Picture book. 4-6)

Pub Date: Dec. 1, 2019

ISBN: 978-1-5420-4340-3

Page Count: 40

Publisher: Two Lions

Review Posted Online: July 23, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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