This exploration of tears is reassuring and nonjudgmental.

WHY DO WE CRY?

A boy asks his mother a simple question and receives a not-so-simple answer.

Mario’s mother lists some of the many reasons people cry in sensitively nuanced metaphors layered with emotional truths. Each spread prints one word or phrase in a slightly larger font than the rest, subtly but effectively drawing readers’ attention to a particular feeling. Among the obvious are “sadness,” “anger,” and “happy.” The more nuanced concepts include “grow,” “lock,” and “wall,” which the surrounding text and illustrations help convey. All the while, readers see a young girl, perhaps the mother when she was young, experiencing these emotions. Encapsulating it all, Mario’s mother finally says, “But more than anything, sweetheart, we cry because we feel like crying.” In the backmatter, Pintadera further answers other, scientifically based questions about tears, such as “What are tears made of?” and “Why are tears good for us?” While the scientific perspective at first seems out of place in such an emotional book, it helps remove some of the stigma surrounding the act of crying. The text assures readers that tears are a natural biological function with several purposes: “Who cries?…crying is universal, just like laughter.” Additional discussion activities prompt readers to make personal connections. This book, originally published in Spain, features a pale-skinned, black-haired parent and child. The textured images generate appropriate moods, providing powerful symbolic visuals for the addressed emotions. Many could hang in an art gallery as part of a surrealist collection.

This exploration of tears is reassuring and nonjudgmental. (Picture book. 3-8)

Pub Date: April 7, 2020

ISBN: 978-1-5253-0477-4

Page Count: 34

Publisher: Kids Can

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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Inspiration, shrink wrapped.

WHAT THE ROAD SAID

From an artist, poet, and Instagram celebrity, a pep talk for all who question where a new road might lead.

Opening by asking readers, “Have you ever wanted to go in a different direction,” the unnamed narrator describes having such a feeling and then witnessing the appearance of a new road “almost as if it were magic.” “Where do you lead?” the narrator asks. The Road’s twice-iterated response—“Be a leader and find out”—bookends a dialogue in which a traveler’s anxieties are answered by platitudes. “What if I fall?” worries the narrator in a stylized, faux hand-lettered type Wade’s Instagram followers will recognize. The Road’s dialogue and the narration are set in a chunky, sans-serif type with no quotation marks, so the one flows into the other confusingly. “Everyone falls at some point, said the Road. / But I will always be there when you land.” Narrator: “What if the world around us is filled with hate?” Road: “Lead it to love.” Narrator: “What if I feel stuck?” Road: “Keep going.” De Moyencourt illustrates this colloquy with luminous scenes of a small, brown-skinned child, face turned away from viewers so all they see is a mop of blond curls. The child steps into an urban mural, walks along a winding country road through broad rural landscapes and scary woods, climbs a rugged metaphorical mountain, then comes to stand at last, Little Prince–like, on a tiny blue and green planet. Wade’s closing claim that her message isn’t meant just for children is likely superfluous…in fact, forget the just.

Inspiration, shrink wrapped. (Picture book. 6-8, adult)

Pub Date: March 23, 2021

ISBN: 978-1-250-26949-2

Page Count: 40

Publisher: Feiwel & Friends

Review Posted Online: April 8, 2021

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The dynamic interaction between the characters invites readers to take risks, push boundaries, and have a little unscripted...

CLAYMATES

Reinvention is the name of the game for two blobs of clay.

A blue-eyed gray blob and a brown-eyed brown blob sit side by side, unsure as to what’s going to happen next. The gray anticipates an adventure, while the brown appears apprehensive. A pair of hands descends, and soon, amid a flurry of squishing and prodding and poking and sculpting, a handsome gray wolf and a stately brown owl emerge. The hands disappear, leaving the friends to their own devices. The owl is pleased, but the wolf convinces it that the best is yet to come. An ear pulled here and an extra eye placed there, and before you can shake a carving stick, a spurt of frenetic self-exploration—expressed as a tangled black scribble—reveals a succession of smug hybrid beasts. After all, the opportunity to become a “pig-e-phant” doesn’t come around every day. But the sound of approaching footsteps panics the pair of Picassos. How are they going to “fix [them]selves” on time? Soon a hippopotamus and peacock are staring bug-eyed at a returning pair of astonished hands. The creative naiveté of the “clay mates” is perfectly captured by Petty’s feisty, spot-on dialogue: “This was your idea…and it was a BAD one.” Eldridge’s endearing sculpted images are photographed against the stark white background of an artist’s work table to great effect.

The dynamic interaction between the characters invites readers to take risks, push boundaries, and have a little unscripted fun of their own . (Picture book. 5-8)

Pub Date: June 20, 2017

ISBN: 978-0-316-30311-8

Page Count: 40

Publisher: Little, Brown

Review Posted Online: March 29, 2017

Kirkus Reviews Issue: April 15, 2017

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