Another format-audience mismatch for the Once Upon a World series.
This board-book version of the Hans Christian Andersen fairy tale is set in the Caribbean.
Eliot’s adaptation eliminates some of the more-disturbing plot elements in Andersen’s original, making it feel much closer to the Disney version but with brown-skinned humans and merfolk. Once she’s been given her feet, the Little Mermaid does not feel as though she’s walking on glass and she is not motivated by a desire for an immortal soul, but the heroine still sacrifices her voice, her birth family, and her agency for the love of a rather clueless prince. The Caribbean setting is a good choice for a story in which the sea features prominently. Ortiz’s lush illustrations reflect her Puerto Rican heritage. The sea witch, with her pointy nose, red lips, sharp-angled eyes, hoop earrings, and colorful headwrap is reminiscent of the vejigante masks that are part of carnival in Puerto Rico. However, the small trim size does a disservice to the art. The story has been simplified, but with four to seven lines of text per page, it is still too long for the board-book audience. As with other titles in the series, a larger, picture-book format would help this tale find a receptive audience of school-age children who are able to critique the subtext of the classic story even as they appreciate this version’s gorgeous original art.
Another format-audience mismatch for the Once Upon a World series. (Board book. 2-5)Pub Date: Dec. 18, 2018
ISBN: 978-1-5344-3575-9
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Dec. 4, 2018
Kirkus Reviews Issue: Jan. 1, 2019
Momo longed to carry the blue umbrella and wear the bright red rubber boots she had been given on her third birthday. But day after day Indian summer continued. Momo tried to tell mother she needed to carry the umbrella to nursery school because the sunshine bothered her eyes. But Mother didn't let her use the umbrella then or when she said the wind bothered her. At last, though, rain fell on the city pavements and Momo carried her umbrella and wore her red boots to school. One feels the urgency of Momo's wish. The pictures are full of the city's moods and the child's joy in a rainy day.
Pub Date: March 1, 1958
ISBN: 978-0-14-050240-4
Page Count: 32
Publisher: Viking
Review Posted Online: Dec. 9, 2013
Kirkus Reviews Issue: March 1, 1958
Superheroes, and readers, will live happily-ever-after.
Why have fairy tales lasted so long? Maybe it’s because they change with every teller.
It takes surprisingly little effort to turn the Three Little Pigs into superheroes. The Big Bad Wolf basically started out as a supervillain, with the ability to blow a house down, and the pigs had to perform spectacular feats to outwit him. In this picture book, the wolf, locked in the Happily Never After tower, devises a plot to escape. Using rotten eggs and spicy ginger, he creates the Gingerbread Man, who makes his way to a baking contest where the three pigs and other fairy-tale characters are competing to win the key to the city. The Gingerbread Man grabs the key, and not even superhero pigs are fast enough to catch him, but with their secret weapon—mustard (which one of the pigs also uses to bake cookies)—they save the day. The morals: Evil never triumphs, and mustard cookies are delicious. The book’s charm is in the details. There are splotches of mustard on the cookies featured on the endpapers, and a sly-looking mouse is hiding on many of the pages. The story even manages to include more than a dozen fairy-tale figures without seeming frenzied. Evans’ use of shading is so skillful that it almost seems possible to reach out and touch the characters. Most of the human characters are light-skinned. (This book was reviewed digitally.)
Superheroes, and readers, will live happily-ever-after. (Picture book. 3-5)Pub Date: Sept. 6, 2022
ISBN: 978-1-338-68221-2
Page Count: 40
Publisher: Scholastic
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
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