PLB 0-688-16553-2 With customary vim and darkly musical verse, Prelutsky introduces gremlins, griffins, goblins, basilisks, and their kinfolk, playing readers like stringed instruments, keeping them rapt with quick changes in tempo and by varying the architecture of his poems. Some start out silky and charming—“The moon and stars have vanished,/The long dark night is through,/Another day is dawning,/The sky is clear and blue”—before the daymares and terrors of the gargoyle’s lullaby begin. Others inject dread into the bones from the opening gate: “I am running through a tunnel/Where there isn’t any sun./There’s an ogre right behind me,/Running faster than I run.” S°s’s artwork is a perfect companion to the verse, gratifyingly sinister with its Transylvanian landscapes and crabbed, clawed surfaces. Both poet and illustrator know, however, how to bevel the effects to make the chills a pleasure: S°s makes his troll roly-poly, and Prelutsky defangs a werewolf: “I, a werewolf of distinction,/Used to fill the night with fear,/But I’m entering the twilight/Of my infamous career.” (Picture book/poetry. 6-10)
Pub Date: Sept. 1, 1999
ISBN: 0-688-09643-3
Page Count: 40
Publisher: Greenwillow Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1999
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)
Pub Date: Feb. 1, 2001
ISBN: 0-8050-6744-2
Page Count: 32
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2002
BOOK REVIEW
With an eye toward easy memorization, Katz gathers over 50 short poems from the likes of Emily Dickinson, Valerie Worth, Jack Prelutsky, and Lewis Carroll, to such anonymous gems as “The Burp”—“Pardon me for being rude. / It was not me, it was my food. / It got so lonely down below, / it just popped up to say hello.” Katz includes five of her own verses, and promotes an evident newcomer, Emily George, with four entries. Hafner surrounds every selection with fine-lined cartoons, mostly of animals and children engaged in play, reading, or other familiar activities. Amid the ranks of similar collections, this shiny-faced newcomer may not stand out—but neither will it drift to the bottom of the class. (Picture book/poetry. 7-9)
Pub Date: March 1, 2004
ISBN: 0-525-47172-3
Page Count: 32
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2004
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