A simple, engaging appreciation of all things spring.
Field Mouse gathers her animal friends for a journey.
After emerging from her nest, Field Mouse senses that something has changed in the air, and it’s calling to her. It appears to be coming from a nearby hill. Making her way through the woods in search of Something on the Hill, she’s joined by Gray Squirrel, Doe, Turtle, the Mallard Ducks, and the Bears. As they travel, the animals notice changes in the winter forest: The rushing stream is no longer frozen, and there’s cracked ice on the pond. At the top of the hill, the group finds a tiny leafy shoot, a sure sign of spring’s arrival. The captivating illustrations perfectly portray the beginning of winter’s thaw. When Field Mouse first spots the Something on the Hill, the expert use of color suggests that spring is in the air; bright hues loom in the distance, though Field Mouse is surrounded by the ice blues, grays, and dull browns of winter. The art has a brushed effect, ideal for conveying the textures of animal fur, bushy tails, and puffy snow. The landscapes in particular stand out. The animals are realistic enough to be believable in the wilderness, though they are somewhat anthropomorphic, which will appeal to little readers.
A simple, engaging appreciation of all things spring. (Picture book. 3-6)Pub Date: March 12, 2024
ISBN: 9780593301074
Page Count: 40
Publisher: Anne Schwartz/Random
Review Posted Online: Jan. 5, 2024
Kirkus Reviews Issue: Feb. 1, 2024
A hymn to the intrinsic loveliness of the wild and the possibility of sharing it.
What happens when a robot washes up alone on an island?
“Everything was just right on the island.” Brown beautifully re-creates the first days of Roz, the protagonist of his Wild Robot novels, as she adapts to living in the natural world. A storm-tossed ship, seen in the opening just before the title page, and a packing crate are the only other human-made objects to appear in this close-up look at the robot and her new home. Roz emerges from the crate, and her first thought as she sets off up a grassy hill—”This must be where I belong”—is sweetly glorious, a note of recognition rather than conquest. Roz learns to move, hide, and communicate like the creatures she meets. When she discovers an orphaned egg—and the gosling Brightbill, who eventually hatches—her decision to be his mother seems a natural extension of her adaptation. Once he flies south for the winter, her quiet wait across seasons for his return is a poignant portrayal of separation and change. Brown’s clean, precise lines and deep, light-filled colors offer a sense of what Roz might be seeing, suggesting a place that is alive yet deeply serene and radiant. Though the book stands alone, it adds an immensely appealing dimension to Roz’s world. Round thumbnails offer charming peeks into the island world, depicting Roz’s animal neighbors and Brightbill’s maturation.
A hymn to the intrinsic loveliness of the wild and the possibility of sharing it. (author’s note) (Picture book. 3-6)Pub Date: June 24, 2025
ISBN: 9780316669467
Page Count: 48
Publisher: Little, Brown
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
As ephemeral as a valentine.
Daywalt and Jeffers’ wandering crayons explore love.
Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.
As ephemeral as a valentine. (Picture book. 4-6)Pub Date: Dec. 24, 2019
ISBN: 978-1-5247-9268-8
Page Count: 32
Publisher: Penguin Workshop
Review Posted Online: Feb. 1, 2021
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