The title of this volume comes from Hamlet’s instructions to the players that the “purpose of playing” is to mirror nature. And so is the purpose of the nature photographer and poet here. Stemple has photographed reflections in nature: seven wood storks with seven reflections, an alligator with a reflection that creates the illusion of a double jaw, a solitary cockle made less alone by its reflection. Yolen’s brief poems personifying the animals face the full-page photographs like the reflections they describe. A note from the author encourages readers to let the photographs and poems be a cause for reflection, but the intended fun of the poems is, at times, undercut by the forced whimsy: “This perplexing little frog / Has popped up on a thrown-out bottle. / What does this mean? Perhaps a lotle.” The pages and photographs are vibrant and lively, the poems best for reading aloud. Italicized captions on each poem’s page add information about the pictured animal, making this a good volume—along with other titles by this mother-son team—for teachers wanting to connect science and poetry. (Poetry. 10-12)
Pub Date: April 1, 2009
ISBN: 978-1-59078-624-6
Page Count: 32
Publisher: Wordsong/Boyds Mills
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2009
Hall (The Oxford Book of Children’s Verse in America, 1985, etc.), offers up a chestnut-flavored alternative for younger readers, matching roughly contemporary illustrations to one or two selections from each of 57 American poets. To the usual suspects—Eugene Field’s “Wynken, Blynken and Nod,” Emily Dickinson’s “I’m nobody, who are you?” and even Carl Sandburg’s “Fog”—he adds more recent works from the likes of Jack Prelutsky, Gary Soto, Sandra Cisneros, and Janet S. Wong; he also includes three poems attributed somewhat baldly to an “Anonymous Native American.” The art comprises a gallery of American illustration, from crude 18th-century woodcuts, through Jessie Willcox Smith, to Marcia Brown and the Dillons. Writing that “poetry is most poetry when it makes noise,” Hall recommends these verses for reading aloud and memorization, exhorting parents and children to appreciate how they “preserve a moment of the American past.” A safe collection, seldom veering from the canon. (index) (Poetry. 9-11)
Pub Date: Nov. 11, 1999
ISBN: 0-19-512373-5
Page Count: 93
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1999
This oversized companion to the much ballyhooed My Very First Mother Goose (1996) will take toddlers and ex-toddlers deeper into the playscapes of the language, to meet Old King Cole, Old Mother Hubbard, and Dusty Bill From Vinegar Hill; to caper about the mulberry bush, polka with My Aunt Jane, and dance by the light of the moon. Mixing occasional humans into her furred and feathered cast, Wells creates a series of visual scenarios featuring anywhere from one big figure, often dirty or mussed, to every single cat on the road to St. Ives (over a thousand). Opie cuts longer rhymes down to two or three verses, and essays a sly bit of social commentary by switching the answers to what little girls and boys are made of. Though Wells drops the ball with this last, legitimizing the boys’ presence in a kitchen by dressing them as chefs, in general the book is plainly the work of a match made in heaven, and merits as much popularity as its predecessor. (Folklore. 1-6)
Pub Date: Oct. 1, 1999
ISBN: 0-7636-0683-9
Page Count: 107
Publisher: Candlewick
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1999
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