The ultimate home-away-home story, beautifully rendered.

In this true story, an indigenous boy from Tierra del Fuego is transported to London in the early 1800s, where he encounters a vastly different world.

Living on a “faraway island” a boy named Orundellico climbs the tallest trees, views the stars, listens to the ocean and wonders what’s “on the other side.” Strangers arrive in a ship, call him Jemmy Button and invite him to visit their land. Reaching the other side of the ocean, Jemmy finds houses made of rocks “stacked in towers taller than the tallest tree.” The people, colors, noises and costumes make him feel “very small indeed.” Soon, he’s wearing their clothes, attending concerts, and even meeting the king and queen, but he never quite feels at home. When the time comes, he returns to the island, announcing: “My name is Orundellico and I have come home.” The powerful, spare text contrasts Jemmy’s innocent island life with the isolation he feels in England. His alienation is cleverly reinforced by gauche, oil and collage illustrations using flat patterns and color to compare the island’s verdant vegetation and quiet, starry nights with the sterile, geometric shapes of urban London. Diminutive, flesh-colored, bemused Jemmy always stands out in a sea of repetitive, anonymous, faceless silhouettes.

The ultimate home-away-home story, beautifully rendered. (author’s note) (Picture book. 4-7)

Pub Date: March 12, 2013

ISBN: 978-0-7636-6487-9

Page Count: 48

Publisher: Templar/Candlewick

Review Posted Online: Jan. 27, 2013

Kirkus Reviews Issue: Feb. 15, 2013


A historically specific setting with an eternal lesson.

A child’s special treat is given to a man in need, setting off a chain reaction of kindness.

It is a regular day on Tai Yuen Street in Hong Kong, full of “beeping, bickering, and bartering,” as a child’s parents set up their hawker stand. Suddenly, the usual bustle is interrupted by a THWUMP! as a man who has traveled “a thousand miles” by foot and boat to cross the border into Hong Kong falls to his knees. Bystanders turn away, “uninterested in hearing their own stories retold to them.” However, the protagonist’s mother hears the grumbles of the man’s stomach, and her kids watch horror-struck as she pulls out the special mooncake they were saving—the kind with the double-yolk center (“the best kind!”)—and asks the narrator to bring it to the hungry man. It takes two pages to slowly and sadly walk the treat over and only one gulp for the man to devour the entire cake. However, this single act of kindness unleashes a torrent of generosity from the nearby hawkers. Sepia and cool colors give this tale a historical feel, while delicate cartoon renderings of the bustling market street and crowds of people lighten the tone. In the backmatter, AuYeung notes that this story was based on an incident from her childhood, explains the historical significance of the refugee’s flight to Hong Kong, and shares family photos. (This book was reviewed digitally.)

A historically specific setting with an eternal lesson. (Picture book. 4-7)

Pub Date: Sept. 6, 2022

ISBN: 978-1-64567-556-3

Page Count: 32

Publisher: Page Street

Review Posted Online: May 10, 2022

Kirkus Reviews Issue: June 1, 2022


This reimagined telling has an engaging charm that rings true.

An imagining of an unlikely real-life episode in the life of absurdist Franz Kafka.

Theule follows the outline of the account: When Kafka meets an unhappy girl in a Berlin park in 1923 and learns her doll is lost, Kafka writes a series of letters from Soupsy, the doll, to Irma, the girl. The real letters and the girl’s identity have been lost to history; the invented letters describe a dazzling variety of adventures for Soupsy. Unfortunately, as the letters increase in excitement, Kafka’s health declines (he would die of tuberculosis in June 1924), and he must find a way to end Soupsy’s adventures in a positive way. In an author’s note, readers learn that Kafka chose to write that Soupsy was getting married. Theule instead opts to send the doll on an Antarctic expedition. Irma gets the message that she can do anything, and the final image shows her riding a camel, a copy of Metamorphosis peeking from a satchel. While kids may not care about Kafka, the short relationship between the writer and the little girl will keep their interest. Realizing that an adult can care so much about a child met in the park is empowering. The stylized illustrations, especially those set in the chilly Berlin fall, resemble woodcuts with a German expressionist look. The doll’s adventures look a little sweeter, with more red and blue added to the brown palette of the German scenes. (This book was reviewed digitally with 10.5-by-17-inch double-page spreads viewed at 23% of actual size.)

This reimagined telling has an engaging charm that rings true. (biographical note, bibliography) (Picture book. 5-7)

Pub Date: March 9, 2021

ISBN: 978-0-593-11632-6

Page Count: 48

Publisher: Viking

Review Posted Online: Dec. 24, 2020

Kirkus Reviews Issue: Jan. 15, 2021

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