Pass.
A mosquito doesn’t stand a chance against a ninja.
While clearly intended as a humorous text about a pesky mosquito and a pint-sized “ninja,” the depiction of the latter brings up troublesome characterization matters. The opening text declares that “mosquitoes bite all kinds of people,” and the cartoon-style art (reminiscent of Kate Beaton’s work) provides an aerial view of the insect zooming toward a diverse community. The ninja is depicted apart from this community, is assigned no pronouns, and is always clad in black clothing that leaves only eyes visible. The ninja’s skin is light brown—a darker shade than some people in the earlier depicted characters and lighter than others—and the ninja is described as “sneakier” and “quicker” than the mosquito. In the picture depicting quickness, the ninja sits cross-legged on the ground and, with narrowed eyes glancing to the side, grabs the mosquito in midair with twigs held like chopsticks. Combined, these cues reinforce Asian stereotypes. The child-sized ninja doesn’t appear to be playing pretend, nor to belong to a family, but is joined by a “baby ninja” who wears colorful clothes and a ninja mask. The story’s resolution arrives when, instead of being bitten, the ninja bites (and evidently swallows) the mosquito when it gets stuck in a jam sandwich, delivering a bizarre end to the fraught tale.
Pass. (Picture book. 4-6)Pub Date: March 28, 2017
ISBN: 978-1-68119-215-4
Page Count: 32
Publisher: Bloomsbury
Review Posted Online: Dec. 5, 2016
Kirkus Reviews Issue: Dec. 15, 2016
A sweet and unexpected addition to the waiting-for-baby shelf.
A big, yellow hound dog has small, wonderful dreams.
Emma’s dreams are doggily simple. Rendered in gray, they manifest above her contentedly slumbering form: “singing, dancing, rolling in grass, splashing in water, going for walks,” and eating. After she wakes and eats, she naps again, sprawled on her back, tummy distended, the very picture of canine bliss. Pages turn, with Cooper’s lyrical text focusing on Emma and her sensations: “The days went on, shifting and taking shape, and now there were times when her whole body felt strange, but there was no stopping the days.” A gently curving line of overlapping Emmas, rising, stretching, scratching, shifting, and resettling, underscores time’s march. Adult readers may be anxious at this point, fearing Emma’s impending death with the page turn—but no, it turns out Emma’s been literally full of wonders, and she gazes mildly at a puppy emerging from her own body. Then there they are, seven little Emmas, and they now embody her dreams. Cooper’s brushy, loose watercolors, outlined in swoops of ink, complement his Emma-focused text. She resides in a human home, but her owner appears only as tan-skinned hands extending from the margin to offer a bowl of food, caress her snout, or towel off a pup. In this way, Cooper invites readers into Emma’s interiority, allowing them to sit quietly and wonder with her.
A sweet and unexpected addition to the waiting-for-baby shelf. (Picture book. 4-6)Pub Date: April 2, 2024
ISBN: 9781250884763
Page Count: 40
Publisher: Roaring Brook Press
Review Posted Online: Jan. 20, 2024
Kirkus Reviews Issue: Feb. 15, 2024
A superb example of text and image telling opposing stories—and of the humor that can be found in the intersection.
A canvas depicting an assemblage of items on a tablecloth comes to life, upending traditional assumptions surrounding artistic conventions.
The book’s narrator—an earnest, light-skinned artist with curly, salt-and-pepper hair—announces, “This is a still life. A painting of objects sitting still. In a still life, nothing moves.” A close-up reveals succulent fruit, a quill pen and an inkwell, and a castlelike dollhouse. In contrast to the painter and other characters, rendered as bright, flat caricatures, the painting is portrayed with a range of colors, subtle shading, soft texture, and a wealth of detail. As the artist continues with inspired musings about stillness, two mice appear and run inside the painting. The narrator urges readers to ignore the “jammy footprints” emerging from an open jar within the painting. Next, a dragon steps forth; the painter stresses that such creatures don’t belong “in this sort of painting.” Then a valiant knight arrives to slay the dragon, and a tan-skinned princess appears on the dollhouse’s throne. Zelinsky’s hilarious, action-packed scenes—a combination of hand drawing and digital work—contrast with the narrator’s serious admonitions not to acknowledge the dragon’s desperate plea for help, nor to pay any attention as the princess uses a spool of thread to zip-line down to join the ensuing chaos. Readers will be left with plenty to laugh—and learn—about as the artist exits.
A superb example of text and image telling opposing stories—and of the humor that can be found in the intersection. (Picture book. 4-6)Pub Date: Sept. 3, 2024
ISBN: 9780063229556
Page Count: 40
Publisher: Greenwillow Books
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 2024
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