Newton happens across a red, red crayon that fairly hums with magic. Everything he draws with the crayon becomes real, and each and every item, his mother reminds him, is forbidden in the house: a bouncing ball, a vrooming racecar, a fire truck with real sirens. At last he draws a big red airplane and takes wing—out of the house, away from all constraints. Gilliland (Rivers, 1993, etc.) celebrates the artistic impulse in a delightfully understated fashion, and Sayles's softened pastels create the right mood for the adventure: Suggesting a sense of otherworldiness, they portray Newton, whose happiness simply sparks off the page, as a boy who takes his artistic mÇtier seriously. Not a new idea—look to Crockett Johnson's Harold and the Purple Crayon (1958) and Anthony Browne's The Little Bear Book (1989)—but here it's particularly joyful. (Picture book. 5-8)
Pub Date: Oct. 23, 1995
ISBN: 0-395-61195-4
Page Count: 32
Publisher: Clarion Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1995
A trite, knock-off sequel to Jumanji (1981). The “Jumanji” box distracts Walter Budwing away from beating up on his little brother Danny, but it’s Danny who discovers the Zathura board inside—and in no time, Earth is far behind, a meteor has smashed through the roof, and a reptilian Zyborg pirate is crawling through the hole. Each throw of the dice brings an ominous new development, portrayed in grainy, penciled freeze frames featuring sculptured-looking figures in constricted, almost claustrophobic settings. The angles of view are, as always, wonderfully dramatic, but not only is much of the finer detail that contributed to Jumanji’s astonishing realism missing, the spectacular damage being done to the Budwings’ house as the game progresses is, by and large, only glimpsed around the picture edges. Naturally, having had his bacon repeatedly saved by his younger sibling’s quick thinking, once Walter falls through a black hole to a time preceding the game’s start, his attitude toward Danny undergoes a sudden, radical transformation. Van Allsburg’s imagination usually soars right along with his accomplished art—but here, both are just running in place. (Picture book. 6-8)
Pub Date: Oct. 28, 2002
ISBN: 0-618-25396-3
Page Count: 32
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2002
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A retelling based on three of the ``half a dozen'' Korean Cinderella variants: ``Pear Blossom's'' stepmother calls her ``Little Pig,'' barely feeds her, and assigns her impossible tasks (filling a cracked jug), but the girl is helped by magical animals (a giant ox that weeds a rice paddy for her). A young magistrate, ``struck by her beauty,'' identifies her at a village festival by her lost sandal, and thus she makes an honorable marriage. The simple tale is retold in a vigorous, rather dramatic style. Heller, whose illustrations are based on her research in Korea, offers bold montages of figures and patterns in a striking array of intense colors. Her facial expressions are less expertly crafted than her realistic animals, sculptural draperies, and decorative traditional motifs, while the mix of styles leads to some cluttered effects; still, an attractive setting for a worthy variant. (Folklore/Picture book. 5-8)
Pub Date: May 30, 1993
ISBN: 0-06-020432-X
Page Count: 48
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1993
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