This buoyant picture book is just right for snowy, wintry days.

THE SNOWFLAKE MISTAKE

A British import presents a single parent and her child in a most unusual setting.

High atop the clouds is a machine that makes snowflakes. Each flake is carefully stamped out so they all look exactly alike. In fact, the Snow Queen demands it. “If any don’t match, they’re not fit to be seen!” But Princess Ellie doesn’t share her mother’s desire for perfection. She would rather be dreamily sketching or chasing birds down rainbow slides. One day gray clouds roll in, and the townspeople below expect snow. But the queen is not there to run the machine! Princess Ellie, slacking in her duties, quickly pushes the “DOUBLE SPEED” button, but the machine breaks. Luckily, with some imaginative scissor snips, snow still falls—in many creative shapes. Decorated in icy blues (even the queen and princess have blue-tinted hair), Frost’s patterned illustrations chill and swirl. The royal duo is white, but the town below has more diversity. The vibrant cadence propels the story: “She hugs Ellie proudly. ‘You’ve been very clever. / I love the new flakes. It’s the best snowfall ever!’ ” Instructions for making paper snowflakes are appended.

This buoyant picture book is just right for snowy, wintry days. (Picture book. 4-7)

Pub Date: Oct. 1, 2018

ISBN: 978-1-848863-12-5

Page Count: 32

Publisher: Maverick Publishing

Review Posted Online: July 24, 2018

Kirkus Reviews Issue: Aug. 15, 2018

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Whimsy, intelligence, and a subtle narrative thread make this rise to the top of a growing list of self-love titles.

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YOU MATTER

Employing a cast of diverse children reminiscent of that depicted in Another (2019), Robinson shows that every living entity has value.

After opening endpapers that depict an aerial view of a busy playground, the perspective shifts to a black child, ponytails tied with beaded elastics, peering into a microscope. So begins an exercise in perspective. From those bits of green life under the lens readers move to “Those who swim with the tide / and those who don’t.” They observe a “pest”—a mosquito biting a dinosaur, a “really gassy” planet, and a dog whose walker—a child in a pink hijab—has lost hold of the leash. Periodically, the examples are validated with the titular refrain. Textured paint strokes and collage elements contrast with uncluttered backgrounds that move from white to black to white. The black pages in the middle portion foreground scenes in space, including a black astronaut viewing Earth; the astronaut is holding an image of another black youngster who appears on the next spread flying a toy rocket and looking lonely. There are many such visual connections, creating emotional interest and invitations for conversation. The story’s conclusion spins full circle, repeating opening sentences with new scenarios. From the microscopic to the cosmic, word and image illuminate the message without a whiff of didacticism.

Whimsy, intelligence, and a subtle narrative thread make this rise to the top of a growing list of self-love titles. (Picture book. 4-7)

Pub Date: June 2, 2020

ISBN: 978-1-5344-2169-1

Page Count: 40

Publisher: Atheneum

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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A visually striking, compelling recollection.

FROM THE TOPS OF THE TREES

The author recounts a formative childhood experience that continues to inspire her today.

Born to Hmong refugees, Kalia has only ever known the confines of the Ban Vinai refugee camp in Thailand. Even while playing with her cousins, reminders of the hardships of their life are always present. She overhears the aunties sharing their uncertainty and fear of the future. They are a people with no home country and are still trying to find peace. Kalia asks her father why they live behind a gate and wonders what lies beyond the fences that surround the camp. The next day they climb a tall tree, and he shows her the vast expanse around them, from familiar camp landmarks to distant mountains “where the sky meets earth.” This story of resilience and generational hope is told in an expressive, straightforward narrative style. The simplicity of the text adds a level of poignancy that moves readers to reflection. The layered and heavily textured illustrations complement the text while highlighting the humanity of the refugees and providing a quiet dignity to camp life. The militarylike color palette of olive greens, golden yellows, and rich browns reinforces the guarded atmosphere but also represents the transitional period from winter to spring, a time ripe with anticipation and promise.

A visually striking, compelling recollection. (author's note, glossary, map.) (Picture book/memoir. 5-9)

Pub Date: Oct. 5, 2021

ISBN: 978-1-5415-8130-2

Page Count: 32

Publisher: Carolrhoda

Review Posted Online: June 29, 2021

Kirkus Reviews Issue: July 15, 2021

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Earnest and silly by turns, it doesn’t quite capture the attention or the imagination, although surely its heart is in the...

ROSIE REVERE, ENGINEER

Rhymed couplets convey the story of a girl who likes to build things but is shy about it. Neither the poetry nor Rosie’s projects always work well.

Rosie picks up trash and oddments where she finds them, stashing them in her attic room to work on at night. Once, she made a hat for her favorite zookeeper uncle to keep pythons away, and he laughed so hard that she never made anything publicly again. But when her great-great-aunt Rose comes to visit and reminds Rosie of her own past building airplanes, she expresses her regret that she still has not had the chance to fly. Great-great-aunt Rose is visibly modeled on Rosie the Riveter, the iconic, red-bandanna–wearing poster woman from World War II. Rosie decides to build a flying machine and does so (it’s a heli-o-cheese-copter), but it fails. She’s just about to swear off making stuff forever when Aunt Rose congratulates her on her failure; now she can go on to try again. Rosie wears her hair swooped over one eye (just like great-great-aunt Rose), and other figures have exaggerated hairdos, tiny feet and elongated or greatly rounded bodies. The detritus of Rosie’s collections is fascinating, from broken dolls and stuffed animals to nails, tools, pencils, old lamps and possibly an erector set. And cheddar-cheese spray.

Earnest and silly by turns, it doesn’t quite capture the attention or the imagination, although surely its heart is in the right place. (historical note) (Picture book. 5-7)

Pub Date: Sept. 3, 2013

ISBN: 978-1-4197-0845-9

Page Count: 32

Publisher: Abrams

Review Posted Online: July 17, 2013

Kirkus Reviews Issue: Aug. 1, 2013

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