The element of surprise and lots of opportunities for listeners to chime in will make this a great one for read-alouds.
Little ones explore the food chain and make size comparisons in this tongue-in-cheek book.
Graphically bold, textured cut-paper illustrations in highly saturated colors are a big draw here. The book opens with a giant green frog on the verso, its eyes swiveled to peer at the little purple mosquito on the edge of the recto: “There was a BIG BIG FROG! And a little little mosquito.” The typeface plays a big part in the tale: “BIG! Little. / BIG! Little” is the only text on the following double-page spread. And another page turn reveals “Bye Bye Mosquito!” Wings stick out of the frog’s mouth, a tone-on-tone outline of the mosquito on its belly. But then, what’s this? All of a sudden the frog is the little animal, a snake the big one. The process repeats through a bird, a tiger, and to a man, who throws a net over the tiger. But then the littlest animal returns to show how mighty it is, and the final illustration shows all the animals tumbling forth as in “The Little Old Woman Who Swallowed a Fly.” Harvill’s pictures are never grotesque or gory, so this is a rather gentle introduction to the way of the wild, though the animals’ eyes can sometimes look manic, and the cover is a bit hard to parse visually.
The element of surprise and lots of opportunities for listeners to chime in will make this a great one for read-alouds. (Picture book. 3-6)Pub Date: Nov. 1, 2017
ISBN: 978-1-945268-03-8
Page Count: 32
Publisher: Plum Street Publishers
Review Posted Online: Aug. 26, 2017
Kirkus Reviews Issue: Sept. 15, 2017
A hymn to the intrinsic loveliness of the wild and the possibility of sharing it.
What happens when a robot washes up alone on an island?
“Everything was just right on the island.” Brown beautifully re-creates the first days of Roz, the protagonist of his Wild Robot novels, as she adapts to living in the natural world. A storm-tossed ship, seen in the opening just before the title page, and a packing crate are the only other human-made objects to appear in this close-up look at the robot and her new home. Roz emerges from the crate, and her first thought as she sets off up a grassy hill—”This must be where I belong”—is sweetly glorious, a note of recognition rather than conquest. Roz learns to move, hide, and communicate like the creatures she meets. When she discovers an orphaned egg—and the gosling Brightbill, who eventually hatches—her decision to be his mother seems a natural extension of her adaptation. Once he flies south for the winter, her quiet wait across seasons for his return is a poignant portrayal of separation and change. Brown’s clean, precise lines and deep, light-filled colors offer a sense of what Roz might be seeing, suggesting a place that is alive yet deeply serene and radiant. Though the book stands alone, it adds an immensely appealing dimension to Roz’s world. Round thumbnails offer charming peeks into the island world, depicting Roz’s animal neighbors and Brightbill’s maturation.
A hymn to the intrinsic loveliness of the wild and the possibility of sharing it. (author’s note) (Picture book. 3-6)Pub Date: June 24, 2025
ISBN: 9780316669467
Page Count: 48
Publisher: Little, Brown
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
As ephemeral as a valentine.
Daywalt and Jeffers’ wandering crayons explore love.
Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.
As ephemeral as a valentine. (Picture book. 4-6)Pub Date: Dec. 24, 2019
ISBN: 978-1-5247-9268-8
Page Count: 32
Publisher: Penguin Workshop
Review Posted Online: Feb. 1, 2021
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