by Marilyn Sachs ‧ RELEASE DATE: Oct. 1, 1976
A heart-wringer about Myra, who is always crying—calls people on the phone, then just blubbers at them—and who has much to cry about. Her mother split, father remarried and took older sister Helen to live with his new family, neighbor Mrs. Singer brings chicken soup but feels too old to care for children, and so Myra must live in a foster home with bad little brother Henry who pees in her slippers and is always being beaten by foster mother Mrs. Smith. Myra pleads with Dad (through Helen) and with Mrs. Singer to take her, never mind awful Henry, and she has imaginary conversations with Joan of Arc who will help her save France (this time, from Hitler). But it's Henry she saves, on Christmas Eve, when Mrs. Smith is giving him an especially ferocious beating for something she did, and Myra's old feeling for him rushes back. . . and with it the "secret word" (it's in baby talk) she's sure will unlock Mrs. Singer's door. Myra's fantasy is pathetic and believable but it doesn't quite mesh, and her discovery of the secret word comes off just as forced. What we're left with is the sobbing, though of course Sachs knows enough not to saturate the prose.
Pub Date: Oct. 1, 1976
ISBN: 0385123140
Page Count: 104
Publisher: Doubleday
Review Posted Online: May 8, 2012
Kirkus Reviews Issue: Oct. 1, 1976
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by Tom Fletcher ; illustrated by Greg Abbott ‧ RELEASE DATE: Sept. 5, 2017
Playful, engaging, and full of opportunities for empathy—a raucous storytime hit.
Readers try to dislodge a monster from the pages of this emotive and interactive read-aloud.
“OH NO!” the story starts. “There’s a monster in your book!” The blue, round-headed monster with pink horns and a pink-tipped tail can be seen cheerfully munching on the opening page. “Let’s try to get him out,” declares the narrator. Readers are encouraged to shake, tilt, and spin the book around, while the monster careens around an empty background looking scared and lost. Viewers are exhorted to tickle the monster’s feet, blow on the page, and make a really loud noise. Finally, shockingly, it works: “Now he’s in your room!” But clearly a monster in your book is safer than a monster in your room, so he’s coaxed back into the illustrations and lulled to sleep, curled up under one page and cuddling a bit of another like a child with their blankie. The monster’s entirely cute appearance and clear emotional reactions to his treatment add to the interactive aspect, and some young readers might even resist the instructions to avoid hurting their new pal. Children will be brought along on the monster’s journey, going from excited, noisy, and wiggly to calm and steady (one can hope).
Playful, engaging, and full of opportunities for empathy—a raucous storytime hit. (Picture book. 2-7)Pub Date: Sept. 5, 2017
ISBN: 978-1-5247-6456-2
Page Count: 32
Publisher: Random House
Review Posted Online: June 4, 2017
Kirkus Reviews Issue: June 15, 2017
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by Tom Fletcher ; illustrated by Tom Fletcher
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by Carson Ellis ; illustrated by Carson Ellis ‧ RELEASE DATE: Feb. 24, 2015
Visually accomplished but marred by stereotypical cultural depictions.
Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”
Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.
Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)Pub Date: Feb. 24, 2015
ISBN: 978-0-7636-6529-6
Page Count: 40
Publisher: Candlewick
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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