COCO

Miguel loves music and wants to be a musician more than anything, but his family prohibits him from pursuing his greatest love.

La Música, who narrates in the first person, appears at the strum of a guitar, in wedding bells, in a static-y radio, in the strains of a single violin, whirling through town, joining musicians through the plaza, rising and rising, until Miguel’s abuelita storms out of a shop and demands the musicians stop. “You’ll upset Mamá Coco!” They fumble and stumble away. La Música notices a young boy staring at the guitars in the hands of the musicians, longing for music just as she disappears. Each time she appears again, she looks for the boy and finds him, secretly watching musicians on a hidden TV in his play area, “playing” his broom, but just as she’s about to whisper her name in his ear, his family pulls him away. La Música arranges a careful series of events to help Miguel indulge in music, and the surprise ending lingers in the air like an overheard harmony. Readers don’t learn exactly why Miguel’s family has forbidden music, and though this would be puzzling in a stand-alone book, this book is a side story about the characters in Disney Pixar’s Coco. The tenderness and emotional intelligence of this story serves as a great incentive to learn more about Miguel.

De la Peña wonderfully expresses the impact of music on the soul, and Ramírez’s bright, expressive watercolor illustrations underscore the poetic prose style perfectly. ¡Que viva La Música! (Picture book. 5-8)