Groovy.
Dynamic monsters cavort and shriek and play with color.
These monsters have googly eyes, big cartoon grins and unthreateningly rounded bodies. At the beginning, some are a single primary color, while others are smaller and gray. One red monster, one yellow monster and one blue monster extol the virtues of their own colors with jubilant chantability if not strict logic: “Red is the color of ROAR! and SNORE! and more! more! MORE!”; “Yellow is the color of PROWL! and HOWL! and GROWL! GROWL! GROWL!”; “Blue is the color of Scribble and Dribble and Nibble Nibble Nibble.” Other verses are more hit-or-miss—for example, one page tries to rhyme “splash” with “squash,” which may cause a stumble for adults reading aloud. However, all the monsters gyrate and boogie with exuberance, and their mixing of colors has exciting results. The small gray monsters become secondary colors, and one lucky little fellow who requests “SUPER tropical MEGA monster RAINBOW swirl with raspberry on TOP!” gets multicolored stripes and a rainbow parade to lead. Austin’s squiggly, untamed swirls of crayon, pencil and ink and the high energy in his casual style (complete with silliness: “Hey! Don’t eat your crayons, silly monster!”) may coax even the bounciest little monsters to sit down for storytime—and run for the crayons and poster paper afterwards.
Groovy. (Picture book. 2-5)Pub Date: Feb. 1, 2013
ISBN: 978-0-06-212594-1
Page Count: 40
Publisher: Harper/HarperCollins
Review Posted Online: Dec. 11, 2012
Kirkus Reviews Issue: Jan. 1, 2013
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Design flaws aside, the book’s timely message of universality among diversity is a highly relevant one.
No matter how different our lives are, some things are the same.
A child’s world is full of color—and, if they look closely, full of wonder. Most double-page spreads of this picture book feature rhyming verse set on the left-hand page that describes in developmentally appropriate language how a child narrator sees a color. Gold, for example, is “warm” and “full of sparkle,” whereas blue is “deep, wide, and open.” Each stanza ends with versions of the same question, which concludes across the gutter or after a page turn: “Is your gold… / …like my gold?” creating a repetitive pattern that will delight young readers. The text is accompanied by rich illustrations of diverse children from all around the world, including South Asia, Latin America, East Asia, and Western settings. The final page features a black child and a white child sitting arm and arm on a hilltop, looking at the same star, driving home the message that our similarities bring us together and our differences make us more beautiful. The best feature of the book is the highly textured, collage-style illustrations, many of which contain soft strokes of color that give the images a pleasantly dreamlike quality. Unfortunately, the print is small, and the single lines that begin with “…like my” often get swallowed up in the pictures and are difficult to find.
Design flaws aside, the book’s timely message of universality among diversity is a highly relevant one. (Picture book. 2-5)Pub Date: Jan. 7, 2020
ISBN: 978-1-4549-3013-6
Page Count: 32
Publisher: Sterling
Review Posted Online: Oct. 22, 2019
Kirkus Reviews Issue: Nov. 15, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The history of music is a big topic, and more-nuanced explanation is needed than the format allows.
This ambitious board book aims to promote an eclectic appreciation for music of all kinds.
Music, from drumming to computer-generated sound, is introduced as a linear historical sequence with two pages devoted to each of 11 styles, including medieval European, orchestral, blues, and more. Most of the musicians are portrayed as children, many with darker skin tones and with hairstyles and garb commonly associated with each type of music. Radford works in a retro cartoon mode, varying his presentation slightly with each new musical style but including a dancing dachshund on almost every spread, presumably to enhance child appeal. Unfortunately, the book just can’t succeed in reducing such a wide range of musical styles to toddler-appropriate language. The first two spreads read: “We start with clapping, tapping, and drums. // Lutes, flutes, and words are what we become.” The accompanying illustrations show, respectively, half-naked drummers and European court figures reading, writing, and playing a flute. Both spreads feature both brown-skinned and pale-skinned figures. At first reading this seems innocent enough, but the implication that clapping and drumming are somehow less civilized or sophisticated than a European style is reinforced in Stosuy’s glossary of music terms. He describes “Prehistoric Music” as “rhythmic music [made] with rocks, sticks, bones, and…voices,” while “Renaissance Music” is defined as “multiple melodies played at the same time.”
The history of music is a big topic, and more-nuanced explanation is needed than the format allows. (Board book. 2-4)Pub Date: Aug. 21, 2018
ISBN: 978-1-5344-0941-5
Page Count: 32
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Aug. 13, 2018
Kirkus Reviews Issue: Jan. 1, 2019
BOOK REVIEW
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