In the wake of Hurricane Sandy, flooding New York might not be the best-timed story idea. Larry’s promise of yet more...
In this blatantly commercial retread, the author of Night at the Museum (1994, revised 2007, film version 2006) gives the marine exhibits a turn to frolic.
Having hurried to work, museum guard Larry frets as he nods off that he’s left the bathtub faucet on back home—which translates in a dream to a flooded Manhattan and a museum building pushed out to sea by the blue whale and other reanimated specimens. The cartoon art looks equally dashed off, with sketchy backdrops fronted by hastily drawn figures like an octopus that never shows more than five tentacles and a seahorse that’s the same size as the adjacent sea turtle. Unsurprisingly, with help from his daughter Melissa, Larry gets the faucet turned off, the water drained away and the exhibits back in their proper places before dawn. Earnest closing disclaimers that it’s not actually possible either to flood Manhattan from a faucet or to pull the American Museum of Natural History anywhere are superfluous, if not downright condescending.
In the wake of Hurricane Sandy, flooding New York might not be the best-timed story idea. Larry’s promise of yet more sequels in the works is equally ill-advised. (Picture book. 5-7)Pub Date: March 19, 2013
ISBN: 978-0-8050-8948-6
Page Count: 32
Publisher: Henry Holt
Review Posted Online: Nov. 30, 2012
Kirkus Reviews Issue: Dec. 15, 2012
Precious—but timely and comforting all the same.
The two creatures who fulfilled each other’s yearning for physical contact in The Hug (2019) find alternative ways to connect in a time of social distancing.
Blushing and smiling and looking every bit as sweet as they did in their original meet-cute, Hedgehog and Tortoise respond to Owl’s reassurance that “there are lots of ways to show someone you love them” by standing on opposing pages and sending signals, letters, dances, air kisses, and songs across the gutter. Demonstrating their mutual love and friendship, they regard each other fondly across the gap through sun and storm, finally gesturing air hugs beneath a rainbow of colors and stars. “They could not touch. / They could not hug. // But they both knew / that they were loved.” In line with the minimalist narrative and illustrations there is no mention of the enforced separation’s cause nor, aside from the titular conjunction, any hint of its possible duration. Still, its core affirmation is delivered in a simple, direct, unmistakable way, and if the thematic connection with the previous outing seems made to order for a marketing opportunity, it does address a widespread emotional need in young (and maybe not so young) audiences. (This book was reviewed digitally with 9.8-by-19.6-inch double-page spreads viewed at 78% of actual size.)
Precious—but timely and comforting all the same. (Picture book. 5-7)Pub Date: Aug. 18, 2020
ISBN: 978-0-5713-6558-6
Page Count: 32
Publisher: Faber & Faber
Review Posted Online: June 29, 2020
Kirkus Reviews Issue: July 15, 2020
A holiday outing that doesn’t quite satisfy.
In this follow-up to singer Parton and co-author Perl’s Billy the Kid Makes It Big (2023), literal and figurative bumps in the road imperil the touring canine country star’s promise to be home for Christmas.
Inspired by one of Parton’s holiday songs, the tale sees Billy, a small brown French bulldog, and bandmates Bo, Buster, and Binky boarding a tour bus for “pawsome” glimpses of natural wonders along with meetings with fans and “puparazzi.” Then, although Billy has sent many letters home promising to be there for the holiday, an invitation to play Barkafeller Center on Christmas Day instantly changes his tune. “Billy was happy. Though he still felt a little…he wasn’t sure what.” Readers may be excused for having mixed feelings about his mixed feelings, not to mention his tersely unapologetic note to the folks. But when, thanks to a bus-busting rock in the road on Christmas Eve, it looks like the band will have to contrive their own celebration (“Silent night, howly night”), Billy remembers that he started making music in the first place for his loved ones. He has no problem bagging the big concert (Fans? What fans? Contract? What contract?) when Dolly herself rolls up in her own bus to offer a ride back to his “Tennessee mountain home” in time for a small show for “the most important audience in the world.” While Billy cuts an endearing figure in Haley’s cartoonish illustrations, his willingness to disappoint first family, then fans may have readers feeling less than cheery.
A holiday outing that doesn’t quite satisfy. (lyrics to Parton’s “Comin’ Home for Christmas”) (Picture book. 5-7)Pub Date: Oct. 1, 2024
ISBN: 9780593755006
Page Count: 40
Publisher: Penguin Workshop
Review Posted Online: Sept. 28, 2024
Kirkus Reviews Issue: Nov. 1, 2024
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