Move this picture book onto the shelf.

MIA MOVES OUT

Mia makes a move when sharing space overwhelms her.

The opening text indicates that Mia is an adoptee: “When Mia moved in, Mom and Dad had a room ready for her.” She makes the room her own, but then she must adjust to sharing it when a baby comes home. While Mom shares redheaded, pale-skinned Mia’s coloring, baby Brandon looks more like Dad, with olive skin and black, straight hair. The text merely says he “arrived,” which leaves open the possibility that he was adopted, too. At first, room-sharing is fun, but their room becomes increasingly messy. A climactic illustration depicts clutter and chaos overtaking a central spread, and Mia’s frustrated declaration “I’m moving out!” appears in oversized, red type. Mia’s move occurs within the house—first to the bathroom, then the basement, then the pantry, and so on. Each new space is unsuitable for some humorous reason. A nook fashioned of a blanket overhanging a bookcase seems ideal until Mia decides “it needed something.” Brandon is that something, and together they create a big, open play-space outside. Never do they solve the indoor clutter problem, to which they’ll presumably return, but this narrative gap recedes behind the pleasure of seeing adoptee characters confidently negotiating a sense of home and belonging.

Move this picture book onto the shelf. (Picture book. 3-6)

Pub Date: Oct. 16, 2018

ISBN: 978-0-399-55332-5

Page Count: 32

Publisher: Knopf

Review Posted Online: July 24, 2018

Kirkus Reviews Issue: Aug. 15, 2018

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Plotless and pointless, the book clearly exists only because its celebrity author wrote it.

YOUR BABY'S FIRST WORD WILL BE DADA

A succession of animal dads do their best to teach their young to say “Dada” in this picture-book vehicle for Fallon.

A grumpy bull says, “DADA!”; his calf moos back. A sad-looking ram insists, “DADA!”; his lamb baas back. A duck, a bee, a dog, a rabbit, a cat, a mouse, a donkey, a pig, a frog, a rooster, and a horse all fail similarly, spread by spread. A final two-spread sequence finds all of the animals arrayed across the pages, dads on the verso and children on the recto. All the text prior to this point has been either iterations of “Dada” or animal sounds in dialogue bubbles; here, narrative text states, “Now everybody get in line, let’s say it together one more time….” Upon the turn of the page, the animal dads gaze round-eyed as their young across the gutter all cry, “DADA!” (except the duckling, who says, “quack”). Ordóñez's illustrations have a bland, digital look, compositions hardly varying with the characters, although the pastel-colored backgrounds change. The punch line fails from a design standpoint, as the sudden, single-bubble chorus of “DADA” appears to be emanating from background features rather than the baby animals’ mouths (only some of which, on close inspection, appear to be open). It also fails to be funny.

Plotless and pointless, the book clearly exists only because its celebrity author wrote it. (Picture book. 3-5)

Pub Date: June 9, 2015

ISBN: 978-1-250-00934-0

Page Count: 32

Publisher: Feiwel & Friends

Review Posted Online: April 15, 2015

Kirkus Reviews Issue: May 1, 2015

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This celebration of cross-generational bonding is a textual and artistic tour de force.

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LAST STOP ON MARKET STREET

A young boy yearns for what he doesn’t have, but his nana teaches him to find beauty in what he has and can give, as well as in the city where they live.

CJ doesn’t want to wait in the rain or take the bus or go places after church. But through Nana’s playful imagination and gentle leadership, he begins to see each moment as an opportunity: Trees drink raindrops from straws; the bus breathes fire; and each person has a story to tell. On the bus, Nana inspires an impromptu concert, and CJ’s lifted into a daydream of colors and light, moon and magic. Later, when walking past broken streetlamps on the way to the soup kitchen, CJ notices a rainbow and thinks of his nana’s special gift to see “beautiful where he never even thought to look.” Through de la Peña’s brilliant text, readers can hear, feel and taste the city: its grit and beauty, its quiet moments of connectedness. Robinson’s exceptional artwork works with it to ensure that readers will fully understand CJ’s journey toward appreciation of the vibrant, fascinating fabric of the city. Loosely defined patterns and gestures offer an immediate and raw quality to the Sasek-like illustrations. Painted in a warm palette, this diverse urban neighborhood is imbued with interest and possibility.

This celebration of cross-generational bonding is a textual and artistic tour de force. (Picture book. 3-6)

Pub Date: Jan. 8, 2015

ISBN: 978-0-399-25774-2

Page Count: 32

Publisher: Putnam

Review Posted Online: Oct. 22, 2014

Kirkus Reviews Issue: Nov. 1, 2014

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