Newborn Émile surely surprises big sister Malaika, but the warm, culturally attuned storytelling here meets all expectations.

MALAIKA’S SURPRISE

From the Malaika series , Vol. 3

Once again, Malaika’s life is changing, but Hohn and Luxbacher remain consistent in delivering an intimate and culturally rich picture book.

There’s a new girl in the neighborhood, and Malaika’s mother is pregnant, but readers first find Malaika and her stepsister, Adèle, dressed in familiar favorites—ornate masks and colorful capes—and ready for traditional West Indian carnival-inspired play. Like Malaika, readers will love the vibrant and glistening costumes that Luxbacher’s gouaches and pastels continue to enliven. Still, the blend of colors and found paper collage notably highlights the blended “brown and pink family” developing around Caribbean-born Malaika: her Afro-Caribbean mother, her White French-Canadian father, her rosy-cheeked White stepsister, and her soon-to-arrive biracial baby brother. In this third series outing, Hohn is firmly in her element, continuing the story of the little girl from the Caribbean acclimating to her new home in Canada, but the introduction of another little brown girl, Malayka M., who is also “from a far place” and whom our Malaika quickly befriends, explores new avenues of cultural and linguistic plurality. A brief glossary in the frontmatter provides an overview of key French, Caribbean, and Arabic terms readers will encounter throughout the story, which is endearingly narrated in Malaika’s own patois-inflected voice. (This book was reviewed digitally with 9-by-20-inch double-page spreads viewed at actual size.)

Newborn Émile surely surprises big sister Malaika, but the warm, culturally attuned storytelling here meets all expectations. (Picture book. 3-7)

Pub Date: March 2, 2021

ISBN: 978-1-77306-264-8

Page Count: 32

Publisher: Groundwood

Review Posted Online: Jan. 27, 2021

Kirkus Reviews Issue: Feb. 15, 2021

Did you like this book?

No Comments Yet

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

Did you like this book?

  • SPONSORED PLACEMENT

An astonishing work of art and a crucial addition to every bookshelf.

WHEN WE SAY BLACK LIVES MATTER

The author of The Patchwork Bike (illustrated by Van Thanh Rudd, 2016) writes to children about the meaning of the phrase Black Lives Matter.

Pastel illustrations, also by Clarke, on dark, textured paper are paired with oversized, contrasting text addressed to “Little one.” In the visuals, a family that begins as a couple expecting a baby grows into a family with a child and then becomes part of a community in protest, marching for Black lives, before a final page shows a jubilant Black boy in a cap and gown. The adult narrator explains that “when we say Black Lives Matter, / we’re saying Black people are wonderful-strong.” Other meanings of the rallying cry, when it is called out, screamed, sung, laughed, and known, include a demand for respect, a defiant joy, a channeling of ancestors, an acknowledgment of trouble, and knowing one’s worth. Clarke’s text is poignant and mesmerizing, with design elements that raise the text to an artistic level, shaping it around the art and highlighting active and emotional words in color: enough, dancing, radiant, precious. The art is truly outstanding, gripping the heart from the very first spread and not letting go. With colored shapes and stained-glass motifs, these Black figures feel real and weighty. Within this deep dive are tragedy, fear, anger, and mourning alongside hope, comfort, strength, and triumph. This slim book contains a necessary and healing exploration of our current moment that will remain relevant for decades to come.

An astonishing work of art and a crucial addition to every bookshelf. (Picture book. 4-10)

Pub Date: Sept. 14, 2021

ISBN: 978-1-5362-2238-8

Page Count: 32

Publisher: Candlewick

Review Posted Online: June 29, 2021

Kirkus Reviews Issue: July 15, 2021

Did you like this book?

No Comments Yet

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

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2015

  • New York Times Bestseller

  • IndieBound Bestseller

  • Newbery Medal Winner

  • Caldecott Honor Book

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

Did you like this book?

No Comments Yet
more