As captivating as it is important, a lovely and essential tribute to the transformation wrought by parenthood.
A halcyon love letter from mothers for the children who transformed their bodies.
This epistolary piece begins with the dream of motherhood as a snoozing woman envisions her future with ruminative anticipation. Flash forward slightly, and Calatzis’ illustrations follow a racially and culturally diverse group of pregnant people as they anticipate what’s to come. Depicted (rather refreshingly) as hard work, labor ushers forth a new era, and these women become parents, mothers for whom love, possibility, and growth—physical and otherwise—abound. Powers’ thesis is a simple one—the child makes the mother, but it’s the latter who carries embodied proof of the life they’ll go on to share. The birthing parents cue largely female, and while a stretch-marked stomach makes a notable appearance, C-section scarring does not. Still, the identities and bodies rendered throughout prove thoughtfully, thoroughly diverse otherwise. The result not only offers context for the physical experience of motherhood— “wrinkles, sags, grays, / new markings to cherish”—but also provides a template for the kind of authentic self-love that only inclusive visibility can cultivate. Picture books about parenthood are plentiful, but few capture the corporeal experience with comparable care. Calatzis’ artwork, a stunning combination of collage and embroidery, underscores the act of making as being intentional and effortful, an aesthetic message deeply compatible with Powers’ thoughtful, empowering text.
As captivating as it is important, a lovely and essential tribute to the transformation wrought by parenthood. (Picture book. 4-8)Pub Date: Dec. 9, 2025
ISBN: 9781536230062
Page Count: 40
Publisher: Walker US/Candlewick
Review Posted Online: July 19, 2025
Kirkus Reviews Issue: Aug. 15, 2025
Visually sweet, though hampered by disjointed storytelling.
In this picture book from Fox News journalist Hall, a young hedgehog must find a way to protect his community when peril looms.
Hedgehog and his father both have busy days ahead. Dad’s on his way to the newspaper to report “what new news the news brings.” Hedgehog packs his backpack for an adventure, mindful of Dad’s rules: “Don’t talk to strangers” and “never ever cross the river alone.” Obeying the rules proves difficult when Hedgehog notices commotion on the other side of the river: A bear is hungrily eyeing Baby Owl, who’s fallen from her tree. With creative thinking, Hedgehog frightens off the bear and alerts Mama Owl, but the predator is still at large. So Hedgehog and Mama Owl create flyers to warn the forest residents. Though Motzo’s airy illustrations are pleasing—particularly the adorably animated Hedgehog, a tribute to Hall’s own children—the narrative feels bogged down with multiple themes as it attempts to explore the power of the written word, the importance of community, and the need to adhere to a parent’s rules. When Hedgehog apologizes for his apparent disobedience, Dad explains that Hedgehog never actually broke the rules; turns out it’s OK to cross the river in the company of an adult, and Mama Owl’s no stranger (she’s the town librarian, whom Hedgehog sees every week). The back-and-forth may leave readers confused; it also feels like a missed opportunity to discuss how to identify trustworthy adults.
Visually sweet, though hampered by disjointed storytelling. (Picture book. 4-8)Pub Date: March 3, 2026
ISBN: 9780063357549
Page Count: 32
Publisher: Harper/HarperCollins
Review Posted Online: Dec. 26, 2025
Kirkus Reviews Issue: Feb. 1, 2026
Another empowering outing led by a dynamic young role model.
The third title in the Ambitious Girl series finds young Maya wanting accomplished women to get their due.
On a school trip to Washington, D.C., brown-skinned, bubble-braided Maya is full of questions, among them “How many representatives are there?” and, while checking out the statues and monuments, “Where are all the women?” Maya’s teacher tells her that they’ve seen all the “popular” statues and monuments. Maya is as dogged (“But what about Eleanor Roosevelt? Or Mary McLeod Bethune?”) as her teacher is dismissive: “Those aren’t on my list.” (Maya’s teacher follows the same list every trip.) Back at home, Maya is newly awakened to the lack of female representation in her orbit—she notices that streets and “even her own school” are named for men. Is there anything she can do about this? Maya’s teacher’s cluelessness feels a bit implausible, more like a plot device to steer the story in the right direction, but Maya’s righteous indignation is believable, and her corresponding activism will energize readers. Valdez gets into the spirit of things with her invigorating digital art: Maya and her multiethnic classmates and neighbors are colorful dressers with smiling faces, which fosters a sense that wherever Maya goes, a warm and ebullient community is there for her.
Another empowering outing led by a dynamic young role model. (Picture book. 5-8)Pub Date: Feb. 3, 2026
ISBN: 9780316561341
Page Count: 40
Publisher: Little, Brown
Review Posted Online: Sept. 27, 2025
Kirkus Reviews Issue: Nov. 1, 2025
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