A one-trick pony—and the trick’s not all that great.
The Norwegian illustrator of My Father’s Arms Are a Boat (2013) pokes a pencil-sized hole through both covers and all 64 pages of this outing—but then doesn’t do much with it.
In very plain, nearly wordless line drawings with pale monochromatic highlights, Torseter depicts a cartoon figure (a lanky creature with a face like a hippo) who spots the hole in the wall of his new apartment. He chases it as it “moves” through various rooms and then plunks it in a box. He proceeds to “carry” it through a long sequence of city scenes—it does duty as sign lettering, wheels, eyes, lights and other items—to a laboratory, where it’s shoved into a drawer. The figure then walks obliviously home as the hole follows through the sky and ends up back in its original position on the apartment wall. Though the hole may take a moment to spot in some scenes, it is too small to have any significant visual impact. Nor, in contrast to the one in Hervé Tullet’s The Book with a Hole (2011) and other similarly pierced titles, is it placed or decorated in ways that will spark imaginative play or lead viewers to fresh considerations of their own surroundings.
A one-trick pony—and the trick’s not all that great. (Picture book. 4-6)Pub Date: Sept. 21, 2013
ISBN: 978-1-59270-143-8
Page Count: 64
Publisher: Enchanted Lion Books
Review Posted Online: Aug. 2, 2013
Kirkus Reviews Issue: Aug. 15, 2013
Share this feel-good title with those who love art and those who can appreciate the confidence-building triumph of solving a...
Reynolds returns to a favorite topic—creative self-expression—with characteristic skill in a companion title to The Dot (2003) and Ish (2004).
Marisol is “an artist through and through. So when her teacher told her class they were going to paint a mural…, Marisol couldn’t wait to begin.” As each classmate claims a part of the picture to paint, Marisol declares she will “paint the sky.” But she soon discovers there is no blue paint and wonders what she will do without the vital color. Up to this point, the author uses color sparingly—to accent a poster or painting of Marisol’s or to highlight the paint jars on a desk. During her bus ride home, Marisol wonders what to do and stares out the window. The next spread reveals a vibrant departure from the gray tones of the previous pages. Reds, oranges, lemon yellows and golds streak across the sunset sky. Marisol notices the sky continuing to change in a rainbow of colors…except blue. After awakening from a colorful dream to a gray rainy day, Marisol smiles. With a fervent mixing of paints, she creates a beautiful swirling sky that she describes as “sky color.” Fans of Reynolds will enjoy the succinct language enhanced by illustrations in pen, ink, watercolor, gouache and tea.
Share this feel-good title with those who love art and those who can appreciate the confidence-building triumph of solving a problem on one’s own—creatively. (Picture book. 4-6)Pub Date: Aug. 28, 2012
ISBN: 978-0-7636-2345-6
Page Count: 32
Publisher: Candlewick
Review Posted Online: June 19, 2012
Kirkus Reviews Issue: July 15, 2012
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A quiet, warm look at the bond between grandfather and grandson.
After a visit, an African-American grandfather and grandson say farewell under a big yellow moon. Granpa tells Max it is the same moon he will see when he gets home.
This gently told story uses Max’s fascination with the moon’s ability to “tag along” where his family’s car goes as a metaphor for his grandfather’s constant love. Separating the two relatives is “a swervy-curvy road” that travels up and down hills, over a bridge, “past a field of sleeping cows,” around a small town and through a tunnel. No matter where Max travels, the moon is always there, waiting around a curve or peeking through the trees. But then “[d]ark clouds tumbled across the night sky.” No stars, no nightingales and no moon are to be found. Max frets: “Granpa said it would always shine for me.” Disappointed, Max climbs into bed, missing both the moon and his granpa. In a dramatic double-page spread, readers see Max’s excitement as “[s]lowly, very slowly, Max’s bedroom began to fill with a soft yellow glow.” Cooper uses his signature style to illustrate both the landscape—sometimes viewed from the car windows or reflected in the vehicle’s mirror—and the expressive faces of his characters. Coupled with the story’s lyrical text, this is a lovely mood piece.
A quiet, warm look at the bond between grandfather and grandson. (Picture book. 4-6)Pub Date: June 13, 2013
ISBN: 978-0-399-23342-5
Page Count: 32
Publisher: Philomel
Review Posted Online: March 12, 2013
Kirkus Reviews Issue: April 1, 2013
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