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Joey Visits Grandpa

An appealing read-aloud tale about a duo’s adventures that would benefit from enhanced illustrations and timing.

A picture book chronicles a day with a boy and his grandfather full of fun and minor mishaps.

Joey and his grandfather happily spend an active day together inside Grandpa’s house and at various places nearby. They feed the fish, read together, cook pancakes, ride in Grandpa’s truck to the grocery store, eat lunch, and go fishing. Each activity takes place with “one small problem.” Over and over again, Grandpa manages to lose his glasses (“When Joey wanted Grandpa to read a book with him, Grandpa’s glasses were missing. Grandpa looked under the couch and under the cushions and under the rug, but he couldn’t find his glasses”). He loses them in the fish tank, the pancake batter, the grocery bag, and the freezer. Joey manages to find them every time, and Grandpa repeats some variation of “Well, get a load of that...How did they get in there?” Sharp-eyed Joey, always one step ahead of his absentminded grandfather, even proposes a solution—putting a string on the glasses and tying it to Grandpa’s pocket. But in the final panel, foolish Grandpa, after fishing with Joey at a lake, has his glasses with him but leaves his boots on the dock. The relationship of grandfather and grandson is heartwarming and charming, as is the concept of the youngster coming to the aid of his relative by finding his constantly misplaced glasses and coming up with a remedy. As a read-aloud story, the book by author Nichvolodoff (Cleo’s Treasure Hunt, 2016, etc.) and illustrator Paradero possesses tremendous potential for the young reader to participate by discovering the glasses in all the amusing spots and playing along. Unfortunately, both the volume’s timing and the illustrations work against the reader. For a young child to understand the problem and discover the glasses, the images need to accentuate the spectacles and allow the reader to see clearly what is going to happen to them. In most of the illustrations, the glasses are not prominent enough for a child to identify them. The reader only discovers after the fact that the glasses fall into the fish tank and the pancake batter. These situations offer great comic possibilities for a young child to witness these calamities about to occur and point them out.

An appealing read-aloud tale about a duo’s adventures that would benefit from enhanced illustrations and timing.

Pub Date: May 19, 2015

ISBN: 978-1-4907-5910-4

Page Count: 28

Publisher: Trafford

Review Posted Online: July 14, 2016

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FRINDLE

With comically realistic black-and-white illustrations by Selznick (The Robot King, 1995, etc.), this is a captivating...

Nicholas is a bright boy who likes to make trouble at school, creatively. 

When he decides to torment his fifth-grade English teacher, Mrs. Granger (who is just as smart as he is), by getting everyone in the class to replace the word "pen'' with "frindle,'' he unleashes a series of events that rapidly spins out of control. If there's any justice in the world, Clements (Temple Cat, 1995, etc.) may have something of a classic on his hands. By turns amusing and adroit, this first novel is also utterly satisfying. The chess-like sparring between the gifted Nicholas and his crafty teacher is enthralling, while Mrs. Granger is that rarest of the breed: a teacher the children fear and complain about for the school year, and love and respect forever after. 

With comically realistic black-and-white illustrations by Selznick (The Robot King, 1995, etc.), this is a captivating tale—one to press upon children, and one they'll be passing among themselves. (Fiction. 8-12)

Pub Date: Sept. 1, 1996

ISBN: 0-689-80669-8

Page Count: 105

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1996

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HOME

Visually accomplished but marred by stereotypical cultural depictions.

Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”

Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.

Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)

Pub Date: Feb. 24, 2015

ISBN: 978-0-7636-6529-6

Page Count: 40

Publisher: Candlewick

Review Posted Online: Nov. 17, 2014

Kirkus Reviews Issue: Dec. 1, 2014

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