The night light is on and the bedtime story firmly in the young narrator's grasp, but stuffed bunny is nowhere to be found! There's only one thing to do: He has to go into the woods, which are conveniently right next to his bedroom.
With a toy sword and a wastebasket serving as a helmet, he marches (in his pajamas) boldly ahead, right into the path of "a big, scary brown bear!" Luckily, the bear is scared of the dark too, so the boy shares his night light. The duo sets off into the deeper woods, where they meet two scary giants. These guys in green are just bored, so the boy shares his bedtime story with them. Off this quartet ventures, and comes upon a pink three-headed, fire-breathing dragon... And so on. The procession comes to a big scary dark cave and, holding hands, summon the courage to enter. Inside is a big, hairy, scary monster—holding a tiny red bunny! Mystery solved; the boy invites everyone back to his room, where a final illustration shows him smiling and clutching stuffed versions of all his banished fears. The refrain—"we weren't afraid at all. Until…"—sets a comfortable pattern, and the fuzzy watercolors on thick creamy stock enhance the coziness of the tale.Pub Date: June 1, 2011
ISBN: 978-0-8118-7547-9
Page Count: 44
Publisher: Chronicle Books
Review Posted Online: April 18, 2011
Kirkus Reviews Issue: May 1, 2011
Categories: CHILDREN'S GENERAL CHILDREN'S
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A sugary poem, very loosely based on the familiar song, lacks focus.
Using only the refrain from the original (“One love, one heart, let’s get together and feel all right!”), the reggae great’s daughter Cedella Marley sees this song as her “happy song” and adapts it for children. However, the adaptation robs it of life. After the opening lines, readers familiar with the original song (or the tourism advertisement for Jamaica) will be humming along only to be stopped by the bland lines that follow: “One love, what the flower gives the bee.” and then “One love, what Mother Earth gives the tree.” Brantley-Newton’s sunny illustrations perfectly reflect the saccharine quality of the text. Starting at the beginning of the day, readers see a little girl first in bed, under a photograph of Bob Marley, the sun streaming into her room, a bird at the window. Each spread is completely redundant—when the text is about family love, the illustration actually shows little hearts floating from her parents to the little girl. An image of a diverse group getting ready to plant a community garden, walking on top of a river accompanies the words “One love, like the river runs to the sea.”
Though this celebration of community is joyful, there just is not much here. (afterword) (Picture book. 3-5)Pub Date: Oct. 5, 2011
ISBN: 978-1-4521-0224-5
Page Count: 32
Publisher: Chronicle Books
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: Sept. 15, 2011
Categories: CHILDREN'S GENERAL CHILDREN'S
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This book wants to be feminist.
Princess Penelope Pineapple, illustrated as a white girl with dark hair and eyes, is the Amelia Bloomer of the Pineapple Kingdom. She has dresses, but she prefers to wear pants as she engages in myriad activities ranging from yoga to gardening, from piloting a plane to hosting a science fair. When it’s time for the Pineapple Ball, she imagines wearing a sparkly pants outfit, but she worries about Grand Lady Busyboots’ disapproval: “ ‘Pants have no place on a lady!’ she’d say. / ‘That’s how it has been, and that’s how it shall stay.’ ” In a moment of seeming dissonance between the text and art, Penny seems to resolve to wear pants, but then she shows up to the ball in a gown. This apparent contradiction is resolved when the family cat, Miss Fussywiggles, falls from the castle into the moat and Princess Penelope saves her—after stripping off her gown to reveal pink, flowered swimming trunks and a matching top. Impressed, Grand Lady Busyboots resolves that princesses can henceforth wear whatever they wish. While seeing a princess as savior rather than damsel in distress may still seem novel, it seems a stretch to cast pants-wearing as a broadly contested contemporary American feminist issue. Guthrie and Oppenheim’s unimaginative, singsong rhyme is matched in subtlety by Byrne’s bright illustrations.
Skip it . (Picture book. 3-5)Pub Date: Sept. 12, 2017
ISBN: 978-1-4197-2603-3
Page Count: 32
Publisher: Abrams
Review Posted Online: July 2, 2017
Kirkus Reviews Issue: July 15, 2017
Categories: CHILDREN'S GENERAL CHILDREN'S
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