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CROSSING BRIAR WOO

Name: CROSSING BRIAR WOO
Author: Paul Sleman Clark
ISBN: 978-1-71724-569-4

From the Squirrel Hill series , Vol. 1

by Paul Sleman Clark illustrated by Ray Driver ‧ RELEASE DATE: May 7, 2018

With its flaws more likely to bother adults than children, this tale delivers an enjoyable adventure for reading aloud.

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In this children’s series opener, a girl embarks on an expedition with her cat and a (mostly) intrepid band of stuffed-animal friends.

Madison is a freckle-faced, daring young girl who lives in Squirrel Hill—not the Pittsburgh neighborhood but a bucolic rural area with a farmhouse bordered by Briar Woo, a small forest with a stream running through it. (The forest’s curious name is never explained, perhaps deriving from a child’s pronunciation of Briar Woods.) Madison’s companions include a cat named Kitty, who claims not to be curious but is, and two live stuffed animals who speak. Ellie the elephant, fat and fearful, makes up enjoyable songs; Sergeant Monk-Monk is well-organized and resembles Madison’s Uncle Stanley, a soldier. Uncle Stanley bought Monk-Monk in North Africa—which, Madison is sure, lies on the other side of Briar Woo and is the object of today’s trek. The foursome encounters some problems, especially in crossing the creek that runs through the woods; Ellie, in particular, has some scary moments but prevails, and the companions befriend a beaver. Madison is dismayed to discover that after all their exploring, they will arrive where they started, but she praises her friends for doing well. North Africa can wait for another day. Clark (Just an Ordinary Elephant and the Bald Cardinal, 2018, etc.) owes an obvious debt to A.A. Milne’s Winnie-the-Pooh books, with the woods, a young child protagonist, and a cast of plush-toy–derived characters. Like Pooh, Ellie creates whimsical ditties; like Eeyore, he's pessimistic: “We do not know how far it is…and my short, fat legs cannot move very fast.” Clark does add a North American flavor to the story (aimed at ages 4 to 7) with the farmhouse setting, gopher and beaver characters, and general air of can-do resolve. It’s odd, though, that the dialogue sometimes sounds British: “Bosh,” “Terribly sorry,” and “Listen, old chap,” for example. Driver’s (Just an Ordinary Elephant and the Bald Cardinal, 2018) skillfully drawn, attractive illustrations deftly capture personalities, providing rich details that help tell the story.

With its flaws more likely to bother adults than children, this tale delivers an enjoyable adventure for reading aloud.

Pub Date: May 7, 2018

ISBN: 978-1-71724-569-4

Page Count: 44

Publisher: Ozymandias Publishing Co.

Review Posted Online: Nov. 19, 2018

Review Program: Kirkus Indie

Categories:

CHILDREN'S GENERAL CHILDREN'S

- BOOK REVIEW
JUST AN ORDINARY ELEPHANT & THE BALD CARDINAL
by Paul Sleman Clark illustrated by Ray Driver

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THERE'S A MONSTER IN YOUR BOOK

From the Who's in Your Book? series

by Tom Fletcher ; illustrated by Greg Abbott ‧ RELEASE DATE: Sept. 5, 2017

Playful, engaging, and full of opportunities for empathy—a raucous storytime hit.

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Readers try to dislodge a monster from the pages of this emotive and interactive read-aloud.

“OH NO!” the story starts. “There’s a monster in your book!” The blue, round-headed monster with pink horns and a pink-tipped tail can be seen cheerfully munching on the opening page. “Let’s try to get him out,” declares the narrator. Readers are encouraged to shake, tilt, and spin the book around, while the monster careens around an empty background looking scared and lost. Viewers are exhorted to tickle the monster’s feet, blow on the page, and make a really loud noise. Finally, shockingly, it works: “Now he’s in your room!” But clearly a monster in your book is safer than a monster in your room, so he’s coaxed back into the illustrations and lulled to sleep, curled up under one page and cuddling a bit of another like a child with their blankie. The monster’s entirely cute appearance and clear emotional reactions to his treatment add to the interactive aspect, and some young readers might even resist the instructions to avoid hurting their new pal. Children will be brought along on the monster’s journey, going from excited, noisy, and wiggly to calm and steady (one can hope).

Playful, engaging, and full of opportunities for empathy—a raucous storytime hit. (Picture book. 2-7)

Pub Date: Sept. 5, 2017

ISBN: 978-1-5247-6456-2

Page Count: 32

Publisher: Random House

Review Posted Online: June 4, 2017

Kirkus Reviews Issue: June 15, 2017

Categories:

CHILDREN'S GENERAL CHILDREN'S

- BOOK REVIEW
THERE'S A BEAR IN YOUR BOOK
by Tom Fletcher ; illustrated by Tom Fletcher

- BOOK REVIEW
THERE'S A UNICORN IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

- BOOK REVIEW
THERE'S A WITCH IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

- BOOK REVIEW
THERE'S A BEAR IN YOUR BOOK
by Tom Fletcher ; illustrated by Tom Fletcher

- BOOK REVIEW
THERE'S A UNICORN IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

- BOOK REVIEW
THERE'S A WITCH IN YOUR BOOK
by Tom Fletcher ; illustrated by Greg Abbott

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HOME

by Carson Ellis ; illustrated by Carson Ellis ‧ RELEASE DATE: Feb. 24, 2015

Visually accomplished but marred by stereotypical cultural depictions.

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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)