This longer story by Nobel Laureate Buck, originally published in 1955, is presented for the first time as an illustrated work for children. Early one Christmas, an older man thinks back to his best Christmas morning in the year that he was 15 and living on his family dairy farm. That year, the narrator of the story, Rob, surprised his father with a special, heart-felt gift by getting up in the middle of the night to do all the milking by himself so his father could have Christmas morning off. The boy’s joy in planning the surprise for his father and the touching appreciation, pride, and love in the father’s gratitude are effectively conveyed in both the moving text and in Buehner’s (Snowmen at Night, p. 1385, etc.) realistic paintings. His deep-toned, striking illustrations are mainly set at night, with snowy farm scenes lit only by glowing lantern and shining star. One spread shows the Nativity scene with puffy clouds in a turquoise evening sky shaped like angel heralds, and the following memorable spread of the barn at night repeats this element with subtle clouds in the shapes of the participants in the manger setting. Buck’s sentimental but touching story memorably illustrates the value of a gift created with love, a gift like Buehner’s. (illustrator’s note) (Picture book. 6-9)
Pub Date: Oct. 1, 2002
ISBN: 0-688-16267-3
Page Count: 40
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2002
Mary, Remember, and Bartholomew Allerton were among the youngest on the Mayflower's first voyage; the words here tell how, with the other newcomers, they suffer tremendous losses but gradually come to view Plymouth as home. Meanwhile, the author's paintings expand considerably on the text with a fanciful map of the journey, a cutaway view of the ship, and crowd scenes of planting, harvest, and thanksgiving. The children, introduced in the first paragraph, don't appear in the illustrations, and are not the focus of any picture, until well into the book. The ongoing disparity between text and art is unsettling; moreover, the text is often clumsy: After the death of Mary—last of the original group—the narrative leaps back to a confusing, incomplete explanation of the Pilgrims' origins. The panoramic watercolors are attractive, with expertly composed, cinematic scenes, but the text, pursuing its separate agenda, regrettably never catches up. (Picture book. 6-9)
Pub Date: Sept. 30, 1992
ISBN: 0-02-742643-2
Page Count: 40
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1992
The leaves have changed, Thanksgiving nears—and the canny turkeys of Squawk Valley have decamped, leaving local residents to face the prospect of a birdless holiday. What to do? They decide to lure a bird back by appealing to its vanity, placing a want ad for a model to help sculptors creating turkey art, then “inviting” the bird to dinner. The ploy works, too, for out of the woods struts plump and perky Pete to take on the job. Shelly debuts with brightly hued cartoon scenes featuring pop-eyed country folk and deceptively silly-looking gobblers. Pete may be vain, but he hasn’t lost the wiliness of his wild ancestors; when the townsfolk come for him, he hides amidst a flock of sculpted gobblers—“There were turkeys made of spuds, / there were turkeys made of rope. / There were turkeys made of paper, / there were turkeys made of soap. / The room was full of turkeys / in a wall to wall collage. / For a clever bird like Pete / it was perfect camouflage.” He makes his escape, and is last seen lounging on a turkey-filled tropical beach as the disappointed Squawk Valleyites gather round the table for a main course of . . . shredded wheat. Good for a few giggles. (Picture book. 6-8)
Pub Date: Sept. 1, 2001
ISBN: 1-890817-91-0
Page Count: 40
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2001
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