THE FISHERMAN AND HIS WIFE

Continuing her career through the classic fairy tales, Isadora turns to the familiar story of overweening greed for her latest adaptation. As with Princess and the Pea (2007) and Twelve Dancing Princesses (2007), she relocates the European tale to an unspecified African shore, employing her Eric Carle–like collage technique of placing broadly painted cut-outs against a white background. As the story runs its course, the wife becoming greedier and greedier and the flounder waxing angrier and angrier, the painted ocean modulates from turquoise to gray and stormy, taking over the page in nicely terrifying fashion as jagged blades of rain stab its surface. This tale adapts to its new setting somewhat better than her previous efforts, perhaps because of the universality of the themes, perhaps because the tight focus on the two characters allows them to develop fully. As the wife declares that being Pope isn’t good enough—she wants to become God—she and her husband appear silhouetted against a rising African sun, God’s creation surrounding her—a nicely ironic image beautifully executed, making this offering fresh and welcome. (Picture book/fairy tale. 4-8)