A loving tribute to the power of loved ones’ support during trying times.
Blue is not just a color.
Coen, a young Indigenous Australian boy, is having a difficult day. His body is coiled and tense, his feelings are “a deep, murky kind of blue,” and bed is the only place he finds relief. Mum says that “it can’t be that bad.” Dad thinks fresh air will do the trick. “What’s wrong with you?” his little sister, Junie, innocently demands. Coen feels “like a lost kite: loose in the breeze, with feelings that tangled like string”—and tangled Coen wants to be left alone. His family doesn’t understand. Then, little by little, Coen begins to respond to his parents’ and sibling’s loving patience and their assurance that his blue feelings won’t last forever. Author/psychologist Tomlinson deftly delves into the “muddled-up” moods of childhood depression with sympathy and compassion. With emotive descriptions such as “it was a slumping, sighing, sobbing kind of day,” the text invites readers to empathize rather than advise a child who is very much in pain. Mordey’s illustrations incorporate character design based on her own family, bringing a special warmth to this depiction of a racially-mixed household and their tender interactions. The limited palette of gentle blues, pinks, and apricot allows viewers to focus on the family members’ emotions. The author’s note further encourages families to recognize the different ways children process emotions and provides suggestions for helping children work through these overwhelming feelings. (This book was reviewed digitally.)
A loving tribute to the power of loved ones’ support during trying times. (Picture book. 4-9)Pub Date: April 5, 2022
ISBN: 978-0-593-32401-1
Page Count: 32
Publisher: Kokila
Review Posted Online: Jan. 24, 2022
Kirkus Reviews Issue: Feb. 15, 2022
PERSPECTIVES
A witty year-round ghost tale that delivers a wonderfully unconventional conclusion.
A headstrong young girl finds herself in a haunted house standoff.
Aggie’s excitement about living independently quickly dissolves when she discovers that her lovely new cottage in the rainy woods comes with an unwelcome, shape-shifting, ghostly roommate. Determined to make it work, the light-skinned, short-haired Aggie establishes house rules for the ghost—“no haunting after dark,” “no stealing my socks,” “no more eating all the cheese”—but her spectral companion proves resistant to regulation. The conflict escalates to a high-stakes tic-tac-toe match, where the winner gets the house. Forsythe’s signature watercolor, gouache, and colored pencil illustrations masterfully supply both emotional depth and charm to the characters and setting. In a particularly mesmerizing double-page spread, a supernatural vortex of swirling, eye-studded ghostly forms draw the gaze toward an opening where a small, determined Aggie and her equally resolute opponent face off. Glowing pinks juxtaposed with deep indigos heighten the dramatic atmosphere. The delightfully wry ghost’s ever-changing forms and expressions create a humorous visual journey that will have readers hurrying to discover each new, surprising incarnation. Though the narrative occasionally feels assembled to showcase striking artwork over story flow—a minor issue that likely won’t trouble Forsythe fans—the refreshingly imperfect resolution offers young readers a nuanced ending rarely found in picture books.
A witty year-round ghost tale that delivers a wonderfully unconventional conclusion. (Picture book. 4-8)Pub Date: Aug. 19, 2025
ISBN: 9781534478206
Page Count: 64
Publisher: Paula Wiseman/Simon & Schuster
Review Posted Online: May 16, 2025
Kirkus Reviews Issue: June 15, 2025
An unfortunately simplistic delivery of a well-intentioned message.
Drawing on lyrics from her Mormon children’s hymn of the same title, Pearson explores diversity and acceptance in a more secular context.
Addressing people of varying ages, races, origins, and abilities in forced rhymes that omit the original version’s references to Jesus, various speakers describe how they—unlike “some people”—will “show [their] love for” their fellow humans. “If you don’t talk as most people do / some people talk and laugh at you,” a child tells a tongue-tied classmate. “But I won’t! / I won’t! / I’ll talk with you / and giggle too. / That’s how I’ll show my love for you.” Unfortunately, many speakers’ actions feel vague and rather patronizing even as they aim to include and reassure. “I know you bring such interesting things,” a wheelchair user says, welcoming a family “born far, far away” who arrives at the airport; the adults wear Islamic clothing. As pink- and brown-skinned worshipers join a solitary brown-skinned person who somehow “[doesn’t] pray as some people pray” on a church pew, a smiling, pink-skinned worshiper’s declaration that “we’re all, I see, one family” raises echoes of the problematic assertion, “I don’t see color.” The speakers’ exclamations of “But I won’t!” after noting others’ prejudiced behavior reads more as self-congratulation than promise of inclusion. Sanders’ geometric, doll-like human figures are cheery but stiff, and the text’s bold, uppercase typeface switches jarringly to cursive for the refrain, “That’s how I’ll show my love for you.” Characters’ complexions include paper-white, yellow, pink, and brown.
An unfortunately simplistic delivery of a well-intentioned message. (Picture book. 4-6)Pub Date: March 17, 2020
ISBN: 978-1-4236-5395-0
Page Count: 32
Publisher: Gibbs Smith
Review Posted Online: Jan. 20, 2020
Kirkus Reviews Issue: Feb. 15, 2020
BOOK REVIEW
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