Honors the emotional lives of many—but not all—children.
When a child is overcome by negative emotions, solace can be found in the imagination.
The narrator confides to readers, “Some days I feel smiling-ear-to-ear GLAD. / And some days I feel MAD SAD SMILING-EAR-TO-EAR GLAD. // … // But on those MAD SAD NOISY days… // I like to go OUT, OUT, AWAY FROM HERE… / …into the wild of my imagination.” Miao uses bright watercolors to paint a narrative subtext into the pictures. There is a new baby sibling in the home, along with parents who are under stress and sometimes argue. In one striking double-page spread, the parents’ angry, shouting dark silhouettes are in the foreground, framing a worried-looking baby and the narrator, who flees. The scenes in the child’s imaginary world are bright, busy, and fantastical, full of surreal images in sometimes-dizzying compositions. They provide enough space that when the child returns, the home is calm, and smiling parents have a warm supper waiting. The family presents white and middle-class. The story begs comparison to Molly Bang’s When Sophie Gets Angry—Really, Really Angry… (1999), but this child is escaping the heightened emotions of others rather than managing their own. Readers with functional families that experience strife may find mirrors here, but those in toxic environments are likely to have more complex reactions.
Honors the emotional lives of many—but not all—children. (Picture book. 4-8)Pub Date: April 3, 2018
ISBN: 978-1-911171-33-1
Page Count: 32
Publisher: Flying Eye Books
Review Posted Online: March 3, 2018
Kirkus Reviews Issue: March 15, 2018
Halloween is used merely as a backdrop; better holiday titles for young readers are available.
A ghost learns to appreciate his differences.
The little ghost protagonist of this title is unusual. He’s a quilt, not a lightweight sheet like his parents and friends. He dislikes being different despite his mom’s reassurance that his ancestors also had unconventional appearances. Halloween makes the little ghost happy, though. He decides to watch trick-or-treaters by draping over a porch chair—but lands on a porch rail instead. A mom accompanying her daughter picks him up, wraps him around her chilly daughter, and brings him home with them! The family likes his looks and comforting warmth, and the little ghost immediately feels better about himself. As soon as he’s able to, he flies out through the chimney and muses happily that this adventure happened only due to his being a quilt. This odd but gently told story conveys the importance of self-respect and acceptance of one’s uniqueness. The delivery of this positive message has something of a heavy-handed feel and is rushed besides. It also isn’t entirely logical: The protagonist could have been a different type of covering; a blanket, for instance, might have enjoyed an identical experience. The soft, pleasing illustrations’ palette of tans, grays, white, black, some touches of color, and, occasionally, white text against black backgrounds suggest isolation, such as the ghost feels about himself. Most humans, including the trick-or-treating mom and daughter, have beige skin. (This book was reviewed digitally with 11-by-16.6-inch double-page spreads viewed at 66.2% of actual size.)
Halloween is used merely as a backdrop; better holiday titles for young readers are available. (Picture book. 4-7)Pub Date: Sept. 1, 2020
ISBN: 978-0-7352-6447-2
Page Count: 48
Publisher: Tundra Books
Review Posted Online: July 13, 2020
Kirkus Reviews Issue: Aug. 1, 2020
BOOK REVIEW
Menacing and most likely to appeal to established fans of its co-creators.
Existing artwork from an artistic giant inspires a fairy-tale reimagination by a master of the horror genre.
In King’s interpretation of a classic Brothers Grimm story, which accompanies set and costume designs that the late Sendak created for a 1997 production of Engelbert Humperdinck’s opera, siblings Hansel and Gretel survive abandonment in the woods and an evil witch’s plot to gobble them up before finding their “happily ever after” alongside their father. Prose with the reassuring cadence of an old-timey tale, paired with Sendak’s instantly recognizable artwork, will lull readers before capitalizing on these creators’ knack for injecting darkness into seemingly safe spaces. Gaping faces loom in crevices of rocks and trees, and a gloomy palette of muted greens and ocher amplify the story’s foreboding tone, while King never sugarcoats the peach-skinned children’s peril. Branches with “clutching fingers” hide “the awful enchanted house” of a “child-stealing witch,” all portrayed in an eclectic mix of spot and full-bleed images. Featuring insults that might strike some as harsh (“idiot,” “fool”), the lengthy, dense text may try young readers’ patience, and the often overwhelmingly ominous mood feels more pitched to adults—particularly those familiar with King and Sendak—but an introduction acknowledges grandparents as a likely audience, and nostalgia may prompt leniency over an occasional disconnect between words and art.
Menacing and most likely to appeal to established fans of its co-creators. (Picture book. 4-8)Pub Date: Sept. 2, 2025
ISBN: 9780062644695
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 15, 2025
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