Though the text makes few compromises to readers outside of its culture, the illustrations shine brightly for all.
This pourquoi tale from British Columbia’s Tahltan nation is greatly enhanced by vibrant, imaginative woodblock prints, one for every page of text.
Co-author and illustrator Vickers notes that this was a “short little story” when he first encountered it, but over the years, he learned more. Perhaps this is why some of the many interesting bits of Cloudwalker’s story do not quite coalesce. For example, early in the tale, there is a full paragraph about the “one thing Cloudwalker could not do.” The detailed description of his yearning for a life partner appears to be a plot point but is never again mentioned. The strength of the text lies in its ability to weave into this legend about the creation of three rivers facts about the natural resources of the region and the traditions of its native people. It is unfortunate that there is no appendix or glossary; some elements are explained, but readers outside the culture will likely not figure out the meaning of “potlatch” from this story’s context. And how should those readers pronounce “Ksien” and “Gitxsan” and “guloonich”? The artwork, in contrast, elegantly combines spiritual and physical worlds, partly by the use of pale, skeletal imagery over solid blocks of landscape and living figures.
Though the text makes few compromises to readers outside of its culture, the illustrations shine brightly for all. (Picture book/folk tale. 6-12)Pub Date: July 3, 2014
ISBN: 978-1-55107-619-3
Page Count: 40
Publisher: Harbour Publishing
Review Posted Online: May 27, 2014
Kirkus Reviews Issue: June 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Will leave readers as happy as a pig in mud.
It’s good to embrace change.
Although an unseen narrator attempts to tell an accustomed version of “The Three Little Pigs”—here named Alan, Alfred, and Alvin Albert—their younger sister, Alison, wants to get in on the action because she’s a natural storyteller. The narrator grudgingly allows Alison to tag along, but her added bits of flavor and the unexpected personalities of her brothers soon send the story off its traditional tracks and into hilarious hijinks. For example, Alan’s love of building allows him to design a functional house made of plastic drinking straws, Alfred’s stick house is actually constructed by Alan because Alfred’s clearly a star and not stage crew, and Alvin’s shacking up in a pumpkin behind Cinderella’s castle because he’s…not the crispiest piece of bacon on the plate. Alison’s quick thinking leads the brothers to be one step ahead of the wandering wolf. When the narrator hits their limit, a conversation with Alison proves that collaboration can lead to unexpected but wonderful results. The story flows well, accompanied by energetic cartoon art, and the choice to color-code the speech bubbles of each character (and the text of the narrator vs. Alison) ensures readers will be able to follow the snappy dialogue. Those who love to make up their own stories will be inspired, and readers who march to the beats of their own drums will be delighted. (This book was reviewed digitally.)
Will leave readers as happy as a pig in mud. (Picture book. 6-10)Pub Date: Oct. 25, 2022
ISBN: 978-1-5420-3243-8
Page Count: 40
Publisher: Two Lions
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
Fans both young and formerly young will be pleased—100 percent.
Published in magazines, never seen since / Now resurrected for pleasure intense / Versified episodes numbering four / Featuring Marco, and Horton and more!
All of the entries in this follow-up to The Bippolo Seed and Other Lost Stories (2011) involve a certain amount of sharp dealing. Horton carries a Kwuggerbug through crocodile-infested waters and up a steep mountain because “a deal is a deal”—and then is cheated out of his promised share of delicious Beezlenuts. Officer Pat heads off escalating, imagined disasters on Mulberry Street by clubbing a pesky gnat. Marco (originally met on that same Mulberry Street) concocts a baroque excuse for being late to school. In the closer, a smooth-talking Grinch (not the green sort) sells a gullible Hoobub a piece of string. In a lively introduction, uber-fan Charles D. Cohen (The Seuss, The Whole Seuss, and Nothing but the Seuss, 2002) provides publishing histories, places characters and settings in Seussian context, and offers insights into, for instance, the origin of “Grinch.” Along with predictably engaging wordplay—“He climbed. He grew dizzy. His ankles grew numb. / But he climbed and he climbed and he clum and he clum”—each tale features bright, crisply reproduced renditions of its original illustrations. Except for “The Hoobub and the Grinch,” which has been jammed into a single spread, the verses and pictures are laid out in spacious, visually appealing ways.
Fans both young and formerly young will be pleased—100 percent. (Picture book. 6-9)Pub Date: Sept. 9, 2014
ISBN: 978-0-385-38298-4
Page Count: 56
Publisher: Random House
Review Posted Online: June 3, 2014
Kirkus Reviews Issue: June 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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