DINNER AT ALBERTA'S

Here's an author/illustrator match that might have been made in heaven. What Marshall's lovably lumpish, light-headed characters have needed all along is a dose of the kind of home-truth psychology that underlies Hoban's sense of humor. Here poor Arthur Crocodile, a spade-snouted, snaggle-toothed teenager, is always picked on at dinner for his poor table manners—"Little bits of ravioli are landing on your sister. . . Arthur is diddling with his spoon. . . now he is feeling the saltshaker. . . ." All it takes is one glance from the heavy-lidded, come-hither eyes of Alberta Saurian to change him. Alberta thinks Arthur is "really adorable" and if he's to get a chance to play the song he wrote for her on his electric guitar hell have to cram in enough manners to fake his way through dinner with the Saurians. Arthur's nervousness ("Howmanydays wegot?") is contagious, and—after he takes bratty Sydney Saurian out to the treehouse for a lesson—you'll agree that "the nicest part of manners is teaching them to other people." Sly and scampish.

Pub Date: Aug. 15, 1975

ISBN: 0099976900

Page Count: 38

Publisher: T.Y. Crowell

Review Posted Online: April 27, 2012

Kirkus Reviews Issue: Aug. 1, 1975

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More gift book than storybook, this is a meaningful addition to nursery bookshelves

MAYBE

A young child explores the unlimited potential inherent in all humans.

“Have you ever wondered why you are here?” asks the second-person narration. There is no one like you. Maybe you’re here to make a difference with your uniqueness; maybe you will speak for those who can’t or use your gifts to shine a light into the darkness. The no-frills, unrhymed narrative encourages readers to follow their hearts and tap into their limitless potential to be anything and do anything. The precisely inked and colored artwork plays with perspective from the first double-page spread, in which the child contemplates a mountain (or maybe an iceberg) in their hands. Later, they stand on a ladder to place white spots on tall, red mushrooms. The oversized flora and fauna seem to symbolize the presumptively insurmountable, reinforcing the book’s message that anything is possible. This quiet read, with its sophisticated central question, encourages children to reach for their untapped potential while reminding them it won’t be easy—they will make messes and mistakes—but the magic within can help overcome falls and failures. It’s unlikely that members of the intended audience have begun to wonder about their life’s purpose, but this life-affirming mood piece has honorable intentions. The child, accompanied by an adorable piglet and sporting overalls and a bird-beaked cap made of leaves, presents white.

More gift book than storybook, this is a meaningful addition to nursery bookshelves . (Picture book. 2-8)

Pub Date: Sept. 15, 2019

ISBN: 978-1-946873-75-0

Page Count: 40

Publisher: Compendium

Review Posted Online: May 22, 2019

Kirkus Reviews Issue: June 15, 2019

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Visually accomplished but marred by stereotypical cultural depictions.

HOME

Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”

Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.

Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)

Pub Date: Feb. 24, 2015

ISBN: 978-0-7636-6529-6

Page Count: 40

Publisher: Candlewick

Review Posted Online: Nov. 18, 2014

Kirkus Reviews Issue: Dec. 1, 2014

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