Long on design; short on story.
Nyeu’s latest contains four stories about the relationship between two eccentric sea creatures.
When Squid knits socks for his multiple limbs and Octopus tells him they wear mittens, not socks, the buddies argue. Next, Squid is sad to have lost the X-ray vision bestowed while dreaming—and his status as “Super Squid.” His friend convinces him that he remains special. Octopus then mistakes a cowboy boot for a hat; finally, the duo reads a fortune about everlasting friendship—the most successful story of the lot. While Nyeu’s swirling silkscreens, executed in a controlled palette of blues, greens, oranges and yellows, present flora and fauna in magical, decorative compositions, her verbal narrative falls short. The conflicts and dialogues, for the most part, do not ring true. Why wouldn’t Squid know about mittens, if those are what they always wear? When Octopus cheers Squid up after his dream, the conversation sounds more like an unnaturally cheery adult talking to a child than two close friends. The characters’ emotional range is limited. Side comments of secondary characters don’t add much in the way of humor or interest. Arnold Lobel, James Marshall and Mo Willems each created famous odd couples by pairing verbal restraint with nuanced facial expressions, universal feelings with understated affection. There is something to be learned from these models.
Long on design; short on story. (Picture book. 4-6)Pub Date: June 1, 2012
ISBN: 978-0-8037-3565-1
Page Count: 40
Publisher: Dial Books
Review Posted Online: March 27, 2012
Kirkus Reviews Issue: April 15, 2012
A straightforward tale of conflict and reconciliation for newly emergent readers? Not exactly, which raises it above the...
In this deceptively spare, very beginning reader, a girl assembles a robot and then treats it like a slave until it goes on strike.
Having put the robot together from a jumble of loose parts, the budding engineer issues an increasingly peremptory series of rhymed orders— “Throw, Bot. / Row, Bot”—that turn from playful activities like chasing bubbles in the yard to tasks like hoeing the garden, mowing the lawn and towing her around in a wagon. Jung crafts a robot with riveted edges, big googly eyes and a smile that turns down in stages to a scowl as the work is piled on. At last, the exhausted robot plops itself down, then in response to its tormentor’s angry “Don’t say no, Bot!” stomps off in a huff. In one to four spacious, sequential panels per spread, Jung develops both the plotline and the emotional conflict using smoothly modeled cartoon figures against monochromatic or minimally detailed backgrounds. The child’s commands, confined in small dialogue balloons, are rhymed until her repentant “Come on home, Bot” breaks the pattern but leads to a more equitable division of labor at the end.
A straightforward tale of conflict and reconciliation for newly emergent readers? Not exactly, which raises it above the rest. (Easy reader. 4-6)Pub Date: June 25, 2013
ISBN: 978-0-375-87083-5
Page Count: 32
Publisher: Random House
Review Posted Online: April 14, 2013
Kirkus Reviews Issue: May 1, 2013
BOOK REVIEW
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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