So very Van Gogh and so very satisfying! (Picture book. 3-8)
The conceit at the center of this celebration of art and color? Tell a pleasingly repetitive tale featuring the Dutch post-impressionist Vincent Van Gogh without ever mentioning his full name.
The eponymous Vincent (big-headed, bug-eyed, and ginger-bearded) sets out to paint the exterior of a charming little stucco house reminiscent of the iconic The Yellow House in Arles. Juggling a box of paint tubes, artist Vincent loads up his palette with a variety of saturated colors. Momentarily daunted by choice, he thinks, “White is nice,” and selects four tubes of white paint (snow, ivory, titanium, cream) to begin. But then: “Stop!” A sweet succession of tiny resident art critics—a spider, a bird, a mouse, a termite, a caterpillar, and a ladybug—all offer their own contributions to the project. Along with each color callout, a section of the painter’s palette is shown with a range of hues laid out; the paint tubes’ color labels are prominently displayed. By book’s end, that once-drab house is now painted in a quiet riot of broken color strokes and cozily situated under a swirling night sky. Arnold’s computer-generated art finesses the pigments and represents the textural effects of this great painter’s hand. Savvy parents and teachers will truly enjoy sharing this, both as an inspiration for art projects and as a low-key, kid-friendly introduction to this accessible painter.
So very Van Gogh and so very satisfying! (Picture book. 3-8)Pub Date: Sept. 15, 2015
ISBN: 978-0-8234-3210-3
Page Count: 32
Publisher: Holiday House
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Will make Rubin and Salmieri’s fans split their own pants.
An astronomically tall tale in which a llama’s inability to control his appetite inadvertently creates a black hole.
Stutzman and Fox’s debut collaboration takes on the concept popularized by Adam Rubin and Daniel Salmieri’s Dragons Love Tacos (2012), in which creatures’ dining preferences wreak havoc upon the world as we know it. It happens, more specifically, after Llama has eaten a gigantic pile of cakes, squeezed into too-small dancing pants, and then ripped his pants while dancing. The understated narration is passively critical of Llama’s choices, detailing the moments (“mistakes”) in which he could have made different choices in the past tense. The book’s exploration of consequences is muddled by the fact that readers are positioned alongside the narrative voice, which, in expressing disapproval of Llama’s choices, sounds somewhat fatphobic: According to the text, overeating is an “honest mistake” that leads to “the ultimate doom of everything.” However, Fox’s digital illustrations successfully utilize color and shape to simultaneously heighten the hilarity and the drama; Llama’s gigantic eyes and stubby legs belie the gravity (or lack thereof) of the world’s impending doom. The book itself is well-designed. Beneath the appropriately urgent-looking fluorescent orange dust jacket, emblazoned with the title in capital letters, Llama appears wearing intact pants in a spotlight underneath a disco ball, and the front and back endpapers contain clues about the fate of the world.
Will make Rubin and Salmieri’s fans split their own pants. (Picture book. 3-8)Pub Date: May 7, 2019
ISBN: 978-1-250-30317-2
Page Count: 40
Publisher: Henry Holt
Review Posted Online: March 2, 2019
Kirkus Reviews Issue: March 15, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The refrain, “I love being me,” offers a worthwhile affirmation, but cookie-cutter faces undermine the message about...
A book that pays homage to the versatility of black hair.
A dark-skinned black girl, eyes closed, face forward, greets readers on the cover against a bright yellow background, and she wears a pink bow (die-cut out of the case) in her wavy updo. This is one of many hairstyles featured in the illustrations, designed to help readers appreciate the potential for styling natural Afro hair. “Bomb braids,” “pom-pom puffs” and “‘fro-hawk” (an Afro-styled mohawk) also appear. Like these, most of the hairstyle names incorporate alliteration, making them fun to read aloud. At first glance, readers might think this book is about one girl’s hair—which is possible, given how many styles one head of afrotextured hair can sport—but skin color changes, as do clothes, earrings, and other details that are easily altered, although every girl holds the same face-front, eye-closed position. But the sameness of each face leaves no room for variations in other features such as the eyes, lips, and nose. Hence, young readers might consider this a paper version of the video games that allow changes in hairstyles on a face that has limited or no customizability—which also limits the book’s usefulness as multicultural literature.
The refrain, “I love being me,” offers a worthwhile affirmation, but cookie-cutter faces undermine the message about diversity. (Picture book. 4-8)Pub Date: Oct. 15, 2019
ISBN: 978-1-9848-9554-7
Page Count: 32
Publisher: Doubleday
Review Posted Online: Aug. 11, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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