SNACK ATTACK!

The snacks are under attack!

Border’s photography anthropomorphizes a pink sugar wafer, a pretzel, and a cheese doodle—not with facial features but with limbs and spectacles made of bent wire. The three sentient foodstuffs escape from their respective packaging and encounter a note left for a child (“a kind of monster,” explains Cookie) reading, in part: “I left you some snacks because I’ll be late. Love Mom.” Alarmed, the trio tries to figure out how to avoid such fates as being dipped in milk, snapped in two, or gulped. Border’s photographic scenes humorously depict each calamitous scenario in a kitchen setting scaled like that of Chris Van Allsburg’s Two Bad Ants (1988). While the pretzel thinks it makes itself sufficiently unappetizing by rolling around on the floor for six seconds, Cookie says the five-second rule “only works with Monster Moms. Not Monster Kids.” Hiding in a cheese grater causes minor injury, prompting Cheese Doodle to say, “I don’t feel greater….It’s really a cheese worser!” That’s just one instance of wordplay in the silly story, which culminates with the snacks forging a different note for the child: “DEAR KID, Please drink some water and eat NOTHING ELSE. From your loving Momma.” When the kid returns home, it initially seems the trick works, but a twist ending suggests that’s not the way the cookie crumbles.

Satisfyingly silly. (Picture book. 4-7)

Pub Date: Sept. 3, 2019

ISBN: 978-1-524-74011-5

Page Count: 32

Publisher: Philomel

Review Posted Online: May 26, 2019

Kirkus Reviews Issue: June 15, 2019

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THE GIRL WHO LOVED WILD HORSES

            There are many parallel legends – the seal women, for example, with their strange sad longings – but none is more direct than this American Indian story of a girl who is carried away in a horses’ stampede…to ride thenceforth by the side of a beautiful stallion who leads the wild horses.  The girl had always loved horses, and seemed to understand them “in a special way”; a year after her disappearance her people find her riding beside the stallion, calf in tow, and take her home despite his strong resistance.  But she is unhappy and returns to the stallion; after that, a beautiful mare is seen riding always beside him.  Goble tells the story soberly, allowing it to settle, to find its own level.  The illustrations are in the familiar striking Goble style, but softened out here and there with masses of flowers and foliage – suitable perhaps for the switch in subject matter from war to love, but we miss the spanking clean design of Custer’s Last Battle and The Fetterman Fight.          6-7

Pub Date: Aug. 1, 1978

ISBN: 0689845049

Page Count: -

Publisher: Bradbury

Review Posted Online: April 26, 2012

Kirkus Reviews Issue: Sept. 1, 1978

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A culturally intricate slice of a lupine courier’s life.

¡VAMOS! LET'S GO TO THE MARKET

From the ¡Vamos! series

Little Lobo and his dog, Bernabé, journey through a Mexican mercado delivering diverse goods to a variety of booths.

With the aid of red words splattered throughout the spreads as labels, Raúl the Third gives an introduction to Spanish vocabulary as Little Lobo, an anthropomorphic wolf, leaves his house, fills his cart with objects from his warehouse, and delivers them to the market’s vendors. The journey also serves as a crash course in Mexican culture, as the images are packed with intertextual details such as food, traditional games, and characters, including Cantinflas, Frida Khalo, and Juan Gabriel. Readers acquainted with Raúl the Third’s characters from his Lowriders series with author Cathy Camper will appreciate cameos from familiar characters. As he makes his rounds, Little Lobo also collects different artifacts that people offer in exchange for his deliveries of shoe polish, clothespins, wood, tissue paper, paintbrushes, and a pair of golden laces. Although Raúl the Third departs from the ball-pen illustrations that he is known for, his depiction of creatures and critters peppering the borderland where his stories are set remains in his trademark style. The softer hues in the illustrations (chosen by colorist Bay) keep the busy compositions friendly, and the halftone patterns filling the illustrations create foregrounds and backgrounds reminiscent of Roy Lichtenstein’s pointillism.

A culturally intricate slice of a lupine courier’s life. (glossary) (Picture book. 4-7)

Pub Date: April 2, 2019

ISBN: 978-1-328-55726-1

Page Count: 40

Publisher: Versify/HMH

Review Posted Online: Jan. 15, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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