WEE WINNIE WITCH’S SKINNY

AN ORIGINAL AFRICAN AMERICAN SCARE TALE

Readers who don’t rest easy after being spooked should be warned away from this posthumous chiller. Billed as an “Original African American Scare Tale,” it folds tried-and-true folkloric elements into a fast-paced story featuring a man afflicted by a witch who can detach her head and skin, and a too-curious lad she snatches out the window one night for a wild ride through the air. James Lee finds out what causes his Uncle Big Anthony to become so sick and frightened when he witnesses Wee Winnie Witch strip off her skin and ride Big Anthony like a horse; unfortunately, when she sees James Lee watching, over she gallops to grab him, too. But while they soar over the town (and James Lee finds himself as exhilarated as he is scared), Uncle Big Anthony’s canny mother-in-law Mama Granny is coating the inside of Wee Winnie’s skin with hot pepper oil. In full-page wood engravings, Moser captures the tale’s moonlit horror with gloriously icky views of the witch, both skinless, and as a cat with long-nailed human hands—but he also provides welcome comic relief at the end, with a scene of James Lee, many years later, relating the tale with obvious relish to a wide-eyed young listener. Your listeners will be wide-eyed, too. (Picture book. 7-9)

Pub Date: Aug. 1, 2004

ISBN: 0-590-28880-6

Page Count: 32

Publisher: Blue Sky/Scholastic

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2004

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LIKE PICKLE JUICE ON A COOKIE

When Bibi, her first and favorite babysitter, moves away, it takes all of August for 8-year-old Eleanor to get beyond her sense of loss and get used to a new caretaker. Her parents grieve, too; her mother even takes some time off work. But, as is inevitable in a two-income family, eventually a new sitter appears. Natalie is sensible and understanding. They find new activities to do together, including setting up a lemonade stand outside Eleanor’s Brooklyn apartment building, waiting for Val, the mail carrier, and taking pictures of flowers with Natalie’s camera. Gradually Eleanor adjusts, September comes, her new teacher writes a welcoming letter, her best friend returns from summer vacation and third grade starts smoothly. Best of all, Val brings a loving letter from Bibi in Florida. While the story is relatively lengthy, each chapter is a self-contained episode, written simply and presented in short lines, accessible to those still struggling with the printed word. Cordell’s gray-scale line drawings reflect the action and help break up the text on almost every page. This first novel is a promising debut. Eleanor’s concerns, not only about her babysitter, but also about playmates, friends and a new school year will be familiar to readers, who will look forward to hearing more about her life. (Fiction. 7-9)

Pub Date: March 1, 2011

ISBN: 978-0-8109-8424-0

Page Count: 128

Publisher: Amulet/Abrams

Review Posted Online: Feb. 10, 2011

Kirkus Reviews Issue: Feb. 15, 2011

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The artist’s fans might key in, but most young readers will be left in the dark.

LITTLE.COM

When your computer powers down, the little “dot” is off-duty. You don’t think it just sits there, do you?

In this tipsy flight from Steadman, originally published overseas in 2000, the tidy dot on the first page is quickly transformed into mad splotches of black sporting googly eyes. It zooms through cyberspace to have tea—or, rather ink (“I LOVE INK!”)—with “my friend the Duchess of Amalfi,” and then goes off to spatter the besieging Duke of Bogshott and his white-uniformed army. Serving largely as an excuse for the illustrator to wield pen and brush ever more ferociously across a series of spreads, this free-associative plotline culminates with an invitation to attend the wedding of the duke and duchess as “Best Dot” (“I was so excited I made a mess on her carpet”) and a quick return home: “And here I am, ready to work for you again—dot dot dot.” As a clever riff on the internet, this doesn’t hold a pixel to Randi Zuckerberg and Joel Berger’s Dot. (2013) or Goodnight iPad by “Ann Droid” (2011), and the illustrator’s whacked-out mite isn’t going to take young readers on the sort of imagination-stretching artistic rides that Peter Reynolds’ The Dot (2003) or Hervé Tullet’s Press Here (2011) offer. But it does at least dispense exuberantly unrestrained permission to paint outside the lines.

The artist’s fans might key in, but most young readers will be left in the dark. (Picture book. 7-9)

Pub Date: Oct. 15, 2016

ISBN: 978-1-56792-520-3

Page Count: 32

Publisher: Godine

Review Posted Online: Aug. 2, 2016

Kirkus Reviews Issue: Aug. 15, 2016

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