Brain-bending exercise for eyes and minds of all ages.
Rich in wonder, hidden and otherwise.
The best place to hide something, the saying goes, is in plain sight, and the devil, they say, is in the details. Photographer Wick exploits both principles in this gorgeous and captivating challenge to the observational abilities of young and old alike. Wick collaborated on the popular I Spy series with the late Jean Marzollo and continues the tradition in his own Can You See What I See? books. Here, 12 different set pieces of great detail and complexity offer readers hours of enchantment, searching for a menu of objects hidden within each tableau and discovering a great deal more in the process. These dioramas are so richly detailed that the longer one looks, the more one finds to amaze and amuse. Each scene spans roughly five-sixths of a spread, with the remaining strip bearing its title and a rhyming list of items to find within the picture. Mirrors and impossible-object illusions add to the visual complexity. For example, “Costume Ball” takes place in a hall of mirrors while “Space Station Impossible” is designed as a Penrose triangle made up of three right angles. “Wacky Workshop” features perpetually climbing Escher stairs and “a house that’s / impossible / in 3 different places,” and “Flatland” blends 3-D optical illusions with strategically placed objects that make it hard to know what’s flat and what’s not.
Brain-bending exercise for eyes and minds of all ages. (Picture book. 4-8)Pub Date: March 2, 2021
ISBN: 978-1-338-68671-5
Page Count: 40
Publisher: Cartwheel/Scholastic
Review Posted Online: Dec. 24, 2020
Kirkus Reviews Issue: Jan. 15, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of...
Rabe follows a young girl through her first 12 days of kindergarten in this book based on the familiar Christmas carol.
The typical firsts of school are here: riding the bus, making friends, sliding on the playground slide, counting, sorting shapes, laughing at lunch, painting, singing, reading, running, jumping rope, and going on a field trip. While the days are given ordinal numbers, the song skips the cardinal numbers in the verses, and the rhythm is sometimes off: “On the second day of kindergarten / I thought it was so cool / making lots of friends / and riding the bus to my school!” The narrator is a white brunette who wears either a tunic or a dress each day, making her pretty easy to differentiate from her classmates, a nice mix in terms of race; two students even sport glasses. The children in the ink, paint, and collage digital spreads show a variety of emotions, but most are happy to be at school, and the surroundings will be familiar to those who have made an orientation visit to their own schools.
While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of Kindergarten (2003), it basically gets the job done. (Picture book. 4-7)Pub Date: June 21, 2016
ISBN: 978-0-06-234834-0
Page Count: 32
Publisher: Harper/HarperCollins
Review Posted Online: May 3, 2016
Kirkus Reviews Issue: June 1, 2016
BOOK REVIEW
BOOK REVIEW
Haphazard but jolly enough for one outing; it probably won’t last for more.
A flurry of mail addressed to Duncan’s crayons ushers in the Christmas season in this novelty spinoff of the bestselling The Day the Crayons Quit (2013) and The Day the Crayons Came Home (2015).
Actual cards and letters are tucked into envelopelike pouches pasted to the pages; these are joined in some cases by other ephemera for a package that is likely to invite sudden, intense play followed by loss and/or damage that will render the book a disappointment to reread. That’s probably OK, as in contrast to the clever story that kicked this small series off, this outing has a hastily composed feel that lacks cohesion. The first letter is addressed to Peach from Mom and includes a paper doll of the “naked” (de-wrappered) crayon along with a selection of tabbed changes of clothing that includes a top hat and tails and a bikini top and bottom. Peach’s implied gender fluidity does not mitigate the unfortunate association of peach with skin color established in the first book. The sense of narrative improvisation is cemented with an early page turn that takes the crayons from outdoors snow play to “Feeling…suddenly very Christmas-y, the crayons headed inside.” Readers can unpack a box of punch-out decorations; a recipe for gluten-free Christmas cookies that begins “go to store and buy gluten-free cookies”; a punch-out dreidel (turns out Grey is Jewish); a board game (“six-sided die” not included); and a map of Esteban (aka Pea Green) and Neon Red’s travels with Santa.
Haphazard but jolly enough for one outing; it probably won’t last for more. (Novelty. 4-8)Pub Date: Oct. 15, 2019
ISBN: 978-0-525-51574-6
Page Count: 52
Publisher: Penguin Workshop
Review Posted Online: Aug. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
SEEN & HEARD
SEEN & HEARD
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