KIRKUS REVIEW
PLB 0-06-027164-7 Joyce (The Leaf Men and the Brave Good Bugs, 1996, etc.) plays with circles, curls, and curves the way a writer plays with language, creating a visually dazzling story about the everyday capers of a family of round Rolie Polies. Rolie Polie Olie is a toy of a boy, an electro-comic character from a futuristic, alien planet “way up high in the Rolie Polie sky.” In the morning he rolls out of bed, brushes his teeth, and recharges his head. At breakfast he dances the Rolie Polie Rumba dance in underpants, then rides aboard the hip-hop mop to wash his teapot house from tip to top. With a rhyme that would be strained in less sure hands, Joyce takes Olie through a hip-hip-hooray day of play and into bedtime, landing Olie in “a bunch of trouble” until he is “Rolie Polie sad” and misses the nightly kiss on his Rolie Polie head. Computer-generated, digitized backgrounds lend an SF atmosphere to every scene, while the flamboyant colors work in concert to create—appropriately, given the character’s origins—an effect of suspended animation. An eccentric blend of the cinematic and familial that is coming to be known as vintage Joyce. (Picture book. 2-7)
