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FRANKENSTEIN MAKES A SANDWICH

Name: FRANKENSTEIN MAKES A SANDWICH
Author: Adam Rex
ISBN: 0-15-205766-8

by Adam Rex & illustrated by Adam Rex ‧ RELEASE DATE: Sept. 1, 2006

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Readers will relish every gross and hilarious entry in this monstrous menu of misadventures, from the towering appetizer concocted by Frankenstein—a green-skinned Fred Gwynne in Rex’s detail-rich, superbly over-the-top illustrations—to the Japanese-inflected closer, “Godzilla Pooped on my Honda.” Interlaced with repeated appearances from an increasingly frantic Phantom of the Opera (who can’t get a succession of pop tunes out of his head), the verses and accompanying art go from suggesting unfortunate results when “The Invisible Man Gets A Haircut,” to making lurid allusions to the contents of “The Lunchsack of Notre Dame.” They range from why “The Yeti Doesn’t Appreciate Being Called Bigfoot,” to tracking the Mummy’s reluctance to bed down: “Here’s his new excuse: / He wants cookies with his juice. / But he won’t get far— / that’s his stomach in that jar.” Making Judy Sierra’s Monster Goose (2001), illustrated by Jack E. Davis, look like an exercise in restraint, here’s a read-aloud candidate sure to elicit loud screams—but not of fright. (Poetry. 6-10)

Pub Date: Sept. 1, 2006

ISBN: 0-15-205766-8

Page Count: 40

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2006

Categories:

CHILDREN'S POETRY

- BOOK REVIEW
TUMBLEBABY
by Adam Rex ; illustrated by Audrey Helen Weber

- BOOK REVIEW
THE STORY OF GUMLUCK AND THE DRAGON’S EGGS
by Adam Rex ; illustrated by Adam Rex

- BOOK REVIEW
THE STORY OF GUMLUCK THE WIZARD
by Adam Rex ; illustrated by Adam Rex

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VISITING LANGSTON

by Willie Perdomo & illustrated by Bryan Collier ‧ RELEASE DATE: Feb. 1, 2001

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A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)

Pub Date: Feb. 1, 2001

ISBN: 0-8050-6744-2

Page Count: 32

Publisher: Henry Holt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2002

Categories:

CHILDREN'S POETRY | CHILDREN'S BIOGRAPHY & MEMOIR

- BOOK REVIEW
¡CLEMENTE!
by Willie Perdomo & illustrated by Bryan Collier

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POCKET POEMS

edited by Bobbi Katz & illustrated by Marylin Hafner ‧ RELEASE DATE: March 1, 2004

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With an eye toward easy memorization, Katz gathers over 50 short poems from the likes of Emily Dickinson, Valerie Worth, Jack Prelutsky, and Lewis Carroll, to such anonymous gems as “The Burp”—“Pardon me for being rude. / It was not me, it was my food. / It got so lonely down below, / it just popped up to say hello.” Katz includes five of her own verses, and promotes an evident newcomer, Emily George, with four entries. Hafner surrounds every selection with fine-lined cartoons, mostly of animals and children engaged in play, reading, or other familiar activities. Amid the ranks of similar collections, this shiny-faced newcomer may not stand out—but neither will it drift to the bottom of the class. (Picture book/poetry. 7-9)