One might expect that the creator of Frog and Toad could, if he chose, give us fables with some subtlety and psychological depth. But there's not a jot of wit, wisdom, style, or originality in these 20 flat and predictable items. The illustrations could be animal companions to the human figures for Gregory Griggs (1978), Lobel's nursery rhyme collection; but these suffer for having less to illustrate. Lobel begins with the static portrait of a foolish crocodile, who prefers the patterned flowers on his bedroom wallpaper to the tangled profusion of his wife's real garden. And so? He simply stays in bed and turns "a very pale and sickly shade of green." Even the moral is redundant: "Without a doubt there is such a thing as too much order." The third fable is another platitude in story form: a little Beetle topples an imperious Lion King who demands respect. "If you look at me closely you will see that I am making a bow," says the Beetle, whereupon King Lion bends over and, top-heavy with jeweled crown and medals, loses his balance. Meanwhile, in the second entry, Lobel has added a twist of sorts, possibly for a joke; but it's counterproductive. It starts out with two duck sisters arguing about whether they will go to the pond by their usual route or try something new. "This road makes me feel comfortable. I am accustomed to it," says one. We're set up for a confrontation between the stodgy and the venturesome, right? But then instead of confirming, modifying, or exposing the expected conclusion, Lobel fudges the issue: a fox, who knows their habits, is waiting to bag them on their regular route. Moral: "At times, a change of routine can be most healthful." In another fable, Lobel evokes Aesop with a crane inviting a pelican to tea, only to set forth a cautionary lesson in table manners. (And the consequence of messy pelican's bad ones is merely that he isn't invited back.) All of which serves to confirm Lobel's moral for his story of "The Frogs at the Rainbow's End": "The highest hopes may lead to the greatest disappointments.
Pub Date: Aug. 20, 1980
ISBN: 0064430464
Page Count: 52
Publisher: Harper & Row
Review Posted Online: May 1, 2012
Kirkus Reviews Issue: Aug. 1, 1980
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Little Blue Truck keeps on truckin’—but not without some backfires.
Little Blue Truck feels, well, blue when he delivers valentine after valentine but receives nary a one.
His bed overflowing with cards, Blue sets out to deliver a yellow card with purple polka dots and a shiny purple heart to Hen, one with a shiny fuchsia heart to Pig, a big, shiny, red heart-shaped card to Horse, and so on. With each delivery there is an exchange of Beeps from Blue and the appropriate animal sounds from his friends, Blue’s Beeps always set in blue and the animal’s vocalization in a color that matches the card it receives. But as Blue heads home, his deliveries complete, his headlight eyes are sad and his front bumper droops ever so slightly. Blue is therefore surprised (but readers may not be) when he pulls into his garage to be greeted by all his friends with a shiny blue valentine just for him. In this, Blue’s seventh outing, it’s not just the sturdy protagonist that seems to be wilting. Schertle’s verse, usually reliable, stumbles more than once; stanzas such as “But Valentine’s Day / didn’t seem much fun / when he didn’t get cards / from anyone” will cause hitches during read-alouds. The illustrations, done by Joseph in the style of original series collaborator Jill McElmurry, are pleasant enough, but his compositions often feel stiff and forced.
Little Blue Truck keeps on truckin’—but not without some backfires. (Board book. 1-4)Pub Date: Dec. 8, 2020
ISBN: 978-0-358-27244-1
Page Count: 20
Publisher: HMH Books
Review Posted Online: Jan. 18, 2021
Kirkus Reviews Issue: Feb. 15, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Safe to creep on by.
Carle’s famous caterpillar expresses its love.
In three sentences that stretch out over most of the book’s 32 pages, the (here, at least) not-so-ravenous larva first describes the object of its love, then describes how that loved one makes it feel before concluding, “That’s why… / I[heart]U.” There is little original in either visual or textual content, much of it mined from The Very Hungry Caterpillar. “You are… / …so sweet,” proclaims the caterpillar as it crawls through the hole it’s munched in a strawberry; “…the cherry on my cake,” it says as it perches on the familiar square of chocolate cake; “…the apple of my eye,” it announces as it emerges from an apple. Images familiar from other works join the smiling sun that shone down on the caterpillar as it delivers assurances that “you make… / …the sun shine brighter / …the stars sparkle,” and so on. The book is small, only 7 inches high and 5 ¾ inches across when closed—probably not coincidentally about the size of a greeting card. While generations of children have grown up with the ravenous caterpillar, this collection of Carle imagery and platitudinous sentiment has little of his classic’s charm. The melding of Carle’s caterpillar with Robert Indiana’s iconic LOVE on the book’s cover, alas, draws further attention to its derivative nature.
Safe to creep on by. (Picture book. 3-6)Pub Date: Dec. 15, 2015
ISBN: 978-0-448-48932-2
Page Count: 32
Publisher: Grosset & Dunlap
Review Posted Online: Feb. 1, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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