A beautifully illustrated, slice-of-life ode of adoration for doting daughters and marvelous mamas.
A little girl shares a joy-filled rainy day with Mama.
Mother-daughter pairings of swimsuits, flower bouquets, and bicycles are presented in small, bright vignettes on the endpapers of Cabrera’s cozy tale, serving as appetizers for the visual feast within. Impressively detailed scenes, from the first spread, which shows the child coming downstairs, to her mama’s artfully designed workspace to a later scene of the little girl drifting off to sleep haloed by stars and dreaming of day with her mother, are rendered with visible daubs of acrylic paint. They are complemented by alternating scenes of single objects, such as Mama’s teacup beside her daughter’s sippy cup, set against pastel backgrounds showing the strengthening of their bond through the daily actions mother and daughter share. Though much of the text is uneven in rhythm with no consistent movement to usher readers from page to page, it contains gems, such as a description of the vegetation on the sidewalk, “in the in-between. / It’s moss, Mama says. / It’s velvet, I say.” Still, the greatest delight is in the images that vibrantly showcase their simple, loving connection. In the book, the mother, daughter and, later, brother Luca all have gorgeous, varied hues of brown skin, with textured hair that is plaited, coily, and afro-puffed. (This book was reviewed digitally with 11-by-18-inch double-page spreads viewed at 48.3% of actual size.)
A beautifully illustrated, slice-of-life ode of adoration for doting daughters and marvelous mamas. (Picture book. 4-8)Pub Date: Aug. 25, 2020
ISBN: 978-1-5344-5421-7
Page Count: 40
Publisher: Denene Millner Books/Simon & Schuster
Review Posted Online: June 2, 2020
Kirkus Reviews Issue: June 15, 2020
Menacing and most likely to appeal to established fans of its co-creators.
Existing artwork from an artistic giant inspires a fairy-tale reimagination by a master of the horror genre.
In King’s interpretation of a classic Brothers Grimm story, which accompanies set and costume designs that the late Sendak created for a 1997 production of Engelbert Humperdinck’s opera, siblings Hansel and Gretel survive abandonment in the woods and an evil witch’s plot to gobble them up before finding their “happily ever after” alongside their father. Prose with the reassuring cadence of an old-timey tale, paired with Sendak’s instantly recognizable artwork, will lull readers before capitalizing on these creators’ knack for injecting darkness into seemingly safe spaces. Gaping faces loom in crevices of rocks and trees, and a gloomy palette of muted greens and ocher amplify the story’s foreboding tone, while King never sugarcoats the peach-skinned children’s peril. Branches with “clutching fingers” hide “the awful enchanted house” of a “child-stealing witch,” all portrayed in an eclectic mix of spot and full-bleed images. Featuring insults that might strike some as harsh (“idiot,” “fool”), the lengthy, dense text may try young readers’ patience, and the often overwhelmingly ominous mood feels more pitched to adults—particularly those familiar with King and Sendak—but an introduction acknowledges grandparents as a likely audience, and nostalgia may prompt leniency over an occasional disconnect between words and art.
Menacing and most likely to appeal to established fans of its co-creators. (Picture book. 4-8)Pub Date: Sept. 2, 2025
ISBN: 9780062644695
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 15, 2025
Nice enough but not worth repeat reads.
Emma deals with jitters before playing the guitar in the school talent show.
Pop musician Kevin Jonas and his wife, Danielle, put performance at the center of their picture-book debut. When Emma is intimidated by her very talented friends, the encouragement of her younger sister, Bella, and the support of her family help her to shine her own light. The story is straightforward and the moral familiar: Draw strength from your family and within to overcome your fears. Employing the performance-anxiety trope that’s been written many times over, the book plods along predictably—there’s nothing really new or surprising here. Dawson’s full-color digital illustrations center a White-presenting family along with Emma’s three friends of color: Jamila has tanned skin and wears a hijab; Wendy has dark brown skin and Afro puffs; and Luis has medium brown skin. Emma’s expressive eyes and face are the real draw of the artwork—from worry to embarrassment to joy, it’s clear what she’s feeling. A standout double-page spread depicts Emma’s talent show performance, with a rainbow swirl of music erupting from an amp and Emma rocking a glam outfit and electric guitar. Overall, the book reads pretty plainly, buoyed largely by the artwork. (This book was reviewed digitally.)
Nice enough but not worth repeat reads. (Picture book. 4-6)Pub Date: March 29, 2022
ISBN: 978-0-593-35207-6
Page Count: 40
Publisher: Razorbill/Penguin
Review Posted Online: Feb. 8, 2022
Kirkus Reviews Issue: March 1, 2022
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