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WELCOME HOME, ESMERELDA

A warm and relatable tale told with heart.

A family goes home again.

It’s time to move yet again, but Esmerelda’s used to it, because her dad’s in the military. This time, they’ll be relocating from Germany back to San Antonio. That should be good news, because the rest of Esmerelda’s extended familia lives there, but she isn’t nearly as excited as her sister, who was born there. After all, Esmerelda’s never been to San Antonio; that’s not her home! After packing everything up, they move to temporary lodging on the base and say adios to the friends they’ve made in Germany. Once they land in the U.S., they’re greeted by loved ones, right off the plane. Everyone is curious about Esmerelda, but the only one she recognizes is her Abuela. Esmerelda doesn’t feel like she belongs. Until…Tío George puts on Tejano music. Hearing a song by her beloved Selena, Esmerelda starts dancing, and everyone joins in. At last, she feels at home. Esmerelda’s a charming protagonist struggling with an issue that will be familiar to many readers, whether they’ve moved frequently or not: feeling out of place with family they’re not yet close with. Spanish words are interspersed throughout, while Lechuga’s crayonlike art brims with detailed spreads and harmonic colors full of movement. Esmerelda and her family are brown-skinned and Latine.

A warm and relatable tale told with heart. (author’s note, photos) (Picture book. 4-8)

Pub Date: May 13, 2025

ISBN: 9781623543907

Page Count: 32

Publisher: Charlesbridge

Review Posted Online: Feb. 15, 2025

Kirkus Reviews Issue: March 15, 2025

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THE LITTLE GHOST WHO WAS A QUILT

From the Little Ghost Quilt Book series

Halloween is used merely as a backdrop; better holiday titles for young readers are available.

A ghost learns to appreciate his differences.

The little ghost protagonist of this title is unusual. He’s a quilt, not a lightweight sheet like his parents and friends. He dislikes being different despite his mom’s reassurance that his ancestors also had unconventional appearances. Halloween makes the little ghost happy, though. He decides to watch trick-or-treaters by draping over a porch chair—but lands on a porch rail instead. A mom accompanying her daughter picks him up, wraps him around her chilly daughter, and brings him home with them! The family likes his looks and comforting warmth, and the little ghost immediately feels better about himself. As soon as he’s able to, he flies out through the chimney and muses happily that this adventure happened only due to his being a quilt. This odd but gently told story conveys the importance of self-respect and acceptance of one’s uniqueness. The delivery of this positive message has something of a heavy-handed feel and is rushed besides. It also isn’t entirely logical: The protagonist could have been a different type of covering; a blanket, for instance, might have enjoyed an identical experience. The soft, pleasing illustrations’ palette of tans, grays, white, black, some touches of color, and, occasionally, white text against black backgrounds suggest isolation, such as the ghost feels about himself. Most humans, including the trick-or-treating mom and daughter, have beige skin. (This book was reviewed digitally with 11-by-16.6-inch double-page spreads viewed at 66.2% of actual size.)

Halloween is used merely as a backdrop; better holiday titles for young readers are available. (Picture book. 4-7)

Pub Date: Sept. 1, 2020

ISBN: 978-0-7352-6447-2

Page Count: 48

Publisher: Tundra Books

Review Posted Online: July 13, 2020

Kirkus Reviews Issue: Aug. 1, 2020

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HANSEL AND GRETEL

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

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