PUPPET

In a sweet, tender exchange, an aging English puppeteer passes his vision on to a young kindred soul.

In a nod to Carlo Collodi’s Pinocchio, the child-sized puppet old Silvester assembles one day from mismatched parts magically comes to life. He learns to talk, requesting “jam!”—and with loving care and assistance is able to walk well enough to go on excursions to the park. There, Silvester hastily dubs Puppet “Kenneth” in response to the curious query of Fleur, an observant child. Fleur’s mum has long been a fan of Silvester’s puppet theater, and the foursome gather at her cottage, where Fleur delightedly makes puppets from twigs and other found materials and entices Silvester to help her put on an impromptu show in which two lost children drive off a monster. In keeping with the narrative’s measured lightness, Stewart’s fluid brush and line work lends warm informality to the figures in her mix of tight, close-up full-page illustrations and sequential panels. Though Puppet as depicted is plainly wooden (the human cast includes varied skin tones), Fleur greets him with casual friendliness, and everyone else expresses, at most, mild puzzlement; even some boys who initially mock his gait later apologize. “Didn’t I tell you it’s a lovely world?” says Silvester to his last and greatest creation—and it is, for even though fear and tragedy are real, Almond shows readers a world that’s “shambolic and beautiful, and tentative and brave.”

A meditation on art and family, rich in language and feeling.