Positive reflections of children’s experiences within Mexican families balance this collection’s unevenness.
Bertrand’s collection of bilingual poems offers a (mostly) child’s view of the surrounding world.
Odes to cherished objects like Easter cascarones (confetti-filled eggs), favorite foods like cinnamon buñuelos, and fond moments like napping together in Pepo’s favorite chair root the poems in Mexican familial culture while also touching on universal topics. Lima-Padilla’s Spanish translation of the entire book follows the English version. The collection targets intermediate readers, but some poems reflect a much younger voice that likely won’t resonate with middle-grade readers: “We climb aboard, chugging upon the seats / as we ‘choo-choo’ along.” Others require more emotional depth from readers, as in the downright sad “My Piñata Cowboy,” in which a heartbroken child empathetically looks on at a piñata’s demise: “He’s beaten, broken and empty. / Why does no one care?” A tribute poem to the children of Houston compares Hurricane Harvey to a bully using a third-person adult perspective. The overall result is a lack of cohesive voice in both age and tone. In an author’s note, Bertrand cites previous appearances of some work, which helps to explain the disjointed perspective. Nevertheless, the odes to family members stand out for their genuine appreciation for slice-of-life moments, such as in relishing Abuelita’s delicious raisin tamales, Tía María’s hugs, or learning to dance to cumbia from Daddy.
Positive reflections of children’s experiences within Mexican families balance this collection’s unevenness. (Poetry. 6-9)Pub Date: Oct. 31, 2019
ISBN: 978-1-55885-891-6
Page Count: 64
Publisher: Piñata Books/Arte Público
Review Posted Online: Aug. 27, 2019
Kirkus Reviews Issue: Sept. 15, 2019
Limitless possibilities for future car designs are imagined in a collection of free-wheeling verses.
Everything from food items to animals to bathtubs and more are the inspirations for these strange vehicles. A paper car can be shredded if it breaks down, a bathtub car keeps you clean as you go, and a hot-dog car can be eaten at the end of the ride. A few of the verses refer either explicitly or obliquely to alternative fuels. There’s a battery-powered “Eel-ectric Car” and unused fossil-fueled wrecks in “Jurassic Park(ing),” and in “23rd-Century Motors,” oil and gas are totally passé. With a few exceptions the verses flow naturally with easy rhymes. Oddly, the first four lines of the introductory poem are awkward and not indicative of the mood and swing of the following lines and the remainder of the poems. But Lewis and Florian are both masters at creating lighthearted, fun-filled, breezy poems, and they do not disappoint in this joint venture. The text is placed as if on a stained and folded slip of paper, which is surrounded by Holmes’ highly imaginative, bright and lively illustrations, rendered in pencil and watercolors with digital colors added. Endpapers are tire-tracked, and the contents page matches line drawings to the titles. Young readers will almost certainly be inspired to create their own wacky cars. (Picture book/poetry. 6-9)
Pub Date: Jan. 7, 2014
ISBN: 978-0-375-86690-6
Page Count: 40
Publisher: Schwartz & Wade/Random
Review Posted Online: Nov. 12, 2013
Kirkus Reviews Issue: Dec. 1, 2013
Effectively soporific, though less broadly diverse in culture than casting.
Intricate cut-paper borders and figures accompany a set of sleepy-time lyrics and traditional rhymes.
Aside from “All the Pretty Little Ponies,” which is identified as “possibly African American,” the selections are a mostly Eurocentric sampling. It’s a mix of familiar anonymous rhymes (“Oh, how lovely is the evening,” “Matthew, Mark, Luke, and John, / Bless this bed that I lie on”) and verses from known authors, including Jane Taylor’s “Twinkle, Twinkle, Little Star” (first verse only), Robert Louis Stevenson’s “My Bed is a Boat,” and Rudyard Kipling’s “The White Seal’s Lullaby.” Melodramatic lullabies such as “Rockabye Baby” have been excluded in favor of more pacifistic poems, and in keeping with the cozy tone (though she does show one cat looming hungrily over a mouse hole), Dalton enfolds each entry in delicately detailed sprays of leaves or waves, graceful garlands of flowers, flights of butterflies, and tidy arrangements of natural or domestic items, all set against black or dark backgrounds that intensify the soft colors. A parade of young people—clad in nightclothes and diverse of facial features, hair color and texture, and skin hue—follow a childlike, white angel on the endpapers and pose drowsily throughout.
Effectively soporific, though less broadly diverse in culture than casting. (Picture book/poetry. 6-8)Pub Date: July 11, 2017
ISBN: 978-1-4521-1673-0
Page Count: 32
Publisher: Chronicle Books
Review Posted Online: April 16, 2017
Kirkus Reviews Issue: May 1, 2017
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