The team that listed 39 Uses for a Friend (not reviewed) finds fewer uses for mothers, but at least as inventive ones. The text consists entirely of one- or two-word numbered descriptors of mom activities, and the waggish pictures illustrate these with verve and humor. The range, which all moms and mom-like products will recognize, include “chauffeur,” “hairstylist,” “personal shopper,” and “answering service.” The pictures, created in “Flashe paint and ink on bristol board,” feature sturdy figures with spindly arms, round heads, inventively patterned clothing, and squiggly facial features on a white background. This allows the illustrator free reign: when a Mom is #10, “encyclopedia,” she lectures to her son with a butterfly alight on her finger and a broad-brimmed hat on her head, a few flowers suggesting the outdoors. Mom as #27, “bank,” has a mouth pressed into a straight and long-suffering line; Mom as #29, “hand holder,” sports a long braid, a polka-dot hat, and an accomplished air as she and daughter view their snowman. Perhaps a favorite is #12, “beach chair,” where Mom under an umbrella reads her magazine while her kid is neatly pillowed, stretched out on her lap and torso. Doughty’s minimal art allows for moms and offspring of many colors and hairstyles, including a suggestion of parents who may not always be the same hue as their children: Mom as pitcher, catcher, and retriever, numbers 21 through 23 (even losing her baseball cap in the process) is particularly apt and adept. Funny and oddly tender, moms and kids alike should enjoy continuing the list. (Picture book. 4-8)
Pub Date: March 1, 2003
ISBN: 0-399-23862-X
Page Count: 32
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2002
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Give this child’s-eye view of a day at the beach with an attentive father high marks for coziness: “When your ball blows across the sand and into the ocean and starts to drift away, your daddy could say, Didn’t I tell you not to play too close to the waves? But he doesn’t. He wades out into the cold water. And he brings your ball back to the beach and plays roll and catch with you.” Alley depicts a moppet and her relaxed-looking dad (to all appearances a single parent) in informally drawn beach and domestic settings: playing together, snuggling up on the sofa and finally hugging each other goodnight. The third-person voice is a bit distancing, but it makes the togetherness less treacly, and Dad’s mix of love and competence is less insulting, to parents and children both, than Douglas Wood’s What Dads Can’t Do (2000), illus by Doug Cushman. (Picture book. 5-7)
Pub Date: May 23, 2005
ISBN: 0-618-00361-4
Page Count: 32
Publisher: Clarion Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2005
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