More engaging fun than many higher-tech devices.
Every page demands that readers physically interact with this book’s images.
The large, sturdy pages are necessary to support the plethora of interactions. The first double-page spread looks busy: a pattern of tiny red rectangles in the background and lots of silhouettes of familiar images in the foreground, each in green, black, or a primary color. A blue hand points to a yellow semicircle with the instruction, “Place your ear here.” After asking if readers have heard anything, the text announces, “I thought I heard a voice.” The next page directs readers to place their hands on a series of dots arranged in the shapes of hands. The text clarifies that telling this story will require “your fingers, your eyes, your ears…and maybe your nose.” The clever use of shapes and instructions will keep young readers involved from beginning to end, puzzling out the source of the supposed voice—although endpapers offer a big hint. Little fingers are encouraged to, among other things, walk, tiptoe, and drum-roll. There are also two vocalizing opportunities—and, yes, a chance to use the nose. Fingers will move over shapes representing a forest, rivers, and the dark: a black double-page spread with two round, white shapes. Are those eyeballs?! For optimal use, no more than three at a time should share this book, unless desiring chaotic silliness.
More engaging fun than many higher-tech devices. (Picture book. 3-6)Pub Date: Sept. 20, 2016
ISBN: 978-1-84976-429-2
Page Count: 40
Publisher: Tate/Abrams
Review Posted Online: May 14, 2016
Kirkus Reviews Issue: June 1, 2016
Safe to creep on by.
Carle’s famous caterpillar expresses its love.
In three sentences that stretch out over most of the book’s 32 pages, the (here, at least) not-so-ravenous larva first describes the object of its love, then describes how that loved one makes it feel before concluding, “That’s why… / I[heart]U.” There is little original in either visual or textual content, much of it mined from The Very Hungry Caterpillar. “You are… / …so sweet,” proclaims the caterpillar as it crawls through the hole it’s munched in a strawberry; “…the cherry on my cake,” it says as it perches on the familiar square of chocolate cake; “…the apple of my eye,” it announces as it emerges from an apple. Images familiar from other works join the smiling sun that shone down on the caterpillar as it delivers assurances that “you make… / …the sun shine brighter / …the stars sparkle,” and so on. The book is small, only 7 inches high and 5 ¾ inches across when closed—probably not coincidentally about the size of a greeting card. While generations of children have grown up with the ravenous caterpillar, this collection of Carle imagery and platitudinous sentiment has little of his classic’s charm. The melding of Carle’s caterpillar with Robert Indiana’s iconic LOVE on the book’s cover, alas, draws further attention to its derivative nature.
Safe to creep on by. (Picture book. 3-6)Pub Date: Dec. 15, 2015
ISBN: 978-0-448-48932-2
Page Count: 32
Publisher: Grosset & Dunlap
Review Posted Online: Feb. 1, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
As ephemeral as a valentine.
Daywalt and Jeffers’ wandering crayons explore love.
Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.
As ephemeral as a valentine. (Picture book. 4-6)Pub Date: Dec. 24, 2019
ISBN: 978-1-5247-9268-8
Page Count: 32
Publisher: Penguin Workshop
Review Posted Online: Feb. 1, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
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