Grandpa Jack has passed away, and his half-African-American, half-white granddaughter (from the team’s earlier Hope, 1999) doesn’t want to attend his funeral because she’s afraid she’ll never see him again. Aunt Poogee can still see Grandpa Jack: “I can see us fishing on the river for hours, catching nothing but a cold,” she says, and reminds Hope of a glorious day of blackberry picking. The story turns to that day of buckets, a garter snake, the ensuing screams, a friendly snake primer from Grandpa Jack, and Aunt Poogee’s “gooey-good” blackberry stew (recipe in the back). Sure enough, Hope sees Grandpa Jack in her mind’s eye, “like he was standing right in front of me” and learns that he will live on in her memories. The lesson is overstated, especially near the end, when Hope rather stiffly recites her new insights before heading to the funeral. But children who have experienced the loss of a loved one may be comforted nonetheless. Porter’s rich, textured paintings, with their distinctive use of line, are warm and lively. (Picture book. 4-8)
Pub Date: Feb. 1, 2005
ISBN: 1-57505-605-4
Page Count: 32
Publisher: Carolrhoda
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2005
Continuing to find inspiration in the work of Virginia Lee Burton, Munro Leaf and other illustrators of the past, Long (The Little Engine That Could, 2005) offers an aw-shucks friendship tale that features a small but hardworking tractor (“putt puff puttedy chuff”) with a Little Toot–style face and a big-eared young descendant of Ferdinand the bull who gets stuck in deep, gooey mud. After the big new yellow tractor, crowds of overalls-clad locals and a red fire engine all fail to pull her out, the little tractor (who had been left behind the barn to rust after the arrival of the new tractor) comes putt-puff-puttedy-chuff-ing down the hill to entice his terrified bovine buddy successfully back to dry ground. Short on internal logic but long on creamy scenes of calf and tractor either gamboling energetically with a gaggle of McCloskey-like geese through neutral-toned fields or resting peacefully in the shade of a gnarled tree (apple, not cork), the episode will certainly draw nostalgic adults. Considering the author’s track record and influences, it may find a welcome from younger audiences too. (Picture book. 5-8)
Pub Date: Sept. 1, 2009
ISBN: 978-0-399-25248-8
Page Count: 40
Publisher: Philomel
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2009
SEEN & HEARD
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
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SEEN & HEARD
SEEN & HEARD
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