Seibold’s zany re-envisioning of Lewis Carroll’s classic story is not for purists. While the text is Carroll’s, it is drastically abbreviated with nary a transition in sight; Alice’s fall down the rabbit hole ends one page while the next starts with her kicking a small animal up a chimney. Readers need to either come to the book familiar with the story or, better yet, simply sit back and enjoy a nonsense ride through Seibold’s Wonderland. Alice, the creatures that populate her adventures, and their environments hark back to cartoons of the ’50s with flat expanses of color, retro patterns, and puddle-like shadows. There are a number of pull-tabs that will intrigue young readers, including a nifty one that causes the Cheshire Cat to disappear, leaving only his grin. This is an enjoyable, though—if compared to the Sabuda (above)—ephemeral romp. (Picture book. 4-8)
Pub Date: Sept. 1, 2003
ISBN: 0-439-41184-X
Page Count: 12
Publisher: Orchard/Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2003
A book that will make young dog-owners smile in recognition and confirm dogless readers' worst suspicions about the mayhem caused by pets, even winsome ones. Sam, who bears passing resemblance to an affable golden retriever, is praised for fetching the family newspaper, and goes on to fetch every other newspaper on the block. In the next story, only the children love Sam's swimming; he is yelled at by lifeguards and fishermen alike when he splashes through every watering hole he can find. Finally, there is woe to the entire family when Sam is bored and lonely for one long night. Boland has an essential message, captured in both both story and illustrations of this Easy-to-Read: Kids and dogs belong together, especially when it's a fun-loving canine like Sam. An appealing tale. (Picture book. 4-8)
Pub Date: April 1, 1996
ISBN: 0-8037-1530-7
Page Count: 40
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1996
Visually accomplished but marred by stereotypical cultural depictions.
Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”
Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.
Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)Pub Date: Feb. 24, 2015
ISBN: 978-0-7636-6529-6
Page Count: 40
Publisher: Candlewick
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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