Fantasy or dream, a winsome adventure to pair with Sendak's In the Night Kitchen. Restless Polly, supposing her pillow wants to play, takes it downstairs, where the two bounce and tumble with some soft, delightfully expressive cushions; after the huge, firm sofa cushions join in, they march and play leapfrog until Polly's own pillow gets bumped and her reflexive retaliation turns into a free-for-all. Polly quells the uproar by switching on the light and takes her own pillow back to bed, where Ormerod provides a last cozy twist before Polly drifts off to sleep. The engaging narrative draws young listeners right in with frequent queries (``Polly pushed—would you do that?''), while Ormerod's creatively varied frames, frequently invaded by rambunctious pillows, keep the eye moving along. Deftly drawn Polly is a charmer, her unusual crew a delight. (Picture book. 3-7)
Pub Date: March 1, 1993
ISBN: 1-56402-169-6
Page Count: 32
Publisher: Candlewick
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1993
A nice but not requisite purchase.
A retelling of the classic fairy tale in board-book format and with a Mexican setting.
Though simplified for a younger audience, the text still relates the well-known tale: mean-spirited stepmother, spoiled stepsisters, overworked Cinderella, fairy godmother, glass slipper, charming prince, and, of course, happily-ever-after. What gives this book its flavor is the artwork. Within its Mexican setting, the characters are olive-skinned and dark-haired. Cultural references abound, as when a messenger comes carrying a banner announcing a “FIESTA” in beautiful papel picado. Cinderella is the picture of beauty, with her hair up in ribbons and flowers and her typically Mexican many-layered white dress. The companion volume, Snow White, set in Japan and illustrated by Misa Saburi, follows the same format. The simplified text tells the story of the beautiful princess sent to the forest by her wicked stepmother to be “done away with,” the dwarves that take her in, and, eventually, the happily-ever-after ending. Here too, what gives the book its flavor is the artwork. The characters wear traditional clothing, and the dwarves’ house has the requisite shoji screens, tatami mats and cherry blossoms in the garden. The puzzling question is, why the board-book presentation? Though the text is simplified, it’s still beyond the board-book audience, and the illustrations deserve full-size books.
A nice but not requisite purchase. (Board book/fairy tale. 3-5)Pub Date: Sept. 13, 2016
ISBN: 978-1-4814-7915-8
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Oct. 11, 2016
Kirkus Reviews Issue: Jan. 1, 2017
BOOK REVIEW
BOOK REVIEW
Dedicated “to children everywhere sitting in cardboard boxes,” this elemental debut depicts a bunny with big, looping ears demonstrating to a rather thick, unseen questioner (“Are you still standing around in that box?”) that what might look like an ordinary carton is actually a race car, a mountain, a burning building, a spaceship or anything else the imagination might dream up. Portis pairs each question and increasingly emphatic response with a playscape of Crockett Johnson–style simplicity, digitally drawn with single red and black lines against generally pale color fields. Appropriately bound in brown paper, this makes its profound point more directly than such like-themed tales as Marisabina Russo’s Big Brown Box (2000) or Dana Kessimakis Smith’s Brave Spaceboy (2005). (Picture book. 5-7)
Pub Date: Dec. 1, 2006
ISBN: 0-06-112322-6
Page Count: 32
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2006
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