What should be a whimsical tale of the fictitious desert critter found on so many postcards in the Southwest instead becomes a labored slog through a confused tall-fairy-tale landscape. It begins and ends on the endpapers, as a genial armadillo approaches the reader, sets up a folding chair, and launches into the story. This frame produces a series of sub-frames as the armadillo takes the role of balladeer, introducing segments of his story with cowboy doggerel. It turns out that the famed horned hare began life as a perfectly, and unhappily, ordinary jackrabbit. Various conversations with his magic mirror apparently summon his Fairy Godrabbit, a painful punster, who grants him horns and an accompanying Pinocchio-like curse that causes his horns to grow whenever he tells a lie. The meandering tale goes on and on until the armadillo ambles off after the exhausting conclusion. Stevens’s art, a computer-enhanced combination of painting and collage, features her signature energetic line, but here it crosses the boundary into frenetic. As does the narrative itself: line and bright colors cannot sustain a text that simply does not seem to know when to end. Crummel and Stevens’s previous collaborations (And the Dish Ran Away with the Spoon, 2001, etc.) have shown a distinct tendency toward self-referential narrative; this offering, with its promising concept, carries this style into self-indulgent. (Picture book. 5-8)
Pub Date: April 1, 2003
ISBN: 0-15-216736-6
Page Count: 56
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2003
The wriggly narrator of Diary of a Worm (2003) puts in occasional appearances, but it’s his arachnid buddy who takes center stage here, with terse, tongue-in-cheek comments on his likes (his close friend Fly, Charlotte’s Web), his dislikes (vacuums, people with big feet), nervous encounters with a huge Daddy Longlegs, his extended family—which includes a Grandpa more than willing to share hard-won wisdom (The secret to a long, happy life: “Never fall asleep in a shoe.”)—and mishaps both at spider school and on the human playground. Bliss endows his garden-dwellers with faces and the odd hat or other accessory, and creates cozy webs or burrows colorfully decorated with corks, scraps, plastic toys and other human detritus. Spider closes with the notion that we could all get along, “just like me and Fly,” if we but got to know one another. Once again, brilliantly hilarious. (Picture book. 6-8)
Pub Date: Aug. 1, 2005
ISBN: 0-06-000153-4
Page Count: 40
Publisher: Joanna Cotler/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2005
Rylant (Henry and Mudge and the Sneaky Crackers, 1998, etc.) slips into a sentimental mode for this latest outing of the boy and his dog, as she sends Mudge and Henry and his parents off on a camping trip. Each character is attended to, each personality sketched in a few brief words: Henry's mother is the camping veteran with outdoor savvy; Henry's father doesn't know a tent stake from a marshmallow fork, but he's got a guitar for campfire entertainment; and the principals are their usual ready-for-fun selves. There are sappy moments, e.g., after an evening of star- gazing, Rylant sends the family off to bed with: ``Everyone slept safe and sound and there were no bears, no scares. Just the clean smell of trees . . . and wonderful green dreams.'' With its nice tempo, the story is as toasty as its campfire and swaddled in Stevenson's trusty artwork. (Fiction. 6-8)
Pub Date: April 1, 1998
ISBN: 0-689-81175-6
Page Count: 48
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1998
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