Arithmetic is as easy as one, two, three with the right approach.
The perverse pooch of Bark, George (1999) is back, obstinate as ever.
“One plus one equals what, George?” the pup’s patient mother asks. But George isn’t playing that game and instead of answering demands to be fed. “Two plus two equals what?” and subsequent posers are likewise stonewalled…until George falls asleep and dreams of trees—first one, then two, and on up to 10—demanding to be added up. “I don’t have time for this,” George complains. But as Feiffer, ever the master of psychological insight, well knows, the temptation to count is too strong for George, or young viewers, to resist for long. The slender tree trunks, each a different color to smoothly facilitate the arithmetical operations, line up against pale monochrome backdrops. In the characteristically minimalist cartoon illustrations they are joined in teasing the reluctant pup on to numeracy by a cat, a pig, a cow, the veterinarian first met in George’s debut, and finally George’s mother. She wakes her puppy up, and off they go for a walk so that George can show off those new counting skills. Where Bark, George mined the sight of the vet pulling animal after animal from George’s gullet for laughs, this follow-up is more quietly thoughtful, but Feiffer’s linework is as fine and fluid as ever, and his canny placement of speech balloons gives even the trees personality. (This book was reviewed digitally with 9-by-22-inch double-page spreads viewed at 49% of actual size.)
Arithmetic is as easy as one, two, three with the right approach. (Picture book. 4-6)Pub Date: June 2, 2020
ISBN: 978-0-06-279099-6
Page Count: 40
Publisher: Michael di Capua/HarperCollins
Review Posted Online: June 1, 2020
Kirkus Reviews Issue: June 15, 2020
IN THE NEWS
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
SEEN & HEARD
SEEN & HEARD
Echoes of Runaway Bunny color this exchange between a bath-averse piglet and his patient mother. Using a strategy that would probably be a nonstarter in real life, the mother deflects her stubborn offspring’s string of bath-free occupational conceits with appeals to reason: “Pirates NEVER EVER take baths!” “Pirates don’t get seasick either. But you do.” “Yeesh. I’m an astronaut, okay?” “Well, it is hard to bathe in zero gravity. It’s hard to poop and pee in zero gravity too!” And so on, until Mom’s enticing promise of treasure in the deep sea persuades her little Treasure Hunter to take a dive. Chunky figures surrounded by lots of bright white space in Segal’s minimally detailed watercolors keep the visuals as simple as the plotline. The language isn’t quite as basic, though, and as it rendered entirely in dialogue—Mother Pig’s lines are italicized—adult readers will have to work hard at their vocal characterizations for it to make any sense. Moreover, younger audiences (any audiences, come to that) may wonder what the piggy’s watery closing “EUREKA!!!” is all about too. Not particularly persuasive, but this might coax a few young porkers to get their trotters into the tub. (Picture book. 4-6)
Pub Date: March 1, 2011
ISBN: 978-0-399-25425-3
Page Count: 32
Publisher: Philomel
Review Posted Online: Jan. 25, 2011
Kirkus Reviews Issue: Feb. 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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