In a decade of de rigueur picture books praising books, it is primarily the artwork that sets this one apart.
When a boy heads to the study, ordered to “think things over,” he begins a relationship with a book that becomes special to him, even if it has no “proper jacket.”
When the boy—initially sporting a scowl and a slouch—first opens the good little book, Arbona presents a compelling, sequential, aerial view of a sullen child who nonetheless becomes fascinated by reading. Vivid, fantastical artwork augments the ensuing, almost obligatory sentences about book-induced trips to faraway places and varied emotions. As the seasons pass, the book “didn’t turn him into a bookish boy, or improve his naughty behavior, but it did become a loyal companion.” At the story’s climax—“The boy lost his favorite book”—the boy seeks help in a crowd of people who appear as bizarre as the creatures in his book, thanks to the bold, colorful, absurdist artwork. It is easy to imagine an actor with an upper-class British accent reading the wryly humorous text: “The boy sought help but discovered that very few people have time for a lost book—no matter how good or little it might be.” The simple plot reaches a conclusion rife with bibliophilic didacticism, but the humor and art along the way create an enjoyable romp.
In a decade of de rigueur picture books praising books, it is primarily the artwork that sets this one apart. (Picture book. 4-8)Pub Date: Aug. 11, 2015
ISBN: 978-1-77049-451-0
Page Count: 40
Publisher: Tundra Books
Review Posted Online: April 14, 2015
Kirkus Reviews Issue: May 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
An invitation to wonder, imagine and look at everything (humans included) in a new way.
A young boy sees things a little differently than others.
Noah can see patterns in the dust when it sparkles in the sunlight. And if he puts his nose to the ground, he can smell the “green tang of the ants in the grass.” His most favorite thing of all, however, is to read. Noah has endless curiosity about how and why things work. Books open the door to those answers. But there is one question the books do not explain. When the wind comes whistling by, where does it go? Noah decides to find out. In a chase that has a slight element of danger—wind, after all, is unpredictable—Noah runs down streets, across bridges, near a highway, until the wind lifts him off his feet. Cowman’s gusty wisps show each stream of air turning a different jewel tone, swirling all around. The ribbons gently bring Noah home, setting him down under the same thinking tree where he began. Did it really happen? Worthington’s sensitive exploration leaves readers with their own set of questions and perhaps gratitude for all types of perspective. An author’s note mentions children on the autism spectrum but widens to include all who feel a little different.
An invitation to wonder, imagine and look at everything (humans included) in a new way. (Picture book. 4-8)Pub Date: April 14, 2015
ISBN: 978-1-60554-356-7
Page Count: 32
Publisher: Redleaf Lane
Review Posted Online: Feb. 2, 2015
Kirkus Reviews Issue: Feb. 15, 2015
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