Chaikin (Clouds of Glory, 1998, etc.) defines haiku in traditional form in her introduction and goes on to say that today haiku does not always follow that three-line, seventeen-syllable model. “On the first line, five / On the second line, seven / On the third, five more.” These mostly vivid and utterly accessible haiku are full of images young people will recognize. “A cardinal in the yard. / My heart stops. / A red secret.” “The cat sits on her haunches, / watching the street. / How like an eggplant!” The title poem refers to reflection: “After the rain / a puddle. / Careful. Don’t step on the sky.” Cityscapes and time at the beach, rivers, ponds, boats, and night lights—all are summoned in the poetry spoken by a round-headed, button-eyed little girl. Nakata’s (What Kind of Kiss?, 2001, etc.) ink-and-watercolors cheerfully reflect the haiku, with an economy of image and use of negative space. A profusion of flowers, insects, and other small creatures, and a ginger cat soften the friendly landscape further. A nice companion to Matthew Golub’s fabulous Cool Melons—Turn to Frogs! (1998). (Poetry. 6-10)
Pub Date: April 1, 2001
ISBN: 0-8050-6474-5
Page Count: 32
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2002
A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)
Pub Date: Feb. 1, 2001
ISBN: 0-8050-6744-2
Page Count: 32
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2002
BOOK REVIEW
With an eye toward easy memorization, Katz gathers over 50 short poems from the likes of Emily Dickinson, Valerie Worth, Jack Prelutsky, and Lewis Carroll, to such anonymous gems as “The Burp”—“Pardon me for being rude. / It was not me, it was my food. / It got so lonely down below, / it just popped up to say hello.” Katz includes five of her own verses, and promotes an evident newcomer, Emily George, with four entries. Hafner surrounds every selection with fine-lined cartoons, mostly of animals and children engaged in play, reading, or other familiar activities. Amid the ranks of similar collections, this shiny-faced newcomer may not stand out—but neither will it drift to the bottom of the class. (Picture book/poetry. 7-9)
Pub Date: March 1, 2004
ISBN: 0-525-47172-3
Page Count: 32
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2004
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