A doll becomes the vehicle for Polacco's (The Butterfly, 2000, etc.) deeply felt remembrance of her mother, Mary Ellen. Told as a letter from a dying woman to her daughter, the story follows the author's mother from age six to old age, using Betty Doll as an ever-present reference point. "She sat on my dresser in the dorm, and then in Mrs. Borchst's boarding house when I got my first teaching job." This is at its most effective when telling of Mary Ellen as a child: in one sequence, she cuts the skirt of her aunt's best dress for a new dress for Betty Doll; in another, a fallen Betty Doll marks the place where Mary Ellen and her brother are trapped in a blizzard. But as Mary Ellen grows older, the story compresses her life into an obituary of sorts, becoming a recitation of adult events: marriage, divorce, the birth of her children, her mother's death, and finally Mary Ellen's own cancer. Although these events clearly mean much to the author, they are remote from a child's experience and lack the narrative excitement of the earlier episodes, and Betty Doll's presence becomes an almost mechanically noted device. The illustrations are wonderfully evocative of old photographs: the pencil drawings are nearly entirely black-and-white, with Betty Doll almost always the only spot of color on the page. This documentary effect is heightened by the inclusion of electronically reproduced family photographs that let the reader see the actual Mary Ellen growing up even as her story is being told. It is a beautiful, loving treatment of one woman's life, but in the end likely to resonate more with adults than children. (Picture book. 6-10)
Pub Date: April 1, 2001
ISBN: 0-399-23638-4
Page Count: 32
Publisher: Philomel
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2001
Best for readers who have clearly indicated they would like to take their writing efforts to the next level.
A young white girl writes and illustrates a story, which is critiqued by the narrator as it is created.
The girl begins her story by drawing a Hero. Then she thinks maybe a Heroine would be better. Then she decides both will work. She places them in “a good town, filled with good people, called our Setting.” The narrator, an unseen editor who lurks over the artist’s shoulder, tells the storyteller she needs to put in some Conflict, make the Evil Overlord scarier, and give it better action. This tongue-in-cheek way of delivering the rules of creative writing is clever, and paired with Le Huche’s earnest, childlike illustrations, it seems to be aimed at giving helpful direction to aspiring young creators (although the illustrations are not critiqued). But the question needs to be asked: do very young writers really need to know the rules of writing as determined by adults? While the story appears to be about helping young readers learn writing—there is “A Friendly List of Words Used in this Book” at the end with such words as “protagonist” and “antagonist” (glossed as “Hero and Heroine” and “Evil Overlord,” respectively)—it also has a decidedly unhelpful whiff of judgment. Rules, the text seems to say, must be followed for the story to be a Good one. Ouch.
Best for readers who have clearly indicated they would like to take their writing efforts to the next level. (Picture book. 6-10)Pub Date: Sept. 12, 2017
ISBN: 978-1-4814-2935-1
Page Count: 40
Publisher: Paula Wiseman/Simon & Schuster
Review Posted Online: July 1, 2017
Kirkus Reviews Issue: July 15, 2017
Will leave readers as happy as a pig in mud.
It’s good to embrace change.
Although an unseen narrator attempts to tell an accustomed version of “The Three Little Pigs”—here named Alan, Alfred, and Alvin Albert—their younger sister, Alison, wants to get in on the action because she’s a natural storyteller. The narrator grudgingly allows Alison to tag along, but her added bits of flavor and the unexpected personalities of her brothers soon send the story off its traditional tracks and into hilarious hijinks. For example, Alan’s love of building allows him to design a functional house made of plastic drinking straws, Alfred’s stick house is actually constructed by Alan because Alfred’s clearly a star and not stage crew, and Alvin’s shacking up in a pumpkin behind Cinderella’s castle because he’s…not the crispiest piece of bacon on the plate. Alison’s quick thinking leads the brothers to be one step ahead of the wandering wolf. When the narrator hits their limit, a conversation with Alison proves that collaboration can lead to unexpected but wonderful results. The story flows well, accompanied by energetic cartoon art, and the choice to color-code the speech bubbles of each character (and the text of the narrator vs. Alison) ensures readers will be able to follow the snappy dialogue. Those who love to make up their own stories will be inspired, and readers who march to the beats of their own drums will be delighted. (This book was reviewed digitally.)
Will leave readers as happy as a pig in mud. (Picture book. 6-10)Pub Date: Oct. 25, 2022
ISBN: 978-1-5420-3243-8
Page Count: 40
Publisher: Two Lions
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
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