An excuse for Czajak to share his love of books with children, this story’s optimistic view of creativity and resistance is...
After the mayor bans books, a young boy named Arlo discovers how to grow them.
“Beginnings were always the best part. They smelled as if anything were possible.” Arlo is so absorbed in the book he’s reading up in a tree that it slips from his hands and bonks the mayor on the head. “Books are dangerous!” the mayor cries, and he rips up every book in town. Arlo is sad, but he figures the mayor must be right; after all, he is the mayor. The town changes: Storytime is replaced by nap time; the theaters produce no plays, and the library is empty. Arlo weeps as he writes “The End” in the sand, but writing makes him determined to share stories. Then, from one of the ripped-up pages, the titular tree begins to sprout, and books flourish once more. (Conveniently, the mayor is easily convinced of their value.) Kheiriyeh’s dramatic oil paint–and-collage illustrations, in hues of beige, red, and bright blue, use characters and setting to drive home the message that books bring joy and their absence is all but tragic. The books that grow from the tree contain print in many languages: Korean, Arabic, Russian, Portuguese, and more. Arlo and a number of the other townspeople are brown-skinned, the mayor and others are a shade of beige, and all have blue hair.
An excuse for Czajak to share his love of books with children, this story’s optimistic view of creativity and resistance is fairly irresistible. (Picture book. 4-9)Pub Date: Sept. 30, 2018
ISBN: 978-1-78285-505-0
Page Count: 32
Publisher: Barefoot Books
Review Posted Online: Aug. 13, 2018
Kirkus Reviews Issue: Sept. 1, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Broccoli: No way is James going to eat broccoli. “It’s disgusting,” says James. Well then, James, says his father, let’s consider the alternatives: some wormy dirt, perhaps, some stinky socks, some pre-chewed gum? James reconsiders the broccoli, but—milk? “Blech,” says James. Right, says his father, who needs strong bones? You’ll be great at hide-and-seek, though not so great at baseball and kickball and even tickling the dog’s belly. James takes a mouthful. So it goes through lumpy oatmeal, mushroom lasagna and slimy eggs, with James’ father parrying his son’s every picky thrust. And it is fun, because the father’s retorts are so outlandish: the lasagna-making troll in the basement who will be sent back to the rat circus, there to endure the rodent’s vicious bites; the uneaten oatmeal that will grow and grow and probably devour the dog that the boy won’t be able to tickle any longer since his bones are so rubbery. Schneider’s watercolors catch the mood of gentle ribbing, the looks of bewilderment and surrender and the deadpanned malarkey. It all makes James’ father’s last urging—“I was just going to say that you might like them if you tried them”—wholly fresh and unexpected advice. (Early reader. 5-9)
Pub Date: May 1, 2011
ISBN: 978-0-547-14956-1
Page Count: 48
Publisher: Clarion Books
Review Posted Online: April 4, 2011
Kirkus Reviews Issue: April 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A validating and breathtaking next chapter of a Mother Goose favorite.
Humpty Dumpty, classically portrayed as an egg, recounts what happened after he fell off the wall in Santat’s latest.
An avid ornithophile, Humpty had loved being atop a high wall to be close to the birds, but after his fall and reassembly by the king’s men, high places—even his lofted bed—become intolerable. As he puts it, “There were some parts that couldn’t be healed with bandages and glue.” Although fear bars Humpty from many of his passions, it is the birds he misses the most, and he painstakingly builds (after several papercut-punctuated attempts) a beautiful paper plane to fly among them. But when the plane lands on the very wall Humpty has so doggedly been avoiding, he faces the choice of continuing to follow his fear or to break free of it, which he does, going from cracked egg to powerful flight in a sequence of stunning spreads. Santat applies his considerable talent for intertwining visual and textual, whimsy and gravity to his consideration of trauma and the oft-overlooked importance of self-determined recovery. While this newest addition to Santat’s successes will inevitably (and deservedly) be lauded, younger readers may not notice the de-emphasis of an equally important part of recovery: that it is not compulsory—it is OK not to be OK.
A validating and breathtaking next chapter of a Mother Goose favorite. (Picture book. 4-8)Pub Date: Oct. 3, 2017
ISBN: 978-1-62672-682-6
Page Count: 45
Publisher: Roaring Brook Press
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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