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MOMMY CRUMBS

From the Somos8 series

A tender, subtle introduction to death.

A tribute to a long, well-lived life.

Young Paula identifies with swift animals, like horses and dolphins, but especially sky-skimming birds. Grown up, she cooks sumptuous stews for her family (two small beings are pictured) and her dog, Leon. Her zest for food leaves her covered in breadcrumbs and earns her the name Mommy Crumbs. Years flow by with the turn of a page: Leon has died and is fondly remembered; Mommy Crumbs is now a grandmother. These days, her cooking is limited to snacks, but she’s still covered in crumbs, so her grandkids bring her a gift: a chick that gobbles them up. The chick quickly grows enormous, and Mommy Crumbs, folded against its wing, is “very, very old.” Sitting atop the fowl, she smilingly bids goodbye to her family, happy that she is going to achieve her lifelong dream: to fly. Now the family misses her, but every crumb they see is a reminder of the enduring presence of their beloved matriarch. Andrés and his mother, González, have written a refreshingly uplifting, understated take on loss. Translated from Spanish, their words are illuminated by brilliant, offbeat color-block, collagelike images that play blue and orange tones off each other, with a fine disregard for small accuracies (Paula has cyan hair, and though she and many characters are light-skinned, other have bluish skin).

A tender, subtle introduction to death. (Picture book. 4-8)

Pub Date: Nov. 5, 2024

ISBN: 9788419607386

Page Count: 36

Publisher: NubeOcho

Review Posted Online: Aug. 17, 2024

Kirkus Reviews Issue: Sept. 15, 2024

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THE LITTLE GHOST WHO WAS A QUILT

From the Little Ghost Quilt Book series

Halloween is used merely as a backdrop; better holiday titles for young readers are available.

A ghost learns to appreciate his differences.

The little ghost protagonist of this title is unusual. He’s a quilt, not a lightweight sheet like his parents and friends. He dislikes being different despite his mom’s reassurance that his ancestors also had unconventional appearances. Halloween makes the little ghost happy, though. He decides to watch trick-or-treaters by draping over a porch chair—but lands on a porch rail instead. A mom accompanying her daughter picks him up, wraps him around her chilly daughter, and brings him home with them! The family likes his looks and comforting warmth, and the little ghost immediately feels better about himself. As soon as he’s able to, he flies out through the chimney and muses happily that this adventure happened only due to his being a quilt. This odd but gently told story conveys the importance of self-respect and acceptance of one’s uniqueness. The delivery of this positive message has something of a heavy-handed feel and is rushed besides. It also isn’t entirely logical: The protagonist could have been a different type of covering; a blanket, for instance, might have enjoyed an identical experience. The soft, pleasing illustrations’ palette of tans, grays, white, black, some touches of color, and, occasionally, white text against black backgrounds suggest isolation, such as the ghost feels about himself. Most humans, including the trick-or-treating mom and daughter, have beige skin. (This book was reviewed digitally with 11-by-16.6-inch double-page spreads viewed at 66.2% of actual size.)

Halloween is used merely as a backdrop; better holiday titles for young readers are available. (Picture book. 4-7)

Pub Date: Sept. 1, 2020

ISBN: 978-0-7352-6447-2

Page Count: 48

Publisher: Tundra Books

Review Posted Online: July 13, 2020

Kirkus Reviews Issue: Aug. 1, 2020

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HANSEL AND GRETEL

Menacing and most likely to appeal to established fans of its co-creators.

Existing artwork from an artistic giant inspires a fairy-tale reimagination by a master of the horror genre.

In King’s interpretation of a classic Brothers Grimm story, which accompanies set and costume designs that the late Sendak created for a 1997 production of Engelbert Humperdinck’s opera, siblings Hansel and Gretel survive abandonment in the woods and an evil witch’s plot to gobble them up before finding their “happily ever after” alongside their father. Prose with the reassuring cadence of an old-timey tale, paired with Sendak’s instantly recognizable artwork, will lull readers before capitalizing on these creators’ knack for injecting darkness into seemingly safe spaces. Gaping faces loom in crevices of rocks and trees, and a gloomy palette of muted greens and ocher amplify the story’s foreboding tone, while King never sugarcoats the peach-skinned children’s peril. Branches with “clutching fingers” hide “the awful enchanted house” of a “child-stealing witch,” all portrayed in an eclectic mix of spot and full-bleed images. Featuring insults that might strike some as harsh (“idiot,” “fool”), the lengthy, dense text may try young readers’ patience, and the often overwhelmingly ominous mood feels more pitched to adults—particularly those familiar with King and Sendak—but an introduction acknowledges grandparents as a likely audience, and nostalgia may prompt leniency over an occasional disconnect between words and art.

Menacing and most likely to appeal to established fans of its co-creators. (Picture book. 4-8)

Pub Date: Sept. 2, 2025

ISBN: 9780062644695

Page Count: 48

Publisher: Harper/HarperCollins

Review Posted Online: Aug. 15, 2025

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