Yarrow’s (of Peter, Paul and Mary fame) well-known song conveys the truth that parental presence brings peace to frightened children in a difficult world; on the CD that accompanies this book, his gravelly voice melds with the bright children’s chorus and his daughter’s nimble soprano. However, the text and illustrations do not combine well. The melancholy lyrics are illustrated with images of animal parent-child pairs, including one sad bear family and a couple of timorous babies, but the rest of Sweet’s watercolor-and–mixed-media world is in bloom with playful, child-friendly flowers, and the animals mostly sport smiles. Without visual clues as to the reason for the parents’ stated sadness (“In a world filled with sorrow and woe, / If you ask me why, why is this so? / I really don’t know”), the already-opaque lyrics threaten to baffle the young readers who will be drawn to this large, bright volume. The two bonus songs (“I Know Where I’m Going” and “Dona Dona Dona”) are equally well performed, but their inclusion is puzzling. All in all, a very pretty disconnect. (afterword) (Picture book. 4-8)
Pub Date: Oct. 1, 2009
ISBN: 978-1-4027-4806-6
Page Count: 24
Publisher: Sterling
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Give this child’s-eye view of a day at the beach with an attentive father high marks for coziness: “When your ball blows across the sand and into the ocean and starts to drift away, your daddy could say, Didn’t I tell you not to play too close to the waves? But he doesn’t. He wades out into the cold water. And he brings your ball back to the beach and plays roll and catch with you.” Alley depicts a moppet and her relaxed-looking dad (to all appearances a single parent) in informally drawn beach and domestic settings: playing together, snuggling up on the sofa and finally hugging each other goodnight. The third-person voice is a bit distancing, but it makes the togetherness less treacly, and Dad’s mix of love and competence is less insulting, to parents and children both, than Douglas Wood’s What Dads Can’t Do (2000), illus by Doug Cushman. (Picture book. 5-7)
Pub Date: May 23, 2005
ISBN: 0-618-00361-4
Page Count: 32
Publisher: Clarion Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2005
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