The Emberleys offer such a joyful, imaginative interpretation of the classic that even the youngest will understand the...
In this playful riff on Aesop’s fable, an ant’s load is made light when her spirit is lifted by the grasshopper’s music.
The ant, burdened with a sticky piece of watermelon and weighed down by the thought that her family is depending on her for food, is so tired she can barely take another step. Then she hears MUSIC (emphasized in boldface capital letters) made by the grasshopper and his band. In fact, those first notes leave her positively bug-eyed. Instead of chastising them for playing, the ant is moved by the tune. Gallantly, the band takes to the road in order to march her back to her colony. In an additional, delicious twist highlighting their symbiotic relationship, the ant invites them into her home, where they party—a celebration highlighted in a foldout spread that works both front and back. The text has a distinctly jazzy drawl that begs to be read aloud. The collage art is bursting with pleasingly chaotic, Mardi Gras colors, especially the two spreads depicting ant’s first views of the buggy band. The pacing is masterful, and the inclusion of the foldout page provides a wonderful place to pause and, as the text exhorts, “[l]et the good times roll!”
The Emberleys offer such a joyful, imaginative interpretation of the classic that even the youngest will understand the unstated message to “eat, drink and be merry.” (Picture book. 4-8)Pub Date: Oct. 16, 2012
ISBN: 978-1-59643-493-6
Page Count: 32
Publisher: Neal Porter/Roaring Brook
Review Posted Online: Aug. 7, 2012
Kirkus Reviews Issue: Sept. 1, 2012
Although the love comes shining through, the text often confuses in straining for patterned simplicity.
A collection of parental wishes for a child.
It starts out simply enough: two children run pell-mell across an open field, one holding a high-flying kite with the line “I wish you more ups than downs.” But on subsequent pages, some of the analogous concepts are confusing or ambiguous. The line “I wish you more tippy-toes than deep” accompanies a picture of a boy happily swimming in a pool. His feet are visible, but it's not clear whether he's floating in the deep end or standing in the shallow. Then there's a picture of a boy on a beach, his pockets bulging with driftwood and colorful shells, looking frustrated that his pockets won't hold the rest of his beachcombing treasures, which lie tantalizingly before him on the sand. The line reads: “I wish you more treasures than pockets.” Most children will feel the better wish would be that he had just the right amount of pockets for his treasures. Some of the wordplay, such as “more can than knot” and “more pause than fast-forward,” will tickle older readers with their accompanying, comical illustrations. The beautifully simple pictures are a sweet, kid- and parent-appealing blend of comic-strip style and fine art; the cast of children depicted is commendably multiethnic.
Although the love comes shining through, the text often confuses in straining for patterned simplicity. (Picture book. 5-8)Pub Date: April 1, 2015
ISBN: 978-1-4521-2699-9
Page Count: 40
Publisher: Chronicle Books
Review Posted Online: Feb. 15, 2015
Kirkus Reviews Issue: March 1, 2015
Visually accomplished but marred by stereotypical cultural depictions.
Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”
Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.
Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)Pub Date: Feb. 24, 2015
ISBN: 978-0-7636-6529-6
Page Count: 40
Publisher: Candlewick
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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