Lovely, lyrical text combines skillfully with dreamlike illustrations to create soothing music—with just one off-key note.
In this picture book translated from the Spanish, a young girl interacts with the music made by the ocean next to her seaside village.
Marina, a young white girl, lives in Lemonsea, a tiny fishing village. When a storm destroys the crops and drives the fish away, everyone but Marina and her white fisherman father, Daniel, leaves to find their living elsewhere. Marina is sad until her father builds a sea organ that is played by the ocean’s tides and currents and the wind. Attracted by the music, whales arrive, and Marina befriends them, even rides them. Eventually the music attracts fish in such abundance that the villagers return, and Lemonsea becomes more prosperous than before. Isern’s lyrical narrative waxes poetic about the sea, whales, and the contentment found in a life close to nature, and Chicote’s illustrations, with their dreamlike quality, enhance the narrative. There’s one off-key note, however, that undermines the harmony-in-nature theme. Chicote includes fanciful characters who have the heads of fish and bodies of humans (they’re not mentioned in the text) interacting in the village alongside regular humans (all white), and readers might wonder who the fish-people are and how they feel about the fishing industry.
Lovely, lyrical text combines skillfully with dreamlike illustrations to create soothing music—with just one off-key note. (Picture book. 4-8)Pub Date: Sept. 1, 2017
ISBN: 978-84-16733-28-6
Page Count: 24
Publisher: Cuento de Luz
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of...
Rabe follows a young girl through her first 12 days of kindergarten in this book based on the familiar Christmas carol.
The typical firsts of school are here: riding the bus, making friends, sliding on the playground slide, counting, sorting shapes, laughing at lunch, painting, singing, reading, running, jumping rope, and going on a field trip. While the days are given ordinal numbers, the song skips the cardinal numbers in the verses, and the rhythm is sometimes off: “On the second day of kindergarten / I thought it was so cool / making lots of friends / and riding the bus to my school!” The narrator is a white brunette who wears either a tunic or a dress each day, making her pretty easy to differentiate from her classmates, a nice mix in terms of race; two students even sport glasses. The children in the ink, paint, and collage digital spreads show a variety of emotions, but most are happy to be at school, and the surroundings will be familiar to those who have made an orientation visit to their own schools.
While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of Kindergarten (2003), it basically gets the job done. (Picture book. 4-7)Pub Date: June 21, 2016
ISBN: 978-0-06-234834-0
Page Count: 32
Publisher: Harper/HarperCollins
Review Posted Online: May 3, 2016
Kirkus Reviews Issue: June 1, 2016
BOOK REVIEW
BOOK REVIEW
Haphazard but jolly enough for one outing; it probably won’t last for more.
A flurry of mail addressed to Duncan’s crayons ushers in the Christmas season in this novelty spinoff of the bestselling The Day the Crayons Quit (2013) and The Day the Crayons Came Home (2015).
Actual cards and letters are tucked into envelopelike pouches pasted to the pages; these are joined in some cases by other ephemera for a package that is likely to invite sudden, intense play followed by loss and/or damage that will render the book a disappointment to reread. That’s probably OK, as in contrast to the clever story that kicked this small series off, this outing has a hastily composed feel that lacks cohesion. The first letter is addressed to Peach from Mom and includes a paper doll of the “naked” (de-wrappered) crayon along with a selection of tabbed changes of clothing that includes a top hat and tails and a bikini top and bottom. Peach’s implied gender fluidity does not mitigate the unfortunate association of peach with skin color established in the first book. The sense of narrative improvisation is cemented with an early page turn that takes the crayons from outdoors snow play to “Feeling…suddenly very Christmas-y, the crayons headed inside.” Readers can unpack a box of punch-out decorations; a recipe for gluten-free Christmas cookies that begins “go to store and buy gluten-free cookies”; a punch-out dreidel (turns out Grey is Jewish); a board game (“six-sided die” not included); and a map of Esteban (aka Pea Green) and Neon Red’s travels with Santa.
Haphazard but jolly enough for one outing; it probably won’t last for more. (Novelty. 4-8)Pub Date: Oct. 15, 2019
ISBN: 978-0-525-51574-6
Page Count: 52
Publisher: Penguin Workshop
Review Posted Online: Aug. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
SEEN & HEARD
SEEN & HEARD
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