A fine recipe for pleasure: Julia Child, the culinary arts, Paris and a lucky cat.
Reich lures children into the scrumptious Parisian world of the legendary chef Julia Child with the story of her mouse-loving cat, Minette.
It’s a funny thought: The now-famous American gourmet painstakingly prepares duck pâtés and cheese soufflés with the freshest French ingredients when all her cat really wants to eat is raw mouse: “How delightful the crunch of fresh-caught mouse, devoured on the living room rug!” Even if readers have never heard of Julia Child or the delightful interlude she and her husband Paul shared in Paris in the late 1940s, the joy of an enthusiastic food-lover in the kitchen is palpable: “She floured and flipped, pitted and plucked, rinsed and roasted, sizzled and skimmed.” Bates’ inventively composed kitchen- and marketscapes in warm watercolors and pencil capture this joy as well, as readers see the very-tall, very-cheerful cook in action. The atmospheric narrative is festive, fresh and festooned with quotations from Julia and Paul’s letters, as well as from Child's memoir, My Life in France (2006). As revealed in the afterword, Minette Mimosa McWilliams Child was an actual adopted tortoiseshell cat, the first of many cats for the loving couple.
A fine recipe for pleasure: Julia Child, the culinary arts, Paris and a lucky cat. Magnifique! (afterword, notes, sources, glossary and pronunciation guide, author’s note) (Picture book/biography. 4-8)Pub Date: May 1, 2012
ISBN: 978-1-4197-0177-1
Page Count: 40
Publisher: Abrams
Review Posted Online: March 6, 2012
Kirkus Reviews Issue: April 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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