Those three Billy goats have been transformed into young girls and the troll morphed into a mean boy in this retelling of the classic folktale. When the three Grubb sisters, sized small, medium, and extra large, miss the bus one day, they must walk to school . . . over a bridge where Ugly-Boy Bobby hides out every day. He never goes to school or ties his shoes, he eats bugs and worms, and he often throws things. As each skipping Grubb passes over, he demands to know who is crossing. They sweetly answer, also telling him what they will learn in school that day—to count to ten on their toes, to spell “bumblebee’s bottom,” and to look at tiny things under a microscope. Bobby threatens to eat the girls’ lunches, but the small and medium-sized Grubbs each tell him to wait for the next bigger sister—she has more jelly donuts with her. Now, the extra large offers quite nicely to share, but the condition she sets is not acceptable to Ugly-Boy Bobby, who runs off to school and never misses a day again. The Hassetts (Cat Up a Tree, 1998, etc.) have created a gentler tale with this retelling—no one is threatened with being eaten, the girls and the “troll” are both people with whom children can identify, and the meanie gets rehabilitated. Soft colors, animals, and plants abound in the cartoon illustrations and the round faces of the characters are especially good for expressing emotions. Snip, snap, snout, a good turnabout. (Picture book. 4-8)
Pub Date: Sept. 30, 2002
ISBN: 0-618-14183-9
Page Count: 32
Publisher: Walter Lorraine/Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2002
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
An invitation to wonder, imagine and look at everything (humans included) in a new way.
A young boy sees things a little differently than others.
Noah can see patterns in the dust when it sparkles in the sunlight. And if he puts his nose to the ground, he can smell the “green tang of the ants in the grass.” His most favorite thing of all, however, is to read. Noah has endless curiosity about how and why things work. Books open the door to those answers. But there is one question the books do not explain. When the wind comes whistling by, where does it go? Noah decides to find out. In a chase that has a slight element of danger—wind, after all, is unpredictable—Noah runs down streets, across bridges, near a highway, until the wind lifts him off his feet. Cowman’s gusty wisps show each stream of air turning a different jewel tone, swirling all around. The ribbons gently bring Noah home, setting him down under the same thinking tree where he began. Did it really happen? Worthington’s sensitive exploration leaves readers with their own set of questions and perhaps gratitude for all types of perspective. An author’s note mentions children on the autism spectrum but widens to include all who feel a little different.
An invitation to wonder, imagine and look at everything (humans included) in a new way. (Picture book. 4-8)Pub Date: April 14, 2015
ISBN: 978-1-60554-356-7
Page Count: 32
Publisher: Redleaf Lane
Review Posted Online: Feb. 2, 2015
Kirkus Reviews Issue: Feb. 15, 2015
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