Best known for her African-based fantasies (Akata Witch, 2011, etc.), Okorafor leaps into the world of picture books in a...
Anyaugo has a problem.
A giant chicken has barged into the kitchen at night to eat and spoil all of the food Anyaugo’s mother and aunties have prepared for the next day’s New Yam Festival—the Igbo celebration that opens the harvest season in Nigeria. Anyaugo has been counting on or at least hoping for the help of the Wood Wit, a nature spirit that can travel through wooden objects, who knows “everything that the wood knows” and who loves to help people in difficult situations. But when the Wood Wit advises Anyaugo to tell the chicken—in Chickenese, chicken language—to leave, she begins to recognize the Wood Wit for the trickster he is. A brown-skinned round face with mischievous eyes, long arms, a broad nose, and a smile that spans its whole face, the elusive Wood Wit will arouse curiosity and make readers want to know more about this mysterious and fun-loving figure. While Okorafor immerses readers in West African culture textually, Amini does likewise visually, especially in the beautifully patterned wings of the giant chicken. When the festival finally begins, Amini gives readers a wonderful idea of what the New Yam Festival looks and feels like.
Best known for her African-based fantasies (Akata Witch, 2011, etc.), Okorafor leaps into the world of picture books in a most unforgettable way with this playful, fascinating tale. (Picture book. 4-8)Pub Date: Sept. 1, 2017
ISBN: 978-1-9113-7315-5
Page Count: 32
Publisher: Lantana
Review Posted Online: July 1, 2017
Kirkus Reviews Issue: July 15, 2017
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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