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KAMISHIBAI MAN

Kamishibai means “paper theater” in Japanese, and when Caldecott artist Say was a boy in Japan in the 1940s, a “kamishibai man” on a bicycle used to sell sweets and tell serial tales of heroes and heroines, using picture cards and a wooden stage. This nostalgic story begins when Grandpa, once a kamishibai man, gets a hankering to resurrect his show. Unfortunately, it’s been so long he finds himself in an unrecognizable city with tall buildings and rude drivers. Dismayed, he parks his bike in a vacant lot and begins to recount not the beloved “Peach Boy,” but his own story of how his show was eventually replaced by television (initially referred to as denki, or electric kamishibai!). Soon enough, Grandpa’s surrounded by a crowd of adults who remember him from their childhood, and, ironically, he ends up on the evening news. Say effectively incorporates two illustration styles here—lovely soft watercolors and a more cartoonish style for flashbacks to the heyday of kamishibai. A fascinating window on a bygone art form. (Picture book. 6-10)

Pub Date: Oct. 24, 2005

ISBN: 0-618-47954-6

Page Count: 32

Publisher: Walter Lorraine/Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 2005

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WILD, WILD WOLVES

At ``Step 2'' in the useful ``Step into Reading'' series: an admirably clear, well-balanced presentation that centers on wolves' habits and pack structure. Milton also addresses their endangered status, as well as their place in fantasy, folklore, and the popular imagination. Attractive realistic watercolors on almost every page. Top-notch: concise, but remarkably extensive in its coverage. A real bargain. (Nonfiction/Easy reader. 6-10)

Pub Date: April 1, 1992

ISBN: 0-679-91052-2

Page Count: 48

Publisher: Random House

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 1992

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GOONEY BIRD GREENE

Gooney Bird Greene (with a silent E) is not your average second grader. She arrives in Mrs. Pidgeon’s class announcing: “I’m your new student and I just moved here from China. I want a desk right smack in the middle of the room, because I like to be right smack in the middle of everything.” Everything about her is unusual and mysterious—her clothes, hairstyles, even her lunches. Since the second graders have never met anyone like Gooney Bird, they want to hear more about her. Mrs. Pidgeon has been talking to the class about what makes a good story, so it stands to reason that Gooney will get her chance. She tells a series of stories that explain her name, how she came from China on a flying carpet, how she got diamond earrings at the prince’s palace, and why she was late for school (because she was directing a symphony orchestra). And her stories are “absolutely true.” Actually, they are explainable and mesh precisely with the teacher’s lesson, more important, they are a clever device that exemplify the elements of good storytelling and writing and also demonstrate how everyone can turn everyday events into stories. Savvy teachers should take note and add this to their shelf of “how a story is made” titles. Gooney Bird’s stories are printed in larger type than the narrative and the black-and-white drawings add the right touch of sauciness (only the cover is in color). A hybrid of Harriet, Blossom, and Anastasia, irrepressible Gooney Bird is that rare bird in children’s fiction: one that instantly becomes an amusing and popular favorite. (Fiction. 6-9)

Pub Date: Sept. 1, 2002

ISBN: 0-618-23848-4

Page Count: 96

Publisher: Walter Lorraine/Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 2002

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