Lovely but incomplete, both in information provided and in narrative.
A child celebrates what they love about trees from spring through winter.
In the spring, “the thing about trees that I love…is that changes begin.” In summer, they “are shady and so full of leaves that when the wind blows, they swish like the sea.” This upbeat, child-centered narrative is supplemented by brief, factual statements set in a smaller type. As the child looks at the blossoms on a plum tree, for instance, the small print informs readers that “bees visit the blossoms to collect nectar. Some pollen from each flower brushes onto a visiting bee, which carries it to the next flower.” Voake’s trees are simply glorious, rendered in her signature style of bold, black ink lines and splashy watercolor. They feel alive, from smooth-barked beeches to massive oaks. However, while their leaves are identified on the attractive endpapers, it will be up to caregivers to guess at most of the types depicted in the story. The narrator is a child with light brown skin (not consistent in hue) and straight, black hair who appears to live in an apartment building. The relationship of this substantial growth of varied trees to that building is unclear, especially as the child and their friends seem to have easy, unmediated access to it: Is it a nearby city park? Is the apartment building in a wooded area?
Lovely but incomplete, both in information provided and in narrative. (index, note) (Informational picture book. 4-6)Pub Date: March 13, 2018
ISBN: 978-0-7636-9569-9
Page Count: 32
Publisher: Candlewick
Review Posted Online: Feb. 3, 2018
Kirkus Reviews Issue: Feb. 15, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history.
Ferry and the Fans portray a popular seasonal character’s unlikely friendship.
Initially, the protagonist is shown in his solitary world: “Scarecrow stands alone and scares / the fox and deer, / the mice and crows. / It’s all he does. It’s all he knows.” His presence is effective; the animals stay outside the fenced-in fields, but the omniscient narrator laments the character’s lack of friends or places to go. Everything changes when a baby crow falls nearby. Breaking his pole so he can bend, the scarecrow picks it up, placing the creature in the bib of his overalls while singing a lullaby. Both abandon natural tendencies until the crow learns to fly—and thus departs. The aabb rhyme scheme flows reasonably well, propelling the narrative through fall, winter, and spring, when the mature crow returns with a mate to build a nest in the overalls bib that once was his home. The Fan brothers capture the emotional tenor of the seasons and the main character in their panoramic pencil, ballpoint, and digital compositions. Particularly poignant is the close-up of the scarecrow’s burlap face, his stitched mouth and leaf-rimmed head conveying such sadness after his companion goes. Some adults may wonder why the scarecrow seems to have only partial agency, but children will be tuned into the problem, gratified by the resolution.
A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history. (Picture book. 4-6)Pub Date: Sept. 3, 2019
ISBN: 978-0-06-247576-3
Page Count: 40
Publisher: Harper/HarperCollins
Review Posted Online: May 7, 2019
Kirkus Reviews Issue: June 1, 2019
Low grade.
A gray character tries to write an all-gray book.
The six primary and secondary colors are building a rainbow, each contributing the hue of their own body, and Gray feels forlorn and left out because rainbows contain no gray. So Gray—who, like the other characters, has a solid, triangular body, a doodle-style face, and stick limbs—sets off alone to create “the GRAYest book ever.” His book inside a book shows a peaceful gray cliff house near a gray sea with gentle whitecaps; his three gray characters—hippo, wolf, kitten—wait for their arc to begin. But then the primaries arrive and call the gray scene “dismal, bleak, and gloomy.” The secondaries show up too, and soon everyone’s overrunning Gray’s creation. When Gray refuses to let White and Black participate, astute readers will note the flaw: White and black (the colors) had already been included in the early all-gray spreads. Ironically, Gray’s book within a book displays calm, passable art while the metabook’s unsubtle illustrations and sloppy design make for cramped and crowded pages that are too busy to hold visual focus. The speech-bubble dialogue’s snappy enough (Blue calls people “dude,” and there are puns). A convoluted moral muddles the core artistic question—whether a whole book can be gray—and instead highlights a trite message about working together.
Low grade. (glossary) (Picture book. 4-6)Pub Date: Dec. 1, 2019
ISBN: 978-1-5420-4340-3
Page Count: 40
Publisher: Two Lions
Review Posted Online: July 22, 2019
Kirkus Reviews Issue: Aug. 15, 2019
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