Welcome back, Otto. Glad you’re here to stay
Almost a decade and a half after crash-landing on Earth in See Otto (2002), Milgrim’s lovable robot is back and thinking about returning home.
“See Otto.” Readers see Otto looking at a family portrait of two adult robots and one child robot. “See Otto look at his home” reveals the robot peering through a telescope. An expansive, wordless double-page spread following shows Otto looking up at the stars, the family picture clamped in one “hand,” before getting to “work, work, work” in subsequent spreads. “No, Otto, no!” readers may well protest as they watch the robot hammering and welding scrap metal into a booster-rocket backpack, and it’s clear that’s what his animal pals are thinking as they bid him adieu. But although Otto goes “up, up, up,” with an “uh-oh,” Otto goes “down, down, down”—then left and right, and then “here” (through a desert) and “there” (past some penguins), ultimately only to get “nowhere.” As in the earlier installments in the Adventures of Otto, Milgrim combines very few words arranged in easy-to-decode patterns with a perfect balance of laugh-out-loud slapstick and honest emotion—here, real pathos—for a rich, complete story readers just taking baby steps toward literacy can manage. When Otto looks up from the wreckage to see his jubilant friends and realizes he’s “looking at his home” and his found family, readers will feel the complexity of his emotions.
Welcome back, Otto. Glad you’re here to stay . (Early reader. 4-8)Pub Date: May 24, 2016
ISBN: 978-1-4814-6724-7
Page Count: 32
Publisher: Simon Spotlight
Review Posted Online: March 15, 2016
Kirkus Reviews Issue: April 1, 2016
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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