Hap-pee-ly–ever-after reading fun.
Laugh-out-loud potty humor.
Gormley’s story mines fairy-tale tropes as well as toilet humor to deliver laughs. It opens with Prince Freddie on holiday, sunbathing and drinking lemonade. His talking horse, Sir Rushington, interrupts his vacation to tell the prince a dragon is laying siege to Castle Crumbly. After Freddie “gulp[s] down the very last drop of his lemonade,” they’re off! Alas, the horse’s “Up and down. Up and down. Up and down” trot, not to mention the bodies of water, a waterfall, and rain that Mould illustrates in his uproarious acrylic illustrations, soon make the armor-clad Freddie painfully aware of his full bladder. Repeated pit stops for him to relieve himself are interrupted by a terrifying ogre, a princess in a tower (“How very awkward,” sympathizes Sir Rushington), and a very long bathroom line formed by the Big Bad Wolf, Puss in Boots, and the Seven Dwarfs. (Adult female caregivers will note the irony that every single person in this line is implied male.) When they finally arrive at Castle Crumbly, Prince Freddie is so desperate that he plows right by the dragon, who sets the castle ablaze. Luckily, Prince Freddie eschews the throne room and stands atop a turret instead, well-positioned to douse the flames below: “And suddenly there was an almighty sizzle.” Freddie and all other humanoids save the green ogre are white.
Hap-pee-ly–ever-after reading fun. (Picture book. 3-8)Pub Date: June 26, 2018
ISBN: 978-0-7636-9916-1
Page Count: 32
Publisher: Nosy Crow
Review Posted Online: March 26, 2018
Kirkus Reviews Issue: April 15, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A nice but not requisite purchase.
A retelling of the classic fairy tale in board-book format and with a Mexican setting.
Though simplified for a younger audience, the text still relates the well-known tale: mean-spirited stepmother, spoiled stepsisters, overworked Cinderella, fairy godmother, glass slipper, charming prince, and, of course, happily-ever-after. What gives this book its flavor is the artwork. Within its Mexican setting, the characters are olive-skinned and dark-haired. Cultural references abound, as when a messenger comes carrying a banner announcing a “FIESTA” in beautiful papel picado. Cinderella is the picture of beauty, with her hair up in ribbons and flowers and her typically Mexican many-layered white dress. The companion volume, Snow White, set in Japan and illustrated by Misa Saburi, follows the same format. The simplified text tells the story of the beautiful princess sent to the forest by her wicked stepmother to be “done away with,” the dwarves that take her in, and, eventually, the happily-ever-after ending. Here too, what gives the book its flavor is the artwork. The characters wear traditional clothing, and the dwarves’ house has the requisite shoji screens, tatami mats and cherry blossoms in the garden. The puzzling question is, why the board-book presentation? Though the text is simplified, it’s still beyond the board-book audience, and the illustrations deserve full-size books.
A nice but not requisite purchase. (Board book/fairy tale. 3-5)Pub Date: Sept. 13, 2016
ISBN: 978-1-4814-7915-8
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Oct. 11, 2016
Kirkus Reviews Issue: Jan. 1, 2017
BOOK REVIEW
BOOK REVIEW
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
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