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ARTURO

A sly, winking acknowledgment that naughtiness is harder to root out than one might wish.

An anteater is antsy for world fame.

Arturo craves acclaim and doesn’t sit idly by, waiting for the spotlight to claim him. He works at being the “centre of attention,” acting “cheeky” and striking rude poses. (This import from Australia and New Zealand has not been Americanized.) Disregarding warnings that “if the wind changes…you’ll stick like that,” Arturo keeps it up—until the wind does change, and he turns into a statue, frozen in a ludicrous posture with a rather daft facial expression. Efforts at unsticking fail; Arturo is used for utilitarian purposes, as coat rack, Christmas tree, and scarecrow. But could fame finally be within his grasp? “Chat shows,” celebrity soirees, and news articles attest to Arturo’s notoriety. His placement atop a pedestal proves he’s famous and loved! At story’s end, though, Arturo is inexplicably released from his immobile existence, and he realizes he’d rather be himself. Of course, “himself” isn’t famous but is still naughty. There’s an obvious illustrated hint that Arturo quickly returns to his former ways, having learned little except that fame is illusory. This humorous but thin story thus forgoes what could have been a pat lesson about improving moral character; it concludes realistically and accessibly: A pesky pain in the neck is likely to remain so. Comical cartoons feature lots of white space; Arturo’s exaggerated facial features enhance the fun.

A sly, winking acknowledgment that naughtiness is harder to root out than one might wish. (Picture book. 4-7)

Pub Date: Oct. 1, 2020

ISBN: 978-1-76036-087-0

Page Count: 36

Publisher: Starfish Bay

Review Posted Online: Aug. 31, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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LOVE FROM THE CRAYONS

As ephemeral as a valentine.

Daywalt and Jeffers’ wandering crayons explore love.

Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.

As ephemeral as a valentine. (Picture book. 4-6)

Pub Date: Dec. 24, 2019

ISBN: 978-1-5247-9268-8

Page Count: 32

Publisher: Penguin Workshop

Review Posted Online: Feb. 1, 2021

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ON THE FIRST DAY OF KINDERGARTEN

While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of...

Rabe follows a young girl through her first 12 days of kindergarten in this book based on the familiar Christmas carol.

The typical firsts of school are here: riding the bus, making friends, sliding on the playground slide, counting, sorting shapes, laughing at lunch, painting, singing, reading, running, jumping rope, and going on a field trip. While the days are given ordinal numbers, the song skips the cardinal numbers in the verses, and the rhythm is sometimes off: “On the second day of kindergarten / I thought it was so cool / making lots of friends / and riding the bus to my school!” The narrator is a white brunette who wears either a tunic or a dress each day, making her pretty easy to differentiate from her classmates, a nice mix in terms of race; two students even sport glasses. The children in the ink, paint, and collage digital spreads show a variety of emotions, but most are happy to be at school, and the surroundings will be familiar to those who have made an orientation visit to their own schools.

While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of Kindergarten (2003), it basically gets the job done. (Picture book. 4-7)

Pub Date: June 21, 2016

ISBN: 978-0-06-234834-0

Page Count: 32

Publisher: Harper/HarperCollins

Review Posted Online: May 3, 2016

Kirkus Reviews Issue: June 1, 2016

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