A twisted take on an old standard that just may have readers rewriting their own favorites.
An omniscient narrator battles Hansel and Gretel for control of the story…and loses, to readers’ delight.
At the start, this seems like the standard fairy tale, but it’s not long before the siblings are contradicting the narrator: “What kind of person SAVES bread crumbs?” Gretel asks, and Hansel adds, “It’s a time of great famine. If there are bread crumbs left, we eat them.” These cheeky retorts only grow more numerous as the tale continues. Gretel also flexes her feminist muscles, demanding the title be “Gretel and Hansel” and that she not do chores while Hansel gets fattened up on a candy diet (or swells from a sensitivity to strawberries, as it turns out: “Food allergies are NOT a joke”). Eventually, the narrator gives up trying to fix the tale and gives the two full control, and things quickly get out of hand: Both end up sporting mustaches, there’s a unicorn named Fluffybottom, and the kids are reunited with their completely innocent parents. Taylor’s digital illustrations take the loony text several steps farther, and readers will enjoy the cameos from characters from other familiar tales. Hansel, Gretel, and their parents present white, and the witch is literally white, with a long, pink nose.
A twisted take on an old standard that just may have readers rewriting their own favorites. (Picture book. 4-8)Pub Date: March 1, 2019
ISBN: 978-1-5039-0294-7
Page Count: 32
Publisher: Two Lions
Review Posted Online: Nov. 20, 2018
Kirkus Reviews Issue: Dec. 15, 2018
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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