Twenty poems celebrate the denizens of the garden through day, night and all sorts of weather. The strongest poems scan well, with disciplined rhyme and insightful metaphors. “Garden Lullaby” gently explores the moonlit garden, sotto voce: “Sweet dreams, little peas, ten to a pod. / Good night, radishes, tucked under sod. / Gone are the bees and butterflies.” Less successful are erratically rhyming poems such as “The Pumpkin’s Revenge”—“The ugly pumpkin, so heckled and shamed, / defied the fairy deadline and remained / a one-of-a-kind carriage in gilded frame. / You can see him today in a Paris museum.” Davenier deftly commands her medium, layering transparent, luminous watercolor. The best compositions liberally employ black line to contour leaves, pods and worms, and the endpapers, contrasting the garden in summer and winter, truly sparkle. A childlike fairy, never referenced in the poems, appears prominently in every illustration, and the correspondence between poem and illustration is at times lacking. Uneven, but not without its bright charms. (Poetry. 6-10)
Pub Date: April 1, 2006
ISBN: 0-8118-3962-1
Page Count: 32
Publisher: Chronicle Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2006
A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)
Pub Date: Feb. 1, 2001
ISBN: 0-8050-6744-2
Page Count: 32
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2002
BOOK REVIEW
With an eye toward easy memorization, Katz gathers over 50 short poems from the likes of Emily Dickinson, Valerie Worth, Jack Prelutsky, and Lewis Carroll, to such anonymous gems as “The Burp”—“Pardon me for being rude. / It was not me, it was my food. / It got so lonely down below, / it just popped up to say hello.” Katz includes five of her own verses, and promotes an evident newcomer, Emily George, with four entries. Hafner surrounds every selection with fine-lined cartoons, mostly of animals and children engaged in play, reading, or other familiar activities. Amid the ranks of similar collections, this shiny-faced newcomer may not stand out—but neither will it drift to the bottom of the class. (Picture book/poetry. 7-9)
Pub Date: March 1, 2004
ISBN: 0-525-47172-3
Page Count: 32
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2004
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