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SHEEP DON’T COUNT SHEEP

Puffy as clouds and looking distinctly like cuddly toys, the sheep in this effective snooze-inducer loll in a rolling meadow strewn with exotic flowers and fairylike insects, but with skies and backgrounds that change with every turn of the page. The tale, enjoying its first stand-alone publication, features a little sheep who can’t get to sleep until its mother suggests counting butterflies. It’s sandwiched between verses (newly set to music) in which sound supercedes sense: “Sleep little lamb, and dream your dream / of things that are as things would seem.” The result? A sugary bedtime read that comes off as more of a patchy assemblage of parts than an integrated whole. No writer is superior to Margaret Wise Brown for putting children to sleep, but this uninspired outing won’t win her—or Huang, illustrator of Teresa Bateman’s Hunting the Daddyosaurus (2002) and dozens of other titles—any new fans. (Picture book. 4-6)

Pub Date: March 1, 2003

ISBN: 0-689-83346-6

Page Count: 32

Publisher: McElderry

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 2003

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THE GINGERBREAD MAN

A traditional cumulative tale, which Aylesworth (My Sister's Rusty Bike, 1996, etc.) endows with a lively pace, is illustrated in a decidedly old-fashioned style, giving the book the look and feel of a reproduction of an old edition. Working with precise pen-and-ink, McClintock portrays the cozy home of an elderly couple, dressed in Victoriana and in possession of a great wood-burning stove. Her work has never been more animated than in the scenes of the two-dimensional gingerbread man running away, exuberantly eluding everyone elsethe couple, a butcher, and a cow and pig dressed in human clothesuntil he is devoured by a fox. The portrayals of a cow and pig are more bizarre than charming, and the too-obvious wrinkles on the elderly people's faces are one example of eccentric choices on the part of the illustrator.With Richard Egielski's The Gingerbread Boy (1997) hot off the press and other fine variations of the tale still in print, it's hard to make the case for this one, other than to appreciate its antique look. (Picture book/folklore. 4-6)

Pub Date: April 1, 1998

ISBN: 0-590-97219-7

Page Count: 32

Publisher: Scholastic

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1998

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BEAUTIFUL, WONDERFUL, STRONG LITTLE ME!

Mixed-race children certainly deserve mirror books, but they also deserve excellent text and illustrations. This one misses...

This tan-skinned, freckle-faced narrator extols her own virtues while describing the challenges of being of mixed race.

Protagonist Lilly appears on the cover, and her voluminous curly, twirly hair fills the image. Throughout the rhyming narrative, accompanied by cartoonish digital illustrations, Lilly brags on her dark skin (that isn’t very), “frizzy, wild” hair, eyebrows, intellect, and more. Her five friends present black, Asian, white (one blonde, one redheaded), and brown (this last uses a wheelchair). This array smacks of tokenism, since the protagonist focuses only on self-promotion, leaving no room for the friends’ character development. Lilly describes how hurtful racial microaggressions can be by recalling questions others ask her like “What are you?” She remains resilient and says that even though her skin and hair make her different, “the way that I look / Is not all I’m about.” But she spends so much time talking about her appearance that this may be hard for readers to believe. The rhyming verse that conveys her self-celebration is often clumsy and forced, resulting in a poorly written, plotless story for which the internal illustrations fall far short of the quality of the cover image.

Mixed-race children certainly deserve mirror books, but they also deserve excellent text and illustrations. This one misses the mark on both counts. (Picture book. 4-6)

Pub Date: Sept. 14, 2018

ISBN: 978-1-63233-170-0

Page Count: 32

Publisher: Eifrig

Review Posted Online: June 10, 2018

Kirkus Reviews Issue: July 1, 2018

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