Perhaps not a staple, but a light, fluffy read nonetheless.
In this quirky take on the tall tale, Paul Bunyan and Babe the Blue Ox are obsessed with pancakes, but mother knows best when it comes to nutrition.
Paul’s mom cannot feed him and Babe enough pancakes. Throwing up her beater and spatula, she finally protests, “I have fields to tend.” Paul and Babe try helping her, even though they refuse to eat the vegetables yielded. But they squish the plants with their big feet, so they are forced to leave home to seek their pancake fortune elsewhere. Cheerful gouache illustrations, which appear to be partly influenced by 1920s animated cartoons and contemporary street art, bounce with energy, driving the story forward as their adventures unfold. Paul and Babe are depicted with such bold, playful verve they could be restaurant mascots. The inclusion of colorful, hand-lettered text adds emphasis and acts as a balance to the art. In this somewhat slight retelling, their assistance clearing a logjam and the formation of both the Rocky Mountains and the Grand Canyon are directly related to their quest to get their fill of pancakes. They succeed—and get sick, just like Mom predicted. The doctor confirms it: The cure is a balanced diet; so the two turn for home and Mom’s healthy, homegrown food.
Perhaps not a staple, but a light, fluffy read nonetheless. (author’s note, bibliography) (Picture book. 4-8)Pub Date: Oct. 1, 2012
ISBN: 978-1-4197-0420-8
Page Count: 48
Publisher: Abrams
Review Posted Online: Aug. 28, 2012
Kirkus Reviews Issue: Sept. 15, 2012
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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