Rosales spins the story of the three bears with African-American elements; Leola, in the Goldilocks role, runs off to do what she wants, in spite of her grandmother’s warning not to go astray. She gets lost in the woods, is frightened by a weasel, and comes across the inn that the three bears run; they’ve left the place while some baked goods cool, and so the story line joins the original. Leola misbehaves, eating what she’s not supposed to, sits even though she hasn’t been invited, and is found by the three bears upon their return. They ask after her manners, which she admits she’s ignored; her tears show her for the child she is, and the mother bear loads a basket and sends a contrite Leola home with an escort. The artwork is a curious combination of the overly observed and caricature. Leola is drawn with exacting realism, while the bears have the faces and demeanor of the stuffed toys won at a carnival. The story is just as stuffed, wordy beyond effect, and without personality; the cautionary elements are thoroughly diluted, and the only suspense—in the encounter with the weasel—quickly dissipates. (Picture book/folklore. 3-8)
Pub Date: Oct. 1, 1999
ISBN: 0-590-38358-2
Page Count: 40
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1999
BOOK REVIEW
Lunge-Larsen and Preus debut with this story of a flower that blooms for the first time to commemorate the uncommon courage of a girl who saves her people from illness. The girl, an Ojibwe of the northern woodlands, knows she must journey to the next village to get the healing herb, mash-ki- ki, for her people, who have all fallen ill. After lining her moccasins with rabbit fur, she braves a raging snowstorm and crosses a dark frozen lake to reach the village. Then, rather than wait for morning, she sets out for home while the villagers sleep. When she loses her moccasins in the deep snow, her bare feet are cut by icy shards, and bleed with every step until she reaches her home. The next spring beautiful lady slippers bloom from the place where her moccasins were lost, and from every spot her injured feet touched. Drawing on Ojibwe sources, the authors of this fluid retelling have peppered the tale with native words and have used traditional elements, e.g., giving voice to the forces of nature. The accompanying watercolors, with flowing lines, jewel tones, and decorative motifs, give stately credence to the story’s iconic aspects. (Picture book/folklore. 4-8)
Pub Date: March 1, 1999
ISBN: 0-395-90512-5
Page Count: 32
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1999
This vibrant, thoughtful book from Katz (Over the Moon, 1997) continues her tribute to her adopted daughter, Lena, born in Guatemala. Lena is “seven. I am the color of cinnamon. Mom says she could eat me up”; she learns during a painting lesson that to get the color brown, she will have to “mix red, yellow, black, and white paints.” They go for a walk to observe the many shades of brown: they see Sonia, who is the color of creamy peanut butter; Isabella, who is chocolate brown; Lucy, both peachy and tan; Jo-Jin, the color of honey; Kyle, “like leaves in fall”; Mr. Pellegrino, the color of pizza crust, golden brown. Lena realizes that every shade is beautiful, then mixes her paints accordingly for portraits of her friends—“The colors of us!” Bold illustrations celebrate diversity with a child’s open-hearted sensibility and a mother’s love. (Picture book. 6-8)
Pub Date: Sept. 1, 1999
ISBN: 0-8050-5864-8
Page Count: 28
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1999
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