The title story, plus two that are also about the transmutation of toys, plus a fourth that ties the other three together—presented, however, in a picture-book format (with full-color pictures) that makes the book look too young for the out-of-the-way, and somewhat subtle, stories. In the title story, a tin frog enamored of the lady in the picture on the inside of a La Corona cigar-box lid, finds out (via tips from a magnifying glass, a tape measure, and a seashell) how to get between the dots in the picture and join her. In the second, somewhat similar tale, a tin horseman is united with a "yellow-haired princess" in a "weather castle. . . printed on a card." (The eerie difference has to do with a glass-topped box with little silver halls to be shaken into a monkey's eyes—a terrifying prospect to the tin horseman, who therefore smashes the glass.) The third and most remote involves a night watchman, made of wood, whose "real job was burning incense," and a tin crocodile on wheels. The night watchman is "burning to say something," the crocodile fancies himself literary; and one midnight when the tin watchman does say something properly cryptic ("NOW IS THE ONLY TIME THERE IS!"), the crocodile composes a poem from it—which the spinster mouse, who edits "a literary quarterly," will publish. The last is reverberant—and would make a fine capstone for the group were each more accessible. Quite simply, the clock has noticed that the magic always occurs in "that crucial moment. . . just after his hands touched midnight and just before he sounded his twelve strokes." So, wanting to do something himself in that "in-between moment," he slips out of his case—and La Corona ceases to be "only a picture" and joins the frog in the room, the tin horseman and his princess also materialize together, the incense-burning night watchman finds he can speak the others' language; and as they follow the "clock's escapement" out the window, "whoever lived in the red-and-yellow glass-topped box that had been the monkey game of skill," joins them. "'They'll want me too,' he said. 'Everyone can't be nice.'" More appropriately presented, the quartet might bc worthwhile for children who take to this very particular kind of English magic As it is, though, the book is unlikely to find its few rightful readers.
Pub Date: Feb. 15, 1981
ISBN: 0091767202
Page Count: 350
Publisher: Jonathan Cape/Trafalgar
Review Posted Online: April 27, 2012
Kirkus Reviews Issue: Feb. 1, 1981
Broccoli: No way is James going to eat broccoli. “It’s disgusting,” says James. Well then, James, says his father, let’s consider the alternatives: some wormy dirt, perhaps, some stinky socks, some pre-chewed gum? James reconsiders the broccoli, but—milk? “Blech,” says James. Right, says his father, who needs strong bones? You’ll be great at hide-and-seek, though not so great at baseball and kickball and even tickling the dog’s belly. James takes a mouthful. So it goes through lumpy oatmeal, mushroom lasagna and slimy eggs, with James’ father parrying his son’s every picky thrust. And it is fun, because the father’s retorts are so outlandish: the lasagna-making troll in the basement who will be sent back to the rat circus, there to endure the rodent’s vicious bites; the uneaten oatmeal that will grow and grow and probably devour the dog that the boy won’t be able to tickle any longer since his bones are so rubbery. Schneider’s watercolors catch the mood of gentle ribbing, the looks of bewilderment and surrender and the deadpanned malarkey. It all makes James’ father’s last urging—“I was just going to say that you might like them if you tried them”—wholly fresh and unexpected advice. (Early reader. 5-9)
Pub Date: May 1, 2011
ISBN: 978-0-547-14956-1
Page Count: 48
Publisher: Clarion Books
Review Posted Online: April 4, 2011
Kirkus Reviews Issue: April 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A nice but not requisite purchase.
A retelling of the classic fairy tale in board-book format and with a Mexican setting.
Though simplified for a younger audience, the text still relates the well-known tale: mean-spirited stepmother, spoiled stepsisters, overworked Cinderella, fairy godmother, glass slipper, charming prince, and, of course, happily-ever-after. What gives this book its flavor is the artwork. Within its Mexican setting, the characters are olive-skinned and dark-haired. Cultural references abound, as when a messenger comes carrying a banner announcing a “FIESTA” in beautiful papel picado. Cinderella is the picture of beauty, with her hair up in ribbons and flowers and her typically Mexican many-layered white dress. The companion volume, Snow White, set in Japan and illustrated by Misa Saburi, follows the same format. The simplified text tells the story of the beautiful princess sent to the forest by her wicked stepmother to be “done away with,” the dwarves that take her in, and, eventually, the happily-ever-after ending. Here too, what gives the book its flavor is the artwork. The characters wear traditional clothing, and the dwarves’ house has the requisite shoji screens, tatami mats and cherry blossoms in the garden. The puzzling question is, why the board-book presentation? Though the text is simplified, it’s still beyond the board-book audience, and the illustrations deserve full-size books.
A nice but not requisite purchase. (Board book/fairy tale. 3-5)Pub Date: Sept. 13, 2016
ISBN: 978-1-4814-7915-8
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Oct. 11, 2016
Kirkus Reviews Issue: Jan. 1, 2017
BOOK REVIEW
BOOK REVIEW
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