Will Z and Y make it to the beginning of the alphabet? Kids will no doubt find their quest a hoot and giggle.
With so many alphabet books bouncing around, it’s no wonder that letter Z is tired of being in last place. For a change, she wants to go first.
Being at the end is sooo boring, so Z and Y together decide to challenge the other letters for position—but they run into a number of letters blocking their way. E stretches into a fence. D blocks their path with his big belly (from eating too many doughnuts). F and G let them pass with a warning that H might be grumpy. LMNOP stick together like a brick wall. While the storyline plays itself out with understated humor, the bright, mixed-media illustrations shape each letter like a Saturday-morning–cartoon character, with googly eyes and (mostly) smiling faces. Each one has a personality trait, with vivid colors adding to the comic effect, and some letters seem to contain related references in their design. For example, M looks rather like a dog, which may prompt caregivers to introduce the vocabulary word “mutt,” but this is not consistent—why does the J have a head that looks like a duck?
Will Z and Y make it to the beginning of the alphabet? Kids will no doubt find their quest a hoot and giggle. (Picture book. 4-6)Pub Date: May 29, 2018
ISBN: 978-1-250-12395-4
Page Count: 32
Publisher: Imprint
Review Posted Online: Feb. 12, 2018
Kirkus Reviews Issue: March 1, 2018
As ephemeral as a valentine.
Daywalt and Jeffers’ wandering crayons explore love.
Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.
As ephemeral as a valentine. (Picture book. 4-6)Pub Date: Dec. 24, 2019
ISBN: 978-1-5247-9268-8
Page Count: 32
Publisher: Penguin Workshop
Review Posted Online: Feb. 1, 2021
SEEN & HEARD
SEEN & HEARD
A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history.
Ferry and the Fans portray a popular seasonal character’s unlikely friendship.
Initially, the protagonist is shown in his solitary world: “Scarecrow stands alone and scares / the fox and deer, / the mice and crows. / It’s all he does. It’s all he knows.” His presence is effective; the animals stay outside the fenced-in fields, but the omniscient narrator laments the character’s lack of friends or places to go. Everything changes when a baby crow falls nearby. Breaking his pole so he can bend, the scarecrow picks it up, placing the creature in the bib of his overalls while singing a lullaby. Both abandon natural tendencies until the crow learns to fly—and thus departs. The aabb rhyme scheme flows reasonably well, propelling the narrative through fall, winter, and spring, when the mature crow returns with a mate to build a nest in the overalls bib that once was his home. The Fan brothers capture the emotional tenor of the seasons and the main character in their panoramic pencil, ballpoint, and digital compositions. Particularly poignant is the close-up of the scarecrow’s burlap face, his stitched mouth and leaf-rimmed head conveying such sadness after his companion goes. Some adults may wonder why the scarecrow seems to have only partial agency, but children will be tuned into the problem, gratified by the resolution.
A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history. (Picture book. 4-6)Pub Date: Sept. 3, 2019
ISBN: 978-0-06-247576-3
Page Count: 40
Publisher: Harper/HarperCollins
Review Posted Online: May 7, 2019
Kirkus Reviews Issue: June 1, 2019
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