Kindness is rewarded and a holiday is celebrated in this endearing, satisfying story.
Miracles occur on Passover, both in the Haggadah and in a poor, Depression-era Jewish American neighborhood.
For Muriel, a young girl living in 1933 Washington, D.C., there can be no Passover seder. Her family is too poor. Stopping at the Lincoln Memorial, she watches a juggler whose shabby appearance suddenly seems to burst into color. She gives him all she has—one penny—and he tells her to hurry home to a seder. She rushes home only to find her parents standing in front of an empty table. But the stranger is now at the door, and he magically transforms that bare table to one overflowing with holiday foods and ceremonial plates and cups. The rabbi is summoned and declares it a “true miracle” to be enjoyed by the whole neighborhood. At the conclusion of the festive meal, the cup left for the Prophet Elijah is empty. In her afterword, the author writes that a favorite childhood story was Uri Shulevitz’s The Magician (1973), which set a Yiddish tale by Isaac Loeb Peretz in a shtetl. This reimagined American setting during the Great Depression and its message of community and faith will resonate with readers. Rubin’s line-and-color art beautifully conveys a Washington, D.C., spring with cherry blossoms blooming, crowded streets that also evoke a long-ago, slightly off-kilter European town, and a gloriously bright holiday evening. (This book was reviewed digitally with 11-by-17-inch double-page spreads viewed at 34.8% of actual size.)
Kindness is rewarded and a holiday is celebrated in this endearing, satisfying story. (illustrator's note) (Picture book. 4-8)Pub Date: Jan. 19, 2021
ISBN: 978-0-8234-4562-2
Page Count: 40
Publisher: Neal Porter/Holiday House
Review Posted Online: Jan. 12, 2021
Kirkus Reviews Issue: Feb. 1, 2021
Pete’s fans might find it groovy; anyone else has plenty of other “12 Days of Christmas” variants to choose among
Pete, the cat who couldn’t care less, celebrates Christmas with his inimitable lassitude.
If it weren’t part of the title and repeated on every other page, readers unfamiliar with Pete’s shtick might have a hard time arriving at “groovy” to describe his Christmas celebration, as the expressionless cat displays not a hint of groove in Dean’s now-trademark illustrations. Nor does Pete have a great sense of scansion: “On the first day of Christmas, / Pete gave to me… / A road trip to the sea. / GROOVY!” The cat is shown at the wheel of a yellow microbus strung with garland and lights and with a star-topped tree tied to its roof. On the second day of Christmas Pete gives “me” (here depicted as a gray squirrel who gets on the bus) “2 fuzzy gloves, and a road trip to the sea. / GROOVY!” On the third day, he gives “me” (now a white cat who joins Pete and the squirrel) “3 yummy cupcakes,” etc. The “me” mentioned in the lyrics changes from day to day and gift to gift, with “4 far-out surfboards” (a frog), “5 onion rings” (crocodile), and “6 skateboards rolling” (a yellow bird that shares its skateboards with the white cat, the squirrel, the frog, and the crocodile while Pete drives on). Gifts and animals pile on until the microbus finally arrives at the seaside and readers are told yet again that it’s all “GROOVY!”
Pete’s fans might find it groovy; anyone else has plenty of other “12 Days of Christmas” variants to choose among . (Picture book. 4-8)Pub Date: Sept. 18, 2018
ISBN: 978-0-06-267527-9
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 19, 2018
Kirkus Reviews Issue: Sept. 1, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
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