Brain-bending exercise for eyes and minds of all ages.
Rich in wonder, hidden and otherwise.
The best place to hide something, the saying goes, is in plain sight, and the devil, they say, is in the details. Photographer Wick exploits both principles in this gorgeous and captivating challenge to the observational abilities of young and old alike. Wick collaborated on the popular I Spy series with the late Jean Marzollo and continues the tradition in his own Can You See What I See? books. Here, 12 different set pieces of great detail and complexity offer readers hours of enchantment, searching for a menu of objects hidden within each tableau and discovering a great deal more in the process. These dioramas are so richly detailed that the longer one looks, the more one finds to amaze and amuse. Each scene spans roughly five-sixths of a spread, with the remaining strip bearing its title and a rhyming list of items to find within the picture. Mirrors and impossible-object illusions add to the visual complexity. For example, “Costume Ball” takes place in a hall of mirrors while “Space Station Impossible” is designed as a Penrose triangle made up of three right angles. “Wacky Workshop” features perpetually climbing Escher stairs and “a house that’s / impossible / in 3 different places,” and “Flatland” blends 3-D optical illusions with strategically placed objects that make it hard to know what’s flat and what’s not.
Brain-bending exercise for eyes and minds of all ages. (Picture book. 4-8)Pub Date: March 2, 2021
ISBN: 978-1-338-68671-5
Page Count: 40
Publisher: Cartwheel/Scholastic
Review Posted Online: Dec. 24, 2020
Kirkus Reviews Issue: Jan. 15, 2021
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
While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of...
Rabe follows a young girl through her first 12 days of kindergarten in this book based on the familiar Christmas carol.
The typical firsts of school are here: riding the bus, making friends, sliding on the playground slide, counting, sorting shapes, laughing at lunch, painting, singing, reading, running, jumping rope, and going on a field trip. While the days are given ordinal numbers, the song skips the cardinal numbers in the verses, and the rhythm is sometimes off: “On the second day of kindergarten / I thought it was so cool / making lots of friends / and riding the bus to my school!” The narrator is a white brunette who wears either a tunic or a dress each day, making her pretty easy to differentiate from her classmates, a nice mix in terms of race; two students even sport glasses. The children in the ink, paint, and collage digital spreads show a variety of emotions, but most are happy to be at school, and the surroundings will be familiar to those who have made an orientation visit to their own schools.
While this is a fairly bland treatment compared to Deborah Lee Rose and Carey Armstrong-Ellis’ The Twelve Days of Kindergarten (2003), it basically gets the job done. (Picture book. 4-7)Pub Date: June 21, 2016
ISBN: 978-0-06-234834-0
Page Count: 32
Publisher: Harper/HarperCollins
Review Posted Online: May 3, 2016
Kirkus Reviews Issue: June 1, 2016
BOOK REVIEW
BOOK REVIEW
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