A collection of beautiful images and engaging ideas that never coheres.
A small, hard-to-define work that falls somewhere between a picture book, a poetry collection, and an art portfolio.
On the cover of Ross and Usova’s (Teapots and Assorted Things, 2015) latest work, a multicolored fish with a human face, clad in red boots, promises a whimsical, fantastical journey. Inside, the whimsy and fantasy are indeed plentiful. Each two-page spread presents a unique concept with Ross’ stripped-down text on the left and Usova’s intricate, watercolor-and-ink illustrations on the right. Many of Ross’ one- or two-sentence ideas, presented in their entirety, would make wonderful first lines of longer poems or stories, such as the opener: “A long time ago, / we had a home in the sky.” The accompanying painting of a child on top of a house, surrounded by birds, will make readers to want to know more about that home. Turning the page, however, switches gears; an image of a different child, observed by a pair of owls, drops a red pacifier outside of a crib, and the text reads: “Gravity is fun. / It works every time.” Subsequent pages introduce other unrelated characters and concepts, such as “Drucilla’s new town was different,” or a fish “with a village on her back.” The images often hint at a story that isn’t conveyed in the text; for instance, an illustration of a charming, three-headed dragon is associated with the lines, “Let’s go here. / No, let’s go there. / No, let’s go everywhere.” Some longer segments could be considered complete poems with rhythm and rhyme that evoke Dr. Seuss or Shel Silverstein, such as “The flying horses / neigh and dance and play. / I hope they stay.” But despite the combined images of children in a hot air balloon, surrounded by white, winged horses, the delightful idea in the text is never fully fleshed out. The rest of this poem consists of “Mom” saying that “tomorrow is another day / and more good things / will come our way.” This frustrating lack of development throughout the book prevents readers from fully inhabiting its imaginative worlds.
A collection of beautiful images and engaging ideas that never coheres.Pub Date: Jan. 30, 2016
ISBN: N/A
Page Count: 26
Publisher: CreateSpace
Review Posted Online: Nov. 28, 2016
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
Little Blue Truck keeps on truckin’—but not without some backfires.
Little Blue Truck feels, well, blue when he delivers valentine after valentine but receives nary a one.
His bed overflowing with cards, Blue sets out to deliver a yellow card with purple polka dots and a shiny purple heart to Hen, one with a shiny fuchsia heart to Pig, a big, shiny, red heart-shaped card to Horse, and so on. With each delivery there is an exchange of Beeps from Blue and the appropriate animal sounds from his friends, Blue’s Beeps always set in blue and the animal’s vocalization in a color that matches the card it receives. But as Blue heads home, his deliveries complete, his headlight eyes are sad and his front bumper droops ever so slightly. Blue is therefore surprised (but readers may not be) when he pulls into his garage to be greeted by all his friends with a shiny blue valentine just for him. In this, Blue’s seventh outing, it’s not just the sturdy protagonist that seems to be wilting. Schertle’s verse, usually reliable, stumbles more than once; stanzas such as “But Valentine’s Day / didn’t seem much fun / when he didn’t get cards / from anyone” will cause hitches during read-alouds. The illustrations, done by Joseph in the style of original series collaborator Jill McElmurry, are pleasant enough, but his compositions often feel stiff and forced.
Little Blue Truck keeps on truckin’—but not without some backfires. (Board book. 1-4)Pub Date: Dec. 8, 2020
ISBN: 978-0-358-27244-1
Page Count: 20
Publisher: HMH Books
Review Posted Online: Jan. 18, 2021
Kirkus Reviews Issue: Feb. 15, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Safe to creep on by.
Carle’s famous caterpillar expresses its love.
In three sentences that stretch out over most of the book’s 32 pages, the (here, at least) not-so-ravenous larva first describes the object of its love, then describes how that loved one makes it feel before concluding, “That’s why… / I[heart]U.” There is little original in either visual or textual content, much of it mined from The Very Hungry Caterpillar. “You are… / …so sweet,” proclaims the caterpillar as it crawls through the hole it’s munched in a strawberry; “…the cherry on my cake,” it says as it perches on the familiar square of chocolate cake; “…the apple of my eye,” it announces as it emerges from an apple. Images familiar from other works join the smiling sun that shone down on the caterpillar as it delivers assurances that “you make… / …the sun shine brighter / …the stars sparkle,” and so on. The book is small, only 7 inches high and 5 ¾ inches across when closed—probably not coincidentally about the size of a greeting card. While generations of children have grown up with the ravenous caterpillar, this collection of Carle imagery and platitudinous sentiment has little of his classic’s charm. The melding of Carle’s caterpillar with Robert Indiana’s iconic LOVE on the book’s cover, alas, draws further attention to its derivative nature.
Safe to creep on by. (Picture book. 3-6)Pub Date: Dec. 15, 2015
ISBN: 978-0-448-48932-2
Page Count: 32
Publisher: Grosset & Dunlap
Review Posted Online: Feb. 1, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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