An excellent choice for children who are dealing with the loss of a loved one or just learning about death.
Death is a particularly difficult topic to discuss with children, but this book helps to broach the subject gently and with respect for young people’s sensibilities.
The book opens with the statement “My dear one. Life, like spring, is far too short” accompanied by a picture of a flower with some petals falling off and blowing in the wind. This double-page spread is followed by a series of patterned statements that describe what life will be like for readers when the person they love is no longer alive, both describing reality and offering comfort. “I will not always be…” is coupled with, “But you’ll find me…” in places and moments such as “the flicker of candlelight, the pause between Please and Thank you.” The repeated phrase “I will not always be…” and the ellipsis take on a double meaning, a gentle reminder that one day this person the child loves “will not always be.” The book does not mention an afterlife or make ecclesiastical references; however, birds, butterflies, and candle flames in the illustrations are known to symbolize those who have died in some cultures. As there is no significance given to their presence in the text, this book is beneficial for both children of varying faiths and those who come from homes without a faith tradition. The illustrations are done in a palette of bright but calming pastels, and the children in the illustrations have skin ranging from white to light brown and varying hair types and colors. (This book was reviewed digitally with 10-by-16-inch double-page spreads viewed at 75% of actual size.)
An excellent choice for children who are dealing with the loss of a loved one or just learning about death. (Picture book. 4-8)Pub Date: Sept. 22, 2020
ISBN: 978-1-4338-3126-3
Page Count: 32
Publisher: Magination/American Psychological Association
Review Posted Online: July 13, 2020
Kirkus Reviews Issue: Aug. 1, 2020
Halloween is used merely as a backdrop; better holiday titles for young readers are available.
A ghost learns to appreciate his differences.
The little ghost protagonist of this title is unusual. He’s a quilt, not a lightweight sheet like his parents and friends. He dislikes being different despite his mom’s reassurance that his ancestors also had unconventional appearances. Halloween makes the little ghost happy, though. He decides to watch trick-or-treaters by draping over a porch chair—but lands on a porch rail instead. A mom accompanying her daughter picks him up, wraps him around her chilly daughter, and brings him home with them! The family likes his looks and comforting warmth, and the little ghost immediately feels better about himself. As soon as he’s able to, he flies out through the chimney and muses happily that this adventure happened only due to his being a quilt. This odd but gently told story conveys the importance of self-respect and acceptance of one’s uniqueness. The delivery of this positive message has something of a heavy-handed feel and is rushed besides. It also isn’t entirely logical: The protagonist could have been a different type of covering; a blanket, for instance, might have enjoyed an identical experience. The soft, pleasing illustrations’ palette of tans, grays, white, black, some touches of color, and, occasionally, white text against black backgrounds suggest isolation, such as the ghost feels about himself. Most humans, including the trick-or-treating mom and daughter, have beige skin. (This book was reviewed digitally with 11-by-16.6-inch double-page spreads viewed at 66.2% of actual size.)
Halloween is used merely as a backdrop; better holiday titles for young readers are available. (Picture book. 4-7)Pub Date: Sept. 1, 2020
ISBN: 978-0-7352-6447-2
Page Count: 48
Publisher: Tundra Books
Review Posted Online: July 13, 2020
Kirkus Reviews Issue: Aug. 1, 2020
BOOK REVIEW
Menacing and most likely to appeal to established fans of its co-creators.
Existing artwork from an artistic giant inspires a fairy-tale reimagination by a master of the horror genre.
In King’s interpretation of a classic Brothers Grimm story, which accompanies set and costume designs that the late Sendak created for a 1997 production of Engelbert Humperdinck’s opera, siblings Hansel and Gretel survive abandonment in the woods and an evil witch’s plot to gobble them up before finding their “happily ever after” alongside their father. Prose with the reassuring cadence of an old-timey tale, paired with Sendak’s instantly recognizable artwork, will lull readers before capitalizing on these creators’ knack for injecting darkness into seemingly safe spaces. Gaping faces loom in crevices of rocks and trees, and a gloomy palette of muted greens and ocher amplify the story’s foreboding tone, while King never sugarcoats the peach-skinned children’s peril. Branches with “clutching fingers” hide “the awful enchanted house” of a “child-stealing witch,” all portrayed in an eclectic mix of spot and full-bleed images. Featuring insults that might strike some as harsh (“idiot,” “fool”), the lengthy, dense text may try young readers’ patience, and the often overwhelmingly ominous mood feels more pitched to adults—particularly those familiar with King and Sendak—but an introduction acknowledges grandparents as a likely audience, and nostalgia may prompt leniency over an occasional disconnect between words and art.
Menacing and most likely to appeal to established fans of its co-creators. (Picture book. 4-8)Pub Date: Sept. 2, 2025
ISBN: 9780062644695
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 15, 2025
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