An imaginative chromatic fantasy with an altruistic conclusion.
In a style resembling a creation myth, Guertin describes how animals got their colors.
A quasi-biblical downpour concludes with a shimmering rainbow, which imparts color to all the animals in its path. The language is poetic: “The fish in the ocean waters glinted silver, violet, and aquamarine. The yellow duck paddled in the sapphire blue of the pond. And the red fox scurried through the amber forest.” Great Bird, ruler of the bird kingdom, begs Rainbow to color him, and “with one swift kiss, she turned Great Bird from gray to shimmering gold.” All the other birds jostle to be colored by the rainbow. One by one, Parrot, Cardinal, Blue Jay, Canary, and all the other birds are appropriately colored. As the colors begin to run out, Great Bird notices a small Gouldian finch (a rare Australian finch) who is still uncolored. It turns out the finch was too polite and waited too long, until the colors had been given to the more acquisitive fowl. Rainbow’s solution? With their agreement, she gathers a splash of color from each of the birds, and Gouldian Finch is magically transformed into his true rainbow-colored splendor. Pérez García adopts a folk-art style to complement the story, which is based on a Belgian folk tale, flat perspectives and stylized shapes evoking European decorative motifs.
An imaginative chromatic fantasy with an altruistic conclusion. (Picture book. 4-8)Pub Date: March 6, 2018
ISBN: 978-1-945547-77-5
Page Count: 32
Publisher: Familius
Review Posted Online: Jan. 21, 2018
Kirkus Reviews Issue: Feb. 1, 2018
BOOK REVIEW
Although the love comes shining through, the text often confuses in straining for patterned simplicity.
A collection of parental wishes for a child.
It starts out simply enough: two children run pell-mell across an open field, one holding a high-flying kite with the line “I wish you more ups than downs.” But on subsequent pages, some of the analogous concepts are confusing or ambiguous. The line “I wish you more tippy-toes than deep” accompanies a picture of a boy happily swimming in a pool. His feet are visible, but it's not clear whether he's floating in the deep end or standing in the shallow. Then there's a picture of a boy on a beach, his pockets bulging with driftwood and colorful shells, looking frustrated that his pockets won't hold the rest of his beachcombing treasures, which lie tantalizingly before him on the sand. The line reads: “I wish you more treasures than pockets.” Most children will feel the better wish would be that he had just the right amount of pockets for his treasures. Some of the wordplay, such as “more can than knot” and “more pause than fast-forward,” will tickle older readers with their accompanying, comical illustrations. The beautifully simple pictures are a sweet, kid- and parent-appealing blend of comic-strip style and fine art; the cast of children depicted is commendably multiethnic.
Although the love comes shining through, the text often confuses in straining for patterned simplicity. (Picture book. 5-8)Pub Date: April 1, 2015
ISBN: 978-1-4521-2699-9
Page Count: 40
Publisher: Chronicle Books
Review Posted Online: Feb. 15, 2015
Kirkus Reviews Issue: March 1, 2015
Visually accomplished but marred by stereotypical cultural depictions.
Ellis, known for her illustrations for Colin Meloy’s Wildwood series, here riffs on the concept of “home.”
Shifting among homes mundane and speculative, contemporary and not, Ellis begins and ends with views of her own home and a peek into her studio. She highlights palaces and mansions, but she also takes readers to animal homes and a certain famously folkloric shoe (whose iconic Old Woman manages a passel of multiethnic kids absorbed in daring games). One spread showcases “some folks” who “live on the road”; a band unloads its tour bus in front of a theater marquee. Ellis’ compelling ink and gouache paintings, in a palette of blue-grays, sepia and brick red, depict scenes ranging from mythical, underwater Atlantis to a distant moonscape. Another spread, depicting a garden and large building under connected, transparent domes, invites readers to wonder: “Who in the world lives here? / And why?” (Earth is seen as a distant blue marble.) Some of Ellis’ chosen depictions, oddly juxtaposed and stripped of any historical or cultural context due to the stylized design and spare text, become stereotypical. “Some homes are boats. / Some homes are wigwams.” A sailing ship’s crew seems poised to land near a trio of men clad in breechcloths—otherwise unidentified and unremarked upon.
Visually accomplished but marred by stereotypical cultural depictions. (Picture book. 4-8)Pub Date: Feb. 24, 2015
ISBN: 978-0-7636-6529-6
Page Count: 40
Publisher: Candlewick
Review Posted Online: Nov. 17, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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