A sweet tale of sisterly differences and love.
Sisters who are opposites may help readers find ways to feel comfortable out of their comfort zones…if they have the support of their siblings.
While most children will not feel the same way Beatrice does about the dark, spiders, quiet, and picnics in graveyards, they will understand her love for those things and her confusion when faced with their opposites—sunny days and loud things and talking, all things her younger sister, Roo, loves. Tucholke presents each sister’s preferences in a way that will have readers empathizing with both and wondering how they will ever get along. But in the end, a sisterly hand in the dark of night, a potion to help Roo appreciate the dark, and a song to help Beatrice learn to enjoy the light bring the two together. They don’t suddenly change their likes and dislikes, “but they can love each other, all the same.” Thrice repeated words in a font that increases in size weave a spell over readers and emphasize mood. For instance, Beatrice doesn’t understand “why some things are so bright bright bright and so loud loud loud.” Le’s artwork masterfully uses color to set the mood: deep background colors, black, and orange and red highlights for Beatrice’s pages; white or light blue backgrounds and bright colors filling Roo’s pages; and a blend of the two when the sisters come together. Both sisters are light-skinned with light hair. (This book was reviewed digitally.)
A sweet tale of sisterly differences and love. (Picture book. 4-8)Pub Date: Sept. 13, 2022
ISBN: 978-1-64375-157-3
Page Count: 32
Publisher: Algonquin
Review Posted Online: May 24, 2022
Kirkus Reviews Issue: June 15, 2022
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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