A benevolent, beaming moon casts its golden glow across the pages, but questionable choices by both author and illustrator relegate this rather esoteric effort to the lesser designation of lovely mood piece. Readers are drawn along by the pull of a personified moon to observe its impact on creatures of earth, air, and sea, and on their creative forces and flows. Colón’s (Pandora, 2002, etc.) signature scratched-wash artwork is luminous, with light reflected and refracted through windows, wind-stirred waters, and wild environs. Each panel is a veritable homage of orbs, the moon motif repeated in fruit, flower, food, and face. Yes, the pictures are very pretty. But why, for example, when his endpapers display the phases of the moon (as seen from the southern hemisphere) does Colón ignore this immutable pattern, depicting a waxing crescent moon and a full moon in what purports to be the same night sky? And why, for example, when the use of its true name, “luna moth,” would be appropriate, just as evocative, and even more elegant, does Spinelli (Wanda’s Monster, 2002, etc.) self-consciously refer to this creature as a “lunar moth?” Perhaps this surrealistic lullaby will be sweetly soporific to some, but its forced rhythms and oblique verbal and visual metaphors are more likely just to leave readers yawning. (Picture book/poetry. 4-8)
Pub Date: March 1, 2003
ISBN: 0-8037-2601-5
Page Count: 40
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2003
A validating and breathtaking next chapter of a Mother Goose favorite.
Humpty Dumpty, classically portrayed as an egg, recounts what happened after he fell off the wall in Santat’s latest.
An avid ornithophile, Humpty had loved being atop a high wall to be close to the birds, but after his fall and reassembly by the king’s men, high places—even his lofted bed—become intolerable. As he puts it, “There were some parts that couldn’t be healed with bandages and glue.” Although fear bars Humpty from many of his passions, it is the birds he misses the most, and he painstakingly builds (after several papercut-punctuated attempts) a beautiful paper plane to fly among them. But when the plane lands on the very wall Humpty has so doggedly been avoiding, he faces the choice of continuing to follow his fear or to break free of it, which he does, going from cracked egg to powerful flight in a sequence of stunning spreads. Santat applies his considerable talent for intertwining visual and textual, whimsy and gravity to his consideration of trauma and the oft-overlooked importance of self-determined recovery. While this newest addition to Santat’s successes will inevitably (and deservedly) be lauded, younger readers may not notice the de-emphasis of an equally important part of recovery: that it is not compulsory—it is OK not to be OK.
A validating and breathtaking next chapter of a Mother Goose favorite. (Picture book. 4-8)Pub Date: Oct. 3, 2017
ISBN: 978-1-62672-682-6
Page Count: 45
Publisher: Roaring Brook Press
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A book that will make young dog-owners smile in recognition and confirm dogless readers' worst suspicions about the mayhem caused by pets, even winsome ones. Sam, who bears passing resemblance to an affable golden retriever, is praised for fetching the family newspaper, and goes on to fetch every other newspaper on the block. In the next story, only the children love Sam's swimming; he is yelled at by lifeguards and fishermen alike when he splashes through every watering hole he can find. Finally, there is woe to the entire family when Sam is bored and lonely for one long night. Boland has an essential message, captured in both both story and illustrations of this Easy-to-Read: Kids and dogs belong together, especially when it's a fun-loving canine like Sam. An appealing tale. (Picture book. 4-8)
Pub Date: April 1, 1996
ISBN: 0-8037-1530-7
Page Count: 40
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1996
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