Van Leeuwen’s bedtime book will probably keep kids wide awake, particularly if readers follow the example set by Grandpop. It is time for three kids to hit the hay, and Grandpop has pulled baby-sitting duty. The kids want a bedtime story and he obliges: His first story takes place on a hot summer day in his childhood, and it involves merry pranks. For the punchline, Grandpop tickles his charges, and so they plead for another story. Again they visit that hot summer of long ago, this time in the company of dancing cows that when milked deliver pails of ice cream, but only if tickled behind the ear. Grandpop proceeds to tickle the kids’ ears; thus they clamor for more stories, and it’s back to that hot summer day, which is winding down into a steamy night, when sleep was difficult to find. The kids are soon snoozing, exhausted by their grandfather’s antics. Whyte catches the specifics and the sensibility in her sharp watercolors that exaggerate the details but keep the emotions true. (Picture book. 4-8)
Pub Date: May 1, 1998
ISBN: 0-8037-2048-3
Page Count: 32
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1998
BOOK REVIEW
BOOK REVIEW
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
Give this child’s-eye view of a day at the beach with an attentive father high marks for coziness: “When your ball blows across the sand and into the ocean and starts to drift away, your daddy could say, Didn’t I tell you not to play too close to the waves? But he doesn’t. He wades out into the cold water. And he brings your ball back to the beach and plays roll and catch with you.” Alley depicts a moppet and her relaxed-looking dad (to all appearances a single parent) in informally drawn beach and domestic settings: playing together, snuggling up on the sofa and finally hugging each other goodnight. The third-person voice is a bit distancing, but it makes the togetherness less treacly, and Dad’s mix of love and competence is less insulting, to parents and children both, than Douglas Wood’s What Dads Can’t Do (2000), illus by Doug Cushman. (Picture book. 5-7)
Pub Date: May 23, 2005
ISBN: 0-618-00361-4
Page Count: 32
Publisher: Clarion Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2005
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