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16,000 | 11 | The haunting immediacy of this moving tale may derive from its roots in Uchida's ( A Jar of Dreams ; The Best Bad Thing ) own childhood experiences--the author was interned in camps for Japanese Americans during WW II. Originally published as a short story, the book opens as Emi, her mother and sister prepare to leave their California home for a new residence: a racetrack that has been turned into a prison camp. Emi's best friend brings her a bracelet as a parting gift. Though Emi vows she will never take it off, the gold chain slips off her wrist as the girl helps clean out the filthy, abandoned stable that will serve as the family's "apartment." After searching for it in vain, Emi eventually realizes that she does not need the bracelet to remember her friend, just as she does not need a photo to remember her father (who has been sent to a prisoner-of-war camp because he worked for a Japanese company); in her mother's words, such important parts of our lives "we carry in our hearts and take with us no matter where we are sent." Yardley's ( The Red Ball ) hushed, realistic paintings add to the poignancy of Uchida's narrative, and help to underscore the absurdity and injustice suffered by Japanese American families such as Emi's. Ages 4-8. Copyright 1993 Reed Business Information, Inc.Grade 2-5-It is 1942, and seven-year-old Emi is being sent from her home in Berkeley, California, to an internment camp with her mother and older sister. Her father was arrested earlier and incarcerated in a camp in Montana. Temporarily herded into stables at a race track with other Japanese-American families, Emi realizes that she has lost the bracelet that her best friend, Laurie Madison, gave her as a parting keepsake. At first desolate, she soon realizes that she does not need the token after all, as she will always carry Laurie in her heart and mind. Uchida employs a simple, descriptive style, allowing the child's feelings to give punch to this vignette without becoming sentimental. An afterword gives brief, dignified historical context to the story. Yardley's watercolor illustrations both match and amplify the text at every point, evincing the greatest sensitivity to the depiction of character and to historical accuracy. This deceptively simple picture book will find a ready readership and prove indispensable for introducing this dark episode in American history.John Philbrook, San Francisco Public LibraryCopyright 1993 Reed Business Information, Inc.; Title: The Bracelet | [
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16,001 | 13 | Kindergarten-Grade 3-- A wonderful blending of elements into a cohesive, thoroughly entertaining work that subtly introduces young readers to the world of music. While practicing, Berlioz the Bear detects a strange buzzing noise coming from his double bass. On the way to the concert with the rest of the bear band, he is so preoccupied with the sound that he accidently runs the wagon into a hole. The lead animal, a mule, refuses to budge, despite a series of animals who unsuccessfully try to pull the wagon out. At that moment, what should fly out of Berlioz's bass but a very angry bee that takes out its frustration on the mule's hindquarters. The sting does what the other animals failed to do; the wagonload of musicians goes careening into the village at full speed and arrives just in the nick of time. In tone, Brett's cumulative story has elements of traditional folklore, and her spare text begs to be read aloud. Her pen-and-ink, watercolor, and colored-pencil illustrations are richly, often humorously, detailed, and they sweep over each double-page spread. The brushwork is distinct, and the palette is a well-organized blend of earth tones with touches of red and blue. The artist's penchant for borders is evident, here taking the shape of a proscenium arch. The top portion of each arch shows the villagers' preparations for the performance while the side panels depict various animals enroute to the concert. The borders, manner of dress for the animals, and scenery all have a distinct flavor of traditional Austrian and Swiss culture. --Denise Anton Wright, Library Book Selection Service, Inc., Bloomington, ILCopyright 1991 Reed Business Information, Inc.On the way to a village ball with his orchestra (six bears), Berlioz forgets his concern about the mysterious buzz in his double bass when his bandwagon's wheel falls into a pothole--and when the mule goes on a sitdown strike from which a long series of helpful animals fails to dislodge him. At last, a bee emerges from the bass and stings the mule; the orchestra gets to the ball just in time. The rather slight story here is well contrived to serve the charming illustrations. Brett's appealing beasts are realistically portrayed but also wonderfully expressive of the comical side of human emotions; the setting, judging from the quaint village architecture and the folk-art-inspired detail, is Alpine. In addition to the drama of the main events, readers are treated to intriguing glimpses of animals assembling for the ball in border-like friezes. A book to pore over for its wealth of visual pleasures. (Picture book. 4-8) -- Copyright 1991, Kirkus Associates, LP. All rights reserved.; Title: Berlioz the Bear | [
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16,002 | 13 | Kindergarten-Grade 3?In this sequel to Lili at Ballet (Putnam, 1993), Lili is performing in The Nutcracker for the first time. Her moments on stage as a guest in the party scene quickly pass by, and she and her friends take their bows. Backstage, she encounters the dancers who will appear in Act II and takes flowers to her favorite ballerina, who autographs a toe shoe for her. An enchanted Lili settles into bed that night, shoe in hand, pondering the magic of the evening and looking forward to the next performance. Isadora provides a note telling the story of the ballet, but text and art concentrate on the accomplished young dancers' behind-the-scenes activities?stretching, making up, dressing, rehearsing, and waiting to go on. Nearly everything about this book?from the tutu-pink endpapers to the graceful watercolors depicting delicate details of bodies and costumes?will appeal to ballet enthusiasts. The only problem is that at times it's hard to pick Lili out from among the other girls. Nevertheless, this romantic offering will fire the imaginations of children looking forward to or familiar with The Nutcracker experience?and may make clumsy hopefuls drool with envy.?Vanessa Elder, School Library JournalCopyright 1995 Reed Business Information, Inc.Ages 4^-8. A sequel to Lili at Ballet (1993), this picture book tells of Lili's experiences on opening night of the Nutcracker ballet, where she plays a party guest in act 1. The children warm up, reflect on their teacher's advice, apply their makeup, put on their costumes, watch from the wings, play their parts, and take their bows. At home in bed, Lili looks forward to the next performance, when "the magic will begin again." The book's charm lies partly in the subject, but mainly in the simplicity and realism of both text and illustrations. The deft pencil drawings, brightened with pastel washes, capture both the awkwardness of some positions and movements in the young dancers and the precision of placement and gesture that ballet training makes possible. Young dancers and dreamers who enjoyed the first Lili book will definitely want to follow in her footsteps through the backstage door. Carolyn Phelan; Title: Lili on Stage | [
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16,003 | 11 | Soto (Too Many Tamales) commands a poet's gift for defining characters quickly, densely and, in this case, with hilariously choice words. Paired with Guevara's (The Boardwalk Princess) wickedly funny, urban paints, Soto's story of Chato, a cool, "low-riding cat" of East Los Angeles, is a scream. Chato and his friend Novio Boy plan a dinner for (and, they hope, of) the new mice next door. But the mice bring a surprise guest named Chorizo (sausage), who turns out to be a truly low-riding dachshund. Foiled, the cats resign themselves to mouseless fajitas. It's a basic enough tale, but close to brilliant in its execution. Guevara's cats are delicious send-ups of barrio characters, and Soto's words glisten with wit: "We brought Chorizo,' Mami mouse called./ Sausage! Chato and Novio Boy danced, and with clean paws they gave each other a 'low-four.'" Salud to this magical pairing of talents. Ages 4-8. Copyright 1995 Reed Business Information, Inc.Ages 3-8. Chato thinks he's the cool cat of East Los Angeles, and when a family of small mice moves next door to him in the barrio, invites them over for dinner--to be his dinner. With his flashy pal Novio Boy, Chato cooks a delicious spread to go with the tasty morsels of mice. But when his guests arrive with their friend from the old neighborhood, the tables are turned: Sausage turns out to be a long, low-riding, skinny dog, and it's the cats who quake in fear. Kids will get a lot of fun out of the sweet reversal and the comic storytelling. There's a glossary of Spanish words, but it's the characters and their talk that give the story its special flavor. Guevara's very bright illustrations extend the situation comedy with zany details of magic realism. These animal characters are very human: the mouse teenager talks on her mobile phone; Chato's friend mambos to his boom box. Best of all is the fun with scale, especially in a story where the small creatures win. Hazel Rochman; Title: Chato's Kitchen | [
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16,004 | 7 | Living alone in the forest, Baba Yaga watches longingly as the babushkas of the village care for their grandchildren. Snatching an outfit off a clothesline, the wizened, long-eared creature disguises herself as one of the village grandmothers and goes in search of a child to love. She finds the cherubic Victor, whose mother needs someone to watch him while she works. Baba Yaga savors her new life, until one day she overhears the other babushkas speaking hatefully of the legendary Baba Yaga. Greatly saddened, she decides to return to her home in the woods before Victor discovers her true identity. Polacco's soothing version of this Russian folktale ends happily: Baba Yaga saves her beloved charge from a pack of vicious wolves and earns the babushkas' praise and acceptance. The art features Polacco's ( Rechenka's Eggs ) trademark sumptuous colors, a rich melange of patterns and textures--and even a sprinkling of forest fairies. Such visual dimension, coupled with her direct yet resonant narrative, marks this as another of Polacco's winning picture books. Ages 4-8. Copyright 1993 Reed Business Information, Inc.Kindergarten-Grade 3-Wishing to be like the people she watches from the woods, Baba Yaga dresses herself in human clothing and covers her elfin ears with a scarf. Resembling any other grandmother or babushka, she is welcomed into the home of a young mother and quickly assumes the care of a child named Victor. She grows to love the boy, but when the other old women tell terrifying stories of the witch Baba Yaga, she returns to the woods with a heavy heart. Missing her, Victor wanders into the woods and is threatened by ferocious wolves. Coming to his rescue, Baba Yaga is finally accepted by the babushkas who realize that, "Those who judge one another on what they hear or see, and not what they know of them in their hearts, are fools indeed!" Polacco's reassuring text is accompanied by her full-page illustrations drawn in a casual, relaxed style in a variety of mediums: markers, charcoal pencil, chalk pastel, and gouache. The underlying message of tolerance is well presented, and the author does an admirable job of melding the two contrasting grandmother images from Russian culture. While her depiction of the misunderstood creature may surprise serious students of folklore, those wanting to share a kinder, gentler Baba Yaga will welcome this picture book.Denise Anton Wright, Illinois State University, NormalCopyright 1993 Reed Business Information, Inc.; Title: Babushka Baba Yaga | [
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16,005 | 13 | In the same format as his Great Painters , Ventura here traces the history of Western music through short biographies of its most illustrious composers. Running chronologically from Gregory the Great in the sixth century to George Gershwin, Duke Ellington and, interestingly, the Beatles in the 20th, Ventura's portraits of major musical figures reflect--in his painting style--the musical style of the subject. For example, Bach is portrayed crisply, with not a hair out of place, while Debussy's bust is painted in a more impressionistic manner. The large-sized portraits are lightened by soft, cartoonlike watercolors of textually appropriate backdrops; the street in Eisenstadt where Haydn once lived, or a boat trip on the Thames River, the inspiration for Handel's Water Music. Though the book falls short of the benchmark set by Great Painters --pictures of paintings being far more immediate than portraits of creators of sound--it still serves as an entertaining introduction to music's history and to the lives of those who made it. All ages. Copyright 1989 Reed Business Information, Inc.Grade 5-8-- Another Ventura production in a large format similar to Great Painters (Putnam, 1984). This book combines text with full-color portraits of the composers and Ventura's characteristic scenic backdrops, appropriately peopled. The portraits have been created, to uneven effect, by Ventura's two sons. Each composer is discussed in one to three paragraphs, as are subjects such as "Troubadors and the New Art" or "French and Austrian Operetta." Roberto Pasini collaborated on the text; its occasional awkwardness may be either a side effect of the collaboration or of the translation. Among modern composers, Bartok is missing, and Benny Goodman is somewhat mysteriously included, along with Louis Armstrong, Duke Ellington, and the Beatles, in a nod to popular music. Although Great Composers is attractive and has value, more objective and orderly information can be found in David Ewen's Oxford Junior Companion to Music (Oxford, 1979) or in Neil Ardley's Music: An Illustrated Encyclopedia (Facts on File, 1986). --Ann Stell, The Smithtown Library, NYCopyright 1990 Reed Business Information, Inc.; Title: Great Composers | [
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16,006 | 2 | Through limpid watercolors and tender prose, Arnosky (Every Autumn Comes the Bear; Otters Under Water) magnifies a routine moment in nature until it assumes exceptional proportions. A mother mallard leads her dozen ducklings "around the shoreline weeds, through a driftwood maze" to a sandbar, where the whole family will spend its first night away from the nest. While the mother settles for the night, the wakeful ducklings find plenty of thrills-the sounds of frogs, the flitting of bats, the flickering of fireflies. Finally, the mallard softly calls her young, "covers them with her wings and presses them against her sides." The tale turns from bedtime story to reveille as the sun rises and the ducklings dip into the lake for a morning swim. A polished, surely paced presentation. Ages 3-6. Copyright 1994 Reed Business Information, Inc.PreSchool-A mother mallard leads her ducklings from their nest on a first trip to the lake, where they play on and explore a sandbar, then cuddle safely beneath her wings until morning. Arnosky's talent lies in his ability to reproduce a scene from his naturalist's-eye view, which allows others to see and feel his own sense of wonder and excitement. The composition and coloring of each borderless watercolor painting, his technique of shading and blending color, and his use of light provide further evidence of his fine artistic ability. In fact, the illustrations greatly overshadow the simple text, which lacks the brevity and poetic style evident in Deer at the Brook (Lothrop, 1986), in which Arnosky achieved a perfect meld of text and artwork. Nevertheless, All Night Near the Water provides another lovely introductory glimpse at the natural world for the very young.Susan Scheps, Shaker Heights Public Library, OHCopyright 1994 Reed Business Information, Inc.; Title: All Night Near Water | [
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16,007 | 5 | Kindergarten-Grade 3AA retelling of a traditional Jataka tale from India. A gray parrot witnesses the start of a forest fire. She knows she can fly away to safety, but when she sees the devastation and other forest dwellers trapped by the fire, she tries to save them. She calls on the other animals to help, but they tell her it is hopeless. Bravely, she does what she can, carrying small drops of water on a leaf to pour on the enormous fire. In the heavens, some gods look down on the scene, laughing at the ridiculous situation. When one god takes the shape of an eagle and advises the small bird to stop and save herself, the parrot retorts, "I don't need advice. I just need help!" Touched by her courage and ashamed of his useless and selfish life, the eagle starts to weep. His tears quench the flames and bring new life. The little parrot is rewarded with colorful feathers where hers have been singed. Gaber's paintings are rich with lush greens and flaming oranges. The use of small paintings boxed within a larger boxed background results in an effective design element. This technique focuses viewers' awareness of how the small actions of one creature, though insignificant in the larger world, can contribute to that world's salvation. One such picture, a small drop of water framed above a roaring fire, is touching in its simplicity and power. The artwork strongly reinforces the message of this lovely story.AJudith Gloyer, Milwaukee Public LibraryCopyright 1998 Reed Business Information, Inc.Ages 5^-8. In Martin's retelling of a traditional Indian jataka tale, a brave little gray parrot's labors against a forest fire come to the attention of the gods, one of whom sheds tears that save the forest and the animals and change the feathers of the parrot into flaming colors as a lasting remembrance. Gaber's moving, full-page, color illustrations increase the drama of the fire, showing the seeming impotence of even the most powerful forest creatures and emphasizing the precious beauty of water and its relationship to continued life. Children will celebrate the brave parrot's victory and ask for this story again and again. It's a wonderful choice for reading aloud. Karen Morgan; Title: The Brave Little Parrot | [
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16,008 | 0 | Those wanting to know why the cow jumped over the moon will find some tweakingly twisted answers in this nonsensical story. "Two cool, too cool" cows from the Huckabuck farm are looking for fresh grass, and they jump to the moon to find it. The moon is cool, too-with cows aplenty beating bongo drums and doing the bunny hop. But the two cool cows are wearing new "black button-back boots" belonging to the four Huckabuck kids, who call them home for milking time. The kids are pleased: Kate plays the fiddle, little Doug laughs and Daisy runs off with Spoon. Speed (Hattie Baked a Wedding Cake) gleefully and rhythmically subverts the nursery classic. And Root (Those Bottles!; Wan Hu Is in the Stars, reviewed below) plays along zestily, coloring the Huckabuck farm with quiet, pastel tints and the moon with rich, jazzy tones-some of which "return" with the cows. A rewarding romp. Ages 4-8. Copyright 1995 Reed Business Information, Inc.PreSchool-Grade 3?Speed offers a lively twist on a familiar nursery rhyme. Seeking greener pastures and bovine camaraderie, two cows from the Huckabuck Farm don the four Huckabuck kids' new black boots and leap to the moon. At its best, the text sways and swings with the excitement of the animals' summer-night frolics. Unfortunately, the rhythm flags at points and sinks to the ordinary. The double-page paintings, however, never let readers down. The cool cows with their sunglasses and button-back boots jump and prance, run and dance, and never lose an ounce of energy. Practice reading this aloud to maximize the rhythm, and you'll be able to give young listeners a whole new perspective on the expeditions of cows that jump over (or to) the moon.?Kathy Piehl, Mankato State University, MNCopyright 1995 Reed Business Information, Inc.; Title: Two Cool Cows | [
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16,009 | 13 | Borrowing classical stage traditions for its themes and characterizations, this original tale speaks of unrequited love and romantic transformations. The voiceless Gemino, a Pagliacci-style clown, has only a jewel for a heart. He plays his violin for his beloved ballerina, Pavelle, whose appreciation for him seems to end with his haunting music. But when Gemino lies listless in a heap after a tragic fall, Pavelle is desperate to "fix" him. Aided by the animal shadows, she stitches new clothes (with a spider's web for thread and a thistle's spine for a needle) and patches him together. But Gemino needs a new heart. The shadow spirits offer a "brown seed... dull and plain." Pavelle plants it in Gemino's chest, her tears watering it. When Gemino wakes and plays a new song, a living bud replaces his jewel heart. It is, however, Pavelle who has changed most. The style and soft palette of Berger's (Grandfather Twilight) acrylic paintings exude the familiar prettiness of a fairy tale, but her dramatic storytelling and gossamer imagery elevate the work to the elegance of opera or ballet. A substantial story that will blossom with repeat readings. Ages 4-8. Copyright 1994 Reed Business Information, Inc.PreSchool-Grade 2-Gemino has a jewel for a heart but no voice. Instead, he sings with his violin as he plays for the ballet dancer Pavelle. One day, he is injured, and Pavelle rushes to his side. She finds him in tatters-lifeless-his heart stolen by a woodrat. Using spider's thread, dandelion down, and pieces of shadow, Pavelle replaces his hair and sews him a new suit. Lacking a jewel, she then places a plain brown seed inside his chest, watering it with her tears. Gemino finally awakens, playing like never before, and the seed of his heart flowers into a symbol of the depth of the love that he and Pavelle share. A gentle story of the healing power of love, this will appeal to those young listeners who can leave the world of logic behind and willingly step into the realm of fantasy. The story is set on a stage in the forest; the performers are jointed dolls; and the audience is comprised of a variety of woodland creatures. As with Berger's Grandfather Twilight (Philomel, 1986), nature plays a prominent role. Drawn in soft watercolors, enlarged shadows of flora and fauna surround the wounded Gemino and assist Pavelle in her efforts at restoring life to him. Their pastel tones contrast strongly with the primary red of the young woman's costume, adding an ethereal, magical quality to the work. Reminiscent in mood of Margaret Wise Brown's Wait Til the Moon Is Full (HarperCollins, 1948), the book can be used with a group but is better for one-on-one sharing.Nancy Menaldi-Scanlan, Wheeler School, Providence, RICopyright 1994 Reed Business Information, Inc.; Title: The Jewel Heart | [
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16,010 | 16 | PreSchool-This uninspired offering retains the interactive element of the earlier Spot books, but with a variation on the theme. Pictures appear in the text, and readers must lift the flap to see the word. The book is suitable for sharing one-on-one, but children ready to read independently will find that the flaps slow them down and will be bored after a single reading. Stick with the titles with the peek-a-boo pictures that work so well, and skip this one.Virginia E. Jeschelnig, Willoughby-Eastlake Public Library, Willowick, OHCopyright 1994 Reed Business Information, Inc.; Title: Spot's Walk in the Woods: Lift the Pictures/Find the Words | [
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16,011 | 0 | Colorful idiom characterizes this witty Western adventure, narrated by an amiable but bumbling sheriff. When "the ittiest, bittiest orphan, little Sweetness" runs away from the local orphanage and its cruel headmistress, the sheriff follows her into the desert. "I was gonna bring that orphan back if it harelipped the governor!" he vows, worried that Sweetness will fall prey to a scorpion, a snake or the outlaw Coyote Pete. Ironically, the sheriff turns out to be the vulnerable one, and Sweetness rescues him three times, with water from her canteen, a snack of toasted marshmallows and a well-placed rock to Coyote Pete's head-all the while dropping hints about adoption. Stanley (Woe Is Moe; Leonardo da Vinci) guarantees a cowpokey twang by droppin' g's and spellin' phonetically, and she milks the narrator's thick-headedness for all its comic worth ("How many times has I gotta save you?" he scolds after Sweetness comes to his aid). Karas (Mr. Carey's Garden; Home on the Bayou) sets the scene with charcoaly pencil illustrations; a palette of pale yellow, sandy brown and cactus green; and tinted cyanotype photos of desert scenery and old-fashioned buildings. Sweetness really is, as the sheriff observes, "cute as a speckled pup under a wagon," and her mustachioed father-to-be has his own goofy charm. Their story is sweet, and worth saving. Ages 4-8. Copyright 1996 Reed Business Information, Inc.PreSchool-Grade 3-A rip-roaring tale featuring a big-hearted sheriff, a high-spirited heroine, and a happily ever after ending, all told in the tongue-rattling twang of the Old West. When Sweetness, the littlest orphan at nasty Mrs. Sump's house, runs away, it is up to the sheriff to save her from the dangers of the desert, including the evil desperado Coyote Pete. However, it never seems to be Sweetness who needs saving. Just as soon as the sheriff begins to stagger with thirst, Sweetness appears with a canteen of water; when he shivers without a blanket, she shows up to build a fire complete with toasted marshmallows; and, as he stares down the barrel of Coyote Pete's loaded six-shooter, there she is, holding a large bolder over the villain's head. Each time they meet, the little girl refuses to return to the orphanage, until the law-enforcement officer finally figures out how to save her "fer good." Telling the tale from the sheriff's point of view, Stanley packs this fast-paced adventure full of language that begs to be read aloud. The contrast between the well-meaning but slow-witted adult and the resourceful and independent child remains funny throughout the story, leading right up to the satisfying conclusion. Combining gouache, acrylic, and pencil drawings with cyanotype photographs, Karas's illustrations evoke the arid landscape of the West yet remain wonderfully original. The positioning of the characters, as well as their expressive features, underscore the humor and emotion in the text. Don't miss this creative collaboration.Joy Fleishhacker, School Library JournalCopyright 1996 Reed Business Information, Inc.; Title: Saving Sweetness | [
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16,012 | 13 | Like its subject, this imaginative study of the "Raphael of Flowers" operates within a small but inspired range. Her orderly yet lush watercolor scenes of the French artist's life (1759-1840) handsomely complement the personality of the hero, who managed a long and brilliant career as a botanical painter despite numerous political and personal upheavals. In her artfully understated text Croll (The Little Snowgirl) traces the historical background, also touching on matters of technique and Redoute's problems with money. She thus adds crucial balance to a life story remarkably blessed with luck as well as talent. Indeed, the theme of perseverance and its rewards permeates this book, as notables Marie-Antoinette, Napoleon and Josephine, and a buckskin-suited John James Audubon pay tribute to the artist and his work. In its gentle sensitivity and careful attention to detail, Croll's book reflects Redoute's own credo: one does best what one loves most, however humble the pursuit. Ages 5-up. Copyright 1996 Reed Business Information, Inc.Grade 3-5?A charming picture-book biography that includes a good dose of French history as well. Croll creates an exciting tale, following Redoute from his Belgian childhood, to Paris during the revolution, to the deathbed of Empress Josephine. However, the fictionalized feelings and dialogue are jarring, and the narrative flow is marred when the story moves abruptly from Redoute's first success to his sudden marriage. French words and names will challenge some readers despite the glossary and pronunciation guide. The design is appealing and effective, although the book's appearance seems a bit young for those who will be able to read it independently. Short text blocks are placed below half-page vignettes that face full-page illustrations. Richly colored and detailed, the well-placed drawings capture the action and drama of the story with stylized figures in period dress. Flowers find their way into Croll's work, including her own rendition of Redoute's paintings. Unfortunately, to see the real thing, readers must look elsewhere. This quick and interesting book is a good choice for libraries in which interest in art is high.?Paula A. Kiely, Milwaukee Public Library, WICopyright 1996 Reed Business Information, Inc.; Title: Redoute: The Man who Painted Flowers | [
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68135
] | Validation |
16,013 | 1 | Text: Spanish (translation) Original Language: EnglishEric Carle is acclaimed and beloved as the creator of brilliantly illustrated and innovatively designed picture books for very young children. His best-known work, The Very Hungry Caterpillar, has eaten its way into the hearts of literally millions of children all over the world and has been translated into more than 25 languages and sold over twelve million copies. Since the Caterpillar was published in 1969, Eric Carle has illustrated more than sixty books, many best sellers, most of which he also wrote.Born in Syracuse, New York, in 1929, Eric Carle moved with his parents to Germany when he was six years old; he was educated there, and graduated from the prestigious art school, the Akademie der bildenden Kunste, in Stuttgart. But his dream was always to return to America, the land of his happiest childhood memories. So, in 1952, with a fine portfolio in hand and forty dollars in his pocket, he arrived in New York. Soon he found a job as a graphic designer in the promotion department of The New York Times. Later, he was the art director of an advertising agency for many years.One day, respected educator and author, Bill Martin Jr, called to ask Carle to illustrate a story he had written. Martin's eye had been caught by a striking picture of a red lobster that Carle had created for an advertisement. Brown Bear, Brown Bear, What Do You See? was the result of their collaboration. It is still a favorite with children everywhere. This was the beginning of Eric Carle's true career. Soon Carle was writing his own stories, too. His first wholly original book was 1,2,3 to the Zoo, followed soon afterward by the celebrated classic, The Very Hungry Caterpillar.Eric Carle's art is distinctive and instantly recognizable. His art work is created in collage technique, using hand-painted papers, which he cuts and layers to form bright and cheerful images. Many of his books have an added dimension - die-cut pages, twinkling lights as in The Very Lonely Firefly, even the lifelike sound of a cricket's song as in The Very Quiet Cricket - giving them a playful quality: a toy that can be read, a book that can be touched. Children also enjoy working in collage and many send him pictures they have made themselves, inspired by his illustrations. He receives hundreds of letters each week from his young admirers. The secret of Eric Carle's books' appeal lies in his intuitive understanding of and respect for children, who sense in him instinctively someone who shares their most cherished thoughts and emotions.The themes of his stories are usually drawn from his extensive knowledge and love of nature - an interest shared by most small children. Besides being beautiful and entertaining, his books always offer the child the opportunity to learn something about the world around them. It is his concern for children, for their feelings and their inquisitiveness, for their creativity and their intellectual growth that, in addition to his beautiful artwork, makes the reading of his books such a stimulating and lasting experience.Carle says: "With many of my books I attempt to bridge the gap between the home and school. To me home represents, or should represent; warmth, security, toys, holding hands, being held. School is a strange and new place for a child. Will it be a happy place? There are new people, a teacher, classmates - will they be friendly? I believe the passage from home to school is the second biggest trauma of childhood; the first is, of course, being born. Indeed, in both cases we leave a place of warmth and protection for one that is unknown. The unknown often brings fear with it. In my books I try to counteract this fear, to replace it with a positive message. I believe that children are naturally creative and eager to learn. I want to show them that learning is really both fascinating and fun."copyright 2000 by Penguin Group (USA) Books for Young Readers. All rights reserved.; Title: La oruga muy hambrienta (Spanish Edition) | [
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2... | Test |
16,014 | 5 | The Doctor Bird is a rainbow-winged, streamer-tailed hummingbird that lives only in JamaicaAand is that West Indian island's beloved national bird. Here, in a trio of wordy folktales, a top-hatted Doctor Bird uses magical powers plus his own wisdom to teach other creatures important lessons. Working in her characteristic combination of black gesso and rich gouaches, Wolff (previously paired with Hausman for How Chipmunk Got Tiny Feet) features lush foliage and exotic lizards and monkeys in dark outline and deep, crepuscular colors. One page might vividly illustrate a scene from the story (e.g., Doctor Bird teaches Mongoose not to steal by subjecting her house to an onslaught of disturbances, ending in a snowstorm) while an inset on the facing page amplifies details (Mongoose pours her delicious hibiscus tea to sweeten up Doctor Bird). Each tale ends with the tag: "And if this story isn't true, let the keeper of heaven's door say so now." Yet the messages are muddy. Mongoose, for example, reverts to "the way she always was, is, and forever will be"; the only difference is that she now returns what she "borrows" whenever it snows. While the folksy rhythms of the sentences and occasional vernacular words add charm and authenticity ("he was going to hoo-doo all the people at the Guango party"), the text ambles and characterization is weak. Overall, the writing is not the equal of the intriguing, lively art. Ages 5-up. Copyright 1998 Reed Business Information, Inc.Grade 1-3-Three stories about a popular Jamaican folktale character. Doctor Bird, a beautiful hummingbird, displays optimism, wit, the ability to work magic, and a penchant for using rhymes and riddles to teach lessons as he tries to reform a thieving mongoose, encourages and comforts a homeless mouse, and shows an owl that it's important to be yourself. The tales have easy-to-follow action and morals that children will appreciate. A traditional ending is used for all three: "And if this story isn't true, let the keeper of heaven's door say so now." The inclusion of unfamiliar creatures such as Mr. Pocket Parrot, Miss Banana Quit, and Uncle Galliwasp, and references to vegetation, games, and other local practices provide regional flavor. The handsome full- and double-page paintings are done with black gesso and gouache. Because many of the animals wear hats and other bits of clothing, the illustrations are more cartoonlike than some of Wolff's other work, but they are charming and beautifully composed, with sprightly animals and lush images of the landscape and the seashore. The storytellers from whom the tales are drawn are named, but no details are given on individual stories. A great book for sharing, particularly for those who have roots in the Caribbean.Marilyn Iarusso, New York Public LibraryCopyright 1998 Reed Business Information, Inc.; Title: Doctor Bird: Three Lookin' Up Tales From Jamaica | [
45217,
71405
] | Validation |
16,015 | 2 | Next to Gallagher's (The Selfish Giant) luminous paintings of a quaint, storybook China, this lengthy story seems contrived; the late Conrad's (The Tub People) text has an unfinished quality. She weaves in elements from the traditional legend surrounding the blue willow plate (which is of English design, not Chinese), but the development of themes and characters seem secondary to the working out of the plot. When her wealthy father opposes Kung Shi Fair's marriage to Chang the Good, a lowly fisherman, the stage is set for tragedy. Kung Shi Fair, in her boat made of cassia, fig leaves and orchid banners, bravely sails off to join her lover but drowns in the surging river. As Chang the Good tries vainly to find her, he is killed by hunters who think they are aiming at a marauding leopard. Kung Shi Fair's remorseful father commissions a blue willow plate that tells the story, "so that parents everywhere would always listen to their children, and would always, always heed what was in their children's hearts." Initially, Conrad's language is poetic and delicate. But as the intricacies of the plot multiply and the didactic intent of the story unfolds, the language becomes more prosaic and repetitious. The joy of the young lovers, the disapproval of the worried father, the fear of the villagers, all seem more apparent in the colorful art. Ages 6-10. Copyright 1999 Reed Business Information, Inc.Grade 3-5-During the late 1700s, Chinese porcelain and pottery were popular in England, particularly a blue-and-white plate with various design motifs. This "willow" pattern caught on and is still manufactured today. The origins of the story associated with the plate are more obscure, but all of the previous versions contain the same basic elements. When a tyrannical father refuses to let his daughter marry her humble lover, the couple escape together but are hunted down and die tragically, after which they are turned into turtle doves. The story has been successfully rendered into picture-book format by Allan Drummond in The Willow Pattern Story (North-South, 1992). This new telling maintains the basic integrity of the tale, but adds so many additional details that the text is overly long and makes for tedious reading, with little child appeal: "The next morning, Kung Shi Fair watched the rain paint little jewels on her hands as she leaned on the window....Her smile turned to tears that mingled with the rain." Gallagher's illustrations are lovely, but never quite seem to fit on their pages. The tops of heads are often missing, as in badly cropped photographs. Adults who collect willowware may find this book of interest, but children will be better served by Drummond's version.Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ Copyright 1999 Reed Business Information, Inc.; Title: Blue Willow | [
5192
] | Validation |
16,016 | 13 | The prolific Heller's latest effort should tickle the fancy-and the palettes-of paint manufacturers everywhere. (And, oh yes, youngsters will be delighted, too.) This paean to pigment seems even more vibrant than Heller's earlier tomes. She leaves no color-producing instrument unexplored ("From pencils and markers and crayons and chalks.../ from paints in a tube.../ or a jar or a.../ box"), and appears to have outdone both Crayola and Joseph's celebrated coat in her range of sumptuous hues. Her examples of color combinations and printing are handsomely illustrated by four acetate overlays, as she ingeniously examines the color-printing technology in this book's manufacture ("The printers are/ some kinds of wizards,/ I think./ In miniscule [sic]/ dots they apply/ all the ink"). From its pictures of kids with painted faces, to its quartet of punchily plumed parrots, to an arresting optical illusion, this vigorous (if pricey) volume is splendidly splashy. Ages 7-up. Copyright 1995 Reed Business Information, Inc.Grade 1-3?A rhyming text gives some general information about color, but is mostly geared to explaining the concept of commercial color printing?dots of yellow, magenta, cyan blue, and black blend to create the illusion of a full spectrum, etc. The rhyme is a bit for forced as it is broken up by pages illustrating concepts. Two sections of plastic overlays effectively demonstrate changes that occur when colors overlap/blend. The book is more visually appealing and fun than informative, and could be useful to children studying how a book is made.?Alexandra Marris, Rochester Public Library, NYCopyright 1995 Reed Business Information, Inc.; Title: Color | [
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16,017 | 13 | Grade 1-3?Marie van Goethem was a "rat" girl in the chorus of the ballet of the Paris Opera when she was immortalized by Edgar Degas in a sculpture entitled "The Little Dancer." In this fictionalized account, Marie is shown as a shy, plain girl who models for the painter and sculptor to provide money for her struggling parents. Becoming immersed in the work, she poses for hours on end, until Degas is satisfied. Through her modeling, Marie's dancing improves immeasurably, and the artist's sketches are transformed into the famous sculpture. A footnote at the end of the book explains that Marie was a real girl, but acknowledges the fact that very little is known about her life. It is not even known if she ever saw the sculpture that made her famous. This gives an added drama to a beautifully written story that focuses not only on Degas's work, but also the suffering Marie endured for both the sculptor and her ballet. Illustrated with oil paintings strikingly reminiscent of those done by Degas himself, this book is a true testament to the joys and the hard work involved in the creative process. Reminiscent of both the Provensens' The Glorious Flight (Viking, 1983) and Emily Arnold McCully's Mirette on the High Wire (Putnam, 1992) in its ability to bring a historical incident to life, Marie in Fourth Position has the added advantage of giving insight into the life of the artist. Overall, a fine job.?Melissa Hudak, North Suburban District Library, Roscoe, ILCopyright 1996 Reed Business Information, Inc.Marie in Fourth Position reads like fiction but is actually a nonfiction story of a poor ballet girl who posed for French painter Degas. As Degas struggles with the young dancer's poses and his art in reproducing her, readers are treated to a dual focus on artist and subject. -- Midwest Book Review; Title: Marie in Fourth Position | [
34131,
34133
] | Train |
16,018 | 11 | First-time author Casler combines what is essentially a New Age parable with the Native American rite of the spirit quest, producing a strange hybrid with no strong roots. Three boys climb a mountain to seek dreams of power to guide them in their lives. One boy dreams of a bear, the second of an eagle, and the third only of an acorn. The meaning of the first two dreams soon becomes apparent, for one boy becomes a great fisher, the other a keen hunter. But the third boy must wait, talk with a wise man, watch an acorn grow into a tree, and strive to be as the tree, which gives freely to all. Only then is he happy and appreciated, "for the boy who had dreamed of an acorn became a man whose heart branched out wide like an oak tree, giving kindness and shelter to all who came his way." Perhaps uninspired by this sentimental message, Begay does not reach as high as in Ma'ii and Cousin Horned Toad; although his characteristic, densely colored backgrounds still satisfy, his scenes lack the humor and cultural specificity of that previous work. Ages 4-up. Copyright 1994 Reed Business Information, Inc.Grade 3-5-When a young Chinook boy goes with two friends on a spirit quest, he dreams only of an acorn, while the others dream of powerful totem-animals, a bear and an eagle. The wisest man in the village assures the boy that his dream has just as much to teach him and gives him an acorn to plant. For a few years, he is content with his growing tree, but when his friends are praised for their bear-and eagle-like qualities, he grows envious. The wise man repeats his counsel, and the boy begins to see that as the tree grows (unrealistically fast for an oak), it offers shelter and sustenance. He grows into "...a man whose heart branched out wide like an oaktree, giving kindness and shelter to all who came his way." Ambition and envy give way to acceptance. The full-color illustrations in this picture book are literally dazzling-dappled backgrounds make the pages shimmer. The setting does not vividly evoke the Pacific Northwest, but at least there are no beaded buckskins or feathered warbonnets in view. A fine example of an original story nourished by the Native American spirit.Patricia (Dooley) Lothrop Green, St. George's School, Newport, RICopyright 1994 Reed Business Information, Inc.; Title: The Boy Who Dreamed of an Acorn | [
62670
] | Validation |
16,019 | 2 | PreS-Gr 1-When an eight-year-old boy helps his uncle at his job as a plasterer, he takes a fancy to his workman's apron with a pocket. As a result of his fascination, his aunt makes him an apron of his own and he spends a few days as his Uncle Adam's assistant. The text is brief and simple but clearly conveys the warmth between the man and his nephew and the child's satisfaction in a job well done. The line/tissue paper illustrations are colorful and somewhat geometric, reminiscent of French Cubist Leger's work featuring laborers. An added bonus is the child-size apron that comes with the book, but the story will be enjoyed with or without the tangible item.-Christine A. Moesch, Buffalo and Erie County Public Library, NYCopyright 1994 Cahners Business Information, Inc.Eric Carle is acclaimed and beloved as the creator of brilliantly illustrated and innovatively designed picture books for very young children. His best-known work, The Very Hungry Caterpillar, has eaten its way into the hearts of literally millions of children all over the world and has been translated into more than 25 languages and sold over twelve million copies. Since the Caterpillar was published in 1969, Eric Carle has illustrated more than sixty books, many best sellers, most of which he also wrote.Born in Syracuse, New York, in 1929, Eric Carle moved with his parents to Germany when he was six years old; he was educated there, and graduated from the prestigious art school, the Akademie der bildenden Kunste, in Stuttgart. But his dream was always to return to America, the land of his happiest childhood memories. So, in 1952, with a fine portfolio in hand and forty dollars in his pocket, he arrived in New York. Soon he found a job as a graphic designer in the promotion department of The New York Times. Later, he was the art director of an advertising agency for many years.One day, respected educator and author, Bill Martin Jr, called to ask Carle to illustrate a story he had written. Martin's eye had been caught by a striking picture of a red lobster that Carle had created for an advertisement. Brown Bear, Brown Bear, What Do You See? was the result of their collaboration. It is still a favorite with children everywhere. This was the beginning of Eric Carle's true career. Soon Carle was writing his own stories, too. His first wholly original book was 1,2,3 to the Zoo, followed soon afterward by the celebrated classic, The Very Hungry Caterpillar.Eric Carle's art is distinctive and instantly recognizable. His art work is created in collage technique, using hand-painted papers, which he cuts and layers to form bright and cheerful images. Many of his books have an added dimension - die-cut pages, twinkling lights as in The Very Lonely Firefly, even the lifelike sound of a cricket's song as in The Very Quiet Cricket - giving them a playful quality: a toy that can be read, a book that can be touched. Children also enjoy working in collage and many send him pictures they have made themselves, inspired by his illustrations. He receives hundreds of letters each week from his young admirers. The secret of Eric Carle's books' appeal lies in his intuitive understanding of and respect for children, who sense in him instinctively someone who shares their most cherished thoughts and emotions.The themes of his stories are usually drawn from his extensive knowledge and love of nature - an interest shared by most small children. Besides being beautiful and entertaining, his books always offer the child the opportunity to learn something about the world around them. It is his concern for children, for their feelings and their inquisitiveness, for their creativity and their intellectual growth that, in addition to his beautiful artwork, makes the reading of his books such a stimulating and lasting experience.Carle says: "With many of my books I attempt to bridge the gap between the home and school. To me home represents, or should represent; warmth, security, toys, holding hands, being held. School is a strange and new place for a child. Will it be a happy place? There are new people, a teacher, classmates - will they be friendly? I believe the passage from home to school is the second biggest trauma of childhood; the first is, of course, being born. Indeed, in both cases we leave a place of warmth and protection for one that is unknown. The unknown often brings fear with it. In my books I try to counteract this fear, to replace it with a positive message. I believe that children are naturally creative and eager to learn. I want to show them that learning is really both fascinating and fun."Eric Carle has two grown-up children, a son and a daughter. With his wife Barbara, he lives in Northampton, Massachusetts. The Carles spend their summers in the nearby Berkshire hills.copyright © 2000 by Penguin Group (USA) Books for Young Readers. All rights reserved.Eric Carle is acclaimed and beloved as the creator of brilliantly illustrated and innovatively designed picture books for very young children. His best-known work, The Very Hungry Caterpillar, has eaten its way into the hearts of literally millions of children all over the world and has been translated into more than 25 languages and sold over twelve million copies. Since the Caterpillar was published in 1969, Eric Carle has illustrated more than sixty books, many best sellers, most of which he also wrote.Born in Syracuse, New York, in 1929, Eric Carle moved with his parents to Germany when he was six years old; he was educated there, and graduated from the prestigious art school, the Akademie der bildenden Kunste, in Stuttgart. But his dream was always to return to America, the land of his happiest childhood memories. So, in 1952, with a fine portfolio in hand and forty dollars in his pocket, he arrived in New York. Soon he found a job as a graphic designer in the promotion department of The New York Times. Later, he was the art director of an advertising agency for many years.One day, respected educator and author, Bill Martin Jr, called to ask Carle to illustrate a story he had written. Martin's eye had been caught by a striking picture of a red lobster that Carle had created for an advertisement. Brown Bear, Brown Bear, What Do You See? was the result of their collaboration. It is still a favorite with children everywhere. This was the beginning of Eric Carle's true career. Soon Carle was writing his own stories, too. His first wholly original book was 1,2,3 to the Zoo, followed soon afterward by the celebrated classic, The Very Hungry Caterpillar.Eric Carle's art is distinctive and instantly recognizable. His art work is created in collage technique, using hand-painted papers, which he cuts and layers to form bright and cheerful images. Many of his books have an added dimension - die-cut pages, twinkling lights as in The Very Lonely Firefly, even the lifelike sound of a cricket's song as in The Very Quiet Cricket - giving them a playful quality: a toy that can be read, a book that can be touched. Children also enjoy working in collage and many send him pictures they have made themselves, inspired by his illustrations. He receives hundreds of letters each week from his young admirers. The secret of Eric Carle's books' appeal lies in his intuitive understanding of and respect for children, who sense in him instinctively someone who shares their most cherished thoughts and emotions.The themes of his stories are usually drawn from his extensive knowledge and love of nature - an interest shared by most small children. Besides being beautiful and entertaining, his books always offer the child the opportunity to learn something about the world around them. It is his concern for children, for their feelings and their inquisitiveness, for their creativity and their intellectual growth that, in addition to his beautiful artwork, makes the reading of his books such a stimulating and lasting experience.Carle says: "With many of my books I attempt to bridge the gap between the home and school. To me home represents, or should represent; warmth, security, toys, holding hands, being held. School is a strange and new place for a child. Will it be a happy place? There are new people, a teacher, classmates - will they be friendly? I believe the passage from home to school is the second biggest trauma of childhood; the first is, of course, being born. Indeed, in both cases we leave a place of warmth and protection for one that is unknown. The unknown often brings fear with it. In my books I try to counteract this fear, to replace it with a positive message. I believe that children are naturally creative and eager to learn. I want to show them that learning is really both fascinating and fun."copyright © 2000 by Penguin Group (USA) Books for Young Readers. All rights reserved.; Title: My Apron | [
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16,020 | 1 | Barbara Helen Berger lives on Bainbridge Island, Washington.; Title: Thunder Bunny | [
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41932
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16,021 | 2 | PreS. Christopher must always do as his mother requests, as she is much bigger than he. But when she insists he take a bath, he tells her to "go away" on his small toy boat. When she points out that she is too big to get in the boat, he sees this as an opportunity to take control and wills her to "be small." The bathtub becomes a choppy sea, and the woman expresses her fears about being so small and helpless in the boat, but her son is there tubside to help and urge her on. When she demands to be made big again, the youngster assents, satisfied that she can now empathize and understand that it isn't easy being small. Childlike stick figures, the inconsistent sizing of parent and child, and the simplistic text are all effective in helping readers see the world through young eyes. The illustrations are an interesting mix of pastels and deep colors, and have rich, appealing textures. This story will draw a smile from independent preschoolers who hope the adults in their lives can remember what it means to be small.?Lucy Rafael, The Center for Early Education, West Hollywood, CACopyright 1997 Reed Business Information, Inc.Jonell turns the tables on parental authority and childlike obedience in a terrific story of a boy and his mother. ``Pick up your blocks,'' ``No more T.V.,'' and ``Time for your bath'' are the phrases that set off a small boy's protests. Christopher declares, ``Go away, Mommy!'' and offers his toy boat for her to ride in. She protests that she's too large, and so, ``Be small,'' he commands. She obligingly shrinks and is set afloat in the tub, where she expresses a list of fears about what's happening to her. Several other mothers appear in a small motorboat on the bathwater horizon, and Christopher admonishes her to have a good time, remember her manners, and don't hit the others. He endearingly reassures her that he will help her; the mother, once restored to size, sighs that it is hard to be small. ``I know that already,'' Christopher replies. Mathers uses the simplest of illustration styles: The people are almost stick figures--but their postures are wonderfully expressive--and the scenes, intentionally naive yet showing intelligent composition, resemble children's crayon scrawls, done with flat perspectives. A highly original book that will strike a chord in every child's experience, and one that parents will enjoy immensely. (Picture book. 2-6) -- Copyright 1997, Kirkus Associates, LP. All rights reserved.; Title: Mommy, Go Away! | [
16134
] | Train |
16,022 | 11 | PreSchool-Grade 2-"Come look inside my patch and see/A world of life from A to Z." Sloat's rhymed text follows Patty from seedtime through harvest as she grows and sells pumpkins on her farm. The larger illustrations at the top of each page introduce readers to the work and care required to produce a crop. A bird, insect, or other animal that lives in or around the patch is featured at the bottom of each page, in alphabetical order, along with the upper and lowercase letter it represents. Older children will enjoy locating the creatures in the larger pictures above. This book will be a definite hit with those who have the opportunity to select their own Halloween pumpkins, but even children who have never set foot on such a farm can share the experience through the vivid illustrations done in acrylic and oil pastel. Zoe Hall's It's Pumpkin Time! (Scholastic, 1994) also effectively portrays the raising of pumpkins for the preschool set, but Sloat's work will be enjoyed by older viewers as well as their young siblings.Kathy Piehl, Minnesota State University, Mankato Copyright 1999 Reed Business Information, Inc.Children entering Patty's pumpkin patch will not only find a continuous story, told in the main text and illustrations, but also an introduction to the alphabet, presented in smaller illustrations along the bottom of each page. In early spring, Patty hoes among the ants and beetles. When she plants and waters the seeds, crows and dragonflies swoop above. When the plants take root, the earthworms and flies busy themselves. Soon the vines spread and the blossoms pop out, providing shelter for grasshoppers and nectar for hummingbirds. In summer, when the pumpkins form, inchworms, juncos, kittens, and ladybugs come out. And in the fall, the pumpkin stand is readied, and the moths and owls, and other creatures arrive. Sloat's lively rhymes will attract even some of the most squirmy kids at story hour, and lots of children will enjoy watching to see what animal turns up next in the pictures. The highlighted letters, upper and lower case, and the representative words (ant, zebra butterfly, xylem) appear in boxes, and there's enough visual detail in the main illustrations to ensure repeated visits by children curious about critters and how things grow. Shelley Townsend-Hudson; Title: Patty's Pumpkin Patch | [
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16,023 | 2 | Marvin Higgins, the classroom bully from Kline's Mary Marony books, gets his own series now, beginning with this agreeable novel. Here, sharp-tongued Marvin learns that "mean words" really can hurt when he overhears his teacher talking about a bad-tempered hockey player whose last name is Marvin and thinks she is referring to him. Like Ramona Quimby's misunderstanding with her teacher, Marvin's problem with Mrs. Bird is satisfactorily resolved, but not before a string of minor humiliations. The daily reprimands Marvin receives for innocent mistakes?dropping the lid of an ant farm, borrowing Mrs. Bird's fish floss for an art project?are hard enough to endure, but not nearly as embarrassing as having his hard-of-hearing grandmother chaperone a field trip to the Norman Rockwell Museum in nearby Stockbridge, Mass. Disaster turns into good fortune, however, when Nonna's makeshift ear phone, a wrapping-paper tube, provides entertainment on the school bus during an unforeseen delay. The easy-to-read text neatly characterizes Marvin as a tough-skinned second grader with a tender ego. Once again, Kline proves she is well versed in her audience's tastes, concerns and perceptions. Illustrations not seen by PW. Ages 6-9. Copyright 1998 Reed Business Information, Inc.Grade 1-3?Children who love Kline's "Horrible Harry" will devour this book about a second-grader who enjoys teasing until he realizes how "mean words" can hurt. Marvin overhears his teacher, Mrs. Bird, saying that she doesn't like him, and he doesn't know what to do. Furthermore, he's always in trouble because of his creativity. When the class goes on a field trip to the museum to see a Norman Rockwell exhibit, Marvin's grandmother chaperones. Although it is apparent that Marvin loves her, he is embarrassed because Nonna is hard of hearing and carries a wrapping paper tube as a hearing aid. During the field trip, Marvin overcomes his embarrassment and saves the day with the tube. Later, a friend overhears that Mrs. Bird is going to suspend Marvin, but it's all a misunderstanding. Kline expertly taps into typical second-grade fears. From page one, readers cannot help but relate to Marvin and cheer him on. Nonna is a humorous grandmother who admits her own faults and mishaps. Kline deftly weaves in information about Norman Rockwell's paintings and ways to look at and interpret his art. The book even includes reproductions of two of his prints.?Elisabeth Palmer Abarbanel, Los Angeles Public LibraryCopyright 1997 Reed Business Information, Inc.; Title: Marvin and the Mean Words | [
28790,
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] | Train |
16,024 | 5 | Grade 6-9. In this sequel to The Lost Years of Merlin (Philomel, 1996), 13-year-old Merlin faces down the powers of darkness on the island of Fincayra and masters the traditional Seven Songs of Wisdom. In one month's time, he must discover the soul of each song and journey to the Otherworld to obtain a magical elixir to save his mother's life. He is accompanied by Rhia, a girl who possesses a mystical relationship with nature; and Bumbelwy, an annoying and pessimistic court jester. Adventure follows adventure as Merlin seeks wisdom and learns that his pride is his worst enemy. The trio encounters giants, a huge spider with a voracious appetite, and a treacherous one-eyed monster. In the village of Slantos, Merlin finds the magical sword that will one day belong to King Arthur. This richly layered fantasy is filled with harrowing escapades and many surprises. While readers may never doubt the outcome, they will eagerly devour the chapters to arrive at the satisfying conclusion. Arthurian legend is used as the starting point for a delightfully original story of magic and myth that retains the spirit of the classic tales. Merlin is a flawed hero, yet he rises to each new challenge. While the title can stand alone, there are constant allusions to incidents and characters introduced in the first book. Readers will surely be waiting impatiently for the third part of this marvelous series.?Bruce Anne Shook, Mendenhall Middle School, Greensboro, NCCopyright 1997 Reed Business Information, Inc.This second installment of the sequence that began with The Lost Years of Merlin (1996) is as full of action and excitement as its predecessor, but is kinder and gentler in tone; while its origins are epic, it is foremost a tale of the heart. Teenage Merlin remains on the enchanted isle of Fincayra, charged by its inhabitants to traverse the countryside, playing the flowering harp and thereby rejuvenating the land that was scarred in battle during the overthrow of Merlin's father, the evil King Stangmar. Although Merlin is proud to serve, his own desire to be reunited with his mother, Elen, so overwhelms him that he abandons his task and teleports her to his side. No sooner do the pair embrace, however, than Elen is poisoned by a deathshadow, meant for her son by evil Rhita Gawr: Merlin's mother can only be saved if he masters the seven wizard's songs within one lunar month. The quest on which Barron sends his amiable hero is delightfully accessible and appropriate for this audience: In essence, Merlin must rise above his own hubris, and use his heart and mind as an adult. Aiding Merlin in his tasks are the lovely and resourceful Rhia, and a new character, the dour would-be jester Bumbelwy. While plenty of characters from the previous novel appear, as do familiar landmarks, it is Merlin's inner journey that readers will cherish above all: His development is convincing and heartwarming. A rich and resonant read. (Fiction. 9-12) -- Copyright 1997, Kirkus Associates, LP. All rights reserved.; Title: The Seven Songs of Merlin (Merlin Saga) | [
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16,025 | 15 | Grade 4-7. Dramatic full-color photos of lightning, tornadoes, and hurricanes are a vivid testimony to the dedicated efforts of Warren Faidley, storm chaser and photographer. Kramer's readable, exciting text allows readers to ride with Faidley in his specially equipped vehicle, Shadow Chaser, as he races to intercept likely tornado or lightning producers and to join him in the chaotic maelstrom of Hurricane Andrew. Interspersed with Faidley's adventures is a concrete body of information on lightning, storm development, tornado behavior, and the art of photographing fleeting phenomena. There is no index, but the organization of the material and a clear table of contents make specific information readily available. This eye-catching book will undoubtedly be utilized by nonfiction lovers hungry for a good read.?Patricia Manning, formerly at Eastchester Public Library, NYCopyright 1997 Reed Business Information, Inc.Gr. 4^-6. Severe weather photographer Warren Faidley, who chronicled his own experiences in his 1996 adult book Storm Chaser, is the subject here. He also supplied the full-color photographs--spectacular pictures of lightning, tornadoes, and hurricane winds ripping the landscape and candid shots of himself on the road in his specially outfitted car. Kramer's text is just as noteworthy. With entries from Faidley's diary and personal comments, it reveals the drama and danger inherent in Faidley's unusual profession. And because Faidley's gutsy face-offs against nature may give kids the wrong impression, Kramer is careful to include plenty about the photographer's preparations for storm chasing and about what to do during a weather emergency. Glossary. Stephanie Zvirin; Title: Eye of the Storm: Chasing Storms with Warren Faidley | [] | Train |
16,026 | 11 | Like most Lakota Sioux boys, Slow yearns for the special vision or manly deed that will inspire his permanent, adult name. Encouraged by splendid stories of his father's bravery, wisdom and leadership, Slow focuses his energy on becoming a warrior. Friends gradually begin to associate his name with careful deliberation. When the moment of his manhood arrives, Slow rides heroically against Crow warriors, earning the name Tatan'ka Iyota'ke (translated, on the final page, as Sitting Bull). Bruchac's (see Gluskabe and the Four Wishes, reviewed above) meaty yet cohesive narrative is richly complemented by Baviera's large, atmospheric paintings. Employing a somber palette marked by radiant bursts, the first-time children's illustrator evokes the solemnity and awe of ripening adulthood. Satisfying for its attention to historical and multicultural issues; stirring in its consummate storytelling. Ages 5-up. Copyright 1995 Reed Business Information, Inc.Grade 1-6?This picture-book biography recounts the boyhood of a real Lakota Sioux named Slow, who grew up in the 1830s. Today's children of any background can empathize with his efforts to outgrow his childhood name and take his place as an adult among his people. The illustrations, oils that are rich and somber, convey details of traditional Lakota life, from the warm, close interiors of the family home to a pre-dawn assembly of warriors about to raid their Crow neighbors. The text creates an equally subtle portrayal of Plains Indian life. Many stereotypes of Native American culture are gently corrected, as when the author acknowledges that "women are the heart of the nation." The traditional Lakota explanation for the advent of horses is given alongside mention of their historical introduction by European explorers. Dialogue in the Native language helps to convey the richness of the culture. By the time Slow earns his new name, young readers will feel they know a real person?the man who was to become Sitting Bull, one of the great Sioux warriors and a hero at the Battle of Little Bighorn. This book works beautifully as historical fiction; it is less successful as biography as none of the dialogue is documented. An inspiring story.?Carolyn Polese, Humboldt State University, Arcata, CACopyright 1995 Reed Business Information, Inc.; Title: A Boy Called Slow | [
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16,027 | 2 | PreSchool-K-The action begins promptly on the title page as a boy prepares to pounce on his father, who sits quietly reading the newspaper. What follows is an affectionate, rough-and-tumble exchange between the two as they engage in physical play. The little boy pretends to be a bear and his father becomes "a Big Hairy Monster Bear!" Jonell's realistic dialogue and Rand's animated, skillfully rendered illustrations seize what is often unique to a father-son relationship-aggressive yet playful roughhousing. The little boy's enthusiasm as he and his dad morph in and out of their bear bodies is enhanced by the text that rolls and dances across the double-page spreads. The endpapers feature the pair in various poses of rowdy fun. This is an excellent addition to any collection, and would be a terrific read-aloud for small-group storytimes. Linda M. Kenton, Palo Alto City Library, CA Copyright 2000 Reed Business Information, Inc.So closely is Jonell's work associated with Petra Mathers's art (It's My Birthday, Too!, 1999, etc.) that this pairingwith Randseems unfamiliar and disquietingbut only initially. A little boy interrupts his father's reading of the newspaper by pouncing on the couch with a not-to-be-ignored invitation: ``Let's play rough, Daddy!'' As the typography joins in the frolic, Daddy typifies his son as a bouncy puppy and an ear-pulling little monkey, then tops the boy's claim of being a bear with the assertion that he is ``a Big Hairy Monster Bear!'' A spirited free-for-all ensues, with the larger bear grabbing, tossing, tickling, and tumbling the cub in morphing illustrations done to perfection by Rand. The big bear's teeth show alarmingly as he says that he eats small bears, so it's no wonder that the boy calls a halt to the game, welcomes a hug, and then demands to play rough again. That conclusion is not unprecedented; Max, in Rosemary Wells's Max's Birthday, demands another go at a scary situation, but Jonell is undeniably on target. She keeps the tone light, while the animation expressed in the illustrations would not have been possible with the stick figures of the previous books. (Picture book. 2-6) -- Copyright 2000, Kirkus Associates, LP. All rights reserved.; Title: Let's Play Rough! | [
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16,028 | 13 | Kindergarten-Grade 3. When Tanya and her mother arrive early at the theater for a performance of Coppelia, the girl follows an elderly woman down a hallway and discovers a dressing room with a green wardrobe full of wonderful costumes. Tanya and the woman dress up and dance parts from Sleeping Beauty, Cinderella, and the Nutcracker Suite. Finally, they perform Coppelia, with Tanya as the magic doll, and the dressing room becomes a stage complete with scenery and beautifully costumed dancers. The book ends with Tanya sitting down with her mother to watch the ballet she has just seen in her own imagination. Ballet fans will snap up this latest addition to the popular series and will turn again and again to the illustrations of Coppelia, painted in colors just dark enough to be mysterious. The two-page spread showing all of the toys coming to life in luminous detail captures perfectly the magic of the famous ballet. The smoothly written text provides just enough narrative to keep the story flowing, letting the illustrations fill in the rest. Once again, Tanya steals the show in this well-executed picture book that pays tribute both to the beauty of dance and to the power of a child's imagination.?Dawn Amsberry, Oakland Public Library, CACopyright 1997 Reed Business Information, Inc.; Title: Tanya and the Magic Wardrobe | [
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16,029 | 5 | Petach practices nontraditional casting and extravagant punning in this fractured fairy tale, in which Goldilocks falls down the rabbit hole. Relatively straightforward narrative counterpoints voice-bubble dialogue from Goldy and the hares ("Hey, we're rabbits, not hares!" objects Papa; "I know, dear," replies his wife."But maybe the artist doesn't know how to paint them"). A subplot-unfolded chiefly in panels at the bottom of the pages-pits a family of mice against invading weasels ("The famous Mom and Pop robber gang-the Goze family!" exclaims one character, to which another responds, "Oh, sure-Pop Goze, the Weasel!"). The tale ends happily ever after as Goldilocks offers to cook the rabbits French toast by way of restitution for the purloined porridge. Petach wastes no opportunities for silly scenarios and her wordplay is of the no-holds-barred variety: "I couldn't think of a background, so I drew a blank." It's up to the reader to giggle or groan. All ages. Copyright 1995 Reed Business Information, Inc.Kindergarten-Grade 2?An imaginative takeoff on the familiar tale. There are two levels of story here. Goldilocks falls into the underground home of the three hares while chasing her ball. Below them lives a family of eight mice, who give a running commentary on the activity above them. Attractive, colorful illustrations flow from page to page, setting the subterranean scenes. Amusing details encourage repeated viewings. Dialogue balloons carry the characters' comments and conversations, while a straight narrative tells of Goldilocks's encounter with the three rabbits' oatmeal (burnt), chairs, and beds. There are puns galore?a few that adults will appreciate more than children. Still, there are plenty that youngsters will love, as when Goldilocks gets sick while checking out the great big waterbed. "You know who's really sick? The ill-ustrator." Great fun for family sharing.?Blair Christolon, Prince William Library, Manassas, VACopyright 1996 Reed Business Information, Inc.; Title: Goldilocks and the Three Hares | [
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16,030 | 2 | PreSchool-Grade 4?The spareness of the arctic landscape lends itself to a picture book elegant in painting and poem. Yolen's confident hand with verbal rhythms has never been more evident. The author moves naturally from rhyming couplets to internal rhymes, letting the changing beats of the lines evoke "A ton of unpredictable moose on the loose" or "Lynx, now quick, now slow, now silent as snow." The unforced musical language is a pleasure to read aloud. Regan's double-page paintings use an icy palette of blues and whites to create a sense of chilly beauty and mystery. As the seasons change, the artist allows color to creep in gradually until summer on the tundra bursts forth in a riot of yellow poppies and blue lupines. As the warmth fades, the colors freeze up again, lit by the northern lights. Flora and fauna are rendered with meticulous accuracy, with the arctic tern and the arctic loon distinctly different from their relatives. Like Welcome to the Green House (1993) and Welcome to the Sea of Sand (1996, both Putnam), this book can fill a variety of niches. The friendly language and stunning art will pull in preschoolers and introduce them to environmental wonders. It would be an excellent introduction to an ecology unit for elementary grades. There is even a brief information essay on the back page, an address for further information, and an Alaska Web site. It will be a cold heart that is able to resist this beauty.?Sally Margolis, Barton Public Library, VTCopyright 1998 Reed Business Information, Inc.Ages 4^-8. With its endlessly rolling hills of ice, the arctic landscape appears bleak and forbidding. Indeed, Regan's paintings are so realistic her scenes seem as if they should be icy to the touch! With each turn of the page, another effectively camouflaged native inhabitant--fox, wolf, lynx, ptarmigan--emerges from the blue whiteness as Yolen's evocative verse identifies the variety of predators and prey that inhabit the arctic nights. Swimming beyond the frozen land are seals, whales, and walrus, and gyrfalcons police the frigid skies. This menagerie blossoms with the arctic flowers in spring as caribou, grizzly bears, and an assortment of birds return to the thawing land. This companion to Yolen and Regan's Welcome to the Green House (1993) and Welcome to the Sea of Sand (1996) is an irresistible invitation to the "ice house" that will enrich youth science collections. Ellen Mandel; Title: Welcome to the Icehouse | [
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16,031 | 2 | DePaola executes a clever concept with his trademark charm and humor, offering a prequel to the series that began in 1976 with the Caldecott Honor book Strega Nona. Here the author/artist tells how his charismatic character came to become a strega (witch) with a "magic touch." The "biography" begins on a dark and stormy night in the hills of Calabria, where Grandma Concetta authoritatively oversees Nona's birth. Convinced that Nona will be a strega like her, the big-hearted woman teaches her granddaughter how to use herbs and spells to remedy villagers' aches and troubles. Nona, along with her overconfident friend Amelia (who sets herself up as Nona's rival in some of the other books), attends the Academy for Stregas, but soon concludes that its newfangled approach to magic is not for her, and returns home to practice her craft the old-fashioned way. Eventually she discovers Grandma Concetta's all-important secret ingredient: love. With their expressive faces and pertly exaggerated profiles (Strega Nona's signature hooked nose punctuates her face even as a newborn), the classic characters happily cavort in sunnily colored, droll illustrations. And dePaola does a splendid job of working this sparkling tale into the Strega Nona canon: on the final page, for example, the aging strega opens her door to the first respondent to her ad for a helper, whom fans will immediately recognize as the gangly and beloved Big Anthony. Ages 4-8. Copyright 1996 Reed Business Information, Inc.PreSchool-Grade 3?In this prequel to the five other "Strega Nona" books, dePaola takes readers once again to the quaint hills of old Italy. The story begins with Nona's delivery at the hands of Grandma Concetta and closes as the aging Strega Nona answers her door to a knock-kneed apprentice-hopeful, Big Anthony. Along the way, readers learn how Concetta teaches Nona the mysteries of herbs and potions and, more importantly, her "secret ingredient." They see young Nona befriended by Amelia at convent school; later, they set off together for the modern Academy of Stregas. Proving herself clever and kind as well as skilled in magic, Nona eventually inherits Grandma Concetta's house and practice. All the familiar dePaola elements are here: the homey Italian phrases; appreciation of the old ways; and the characteristically charming, square-bordered scenes with their pink-tiled roofs, noble doves, and goofy goats. Tangerine is added to the usual pastel palette, giving the book a brighter look that stands out at story hour. Children will find many of the paintings hilarious. Though this book is a mere teaser on its own, it serves as the perfect final installment in any Strega Nona story fest, leaving children wanting still more of that "ingrediente segreto."?Karen MacDonald, East Falmouth Branch Library, MACopyright 1996 Reed Business Information, Inc.; Title: Strega Nona, Her Story | [
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16,032 | 13 | Kindergarten-Grade 3. Isadora's winsome ballerina has returned?this time backstage. Lili arrives at the theater prior to a performance of Sleeping Beauty, and while searching for her grandfather, a French-horn player in the orchestra, she explores the rehearsal area; stage loft; costume, wig, prop, and make-up rooms; canteen; and even under the stage, finally finding Grandpa Max waiting for her in the orchestra pit. As with Lili at Ballet (1993) and Lili on Stage (1995, both Putnam), Isadora's latest work treats youngsters to the sights and sounds of a dancer's world. Her explanations are simple and clear, conveying not only information but also a sense of excitement about the theatrical realm. The double-page, realistic watercolors are a perfect complement to the text. Their colors are bright and varied, their detail meticulous. They convey a tremendous sense of movement and feature a variety of ethnic groups. A welcome addition to picture-book collections, not only for ballerina wannabes, but also for those who are intrigued by the romance of getting "behind the scenes."?Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RICopyright 1997 Reed Business Information, Inc.Ages 4^-8. The excitement of putting on a show is captured from behind the scenes in this companion to Lili at Ballet (1993) and Lili on Stage (1995). When Lili goes backstage to find her grandfather in the hours before a performance, she talks to the stagehands, watches the dancers apply their make-up, until finally she hears Grandpa's French horn, and they share a pizza in the orchestra pit. There are no applauding fans, no stars; this is preparation time, and Isadora's lavishly drawn watercolor-and-pencil pictures reveal the rich hidden scaffolding of the performance to come. In one dramatic spread, Lili looks down from the balcony with the stage manager, who is checking the scenery and the web of thick black electrical lines. Then there is the wild toy shop of the prop room, the spooky clutter under the stage, the wig room with shelves of masks. For the stagestruck, even the technical names will be magical, and they will pore over the graphic details of professionals at work. Hazel Rochman; Title: Lili Backstage | [
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16,033 | 5 | Blond, blue-eyed Treva (The Trouble with Trolls, 1992) teaches a pair of greedy little trolls how to celebrate Christmas: following them in order to find the gifts and ornaments they've snitched from her house, she helps them decorate their home, shows them how to share, and offers them a gift--a gesture they make in return on Christmas morning. The story is predictable but related with appealing directness; and fans will be enchanted, once again, with the lovingly detailed folk/Scandinavian details in Brett's bright, crisply delineated art, especially in the intriguing borders--where the trolls' charming pet hedgehogs are busy with their own related pursuits. (Picture book. 4-8) -- Copyright ©1993, Kirkus Associates, LP. All rights reserved."Treva teaches a pair of greedy little trolls how to celebrate Christmas. . . a gesture they make in return on Christmas morning. . . . Fans will be enchanted, once again, with the lovingly detailed folk/Scandinavian details in Brett's bright, crisply delineated art, especially in the intriguing borders--where the trolls' charming pet hedgehogs are busy with their own related pursuits."—Kirkus Reviews; Title: Christmas Trolls | [
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16,034 | 16 | A minor addition to Carle's lengthy list of child-captivating titles, this lean tale introduces a cloud that changes itself into a handful of shapes. Calling upon memories of objects it has seen, Little Cloud becomes a plane, a shark, trees, a rabbit and a clown before rejoining its peers. At this point they do what clouds are apt to do when they get together: "Then all the clouds changed into one big cloud and rained!" Popping out from a textured background of rich turquoise, Carle's luminous collage art features broad, swirling strokes reminiscent of fingerpainting. As minimalist as the text, these images may well inspire kids to cast more creative glances at the sky. Although the conceit is imaginative, the execution lacks the inventiveness and extra sparkle of such Carle classics as the "Very" quartet. Ages 2-6. Copyright 1996 Reed Business Information, Inc.PreSchool-Grade 1?A familiar story line involving the whimsical world of ever-changing shapes in the sky. Little Cloud drifts away from his wispy friends and entertains himself by changing into a variety of forms?a lamb, an airplane, a shark, a clown, etc.?before joining the others to form one big cloud that rains. Charles Shaw's It Looked Like Spilt Milk (HarperCollins, 1947) explores a similar theme. While the concept is not unique, the style is definitely Carle's own. His trademark painted cut-paper collages are eye-catching and appealing. Children will enjoy the simple text and the colorful illustrations.?Kathy Mitchell, Gadsden Co. Public Library, Quincy, FLCopyright 1996 Reed Business Information, Inc.; Title: Little Cloud | [
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16,035 | 2 | Barron's (The Lost Years of Merlin) debut picture book, which the flap copy describes as autobiographical, offers a humanist response to death and grieving. On the day that Grandpa dies, a boy listens as his sister, brother and parents share memories of this generous, dynamic man. But he can't bring himself to join in, despite his own fond memories of spending time with Grandpa in the tree house Grandpa had built overlooking the Rockies. At last, the boy asks, "Can anybody tell me... Where is Grandpa now?" Fumbling for a definition of heaven, the father concludes, "Maybe you could say that heaven is any place where people who love each other have shared some time together." Kids may need some help fleshing out this concept, even as the child recalls the wonderful spots he and Grandpa had visited together. Thinking of his grandfather "in all of those places" frees the boy to return to them and, presumably, to carry on with a life that Grandpa has greatly enriched. Depicting stagily lit daytime scenes, electrically hued sunsets and starry nights, Soentpiet's (More Than Anything Else) watercolor tableaux amplify--and perhaps exaggerate--both the natural theater of the majestic mountain setting and the human drama of Barron's graceful story. A useful springboard for dialogue between bereaved adults and children. Ages 4-8. (Jan.) Copyright 2000 Reed Business Information, Inc.PreSchool-Grade 2-A gentle story of a young boy's grief when his beloved grandfather dies. His family talks about their positive memories of him-adventures shared, a funny Halloween incident, and how easy he was to talk to. However, the narrator cannot verbalize his memories until his father answers such questions as "Where is Grandpa now?" or "Where is heaven?" Struggling with his own grief, his dad tries to answer as truthfully as he can. He explains that "-heaven is any place where people who love each other have shared some time together." The story is set against a backdrop of the majestic Rocky Mountains. At first, the watercolor paintings seem to glow with a very bright "liquid light" (a phrase of Grandpa's), but that brightness gradually softens to more soothing colors as the family contemplates the man's death. After Dad answers the child's questions, the colors lighten again, suggesting the coming resolution of their grief. A helpful introduction to death and the grieving process.Virginia Golodetz, Children's Literature New England, Burlington, VT Copyright 2000 Reed Business Information, Inc.; Title: Where Is Grandpa? | [
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16,036 | 2 | In this lighthearted cumulative romp, three young siblings pack a bag with sweaters, socks, mittens and earmuffs and search out alternative dwellings. They enjoy living in a tree, until they tumble out; on a raft in a pond, until it sinks; and in a sand castle by the sea, until the tide comes in. With each move, the children add another item to their bag: in the end their possessions include "scarlet leaves and gold/ and a frog who was a particular friend/ and precious stones that caught and held the sun,/ and seashells singing the songs of the surf." The lilting prose and deft repetition make this a good choice for reading aloud. Cepeda (What a Truly Cool World) wisely plays up the text's silliness, not its visions of the pastoral. Working in a brilliant palette that would suit the contents of a gumball machine, he conjures up such scenarios as one brother hanging upside-down from a tree limb but holding his teacup right-side-up, and the sister, said to be hunting for treasure on the beach, sweeping the sand with a metal detector. Finally, the trio falls into the arms of their waiting parents (pictured only from their shoulders down), cheerfully reminding readers of the virtues of home sweet home. Ages 2-6. Copyright 1999 Reed Business Information, Inc.PreSchool-Grade 2-Youngsters who have found fault with their living conditions will revel in this story of three siblings who leave home to seek more exciting housing. They love life in their tree-until they fall out of it. Similarly, in each new residence-they subsequently try a pond, a cave, and the sea-they are content until disaster strikes. They finally end up back home where their parents greet them with open arms. The text, originally published in 1969 (Coward, McCann & Geoghegan; o.p.), is delightfully lyrical, patterned, and filled with alliteration. There are "turrets and towers," "salty water and warm sea sand," and "seashells singing the songs of the surf." Cepeda's brilliantly colored oil paintings are filled with humor befitting the outlandish theme. The older girl and her two younger brothers, one of them wearing huge glasses, carry their meager belongings in a wagon, adding treasures as they travel. They hang upside down from tree branches, explore pond life with a spyglass, wear a mining hard hat in their cave, and use a metal detector at the seashore. The book is cleverly designed so that each disaster is uncovered with the turn of a page: "We liked our cave,...until we met the bears." Young readers will chime in on the "until" in gleeful anticipation. Be sure to give this gem a home.Marianne Saccardi, Norwalk Community-Technical College, CTCopyright 1999 Reed Business Information, Inc.; Title: We Were Tired of Living in a House | [
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16,037 | 13 | PreSchool-Grade 2-A young ballerina, first introduced in Dance, Tanya (Philomel, 1989), gracefully leaps her way through this well-designed book. When her teacher instructs her to pose like a flamingo, Tanya imitates the animal by standing on one foot and bending her other leg. Pull the tab below the picture and vertical slats move to reveal a flamingo, standing in a very similar position. This is the basic format, as Tanya jumps like a cat, runs like an ostrich, hops like a rabbit, cavorts like a goat, leaps like an antelope, and finally takes a bow. The focus here is not on plot, but on the pictures, and the simple text works well to showcase them. Ballet terms are scattered throughout, but not translated or explained. Crafted from heavy paper, the moveable sections are sturdy and easy to operate. As one picture is replaced by another, the sections separate and move like vertical blinds. Colored in gentle pinks, yellows, and greens, the illustrations are bright, graceful, and filled with the joy of movement. A nice, but supplemental choice for young ballet fans.Joy Fleishhacker, School Library JournalCopyright 1996 Reed Business Information, Inc.; Title: Tanya Steps Out | [
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16,038 | 2 | Gr. 3^-5. Seven-year-old Evangeline Blake and her father eke out a spare existence in the log cabin built by Papa at the edge of the forest. Their only companions are two mules Papa borrows from a neighbor for plowing and a stray dog that comes and goes. When a flash flood threatens their home, and Papa is accidentally swept away, Evangeline is left alone in the cabin amid the rising waters. Suddenly, an angel appears, calming Evangeline and illuminating the house so that a woman in a rowboat can locate and rescue her. McKelvey's writing is sparse and lyrical, perhaps reflecting his previous efforts as a poet and songwriter. Using a style reminiscent of Cynthia Rylant's, he makes effective use of the element of mysticism and leaves many unanswered questions for readers to ponder. Although audience may be a problem (Evangeline's story will appeal to a much older audience than seven-year-olds), this is a fine piece of writing that should find a niche with sensitive readers. Kay WeismanMcKelvey's first children's story is a small jewel. It is narrated by Evangeline (although readers don't know her name until the last line of the book), age seven, who lives a simple but satisfying life with her father in a remote log cabin, until the gentle rhythm of their days is ripped apart by a flood. He is swept downstream, leaving her stranded in the house with water rising fast through the floorboards. That's when she sees the angel. Calmed by its presence, Evangeline finds the wherewithal to hang on until, with the aid of a mule, a faithful old dog, and a woman in a rowboat, she is rescued and reunited with her father. Through careful attention to everyday details, McKelvey builds Evangeline's credibility. She notices things: the way a dog laps up its dinner, the way a mule twitches its ears. When she sees an angel, readers will be ready to believe her. The graceful language only appears simple; there is a disarming precision in the text, and every word belongs exactly where it has been placed. A lovely tale about the mysteries of love and faith. (Fiction. 8-12) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.; Title: The Angel Knew Papa and the Dog | [
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16,039 | 0 | Ages 3^-7. Originally published in 1973, this autobiographical picture book was one of the first to introduce very young children to the concept of death. Given its graceful treatment of a difficult subject, it has been a parental staple ever since, and a new generations of readers will be glad to discover this timeless tale in a lovely new edition. In an appended note, dePaola says he approached this project "as a completely new book." Thus, the format is larger than formerly, the pictures have been re-done in full color, and even the text has been slightly modified, though the story remains the same: every Sunday four-year-old Tommy's family goes to visit his grandparents. His grandmother is always busy downstairs, but his great-grandmother is always to be found in bed upstairs, because she is 94 years old. Tommy loves both of his nanas and the time he spends with them. He is desolate when his upstairs nana dies, but his mother comforts him by explaining that "she will come back in your memory whenever you think about her." Although dePaola's book is a nostalgic tribute to his own family, its theme--that not only people but our love for them survives in our memories--is universally true and important. Michael CartTomie dePaola was born in Meriden, Connecticut, in 1934 to a family of Irish and Italian background. By the time he could hold a pencil, he knew what his life's work would be. His determination to create books for children led to a BFA from Pratt Institute in Brooklyn, New York, and an MFA from the California College of Arts & Crafts in Oakland, California.It drove him through the years of teaching, designing greeting cards and stage sets, and painting church murals until 1965, when he illustrated his first children's book, Sound, by Lisa Miller for Coward-McCann. Eventually, freed of other obligations, he plunged full time into both writing and illustrating children's books.He names Fra Angelico and Giotto, Georges Rouault, and Ben Shahn as major influences on his work, but he soon found his own unique style. His particular way with color, line, detail, and design have earned him many of the most prestigious awards in his field, among them a Caldecott Honor Award for Strega Nona, the Smithsonian Medal from the Smithsonian Institution, the Kerlan Award from the University of Minnesota for his "singular attainment in children's literature," the Catholic Library Association's Regina Medal for his "continued distinguished contribution," and the University of Southern Mississippi Medallion. He was also the 1990 United States nominee for the Hans Christian Andersen Medal for illustration.Tomie dePaola has published almost 200 children's books in fifteen different countries. He remains one of the most popular creators of books for children, receiving more than 100,000 fan letters each year.Tomie lives in an interesting house in New Hampshire with his four dogs. His studio is in a large renovated 200-year-old barn.- He has been published for over 30 years.- Over 5 million copies of his books have sold worldwide.- His books have been published in over 15 different countries.- He receives nearly 100,000 fan letters each year.Tomie dePaola has received virtually every significant recognition forhis books in the children's book world, including:- Caldecott Honor Award from American Library Association- Newbery Honor Award from American Library Association- Smithson Medal from Smithsonian Institution- USA nominee in illustration for Hans Christian Andersen Medal- Regina Medal from Catholic Library Associationcopyright 2000 by Penguin Putnam Books for Young Readers. All rights reserved.; Title: Nana Upstairs and Nana Downstairs | [
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16,040 | 4 | Ages 3^-6. "Are they beasts or great machines that feast to keep our city clean?" Well, actually, as Kirk envisions them, they're a little bit of both: energetically anthropomorphized trash trucks with massive jaws and jagged teeth, all the better the garbage to eat. Oops! Sorry--Kirk's singsong, rhyming text is infectious. There's a slight story in here somewhere--three muscular trucks save Pete and his pal Kim from being buried under a toppling mountain of trash--but the main attraction is the rambunctious art that mixes stylized retro images with collage. As for the text, it's hand lettered in "24 pt. Litterbox" (!). A witty penultimate spread shows everybody from Einstein to Santa Claus to the author-artist himself holding bags of next week's trash. (Note to casting directors: for the movie version, sign Arnold Schwarzenegger to star as lead truck "Stinko.") Michael CartThe trash trucks are coming--monstrous trucks with gnashing grillwork and rattling metal jaws. Everyone helps out on trash day, and Kim and Pete are excited and just a little scared of the big, loud machines. The bright colors, inventive design, and in-your-face perspective present a diverting visual cacophony as the entire community gathers for the big clean-up--the scene includes Einstein, the Statue of Liberty, Santa Claus, Elvis, and the Mona Lisa. Kirk (Lucky's 24-Hour Garage, 1996, etc.) taps into rhythm and sounds that kids will love to shout out; the details are engrossing, from the retro-compost to the burly trash men's underarm hair. Big, bold images make the book an irresistible read; children will thrill to this raucous look at hungry garbage trucks. (Picture book. 3-6) -- Copyright 1997, Kirkus Associates, LP. All rights reserved.; Title: Trash Trucks | [
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16,041 | 14 | Grade 1-4. Using the words of "Silent Night" as chapter headings, Moses tells the story of a family celebrating the Christmas Eve arrival of a baby girl. The day is filled with urgency and excitement, as Grandma arrives on the train, the hired hand rushes for Doc Herrick, and the family members trim the tree as they wait for the big event. When the baby arrives, relatives and friends each give her a small gift, except for Andy, who has nothing ready. Before he goes to sleep, he lays his skates down next to his new sister, promising, "Someday, I'll teach you to skate just like me." Moses's glorious folk-art paintings capture the 19th-century Vermont setting: the snow-swept landscapes, the quaint village and horse-drawn sleighs, and the cozy interiors of the old farm house. Readers will enjoy the understated story and pore over the gorgeous artwork for years to come.Copyright 1997 Reed Business Information, Inc.Painting is as much a part of the Moses family tradition as the family homestead in Eagle Bridge, New York. There Will Moses has painted since he was a little boy, learning firsthand from his grandfather, folk artist Forrest Moses, who learned from his mother, Anna Mary Robertson Moses, better known as Grandma Moses. Developing his own folk style, Will has become an internationally beloved artist in his own right, his art displayed in collections throughout the world, including that of the White House.His first picture book, The Legend of Sleepy Hollow, a retelling of Washington Irving's famous tale, was published by Philomel in 1995.Will Moses' studio is at the Mount Nebo Gallery and Farm in Eagle Bridge, where he lives with his wife, Sharon, and their three children.; Title: Silent Night | [
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16,042 | 2 | PreSchool-Grade 4?A cautionary tale that will appeal to anyone who believes in the power and magic of books. When the town of Triple Creek first built a huge TV tower, Aunt Chip took to her bed, promising, "there will be consequences." Now, 50 years later, the townspeople are so obsessed with their televisions that they are oblivious to everything else. Of course, people still "use" books-as furniture, to fix crumbling walls, to patch up tattered roofs-but no one knows how to read. Finally, Aunt Chip, who used to be the town librarian, pops out of bed to do something about it. Beginning with her nephew, Eli, she teaches the children to read. Hungry for books, they take them from wherever they can be found. When Eli and his friends pluck a copy of Moby Dick from the dam, they unleash a wall of water that destroys the TV tower and changes the future of the town. A master storyteller, Polacco flavors this modern fable with the language and cadence of a traditional tall tale. Filled with amusing details, interesting characters, and unexpected twists, this enjoyable story clearly makes its point without seeming heavy-handed. In perfect harmony with the text, the illustrations add dimension and resonance to the words. Enslaved by TV, Triple Creek is colored in dismal grays and imprisoned by imposing power lines. Afterwards, the town is blooming, bustling, and brightly colored. Watch out. Polacco's passion for books and reading is contagious.?Joy Fleishhacker, New York Public LibraryCopyright 1996 Reed Business Information, Inc.Ages 5^-8. Aunt Chip took to her bed 50 years ago when the big television tower came to town and the library closed. She knew there would be consequences, and there were--everyone stopped reading, and now they don't remember how. When Aunt Chip learns that, she gets out of bed and begins teaching the children to read. Soon the kids love reading so much they're taking books out of potholes and sagging buildings, where the books have been doing infrastructure duty. Eventually, the TV tower falls down, at first angering the adults and then causing them to read. Reading reigns, and Aunt Chip goes back to her job of decades ago, town librarian. Naturally, this subject is near and dear to every librarian's heart, but Polacco's treatment of it borders on the didactic. Still, since books and reading are always in competition with television viewing, maybe a little didacticism doesn't hurt. Polacco's signature-style artwork, a bit more freewheeling than usual, has fun with the fantasy elements of the story. Not top-of-the-line Polacco, but libraries will probably want to buy this for the message. Ilene Cooper; Title: Aunt Chip and the Great Triple Creek Dam Affair | [
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16,043 | 21 | Isadora (Lili at Ballet) opens the window on another discipline with this engaging and informative book. Eight-year-old Sophie has set her sights on becoming a professional ice skater, devoting five mornings and three afternoons a week to lessons at the rink, and now she prepares for a competition. The story line gracefully shares space with watercolor sidebars that give behind-the-scenes background (for example, the proper way to tie a skate, the types of clothes skaters wear, how to get up after a fall). A master at capturing bodies in motion, Isadora also delineates the various moves, from backward wiggles ("Move your hips from side to side and pretend you're a puppy wagging your tail") to laybacks, toe loops and spins. There's even a little ballet tucked in, as Sophie takes two ballet lessons a week. Perhaps most importantly, however, Isadora captures the sheer joy that fuels young athletes: thinking about the competition, Sophie says, "I won't have to remember to smile. This program is so much fun!" A winning score for Isadora once again. Ages 4-8. (Sept.) Copyright 1999 Reed Business Information, Inc.PreSchool-Grade 3-Repeating the formula she used in Lili at Ballet (Putnam, 1993), Isadora turns her attention to figure skating, rounding out her story of a fictional child with relevant information about the sport. Young readers are sure to admire eight-year-old Sophie, who is pursuing her dream of becoming a professional ice skater. While she clearly loves to skate, her story emphasizes the hard work, time, and dedication required to excel in the sport. Captions for the watercolor illustrations sometimes provide informative facts but are the book's weakest aspect. (A novice skater's free skate would be shorter than indicated, and the position shown for "shoot the duck" is incorrect.) Even so, children will love poring over the pictures of children skating. Isadora remains one of the best at illustrating rhythm and athletic movement. Rely on stronger titles in your nonfiction section for the skating information, and save Sophie Skates for its picture of a likable girl hard at work becoming a star.Pat Leach, Lincoln City Libraries, NE Copyright 1999 Reed Business Information, Inc.; Title: Sophie Skates | [
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16,044 | 2 | Boyd's image-laden narrative makes a passionate appeal to "Daddy" to "be there" to share the small and significant incidents in a child's life and-more incisively-to right the wrongs, some of which have been created by Daddy himself. The words of the book's title introduce-and end-just about every page of this belabored text, in which the narrator's entreaties range from hopeful ("Hug Mama and smile at her/ On Tuesdays and in the grocery store") to plaintive ("Daddy, Daddy,/ Be there,/ Not only on weekends or across telephone lines,/ Not only during commercials or between innings") to almost pathetic begging ("I saw you push Mama/ And take another drink/ And turn the television up,/ Then leave, slam the door shut./ I feel the holler, the push, the door slammed./ Please stop. Stop, please. Please. Stop./ Make home safe"). Though cloying, Boyd's poetic plea strikes deep notes that will ring true for many children and parents, and may be useful as a starting point for needed dialogue. Featuring kids and adults of various ethnicities, Cooper's (Be Good to Eddie Lee) intentionally hazy, brown-toned illustrations reinforce the text's unfettered emotional content. Ages 4-8. Copyright 1995 Reed Business Information, Inc.Grade 3 Up?Lyrical prose pleads, in the voices of children, for fathers to show up for the little and big events in their lives, to share stories, to be constant and loving, to hold the family together in tough times, and to see life through their eyes. The youngsters' concerns age as the pages turn?the first narrator is beginning school; the last is a parent himself. Cooper's textured pastel illustrations capture mixtures of many races, reflecting the universal needs of children to know and be loved by their fathers. His use of variously tinted brown tones give the closeup faces the look of old photographs. The text crackles with contemporary concerns: a plea for children raised by private schools and day-care centers to have feelings acknowledged; a cry to despondent and jobless fathers to keep struggling; and a reminder that even young people with green hair and pierced noses need love and guidance. The book is most likely to move older students and adults to discuss the important roles that fathers play in children's lives. Put it in the parenting section or in the hands of family-life educators to read with their classes. This compelling treatment of an emotional topic will no doubt elicit strong emotions in discussion or writing with upper-elementary age students, as well.?Susan Hepler, Alexandria City Public Schools, VACopyright 1995 Reed Business Information, Inc.; Title: Daddy, Daddy, Be There | [
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16,045 | 2 | Reaching deep into the treasured memories of his own childhood, dePaola pulls out a plum. Little Tommy eagerly anticipates the arrival of a new sibling, and prays nightly for "a baby sister with a red ribbon in her hair." Household preparations proceed on course until a slight detour knocks Tommy for a loop-the arrival of his stern Italian nana instead of beloved Aunt Nell to care for him while his mother is in the hospital. This added dimension lifts the plot beyond the garden-variety "new baby in the house" scenario, and under dePaola's sure, sensitive direction, a richly textured tale unfolds. The sympathetic fellow and his big, extended family are prime fodder for dePaola's artistic talent, too-with their well-known simplicity of line and cheerful palette, dePaola's illustrations radiate warmth and affection. Don't miss the author photo on the jacket cover for a glimpse of the real beribboned sister. Ages 3-6. Copyright 1996 Reed Business Information, Inc.PreS?Another of dePaola's family stories. This one depicts young Tommy's anticipation of the arrival of his new sibling. In tightly framed paintings, the boy helps ready the nursery; draws and cuts paper decorations (his signature birds, hearts, and flowers); and eagerly awaits Aunt Nell's arrival. However, when his mother goes to the hospital, it is his forceful and dour Italian Nana who happens to be available for baby-sitting. Worse, because chicken pox is going around, Tommy can't even visit his mother after his sister is born. But all ends well?he and his Nana patch up their quarrels, and he gets to hold Maureen when all the relatives have gathered. This title goes along with The Art Lesson (1994), Tom (1993), and Nana Upstairs & Nana Downstairs (1973, all Putnam), all tales based on dePaola's memories. As a "waiting for the baby to arrive" story, though, this one seems as sedate and old-fashioned as its late-1930s setting.?Susan Hepler, Alexandria City Public Schools, VACopyright 1996 Reed Business Information, Inc.; Title: The Baby Sister | [
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16,046 | 2 | "In a book economical in text and simple in illustrations, the many amusing, small details, as well as the tranquil tome of the story, make this an outstanding picture book." --The Horn Book, starred review“The amiable cartoon characters, vibrant palette, and affectionate tone of the author’s art recall Thatcher Hurd’s cheerful illustrations. Delightful.”--Kirkus Reviews, starred review"A clever, comforting bedtime story." --School Library Journal, starred review"Jaunty four-color artwork carries the story and offers more with every look." --BooklistCaldecott-medalist Peggy Rathmann was born in St. Paul, Minnesota, and grew up in the suburbs with two brothers and two sisters."In the summer we lolled in plastic wading pools guzzling Kool-Aid. In the winter we sculpted giant snow animals. It was a good life."Ms. Rathmann graduated from Mounds View High School in New Brighton, Minnesota, then attended colleges everywhere, changing her major repeatedly. She eventually earned a B.A. in psychology from the University of Minnesota."I wanted to teach sign language to gorillas, but after taking a class in signing, I realized what I'd rather do was draw pictures of gorillas."Ms. Rathmann studied commercial art at the American Academy in Chicago, fine art at the Atelier Lack in Minneapolis, and children's-book writing and illustration at the Otis Parsons School of Design in Los Angeles."I spent the first three weeks of my writing class at Otis Parsons filching characters from my classmates' stories. Finally, the teacher convinced me that even a beginning writer can create an original character if the character is driven by the writer's most secret weirdness. Eureka! A little girl with a passion for plagiarism! I didn't want anyone to know it was me, so I made the character look like my sister."The resulting book, Ruby the Copycat, earned Ms. Rathmann the "Most Promising New Author" distinction in Publishers Weekly's 1991 annual Cuffie Awards. In 1992 she illustrated Bootsie Barker Bites for Barbara Bottner, her teacher at Otis Parsons.A homework assignment produced an almost wordless story, Good Night, Gorilla, inspired by a childhood memory."When I was little, the highlight of the summer was running barefoot through the grass, in the dark, screaming. We played kick-the-can, and three-times-around-the-house, and sometimes we just stood staring into other people's picture windows, wondering what it would be like to go home to someone else's house."That story, however, was only nineteen pages long, and everyone agreed that the ending was a dud. Two years and ten endings later, Good Night, Gorilla was published and recognized as an ALA Notable Children's Book for 1994.The recipient of the 1996 Caldecott Medal, Officer Buckle and Gloria, is the story of a school safety officer upstaged by his canine partner."We have a videotape of my mother chatting in the dining room while, unnoticed by her or the cameraman, the dog is licking every poached egg on the buffet. The next scene shows the whole family at the breakfast table, complimenting my mother on the delicious poached eggs. The dog, of course, is pretending not to know what a poached egg is. The first time we watched that tape we were so shocked, we couldn't stop laughing. I suspect that videotape had a big influence on my choice of subject matter."Ms. Rathmann lives and works in San Francisco, in an apartment she shares with her husband, John Wick, and a very funny bunch of ants.copyright © 2000 by Penguin Putnam Books for Young Readers. All rights reserved.; Title: Good Night, Gorilla | [
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16,047 | 16 | In this well-conceived, deceptively simple book about the stages of a child's development, Kirk (Breakfast at the Liberty Diner) conveys a boy's pride at growing bigger. The first two spreads, highlighted in glowing red-gold hues, show tiny snapshot-sized drawings of the child in the womb ("Once I was very small. I was so small that I was hardly even me"). As the pages turn, time advances. The boy lies in his crib, crawls, walks and learns to read as he narrates the story in retrospect; his toy monkey sits in the bassinet when he is a baby, and later hangs on his arm as he explores a real zoo. Throughout, the boy's voice suggests a maturing sense of responsibility: "I could stand on my toes and touch the doorknob, and the telephone, and the light switch on the wall... even though I wasn't supposed to." Each spread, composed on a black background, showcases the image on the right, the text on the left, printed in white type, in letters that increase in point size with each new observation. Likewise, the illustrations, which fit in a rectangle, expand page by page, so that full-bleed pictures eventually sprawl across the gutter and crowd the words. Kirk's illustrations feature airbrushed, bright colors, crisp edges and a smooth finish. The stylized pictures match the idealized account of growing up, which bubbles with satisfaction and wonder. Ages 2-6. Copyright 1998 Reed Business Information, Inc.PreSchool-KAIf you're very little in a big world, it is very important to become Bigger. From embryo to school age, a sturdy youngster celebrates his achievements inch by inch. Though physical growth is the most prominent element here, intellectual and social development are also introduced. "Womb" is the only reproduction-related term used in the text. The writing is appropriately simple and utilitarian. The use of progressively larger type as the boy grows is clever. Black pages with white text make the bold, colorful, cartoon illustrations done in a retro style appear even more vibrant. Point of view is handled beautifully to create a child's-eye view of a very tidy world. Youngsters who could handle the text will probably consider themselves too big for the story, but preschoolers will enjoy hearing it in groups or on laps while being reassured that they, too, will get Bigger.AJody McCoy, Lakehill Preparatory School, Dallas, TXCopyright 1998 Reed Business Information, Inc.; Title: Bigger | [
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16,048 | 16 | This board book combines simple counting with Carle's unusual illustrations of animals. Early learners will find the whimsical pictures appealing as they learn the beginning rudiments of numbers and counting. -- Midwest Book ReviewEric Carle is acclaimed and beloved as the creator of brilliantly illustrated and innovatively designed picture books for very young children. His best-known work, The Very Hungry Caterpillar, has eaten its way into the hearts of literally millions of children all over the world and has been translated into more than 25 languages and sold over twelve million copies. Since the Caterpillar was published in 1969, Eric Carle has illustrated more than sixty books, many best sellers, most of which he also wrote.Born in Syracuse, New York, in 1929, Eric Carle moved with his parents to Germany when he was six years old; he was educated there, and graduated from the prestigious art school, the Akademie der bildenden Kunste, in Stuttgart. But his dream was always to return to America, the land of his happiest childhood memories. So, in 1952, with a fine portfolio in hand and forty dollars in his pocket, he arrived in New York. Soon he found a job as a graphic designer in the promotion department of The New York Times. Later, he was the art director of an advertising agency for many years.One day, respected educator and author, Bill Martin Jr, called to ask Carle to illustrate a story he had written. Martin's eye had been caught by a striking picture of a red lobster that Carle had created for an advertisement. Brown Bear, Brown Bear, What Do You See? was the result of their collaboration. It is still a favorite with children everywhere. This was the beginning of Eric Carle's true career. Soon Carle was writing his own stories, too. His first wholly original book was 1,2,3 to the Zoo, followed soon afterward by the celebrated classic, The Very Hungry Caterpillar.Eric Carle's art is distinctive and instantly recognizable. His art work is created in collage technique, using hand-painted papers, which he cuts and layers to form bright and cheerful images. Many of his books have an added dimension - die-cut pages, twinkling lights as in The Very Lonely Firefly, even the lifelike sound of a cricket's song as in The Very Quiet Cricket - giving them a playful quality: a toy that can be read, a book that can be touched. Children also enjoy working in collage and many send him pictures they have made themselves, inspired by his illustrations. He receives hundreds of letters each week from his young admirers. The secret of Eric Carle's books' appeal lies in his intuitive understanding of and respect for children, who sense in him instinctively someone who shares their most cherished thoughts and emotions.The themes of his stories are usually drawn from his extensive knowledge and love of nature - an interest shared by most small children. Besides being beautiful and entertaining, his books always offer the child the opportunity to learn something about the world around them. It is his concern for children, for their feelings and their inquisitiveness, for their creativity and their intellectual growth that, in addition to his beautiful artwork, makes the reading of his books such a stimulating and lasting experience.Carle says: "With many of my books I attempt to bridge the gap between the home and school. To me home represents, or should represent; warmth, security, toys, holding hands, being held. School is a strange and new place for a child. Will it be a happy place? There are new people, a teacher, classmates - will they be friendly? I believe the passage from home to school is the second biggest trauma of childhood; the first is, of course, being born. Indeed, in both cases we leave a place of warmth and protection for one that is unknown. The unknown often brings fear with it. In my books I try to counteract this fear, to replace it with a positive message. I believe that children are naturally creative and eager to learn. I want to show them that learning is really both fascinating and fun."copyright 2000 by Penguin Group (USA) Books for Young Readers. All rights reserved.; Title: 1, 2, 3 to the Zoo: A Counting Book | [
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16,049 | 16 | Eric Hill (www.funwithspot.com) left school when he was 15 and took up cartooning while working as a messenger at an art studio.He createdWhere's Spot?as a bedtime story for his two-year old son. It was published four years later, and the rest is history. Eric Hill passed away in July 2014.; Title: Spot's Favorite Colors | [
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16,050 | 2 | Fans of Polacco's (Thundercake; Pink and Say) work know well her talent for weaving her colorful family history throughout her picture books. Here Polacco shares her childhood triumph over dyslexia and discovery of reading in an inspiring if slightly formulaic story. Young Trisha is eager to taste the "sweetness of knowledge" that her grandfather has always revered (here symbolized by drizzling honey onto a book and tasting it, which harkens back to Polacco's earlier The Bee Tree). But when she looks at words and numbers, everything is a jumble. Trisha endures the cruel taunts of classmates who call her "dumb," and falls behind in her studies. But finally the encouragement and efforts of a new fifth grade teacher, Mr. Falker, trigger a monumental turning point in Trisha's life. She begins to blossom and develop all of her talents, including reading. Polacco's tale is all the more heartfelt because of its personal nature. Young readers struggling with learning difficulties will identify with Trisha's situation and find reassurance in her success. Polacco's gouache-and-pencil compositions deftly capture the emotional stages?frustration, pain, elation?of Trisha's journey. Ages 5-up. Copyright 1998 Reed Business Information, Inc.Kindergarten-Grade 4AOnce more Polacco shares a personal story with engaging results. This moving saga of her struggle with a learning disability makes an inspiring picture book. Young Tricia wants desperately to read but when she starts school she finds that the words "wiggle" on the page. Teased by her classmates, she retreats into dreams and drawings. It's not until the family moves to California and Tricia has managed to reach the fifth grade that a new teacher finally recognizes her pain and distress. What's more, he does something about it. Without belaboring the point, the author clearly shows the ways that children internalize critical comments made by others and suffer for their differences. This touching story is accompanied by illustrations in Polacco's signature style. Youngsters, as well as adults, may find themselves choked up at the emotions so eloquently described in words and pictures. Yet, like the tears young Tricia cries at the end of the book, these are ultimately tears of joy. Thank you, indeed, Mr. Felker (the real name of the teacher involved) for making it all possible. Readers will be grateful for the chance to recognize, appreciate, and share in Polacco's talent and creativity.ALisa Dennis, The Carnegie Library of Pittsburgh, PACopyright 1998 Reed Business Information, Inc.; Title: Thank You, Mr. Falker | [
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16,051 | 11 | A witch, sea serpent, giant, fairies and wild beasts are among the staples in Talbott's (We're Back: A Dinosaur's Story; Amazon Diary) bubbly story, set on the coast of Ireland. Trouble begins when the king's soldiers lay claim to a stallion belonging to the local witch and her neighbors do nothing to help. With the witch in a snit, fishnets come up empty, cows refuse to give milk and gardens die. To save the village from starvation, feisty Kate O'Sullivan convinces her father and brothers to accompany her to the king's palace to steal back the horse. Their bumbling attempt fails and the clan is brought before the ruler, who agrees to spare Kate's life if she tells him a story that proves that she has been in a "worse spot" before. The heroine duly impresses the monarch with her descriptive flashbacks to a prior, enticingly preposterous close call, then rescues her kin with stories about them. Several clever turns of plot add spice to this appetizing concoction. Like his narrative, Talbott's high-spirited art occasionally approaches the slapstick, as when a band of "demonic" cats huddles around Kate's brother, their eyes gleaming and their teeth exposed in wicked grins, singing a screechy version of "Danny Boy" to "earn" their supper from the frightened lad. Visually and verbally inventive in its details and its broader storytelling, this one is a shiny shamrock. Ages 5-up. Copyright 1999 Reed Business Information, Inc.Grade 1-5-Feisty Kate O'Sullivan may daydream some of the time, but she knows when action is needed. When tax collectors visit her Irish village and steal the witch's red stallion, the girl tries to enlist the help of the townsfolk, who shrug their shoulders and declare that their neighbor isn't one of them. The witch goes "into a snit," all sorts of disasters occur, and food becomes scarce. Kate prods her father and brothers into action and they set off to steal the stallion back. Caught by the king and threatened with hanging, Kate saves each family member by telling a clever story. The horse is returned, and the O'Sullivans are set free, whereupon they go home to celebrate. When the king arrives at Kate's doorstep to declare his love, she says that she might marry him in five years, after she has some of her own adventures. Kate is a lively, take-charge heroine and Talbott's colorful illustrations capture her spirit perfectly, whether her hair is standing on end as she sneezes a mighty "AAAA CHOOO" or her eyes mirror innocent pleasure as she turns down the king's proposal. This is not a simple tale, but the pictures and text work so well together that the events move along with ease. Full of broad and subtle humor, the story will be a read-aloud favorite, but it also has much to offer children who like to pore over detailed illustrations and daydream about other worlds.Barbara Scotto, Michael Driscoll School, Brookline, MACopyright 1999 Reed Business Information, Inc.; Title: O'Sullivan Stew | [
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16,052 | 11 | In this bittersweet story developed from a Chinook legend, an Indian boy wanders off from his parents as they are camped along a riverbank--"The whole tribe began searching. But there were no traces of the boy." The lad dwells among seals for a time; indeed he becomes one of them, for "he wouldn't talk, but only grunted and barked like a seal." Brought back to his people, he gradually resumes his human traits, and begins to carve canoes, paddles and weapons for his people, all adorned with fantastical "designs of the sea and the sea's creatures." But the youth cannot escape the water's pull: he returns to his marine existence, each year leaving a beautiful canoe for his grieving parents. This second collaboration by the creators of The Rough-Face Girl exhibits many of that work's notable characteristics. Once again Shannon's dark, romantic paintings are dramatically stylized; many of his individual images display a similarly haunting quality. Martin's retelling employs lyrical language while carefully retaining a clarity appropriate for the intended audience. Another potent Native American offering from a gifted pair. Ages 4-8. Copyright 1993 Reed Business Information, Inc.Grade 1-4-- When a young boy fails to return to his People's camp after playing by the River, his parents search for him, never abandoning hope. Another spring brings a sighting of a boy among the wild seals at the River's mouth, and he is captured and returned to the People. His parents patiently re-educate him in human ways, but although he acquires near-magical skill in making beautiful carvings and useful bows and arrows, his memories of life with the seals alienate him from humans. One day he rejoins the seals, asking his mother and father not to grieve. Their response is to put the box of his carving tools into the River; in return, he leaves them a new canoe every spring, each one more beautifully carved than the last. An expanded version of a Chinook legend, this story recalls European animal-bride and Asian crane-wife tales, but the shift from adult female to child protagonist alters its impact in ways that make it especially appropriate for children. The tale acknowledges the child's individuation, while depicting parents whose love for their offspring is beyond doubt, but who accept both his differentness and, ultimately, his need for separation. The powerful restraint of the narrative, with its understated themes of love, loss, and the immortal gift of art, is balanced by the down-to-earth, expressively stylized realism of the acrylic paintings. This title convincingly suggests the distinctive look of the Northwest Coast peoples and their art. Martin conveys as well the parents' deep concern, the anguish of the boy when he feels displaced, and his exuberant joy with the seals. This is an exceptionally fine addition to the growing shelf of Native American lore. --Patricia Dooley, University of Washington, SeattleCopyright 1993 Reed Business Information, Inc.; Title: The Boy Who Lived with the Seals | [
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16,053 | 1 | PreS. Mother Moon's little one has been cast adrift and finds himself alone at sea until a raucous lot of otters comes to the rescue and a happy return ensues. A starlit, "sweet dreams" selection. Copyright 1997 Reed Business Information, Inc.The title may give the impression that this is a counting book; instead, Berger (The Jewel Heart, 1994, etc.) presents an exquisitely composed and tender fantasy, melding text and pictures so well that one could not exist without the other. She calibrates the pacing of this picture book perfectly: The first page shows a toddler walking with a book; the baby climbs into a box at the title page; at the opening of the real story, the child begins reading the book, about ``Mother Moon'' looking for her child, her ``moonlet.'' What the child sees on the picture-book page is the scene readers see; from there, the events are nonstop: The toddler drops the book, and an otter spots it from underwater. That otter reads the book aloud to a group of otters treading water, including one who floats on her back with her baby lying upon her like a fuzzy teddy bear. The moon-mother's tears fall into the sea, turning into stars--a folktale element that allows for lovely compositions as the otters dive for the stars. Mother and moonlet--who turns out to be the toddler--are reunited. Themes of independence, separation, and reunion are all given play in a book in which sweet otters act like children and look like expertly drafted, favorite stuffed animals, floating and dozing off at the end. (Picture book. 2-6) -- Copyright 1997, Kirkus Associates, LP. All rights reserved.; Title: A Lot of Otters | [
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16,054 | 1 | PreS-Gr 2-The creators of Cowboy Bunnies (Putnam, 1997) present another bunny endeavor of enormous proportions. "Astro bunnies/See a star/Think they'd like to/Go that far," and off they go, propelled by a jaunty, rhyming verse that has the same rhythm as "Twinkle Twinkle, Little Star." In this bunny world, a crew of straight-faced, long-eared creatures mans the ground controls, while others suit up and board a tall rocket. Once in space, the astronauts see the sights, gather scientific information, walk on a planet, and befriend space bunnies. The illustrations, a mixture of gouache and computer techniques, are just right. Using bold, predominantly dark colors, they show each step of the journey, allowing readers to come along. "Rockets stand so/Straight and tall/Bunnies on the ground/Look small" gets a sideways double-page spread that shows a group of tiny rabbits looking in awe at a large, white object, while gold and green spotlights shimmer in the background. The view of the rocket launch is broken up into 12 squares that resemble television screens, giving an impression of motion and excitement. Everything about this mission is fun, right up to the satisfying ending: "Yet wherever/Bunnies go/There is one thing/They all know/Rockets fly and/Rockets roam/But bunnies ALWAYS/Come back home."-Carolyn Jenks, First Parish Unitarian Church, Portland, MECopyright 2001 Cahners Business Information, Inc.Ages 3-5. Economy is important when it comes to picture-book rhyme--especially in a book written for the very, very young. Loomis skillfully engages the power of brevity in this delightful bunny trip into outer space. "Astro bunnies / See a star / Think they'd like to / Go that far," she writes on the first page. And zoom! They're off in a twinkling. Eitan's minimalist black, yellow, and blue illustrations, sprinkled with stars, are a good match for this simple, hare-raising story, which is sure to become "read it again" material even for the most discerning preschoolers. Kelly HallsCopyright American Library Association. All rights reserved; Title: Astro Bunnies | [
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16,055 | 18 | Employing an intriguing blend of biography, comparative literature and good old-fashioned yarn-spinning, Moses (Silent Night; The Legend of Sleepy Hollow) explores the life and times of Johnny Appleseed, the great tree hugger and tree planter from American folklore. Appleseed, who began life as John Chapman, born in Massachusetts in 1774, had always longed to "live as he wanted, free like the Indians and the animals," in the wild woods and undeveloped lands of early America. At the leisurely pace of a stroll through a country orchard, Moses fashions his own homespun account of Johnny's adventures by touching upon myriad legends and tales. According to the narrative, as a young man Johnny headed west to the frontier, where the ideas that formed his lifelong vision took shape: "apples were good for just about everything" and the versatile fruit was "just what the frontier needed." Living in the woods, often tattered and scruffy in appearance, Johnny roamed the wilds of western Pennsylvania and the Ohio frontier planting apple seeds and saplings and helping pioneers do the same. His reputation for kindness and generosity, as well as for his strange behavior, grew even after his death in 1845. Delicate, folk-art oil paintings capture the eccentric folk hero in his "outlandish hat a soup pot one day, a pasteboard cap the next" as well as America at its bucolic best a rolling land of fertile hills, farms and rivers and, of course, bountiful, blossoming apple trees. All ages.Copyright 2001 Cahners Business Information, Inc.Gr. 4-6. This picture-book biography of John Chapman, aka Johnny Appleseed, is written and illustrated by a well-known folk artist. Starting in 1774, the year of Chapman's birth, Moses briefly covers Chapman's early childhood, and then quickly moves on to his young adult years, when he leaves home for the frontier. The bulk of the book documents Chapman's rich adult life and celebrates his odd ways. The book will augment a classroom unit on pioneer life or even folklore, but the text is too long and complex for the usual picture-book crowd, and it will appeal only to the older, most committed Appleseed fans. The paintings, however, from thumbnail size to almost full page, are filled with rich detail and are unforgettable. Kathy BroderickCopyright American Library Association. All rights reserved; Title: Johnny Appleseed: The Story of a Legend | [
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16,056 | 7 | Prospero-like in their artistry, Spirin's dazzling watercolors dominate this retelling of Shakespeare's final play. Shaped like altar panels fit for a Renaissance church or palace, the illustrations are romantic, regal and magical, richly interpreting the play's themes of betrayal, revenge and all-conquering love. A wispy ethereal air pervades island scenes, beautifully suggesting the atmosphere of enchantment, while Antonio and the King of Naples are pictured in brocade and velvet, the stench of power upon them. The other characters, too, are both otherworldly and very much flesh and blood. Especially well rendered is the monster Caliban, shown here as part man, part beast, part mythical creature, a sense of evil glee lighting his features. While this prose adaptation does not, of course, retain the full magic of the Bard's work, Beneduce nonetheless provides an intelligent, gripping story. Several passages from Shakespeare introduced at key points give a taste of the original. Symbols and small pictures integrated into the text further enhance the lavish presentation. All ages. Copyright 1996 Reed Business Information, Inc.Grade 3 Up?The play is set circa 1610. Spirin expands Beneduce's retelling by basing his lavish watercolors on Italian Renaissance paintings. Though the pages are carefully framed, highly ornate, and formally structured, there is plenty of leeway for individual imagination to make itself felt. Ariel is a decorative Renaissance angel. Caliban is given piscine characteristics and expressions that evoke the longing as much as the brutishness in his character. And the human characters have the complexity of portraits. Spirin's illustrations highlight the fantastic while Ruth Sanderson's landscapes for Bruce Coville's version of the play (Doubleday, 1994) focus on the effects of nature. Both are valid. Coville's simpler retelling is easier to follow. Beneduce, too, eliminates some of the subplots in order to avoid confusion, but her fuller text manages to incorporate most of the romantic, magical, and political elements. Within the main text, she modernizes the dialogue. This works smoothly for the most part, though it's hard to see how "What a wonderful new world I am about to enter..." is an improvement over "O brave new world..." A few passages of original text are set off in isolated frames, for a sense of the poetry. Readers and potential playgoers will need to see the play performed to experience the comic scenes of Caliban and his cronies. Brief appendixes explain the context in which the play was written and the reteller's choices and give an overview of Shakespeare's life. This is a case in which an acceptably graceful text plays a supporting role to the illustrations. They are worth the price of admission.?Sally Margolis, formerly at Deerfield Public Library, ILCopyright 1996 Reed Business Information, Inc.; Title: The Tempest | [
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16,057 | 11 | A companion to Strega Nona: Her Story, dePaola's breezy bio of Strega Nona's bumbling sidekick, Big Anthony, can be thoroughly enjoyed by readers whether they are new to the series or longtime fans. The tale opens with the christening of the newborn Anthony, identifiable even in infancy by his wild shock of yellow hair. On this occasion he spills holy water all over himself and everyone else within splashing distance?an omen of many misadventures to come. With an Amelia Bedelia-like innocence and tendency to heed only parts of directions, the boy triggers comic confusion wherever he goes. The buoyant art shows what the text does not tell: Anthony slipping under the table at his first birthday to topple an elegant cake onto his head; Anthony stacking not only books (as his teacher has directed) but all the classroom furniture on a groaning shelf; Anthony letting all the sheep out of their pens after listening to only the two final words of his mother's request, "don't leave any of the gates open." Readers will find even more to chuckle over after Big Anthony leaves home to earn his fortune ("Before he ruins ours," quips his grandmother). After several ill-fated job experiences in Italy's major cities, the well-intentioned fellow reads a want ad that leads him to Strega Nona's door and leaves readers at the same time and location as did the last page of Her Story. Though it's a delightful place to be, kids will likely flip back to the start, to relive bumbling Big Anthony's early life all over again. Ages 4-8. Copyright 1998 Reed Business Information, Inc.Kindergarten-Grade 3-Big Anthony, hapless helper of the good Italian witch Strega Nona, didn't begin his bumbling ways when he caused pasta from a magic pot to engulf the medieval Italian city of Calabria. He has bumbled from birth, and those mishaps have been recorded in this latest installment in the saga. This second prequel to Strega Nona: An Old Tale (S & S, 1975) is less folkloric and more biographical than the original. As in Strega Nona: Her Life (Putnam, 1996), dePaola documents the path that brought the two together. A bit long and perhaps a wee bit obscure for the preschoolers who haven't met the characters before, the text is well balanced with trademark dePaola illustrations, which provide comic visual punch lines to each episode. If the familiar cartoons are a bit looser in execution, the palette, with rosy Italian skies and even a volcano eruption, is more vivid than ever. Big Anthony and Strega Nona certainly qualify as celebrities in the realm of picture books, and this latest installment will bring smiles to the faces of their young fans.Sue Sherif, Fairbanks North Star Borough Public Library, AKCopyright 1998 Reed Business Information, Inc.; Title: Big Anthony: His Story | [
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16,058 | 0 | Plying the same peppy format that powered their Gold Fever, Kay and Schindler once again head West: "Mother, Father,/ Baby John,/ Bouncing, jouncing,/ Moving on." The volume explores life on a wagon train headed for California through the eyes of one family. Kay packs a motherlode of information into brisk quatrains, whether describing a packing list ("Fodder, water,/ Guns and tools./ Clothes and blankets,/ Stubborn mules"), the itinerary ("Rocky Mountains,/ Massive, steep./ Rugged trail,/ Wagons creep"), or homesteading ("Building cabins,/ Clearing lands./ Rustic timbers,/ Helping hands"). Occasionally the format necessitates a surface treatment of the events (e.g., when the families have to lighten their loads on a steep slope: "Dumping, tossing,/ Trinkets, trunk./ Cookstove, treasuresD/ Now they're junk"), but for the most part her sound bites entertain as well as instruct. Schindler uses marbleized paper for his watercolor and gouache illustrations, creating a parchment effect that gives the pages the look of an old diary. From close-ups of the characters to sweeping landscapes of the rugged terrain, his vignettes and spreads brim with details. Ages 4-8. (Oct.) Copyright 2000 Reed Business Information, Inc.PreSchool-Grade 3-Similar to Kay's Gold Fever and Iron Horse (both Putnam, 1999), this inventive rhyming tale makes American history accessible to young children. Using four lines per page, and usually no more than four syllables per line, the author describes a pioneer family's journey to California. The trip is exciting and spirits are high for Mother, Father, and Baby John at the outset, but as their voyage progresses, the baby grows into a toddler, prized possessions are abandoned out of necessity, and rough weather and terrain chisel away at the entire wagon train. The family finally arrives in the Sacramento Valley with little more than the bare essentials and a lot of high hopes. A brief introduction and simple map offer additional insights into the hardships of the trip and the resourcefulness of the travelers bold enough to undertake it. Done in watercolors and gouache on marbleized paper, Schindler's paintings are integral to the story, depicting the increasingly weary travelers and setting the tone throughout the book, from boisterous to fatigued to contented at the end. The staccato text and expansive artwork blend together perfectly to tell a riveting story about courage, endurance, and optimism. Catherine T. Quattlebaum, DeKalb County Public Library, Atlanta, GA Copyright 2000 Reed Business Information, Inc.; Title: Covered Wagons, Bumpy Trails | [
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16,059 | 2 | Set during Prohibition, Ritter's debut novel features a rural Kentucky dialect and a sympathetic hero "stuck smack between two worlds." Luke Bledsoe's conflicts with his father, a volatile fundamentalist preacher, take on a new dimension when the seventh-grade southpaw discovers his pitching power. Classmates who have seen Luke accidentally throw with what his father calls "the Devil's arm" urge Luke to join the local baseball team, but Luke's left-handedness is not the only trouble: participation in sports is strictly forbidden by his church. The narrator is strongly tempted to side with "wild-as-a-witch-dog" Uncle Micah, another lefty, who encourages his nephew to follow his own natural course. Luke's movement toward independence is realistically cautious but frustratingly slow?until his father's accidental death brings a quick turn of events and tidy solution to problems. Criticisms of religious taboos and narrow-mindedness are hurled as forcefully as Luke's fastball. More artful, subtle expression may be found in the author's depiction of local color and metaphors mostly having to do with fishing and hunting. Despite its somewhat didactic tone, this story offers enough curve balls to keep readers engaged. Ages 10-14. Copyright 1998 Reed Business Information, Inc.Grade 5-9ABaseball is the sport, but personal salvation hangs in the balance for 13-year-old Luke, whose father has been newly installed to shepherd the flock of the Holy River of John the Baptist Church in Crown Falls, OH. Pa's fundamentalist beliefs hold sports to be as "sinful as dancing." He's fought a long, difficult battle to "cure" Luke of his left-handedness (including tying Luke's left arm to his side with a belt for most of six or seven years) because the Bible clearly tells him that the left hand is of the devil. Luke admires and respects his father, but also fears him. Temptations arrive in the form of baseball for which Luke's left arm seems predestined for greatness, and Annabeth Quinn, a too-good-to-be-true girl who pushes him to play because in 1921, in this place, she cannot. Further influenced by his Uncle Micah, a flashy newspaper sportswriter, Luke sees Babe Ruth play a local exhibition game and plays enough ball himself to incur his father's wrath. Long a trapper and fisherman, Luke experiences an epiphany when he frees a snared rabbit and clearly perceives his own entrapment. Following a vicious beating by his pa that cracks his pitching arm, the boy resolves to run away. Sophisticated readers might find the climax over the topAa misstep plunges Pa, a nonswimmer, into the river, and Luke, hampered by his broken arm, is unable to rescue him. Cleverly told in a colloquial first-person twang, this thoughtful tale of authority questioned and dreams denied will be real enough to many readers.AJoel Shoemaker, Southeast Jr. High School, Iowa City, IACopyright 1998 Reed Business Information, Inc.; Title: Choosing up Sides | [
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16,060 | 13 | Kindergarten-Grade 3Another lovely story about the young ballet student that will appeal to children who feel left out or unable to accomplish as much as their peers. In Tanyas sixth picture-book appearance, she is selected to dance the title role in The Ugly Duckling ballet at her school recital. As the children rehearse, the other pupils improve, but Tanya, who feels as though she has two left feet and no wings at all, cant seem to get the movements right. Finally, at the dress rehearsal, the music, the costumes, and the drama transform her into the Ugly Duckling and Tanya is ready to perform. The expressive watercolor paintings, many of them wordless double-page spreads, capture all of the beauty of a ballet performance. As Miss Foley tells the story to the dancers, small paintings set above the text reflect the events she describes, showing a scrawny chick that blossoms into a graceful swan. Tanyas poses, motions, and emotions echo those of the duckling. In all of the paintings, Ichikawa makes effective use of line and shadow to create the illusion of movement and mood. Take a bow, Tanya!Susan Pine, New York Public Library Copyright 1999 Reed Business Information, Inc.; Title: Presenting Tanya, the Ugly Duckling (Picture Books) | [
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16,061 | 0 | Woodson (If You Come Softly; I Hadn't Meant to Tell You This) lays out her resonant story like a poem, its central metaphor a fence that divides blacks from whites. Lewis's (My Rows and Piles of Coins) evocative watercolors lay bare the personalities and emotions of her two young heroines, one African-American and one white. As the girls, both instructed by their mothers not to climb over the fence, watch each other from a distance, their body language and facial expressions provide clues to their ambivalence about their mothers' directives. Intrigued by her free-spirited white neighbor, narrator Clover watches enviously from her window as "that girl" plays outdoors in the rain. And after footloose Annie introduces herself, she points out to Clover that "a fence like this was made for sitting on"; what was a barrier between the new friends' worlds becomes a peaceful perch where the two spend time together throughout the summer. By season's end, they join Clover's other pals jumping rope and, when they stop to rest, "We sat up on the fence, all of us in a long line." Lewis depicts bygone days with the girls in dresses and white sneakers and socks, and Woodson hints at a bright future with her closing lines: "Someday somebody's going to come along and knock this old fence down," says Annie, and Clover agrees. Pictures and words make strong partners here, convincingly communicating a timeless lesson. Ages 5-up. (Jan.) Copyright 2000 Reed Business Information, Inc.Gr 1-4-A story of friendship across a racial divide. Clover, the young African-American narrator, lives beside a fence that segregates her town. Her mother instructs her never to climb over to the other side because it isn't safe. But one summer morning, Clover notices a girl on the other side. Both children are curious about one another, and as the summer stretches on, Clover and Annie work up the nerve to introduce themselves. They dodge the injunction against crossing the fence by sitting on top of it together, and Clover pretends not to care when her friends react strangely at the sight of her sitting side by side with a white girl. Eventually, it's the fence that's out of place, not the friendship. Woodson's spare text is easy and unencumbered. In her deft care, a story that might have suffered from heavy-handed didacticism manages to plumb great depths with understated simplicity. In Lewis's accompanying watercolor illustrations, Clover and her friends pass their summer beneath a blinding sun that casts dark but shallow shadows. Text and art work together beautifully.-Catherine T. Quattlebaum, DeKalb County Public Library, Atlanta, GACopyright 2001 Cahners Business Information, Inc.; Title: The Other Side | [
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16,062 | 0 | Grade 4 Up-This picture book set during the Civil War is a departure for Polacco in terms of content and audience. It is certainly the deepest and most serious book she has done. Sheldon Curtis, 15, a white boy, lies badly wounded in a field in Georgia when Pinkus Aylee, an African American Union soldier about Sheldon's age, finds him and carries him home to his mother, Moe Moe Bay. Sheldon, known as Say, is nursed back to health in her nurturing care. But then she is killed by marauders, and the boys return to their units. They are then are captured and taken to Andersonville, where Pink is hanged within hours of their capture. One of the most touching moments is when Pink reads aloud from the Bible to Moe Moe and Say. Say tells them that he can't read, but then he offers something he's very proud of: he once shook Abraham Lincoln's hand. This is a central image in the story, and is what ties the boys together for a final time, as Pink cries, "'Let me touch the hand that touched Mr. Lincoln, Say, just one last time.'" The picture of their clasped hands, with the hands of the soldiers wrenching them apart, is exceptionally moving. Polacco's artwork, in fact, has never been better. She uses dramatic perspectives, dynamic compositions, and faces full of emotion to carry her powerful tale. History comes to life in this remarkable book.Lauralyn Persson, Wilmette Public Library, ILCopyright 1994 Reed Business Information, Inc.Ages 5-9. Hands and gestures have always been important in Polacco's work. Here they are at the center of a picture book based on a true incident in the author's own family history. It's a story of interracial friendship during the Civil War between two 15-year-old Union soldiers. Say, who is white and poor, tells how he is rescued by Pinkus (Pink), who carries the wounded Say back to the Georgia home where Pink's black family were slaves. In a kind of idyllic interlude, Pink and his mother nurse Say back to health, and Pink teaches his friend to read; but before they can leave, marauders kill Pink's mother and drag the boys to Andersonville prison. Pink is hanged, but Say survives to tell the story and pass it on across generations. The figure of Pink's mother borders on the sentimental, but the boys' relationship is beautifully drawn. Throughout the story there are heartbreaking images of people torn from a loving embrace. Pictures on the title and copyright pages show the parallel partings as each boy leaves his family to go to war. At the end, when the friends are wrenched apart in prison, the widening space between their outstretched hands expresses all the sorrow of the war. Then, in a powerful double-page spread, they are able to clasp hands for a moment, and their union is like a rope. Say once shook Lincoln's hand, just as Say held Pink's hand, and Say tells his children, who tell theirs, that they have touched the hand that touched the hand . . . Hazel Rochman; Title: Pink and Say | [
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16,063 | 13 | Using a two-story structure as his prototype, DuQuette (Hotel Animal) surveys the components of a generic house. He begins with the facade, then isolates its structural details in watercolor and pencil against white negative space, with accompanying rhyming couplets. For example, the text on a spread showing a flat plane comprised of polished wood, linoleum tile and terra-cotta patio brick reads: "A house is made of many parts; the floor is where the story starts." A floating grid of decorated walls divides the house into rooms, etc. After introducing the home's discrete sections, DuQuette presents a dollhouse-style cutaway view, complete with furnishings and inhabitants. He then backs away to show the suburban street where the house stands and finally offers a bird's-eye view of a town and its outlying areas via a garish-looking float in a parade. Though the illustrations exhibit strong draftsmanship, the interior design of the house looks dated, and the people, pets and other signs of life that give a place its soul look static. But what will likely be of greatest concern to readers is that the house doesn't seem to reflect the family living in it (the mother, father and their childrenAat least four, both boys and girlsAreside in a house with only two bedrooms). Ages 4-8. (May) Copyright 1999 Reed Business Information, Inc.PreSReminiscent of Mary Ann Hobermans A House Is a House for Me (Viking, 1978), this book matches simple rhyming text with colorful double-page illustrations to highlight the basic elements of a dwelling, beginning with the floor and working up to the roof. DuQuette concludes by pointing out the one thing that makes any place a homeyou. The text is lively and succinct, although in one instance the brevity is confusing and a bit awkward to read aloud (Another fact thats worth revealing;/one rooms floors anothers ceiling). A charming cutaway illustration looks at all of the rooms in the house and the family members using them. Inviting endpapers show the variety of abodes that people inhabit, ranging from the unusual (log cabin, geodesic dome) to the more common (split-level, apartment).Jeanette Larson, Texas State Library, Austin Copyright 1999 Reed Business Information, Inc.; Title: The House Book (Picture Books) | [
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16,064 | 2 | PreSchool-Grade 1Not so much bilingual as Spanglish, My Little Car is nevertheless an enjoyable foray into Mexican-American culture. The text is primarily in English, with Spanish words sprinkled throughout. The glossary at the beginning of the book features the 16 Spanish words or phrases used in the story. Teresa thinks she is too old for her tricycle and is delighted when her grandfather sends her a low-rider pedal car for her birthday. She shows it off all over her community but eventually becomes careless, leaving it out in the rain and in the driveway, where her father backs into it. When her grandfather comes to visit, he is appalled at the sorry state of the vehicle and encourages Teresa to take better care of it. Together they work on restoring it to its former glory. The author attempts to draw a parallel between the car and the man's age, but it seems more an afterthought than a true thread of the story. Paparone's illustrations are full of life, movement, and color and will no doubt appeal to youngsters. Copyright Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.PreS-Gr. 2. Earnest, scrupulously politically correct storytelling has never been Soto's style: Chato's Kitchen (1994) inked at pachuco cliche and, to many readers' delight, slipped barrio slang into the hallowed precincts of a picture book. Here, Soto addresses young children, transplanting another oft-caricatured element of Chicano culture--the lowrider--into a tale featuring a toy pedal-car and a little girl (in a wonderful reversal of the usual machismo surrounding vehicles). The story line meanders a bit and is a little preachy, involving a lesson in taking responsibility for prized possessions. But the exuberant blend of English and Spanish (a glossary at the front of the book clarifies expressions such as hijole! and mi'ija) gives the narrative a needed boost, and kids who call the barrio home will love finding reflections of their own communities in Paparone's affectionate, stylized acrylic paintings: a Mexican flag flutters from a child's tricycle, a bodega advertises pollo fresco. For children unfamiliar with Chicano culture, offer this alongside alternative perspectives that can prevent the lowrider emphasis (especially problematic in one image of a grown-up slouching at the window of his showy pink lowrider) from perpetuating stereotypes. Don't be surprised, though, if the story of the shiny, child-sized hot rod and its hapless owner pleases audiences far more than titles that more piously press the multicultural buttons. Jennifer MattsonCopyright American Library Association. All rights reserved; Title: My Little Car (Spanish Edition) | [
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16,065 | 0 | The skilled author-illustrator team that introduced readers to 1930s Harlem in Tree of Hope here explores another dramatic chapter in African-American history: the 1964 Mississippi Summer Project. In the summer of 1964, Jolie's family plays host to Annie, a 19-year-old white woman who has volunteered to teach Freedom School. The segregated community of Chicken Creek is rattled by this arrangement--blacks are skeptical of learning about their history and their heroes from a white stranger; whites are suspected of violent efforts (burning down the church, throwing bricks through windows) to drive Annie away. Despite the unrest and tension in the air, Annie helps open Jolie's eyes to her heritage and to the great test of courage that the Freedom School poses to all involved. Littlesugar personalizes the events of an era by colorfully detailing one girl's experience. Vivid imagery and realistic emotion will quickly grab readers' attention. But the story stumbles a bit, rushing to mention a list of African-American historical figures and slightly inflating Jolie's role in comparison to that of Harriet Tubman. Cooper's grainy-textured oil washes, as radiant as ever, depict the strength shining in faces of people newly enlightened. His portraits of various Chicken Creek residents capture their mix of fear, wonder, faith and determination. An author's note includes more information on the Freedom School project and the real-life heroes who inspired this story. Ages 4-8. Copyright 2001 Cahners Business Information, Inc.Gr 1-4-This is a fictionalized account of events that took place during the 1964 Mississippi Summer Project in which more than 600 volunteers risked their lives to teach black children in the deep South "-'bout people and places-'bout who you are." Annie, a 19-year-old white teacher from up North, is staying with Jolie and her family, and the child instinctively feels danger. When vandals throw a brick through her bedroom window, she wishes the teacher would head home. After arsonists burn down the Chicken Creek Church, Annie holds the Freedom School under an old hickory tree and Jolie begins her journey toward knowledge, learning about Jacob Lawrence, Countee Cullen, and Benjamin Banneker. Gradually, the girl comes to care deeply about Annie's safety and to realize that fears must be overcome in order to win real freedom. Littlesugar has created a slice-of-life story with a potent message. Through Jolie's eyes, readers see the frightening violence of the 1960s South. The courage exhibited by the volunteers and the families offering them shelter is never minimized. Characters are fully developed; Jolie is very real in her apprehension and anger. The illustrations are masterful and lush. Cooper draws faces with exquisite strength and real pain. A unique and poignant look at a moment in history.-Barbara Buckley, Rockville Centre Public Library, NYCopyright 2001 Cahners Business Information, Inc.; Title: Freedom School, Yes! | [
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16,066 | 0 | Grade 2-4?Another winner from Kline. Mary Maroney is a second grader who stutters at times. Her class has just finished reading Charlie and the Chocolate Factory, and Mrs. Bird is re-creating the golden-ticket portion of the story. The five children who find tickets in their chocolate bars will be treated to a pizza party, and Mary is determined not to let Marvin, who is disruptive and makes fun of the teacher, spoil classroom activities again. In the process, however, she must deal with a guilty conscience about cheating. The spare ink sketches carry the plot effectively for these realistic characters. Kline's fans will find this beginning chapter book a satisfying, natural extension of Mary Marony and the Snake (Putnam, 1992).?Christina Dorr, Calcium Primary School, NYCopyright 1995 Reed Business Information, Inc.Gr. 2^-4. One of Kline's best, this sprightly chapter book packages an important message in a sweet, simple story. Mary Marony desperately wants to be one of the five lucky students to find a golden ticket in one of the chocolate bars Mrs. Bird is using for a classroom game based on the story Charlie and the Chocolate Factory. When some unauthorized peeks reveal that obstreperous Marvin, whom Mary dislikes, is set to win, Mary makes a chocolate bar exchange. As luck would have it, though, her winning is tarnished by her dishonesty, leaving her wondering whether cheating is sometimes OK or always wrong. The dialogue is spunky, the situation and characters seem quite believable, and the humor and neat twist at the end add special glitter to the goings-on. Illustrations by Blanche Sims (seen only in galley) are chockablock with their own brand of lighthearted fun. Stephanie Zvirin; Title: Mary marony and the chocolate surprise | [
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16,067 | 1 | Brett (The Mitten; Armadillo Rodeo), a Massachusetts resident, stays close to home with this latest book, setting it on Nantucket. Capturing the island's rustic charm, her characteristically bustling, elaborately bordered art showcases weathered shingle buildings, a gray-blue sea and shell-sprinkled beaches. Comet, the protagonist, appears to be just about the sole feline in a Nantucket otherwise populated by nattily dressed canines. In search of a home?as well as adventure?the roaming cat meets with peril. Snoozing in a bookstore, he is buried under a pile of books; taking a ride on a scallop boat, he's swept overboard by a huge wave; visiting an ice cream shop, he falls headfirst into a milkshake. Though some of these scenarios have comic potential, all eight of them prove fatal to poor Comet, whose ghostlike, winged image is in each case seen fleeing the scene. Brett, of course, makes it all better in the end; observant readers will have noticed that Comet isn't the island's only cat: side panels throughout show another cat in obvious search of a companion. Though not the author/artist's most finely wrought story, the book delivers a visual treat her fans (and Nantucket admirers) shouldn't miss. Ages 4-8. Copyright 1996 Reed Business Information, Inc.PreSchool-Grade 1-Comet, a white cat with orange markings, goes through eight of his nine lives in one of Brett's more playful offerings. Readers will enjoy anticipating how Comet will lose his next life: eating foxglove, having a shoe thrown at him by a famous actress, falling into a tuba-these are just a few of the humorous demises he suffers (and he always manages to look catlike, dignified, and somewhat surprised that any of these disasters should be happening to him). The Nantucket setting is lovingly shown and expertly woven into every picture. Elaborate borders are fashioned with shells, wildflowers, and fishing line; the island is populated by dogs, all quite realistic looking and all wearing human clothes. Attentive children will enjoy poring over these detailed pictures and will feel satisfied by the conclusion, which has been nicely foreshadowed throughout. Brett's many avid fans are sure to love this book.Lauralyn Persson, Wilmette Public Library, ILCopyright 1996 Reed Business Information, Inc.; Title: Comet's Nine Lives | [
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16,068 | 2 | Kicking off a series by the same name, dePaola's effervescent chapter book recounts some memorable moments from the author's early years, surrounded by loving family members and friends. Fans will recognize a few of the cast members from the author's various autobiographical picture books. Organized as an engaging pastiche of memories from 1938 to 1939, the story's primary focus is the snafu-plagued construction and landscaping of the dePaola family's "first and only house," in Meriden, Conn. Within this clever framework, other diverting vignettes surface: during the hurricane of 1938, dePaola's mother sprinkles holy water on a terrified neighbor for protection; young Tomie generously shares "chocolates" he finds hidden in the bathroom with his Nana Upstairs (they turn out to be laxatives); and on the first day of kindergarten, when he learns that reading is not taught until first grade, he announces, "Fine, I'll be back next year," and heads home. DePaola successfully evokes the voice of a precocious, inquisitive five-year-old everyone would want to befriend. Charming black-and-white illustrations animate the scenes and add a period flare, including a photo album-like assemblage of the characters' portraits at the book's start. Readers will also appreciate a glimpse of the artist's early debut as he draws life-size images of his family on the plasterboard walls in his new house. DePaola seems as at home in this format as he did when he first crossed the threshold of 26 Fairmount Avenue, an address readers will eagerly revisit in the series' subsequent tales. Ages 7-11. Copyright 1999 Reed Business Information, Inc.Kindergarten-Grade 4An autobiographical account of dePaolas childhood, centered on the building of his familys new house during the 1930s. Each short chapter is also a slice-of-life view of young Tomies worldwitnessing a hurricane, a disillusioning first day of kindergarten, a much anticipated theater trip to see Disneys Snow White, and holiday gatherings. The authors thrill at being allowed to draw on the walls of the new house before plastering would be a fantasy come true for many budding artists. DePaola presents it all with a keen understanding of the timeless concerns children share. Filled with subtle humor and detail that children will appreciate, the narrative is crisp and casual, making it an ideal read-aloud. Black-and-white drawings portray family members, many of whom are already familiar from earlier picture books. A thoroughly entertaining and charming story.Heide Piehler, Shorewood Public Library, WI Copyright 1999 Reed Business Information, Inc.; Title: 26 Fairmount Avenue | [
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16,069 | 0 | PreSchool-Grade 2. It all starts so innocently?a young boy drops his book while observing a bee in a lovely outdoor restaurant, "Enzo's." From there, this cumulative tale takes off on a hilarious roller-coaster ride of mishaps. The rhyming text gains momentum as a waiter trips over the book, tips his tray, and spills a very large drink on a matron dressed in pink. Suddenly, the guests are falling all over each other like a line of elegantly dressed dominoes. Adding to the child appeal are some wonderful food accidents, including a pot of spaghetti that lands on Enzo's cat. As the guests start to see the humor in all this chaos, the cat heads for the top of the nearest tree, bringing the fire department into the scene. In the end, the jovial mood of the crowd assures the boy, and readers, that all is forgiven. Half the enjoyment of this story comes from studying the diners in Enzo's garden, all of whom are lovingly portrayed. One of the many humorous touches is a terra-cotta fountain nymph who leaves her post to join the crowd. The art is exuberant, the colors bathed in California sunshine. This story does not have the emotional impact readers have come to expect from Polacco's more serious stories, but it has something equally appealing?a tremendous sense of fun.?Lisa S. Murphy, formerly at Dauphin County Library System, Harrisburg, PACopyright 1997 Reed Business Information, Inc.Ages 6^-9. As she has so many times before, Polacco has drawn on her inspiration for an appealing picture book from a family story; this time, it's what might have happened at her bearded husband Enzo's Italian garden restaurant. The rhyming text begins: "This is the bee that stopped on a tree in Enzo's splendid gardens." A riotous chain of events is set into motion, including broken dishes, smashed deserts, and a cat tangled in spaghetti--all in Enzo's fancy outdoor eatery. The verse can be a bit forced, but it is always energetic. As usual, Polacco's distinctive artwork is wonderful. Her realistic portraits of a lively cast of characters are richly colored, expressively individualized, and humorously captured. Strong rhythms and ebullient action make this one to consider for reading aloud. Julie Corsaro; Title: In Enzo's Splendid Garden | [
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16,070 | 2 | Wyatt doesn't ask for much. He just wants to play with the big kids sometimes, help his sister wash the car, adopt a puppy. But no matter what he says to his friends and family, the response is always the same: "Quiet, Wyatt!" Sick and tired of being dismissed, Wyatt rebels. From now on, he is not going to say another word--even when, perhaps especially when, a word or two might have been helpful! In amusing rhyme and repetition, Bill Maynard portrays the very satisfying power shift that every small child dreams about. Frank Remkiewicz--illustrator of the popular Froggy series--uses unusual gouache and colored pencil illustrations to create a fantastic backdrop for this plucky boy's expressions, ranging from hopeful to disappointed to stubborn. Young children will recognize the frustrations Wyatt experiences in his effort to be heard, and delight in his ultimate success. (Click to see a sample spread. Reprinted with permission from G.P. Putnam's Sons, a division of Penguin Putnam Books for Young Readers. Text copyright © William H. Maynard, 1999; illustrations copyright © Frank Remkiewicz.) (Ages 4 to 8) --Emilie CoulterPunchy rhymes come at the expense of the story line in this slim tale. Each time Wyatt acts curious or offers to help, he is met with a rhyming jibe: "Quiet, Wyatt!" His family and neighbors tell him that he's "not big enough" and "not old enough" to fly a model plane, dry a car, fry an egg or buy a pet. Frustrated, Wyatt tries to get attention by shouting, then finally submits to the relentless repetitions of the title refrain. Yet Wyatt has valuable information ("The big kids lost their airplane. Wyatt knew where it was. But Wyatt was quiet"). When he finally breaks his silence to point out a puppy hiding under a truck, Wyatt gains his community's approval. The anticipated refrains follow: thereafter, the kids lend him their toy plane ("Fly it, Wyatt"), his sister lets him dry the car ("Dry it, Wyatt"), his dad lets him make breakfast ("Fry it, Wyatt") and the puppy gets a new home ("Let's buy it, Wyatt!"). Textured paper, in muted shades of olive, rose and blue, provides a ground for grainy colored-pencil lines and gently applied gouache. Pastel-soft settings showcase cartoonishly cute characters, who have oversize, stylized heads on skinny bodies. Maynard and Remkiewicz (previously teamed up for Incredible Ned) make a treacly appeal for indulgence on Wyatt's behalf, with the subtext that children should be seen and not heard until absolutely necessary. Ages 4-8. (June) Copyright 1999 Reed Business Information, Inc.; Title: Quiet, Wyatt! | [
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16,071 | 13 | Some false notes won't keep most kids from enjoying Isadora's (Ben's Trumpet) tribute to the jazz that filled the streets of 1930s Harlem. Rather uninspired rhymed couplets make up the text: "Bring on that beat,/ Wake up the street./ Saxophone jive,/ keep us alive." Yet the visuals succeed in bringing the era to life. Full-spread black-and-white oil paintings depict a humming Harlem whose residents are seen either making or enjoying music. Small, electric-hued watercolor designs, laid over these scenes with the use of a computer, represent the tunes emanating from a variety of instruments played from stoop and rooftop. Though younger readers may have trouble making the connection between musical strains and these multicolored freeform shapes, the vivid splashes jazz up the otherwise muted graphics and express the energy that emanates from the music. Ages 4-8.Copyright 2001 Cahners Business Information, Inc.Gr 1-4-In this exuberant celebration of jazz, black endpapers usher readers into a quiet city neighborhood, in Harlem in the '30s, where a trio emerges from a jazz hall to "Wake up the street" with a jam session under the lights. People begin to peek out of shops and gather around the stoop where the musicians "Bring on that beat." Children and adults alike begin to swing and before long, the music moves up to the roof. More people join in, leaning out of windows, congregating on the fire escape, and dancing on the rooftop. Isadora's black-and-white spreads suggest a bygone era when boys wore knickers and cars looked very different. The art is executed in oil and overlaid with computer-generated watercolor splashes of Klee- and Kandinsky-like designs that simulate the sounds. Even the buildings seem to sway to the beat. One interesting spread depicts children in yellow-orange-red silhouette dancing on piano keys that extend from the buildings as the Man in the Moon, with the face of Duke Ellington, looks on. While the rhyming text, which appears in large negative type on a black background, is minimal, its constant urging to "bring on that beat" and its jazz rhythm works powerfully with the illustrations to evoke the excitement and swelling of the music from a quiet corner to a building to the whole city. Pair this offering with Chris Raschka's Charlie Parker Played Be Bop (Orchard, 1992) and Isadora's Ben's Trumpet (Greenwillow, 1979) for a swinging good time.Marianne Saccardi, Norwalk Community College, CTCopyright 2002 Cahners Business Information, Inc.; Title: Bring on that Beat | [
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16,072 | 1 | Little Jane Allison, William Everett (Bill) Crocodile's cousin, has disappeared from the banks of the Nile in dePaola's third, likable, loony adventure starring crackerjack sleuth Bill and his best pal (and trusty toothbrush), Pete the plover. An eyewitness reports that the diminutive crocodile has been loaded onto a ship in a cage. "It's times like these that I wish your father was here, and not a suitcase," laments Bill's Mama, gazing at a painting of a green valise, labeled "Dad." The winningly melodramatic text and perky, neon-hued art repeatedly serve up similarly droll tidbits, likely to entertain parents as well as youngsters. Bill and Pete, both wearing backpacks, stow away on the ship, which berths in New Orleans. There a throng of friendly 'gators gives Bill a rousing bayou welcome and helps him rescue Little Jane. She happens to be sharing a cage with Bill's father, who?oh joy!?is not a suitcase after all. Readers will delight in this dynamic duo and will happily accompany them to any continent. Ages 4-8. Copyright 1998 Reed Business Information, Inc.PreSchool-Grade 3AWhen readers last saw young crocodile Bill and his best friend/toothbrush Pete the bird in Bill and Pete Go Down the Nile (Putnam, 1987), they had tricked the Bad Guy, who is now in jail. But the Nile isn't safe yet. The Bad Guy's Big Bad Brother, also a crocodile thief, is in town and has captured cousin croc Jane Allison. Bill and Pete go to her rescue, but through a series of misadventures Pete is made a house pet and Bill ends up swimming in a Louisiana bayou with the local 'gators. A reunited Bill and Pete team up with the 'gators to defeat evil, rescuing the captivesAincluding Bill's long lost father. This story line is not as smooth or straightforward as in the earlier title. The many plot twists and turns make it far-fetched, even for a talking-crocodile story. The youngest readers may question the "hows" of Bill's adventure. Still, those who enjoyed the earlier capers will want to read this one. They will certainly recognize the scenes at a glance. The illustrations are the same bordered line-and-wash style found in the previous books, and the characters are typical dePaola.AHeide Piehler, Shorewood Public Library, WICopyright 1998 Reed Business Information, Inc.; Title: Bill and Pete to the Rescue | [
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16,073 | 0 | Grade 4-6?A biography of Sacagawea from the time she was captured by the Minnetaree through 1806, when Lewis and Clark left for home. St. George draws heavily from the journals of Lewis, Clark, and various members of their Corps of Discovery, thus giving readers a good overview of their historic journey as well. As she did in Crazy Horse (1994) and To See with the Heart (1996, both Putnam), the author offers a portrait of a Native American in which her admiration for the individual colors her writing. The inclusion of Sacagawea's assumed reactions and emotions to events (which St. George clearly acknowledges in the introduction) seems awkward, and even condescending at times. For example, the metaphorical play on her name, which means Bird Woman, seems overdone. (In other words, "she had been given wings.") Nonetheless, the book is a well-researched, readable biography. Those seeking additional information on this expedition will find the extensive bibliography useful.?Carolyn Angus, The Claremont Graduate School, CACopyright 1998 Reed Business Information, Inc.Gr. 4^-6. In a well-written and well-researched account, St. George humanizes her subject by revealing what she imagines Sacagawea's thoughts and emotions were during Lewis and Clark's 5,000-mile Journey of Discovery. Adventure lovers will find much to like in the book: attacking grizzlies, dangerous rapids, hostile Indians, and mysterious illnesses with unusual cures. But children will also learn details about an important historical event and get a glimpse of Native American life in the early 1800s. Overall, this is an enjoyable read and a pleasant way to incorporate history and social studies into a literature program, or vice versa. The extensive bibliography will be a helpful research aid. An alternative for youngsters with reading disabilities is Raphael and Bolognese's Sacajawea: The Journey West (1995), from the Drawing America series. Lauren Peterson; Title: Sacagawea | [
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16,074 | 11 | Kindergarten-Grade 4?A poetic narrative that invites readers into Arizona's Sonora Desert through a collaboration of art and words, and gives a comfortable armchair tour of a beautiful, rugged, surprisingly varied place. Regan's artwork starts and ends with a panoramic scene, and in between it brings children in for close-up views that are almost photographic in their realism. Yolen paints just as inviting a picture as she chooses words that simultaneously describe and establish a rhythm of their own. She speaks of "a huddle of ocelots at noon/ in the shadow of a cave,/ a slither of green lizards,/ the dither of butterflies." The surprising variety of wildlife, weather, and conditions in this sea of sand will give young readers a new look at a place they might have thought dry and barren. This book celebrates the Sonora Desert in the same way Regan and Yolen celebrated the rain forest in Welcome to the Greenhouse (Putnam, 1993). A short note in the back provides more information about the desert and some creatures depicted in the illustrations but not identified in the text.?Jane Marino, Scarsdale Public Library, NYCopyright 1996 Reed Business Information, Inc.Age 5^-8. Words and pictures on the opening page portray the desert as an ocean of sand and rocks, but the remainder of this book shows another side of the desert, one teeming with life: "a cache of kangaroo rats busy in their burrows, a scuttle of tarantulas, a muddle of centipedes." The climax comes after a rainfall, when flowers burst into bloom and Yolen begins naming some of the desert's sounds, and the book draws to a close with another desert landscape that shows not only sand and rocks but also plants and animals. Regan's paintings are a perfect match for Yolen's poem, and her skillful use of greens, browns, and grays will help children appreciate books illustrated with more subtle colors. A good companion to the author and illustrator's Welcome to the Green House (1993). Susan Dove Lempke; Title: Welcome to the Sea of Sand | [
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16,075 | 6 | Kindergarten-Grade 2-While the grown-ups are immersed in pie eating and other outdoor carnival festivities, their babies crawl away. The only one to observe this phenomenon is a toddler in a fireman's hat who follows them and saves them from such disasters as bat caves, cliff-hanging, and hunger, along the way shouting very responsible warnings and imprecations to "behave." When he brings them safely home, he is, of course, a hero. In the penultimate spread, it transpires that the tale is the boy's fantasy story retold by his loving mother just before he falls asleep. The babies and their adventures are rendered in stunning, sharply detailed, Pienkowski-like silhouette against a subtly changing backdrop that reflects the time of day. The boy's fireman's hat makes him easy to follow on each spread and also conveys his gallant status. This book has levels of complexity. Adults may be put off by the seeming parental neglect, but children will doubtless latch on to and enjoy the fact that the hero is a child, that none of the escapees seems in any real jeopardy, that the softly glowing pastel backgrounds lend a mood of unruffled calm, and that the story is, after all, fanciful. The verse doesn't always scan and occasionally does not rhyme, but oh those beguiling babies-they're irresistible!-Kate McClelland, Perrot Memorial Library, Old Greenwich, CTCopyright 2003 Reed Business Information, Inc.PreS-Gr. 1. Caldecott Medal-winner Rathman tries something different here, but she isn't altogether successful. The exuberant text is directed to a young boy with the rescuing sensibility of Holden Caufield, who catches wandering babies: "Remember the way / You tried to save the day? / You hollered, "HEY! / You babies, Stay!" Alas, none of them do; instead they crawl off to chase bees and scramble onto a ledge. The fun is in the oversize pictures with silhouette images set against gloriously colored, subtly shaded backgrounds. These illustrations, reminiscent of the art in Jan Pienkowski's books about Christmas and Easter, may be difficult for little children to absorb. Not only must kids read details into the flat, black silhouettes, but they will also find that some objects are so small they are hard to discern. In addition, though the text is peppy, it can be difficult to read aloud. Is the book worth buying? Yes. The conceit is clever, the artwork is creative and lovely, and children with patience and imagination will find a bit more to see than they might find in a book with conventional art. Ilene CooperCopyright American Library Association. All rights reserved; Title: The Day the Babies Crawled Away | [
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16,076 | 5 | What becomes a Bigfoot most? This silly twist on a favorite fairy tale clears up that question (and more) with humor and style. The Bigfoot prince is looking for a wife. But his perfect mate must meet some stringent criteria: she must be odoriferous, have lots of matted fur and be the kind of nature lover that never picks flowers. Finding such a catch isn't easy, so the prince throws a forest-wide fun-fest at which all the female Bigfeet can compete for him. Rrrrrella is a good candidate but her wicked stepsisters (who wear wildflowers in their well-groomed fur) won't let her attend. With help from her Beary Godfather, Rrrrrella wows the prince at the fun-fest and leaves a giant bark-clog in her wake. Johnston's (The Chizzywink and the Alamagoozlum) wacky fantasy stays true to the Cinderella story, and her fresh setting and funny, evocative details will keep kids laughing. Warhola's (Bubba the Cowboy Prince) giant woolly creatures sport prominent, snouty noses and grimy-toothed grins. They cavort with glee and exhibit enough recognizably human behavior to sustain the visual humor. Ages 4-8. Copyright 1998 Reed Business Information, Inc.Grade 3-6-This ultimate reversal of the Cinderella story stars a dashing, nature-loving Bigfoot prince who is "horrendously hairy." Of course, he is as "tall and dark as a Douglas fir" and women long for him. Nearby live a mother and her two puny, furless daughters who not only bathe (ugh!) but also throw rocks at spotted owls. They despise Rrrrrella, their woolly, huge stepsister with feet "like log canoes." When the prince gives the annual fun-fest, Rrrrrella, who is left behind, is helped by her "beary godfather." The rest is history. All of this takes place in the old-growth forest where the Prince protects the environment with his rules, "No pick flower. No pull tree," and protects himself with the last rule, "No kick royal family." The troll-like Bigfoot population lives joyfully among wild animals in a forest paradise. Large, bright paintings in greens, browns, and gold depict the large-nosed, big-toed heroine and her "odoriferous" love interest. All but two crowd scenes can easily be shared with a group. The book can be read alone, aloud, or used for storytelling. It's hilarious fun with a message for all ages.Marlene Gawron, Orange County Library, Orlando, FLCopyright 1998 Reed Business Information, Inc.; Title: Bigfoot Cinderrrrrella | [
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16,077 | 13 | PreSchool-Grade 3-This book combines playful illustrations with rhymes that hop, skip, and jump. The text features short verses about different situations or emotions and the dances that could go along with them: "How can you dance when/one foot's sore?/Dance with the other foot/touching the floor." They are followed by instructional verses in red: "Dance on the other foot./Spin on the other foot./Hop on the other foot./Dance, spin, hop!" The acrylic paintings on each double-page spread feature one spot-art scene over the verse showing a real situation (a girl in a chair with her bandaged foot elevated) and a large full-page-plus fantasy scene (the girl standing on one leg on a lily pad surrounded by flamingos who are also on one leg). The illustrations feature a varied cast of children and animals, and convey a wonderful sense of movement. This is not a book children will sit still for.Genevieve Ceraldi, New York Public Library Copyright 2001 Reed Business Information, Inc.Ages 3-5. Dance, and the exuberance it engenders, comes center stage here. Each text page poses a question, then answers it: "How can you dance when / you dance with your ma? / Dance like you're king / of the cha-cha-cha." The small picture above the text shows a little boy dancing with his mother, who wears a robe and has curlers in her hair. But on the next page, the curlers are gone and Ma has donned a Chiquita Banana-style headdress and ruffled skirt. Her son wears a matching ruffled shirt--and sports a dashing mustache. They groove to Latin rhythms played by a band of turtles, armadillos, and roosters. The text questions range from funny to over the top: "How can you dance when / you hurt your back? / Dance like a donkey / carrying a pack." But the sturdy acrylic artwork, reminiscent of Giselle Potter's, is quite imaginative as it follows the multiethnic cast of kids who long to dance. Ilene CooperCopyright American Library Association. All rights reserved; Title: How Can You Dance | [
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16,078 | 11 | PreSchool-Grade 2-It is Fledgling's fate as the oldest in the nest to be the first to fly. She is very excited but nervous as well. Will she be able to do it and lead the rest of her siblings? She takes off tentatively but danger is lurking and Fledgling must use all of her skill to avoid being attacked by a huge hawk. She flies into the subway and into an amusement park looking for refuge. Finally, she finds her family. Blake gets all the details right. The protagonist is depicted in her first flight as a sympathetic character and even the youngest reader will immediately identify with her struggle. The illustrations give a sense of motion by the use of banked views from building roofs and towers. The colors convey the excitement as well as the danger. Blake has drawn his little heroine with loving care and Fledgling's success is a true delight. The story will hold the attention of very young children, while the illustrations will captivate older readers as well.Barbara Buckley, Rockville Centre Public Library, NY Copyright 2000 Reed Business Information, Inc.Ages 4-8. City life can be precarious, even for birds! Prior to the title page, an eager kestrel peeks up at the reader and announces, "Today is the day we are all going to fly." The fearful narrator plunges from rooftop, lands on a ledge, lunges again, and finally experiences the exuberance of flight. Threatened by a hawk at Coney Island, the young kestrel escapes into a subway train. Upon exit, he's lost until he hears his family calling him home. With minimal text, it is the ink-and-watercolor illustrations that relate most of the adventure, even a few incidents not mentioned in the narrative. The kestrel's ups and downs are shown from a variety of almost dizzying perspectives. Children will identify with the kestrel's desire for independence, cheer his resourcefulness in the face of danger, and take comfort in his return home. Linda PerkinsCopyright American Library Association. All rights reserved; Title: Fledgling | [
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16,079 | 2 | Holt (My Louisiana Sky) returns to Louisiana for this touching slice of life in a 1940 mill town. Young Jolene Jasmine Johnson can't change certain things about her world, like having to sit in the rear balcony at the movie theater, and acting polite to "Miz" Logan, the mill owner's wife for whom Jolene's mother sews dresses. But the outspoken heroine believes that she can keep things happy at home. That is, until logger Leroy Redfield, a man "dark as a starless night, tall and thick as a long-leaf pine tree," comes courting her widowed mother. Holt handily employs Jolene's first-person narration to focus more on the music of Louis Armstrong, community dances and family life than on societal clashes; the warmth and love in the Johnson household envelops the novel. The author balances Jolene's blatant displays of resentment toward her mother's beau (at one point, she cuts up the expensive fabric he has bought for Jolene's mother) with patience and tolerance from Leroy ("plain Mister" as Jolene calls him), and he eventually secures his future stepdaughter's trust. Jolene's acceptance of her mother's upcoming marriage comes gradually and convincingly, and her willingness to face the uncertainties of her future may well give courage to readers confronting sea changes of their own. Illustrations not seen by PW. Ages 7-11. Copyright 1998 Reed Business Information, Inc.Grade 4-6-In this touching short novel set in a 1940s logging community, Jolene Jasmine Johnson is perfectly content with her close little family made up of just herself, Momma, and Grandpa. Then along comes Mister Leroy Redfield, a logger who spoils everything by distracting her mother and wheedling his way into the family with his charm. Although she has no memory of her father, the girl clings to the idea of him, providing her with one more reason to resent the newcomer's intrusion. Despite her efforts to make Mister disappear, Jolene's misdeeds only seem to strengthen his resolve to win her approval and become a permanent fixture in her life. Separate seating areas in the movie theater and her mother's part-time work sewing for white women make it clear that the story takes place in a racially segregated town, but these references are not fully explained. The focus of the story is Jolene's emotional growth and her eventual acceptance of this man whose love and patience allow her to expand her notion of family. Too bad this slim title may fall prey to that ever-important criteria of a requisite number of pages so valued by some teachers.Lynda Short, Paul Laurence Dunbar High School, Lexington, KYCopyright 1998 Reed Business Information, Inc.; Title: Mister and Me | [
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16,080 | 0 | As they did in Shakerag, a tale of Elvis Presley's Southern childhood, Littlesugar and Cooper join forces to vividly evoke the past. This time the subject is the rebirth of African-American theater in Harlem during the Great Depression. Young Florrie has often heard the stories of how her father found joy as an actor at the Lafayette Theatre in the 1920s, the heyday of the Harlem Renaissance. He even met Florrie's mother there. But with hard times, the theater has closed, and now its only sign of life is the twisted tree that grows beside it. Every day Florrie and her father wish on the "Tree of Hope" for the return of the Lafayette. The wish finally comes true when, sponsored by the Federal Theater Project, director Orson Welles mounts an African-American production of Macbeth. In her ambitious text, Littlesugar unobtrusively uses history to anchor the experiences of a particular fictional family. After a somewhat slow denouement, the elements of her story neatly come full circle. Cooper's luminous oil paintings, fine as ever, breathe life into both the gritty period cityscapes and the memorable characters, whose faces are alternately shaded by despair and lit by hope. Ages 4-8. (Oct.) Copyright 1999 Reed Business Information, Inc.Kindergarten-Grade 3-A pivotal moment for the arts in America, and for one African-American family, is warmly re-created here. Florrie's father is acting bit parts at the Lafayette Theatre in Harlem when the Great Depression hits, closing the theatres down. Then the child's parents are lucky to have work at all: cleaning work for Mama and frying donuts for Daddy, though he never stops dreaming of going back on the stage. He and lots of other out-of-work theatre people make wishes on the stubborn, twisted little "tree of hope" growing outside the Lafayette. When President Roosevelt orders the doors reopened, their wishes come true. The plays of Countee Cullen and Zora Neale Hurston are to be produced and Florrie's father is cast in Orson Welles's all-black production of Shakespeare's Macbeth. Cooper's oil-wash paintings evoke sepia-toned photographs and capture the emotions that make Littlesugar's characters vivid.Miriam Lang Budin, Chappaqua Public Library, NY Copyright 1999 Reed Business Information, Inc.; Title: Tree of Hope | [
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16,081 | 1 | With the color-saturated oils and retro graphics that have become his trademark, Kirk (Bigger) saves his readers a primo seat on a rip-roaring school bus ride. He alternates strong rectilinear double-page compositions of the bus's exterior with cartoon panels that keep the pace brisk, as he plunges readers into the heady claustrophobia of the bus's long, narrow interior. Game-playing, studying, extracurricular reading, primping, gossiping and snacking occur cheek-by-jowl. Freckle-faced Tommy brings Hammy the hamster for show-and-tell, and the critter's escape from its cage heightens the normal chaos of the daily bus trip. Dialogue balloons and a bongo-beat rhyming text punctuate the pictures as news of Hammy bounces from kid to kid: " 'I've got a brand-new game!'/ 'Tommy, is your hamster tame?'/ 'I used to have a hamster, too!'/ 'What is this, the city zoo?!?' " With Hammy's recapture from atop an ashen-faced girl's head the comic narrative tension gives the satisfying pop of overinflated bubble gum, and the children pile off the bus for the more orderly confines of school. For children who count the school bus ride as the highlight of their day, this ride with Kirk will seem like it's over too soon. Ages 4-8. (July) Copyright 2001 Reed Business Information, Inc.reS-Gr 3-When Tommy takes Hammy to school for show-and-tell, the impudent hamster escapes from his cage and wreaks havoc on the bus. Kirk encapsulates much of his lively, rhyming text in dialogue balloons, accentuating the normal hustle and bustle aboard a typical ride to school. Everyday activities and complaints alternate with the search for the pet: "Let's see the cards/you wanna trade./Watch it, Kate, you/pulled my braid!/My science homework's/almost done./Boy, that hamster/sure can run!" Brightly colored illustrations complement the noisy atmosphere. Many humorous activities not mentioned in the text appear in the pictures to reward careful observers. For instance, the girl who boards the bus asking, "-what's that funny smell?" ends up with the creature in her hair. Another girl reads throughout the uproar. And all of the drivers of the passing cars are talking on cell phones. Pair this offering with Donald Crews's School Bus (Greenwillow, 1984) for the youngest listeners, and add Alice K. Flanagan's photo-essay Riding the School Bus with Mrs. Kramer (Children's, 1998) for a glimpse at the driver's point of view. A lively trip that's loaded with fun.Robin L. Gibson, Perry County District Library, New Lexington, OHCopyright 2001 Cahners Business Information, Inc.; Title: Bus Stop, Bus Go | [
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16,082 | 0 | A dramatic true event turns pallid in this unconvincing first novel set at the close of WWII. Living on a Dutch farm with Mama and Papa, Henk has rejoiced with them at the defeat of the "bad soldiers"?but his whole world turns upside-down when "Mama and Papa" tell him that they are not in fact his parents. Henk's real name, which he has forgotten, is Benjamin, and his real father and mother are David and Elsbet, Jews who have survived the war in hiding. The boy's reunion with his parents and his transformation from Henk to Benjamin should be exciting subjects, but the characterizations are so pat as to flatten the material. In attempting to narrate from Henk/Benjamin's perspective, Propp relies on artificial-sounding interior monologues with lots of wide-eyed questions: "It wouldn't be proper to call [David and Elsbet] by their first names. What should I call them, he asked himself. How do I know they are really my parents as they say they are?" The dangers of the war, revealed in flashbacks and through Elsbet's conversations with her son, never take on immediacy. Middle-graders interested in a more authentic treatment of problems Dutch Jewish children faced in coming out of hiding after the war should see Ida Vos's novels Hide and Seek and Anna Is Still Here. Ages 10-up. Copyright 1999 Reed Business Information, Inc.Grade 4-6?An uncomplicated account of a boy's readjustment after World War II in Holland. Eight-year-old Henk is stunned when he discovers that the family he has been living with are not his blood relatives. After being reunited with his biological parents, who are Jewish, Henk learns that his name is really Benjamin Van Sorg and that he was sent to live with a Christian family during the war. As he slowly adjusts to his new life and identity, memories from his early childhood gradually return, including the yellow star on his coat and a frightening encounter with a Nazi soldier. At the end of the book, when he and his parents return to their house, the place seems familiar and welcoming, and he finally feels that he is home. Propp's use of simple language helps the story flow smoothly. The author creates and sustains a mood that coincides with the readjustment phase that takes place after a trauma. Historical facts are successfully integrated into the narrative, and Henk's first-person telling makes the effects of the war tangible to readers. When the Soldiers Were Gone rates highly among other stories about the period, such as Jane Yolen's more sophisticated The Devil's Arithmetic (Viking, 1988) and David Adler's Hilde & Eli (Holiday, 1994). A moving, well-written novel.?Adrian Renee Stevens, Beaver Creek School, West Jefferson, NCCopyright 1999 Reed Business Information, Inc.; Title: When the Soldiers Were Gone | [
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16,083 | 13 | PreSchool-Grade 3-After singing the praises of an orchestra in Zin! Zin! Zin! A Violin (S & S, 1995) and a band in Our Marching Band (Putnam, 2001), Moss now extols the joys of music itself. In rhyming text, he explains that music is important because it appears in all aspects of our lives, from the mundane "music in the elevator,/sometimes music on the phone" to the exciting "Brass or strings, when played with brio,/lift my spirits to the sky." Many different forms are mentioned, including orchestral and opera, and several of the terms and names will need some adult explanation. ("Verdi, Humperdinck, Puccini;/opera is such a thrill./Those by Bizet and Rossini please me,/and they always will.") However, the author's passion for his subject is clearly felt and expressed. The illustrations, with their elongated, cartoonlike figures and shapes, are dominated by slightly muted shades of blue, red, green, and peach. The placement of the text on the page often reinforces the mood of the message or words. The names of opera composers appear slightly larger, as if sung loudly toward an audience, and the words describing dance seem to skip along the bottom of the page with the dancing feet. This is a great read-aloud that can be paired with Moss's earlier books or with Karla Kuskin's The Philharmonic Gets Dressed (HarperCollins, 1982).Jane Marino, Scarsdale Public Library, NYCopyright 2003 Reed Business Information, Inc.Lloyd Moss is a host of WQXR, the classical music radio station of The New York Times. Phillippe Petit-Roulet is an artist for The New Yorker.; Title: Music Is | [
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16,084 | 2 | Grade 2-4-Fourth-grade Amber Brown is back, and she thinks that nothing in her life is fair, from her mom and aunt going to Disneyland without her to the many changes she must face within her family. Her mother and Max are planning their upcoming wedding, their new life together, and maybe even a future baby together and a new house, and Amber doesn't like it one bit. She's also angry at her father because he has a date. Then she must make a difficult decision when her mom and Max let her help choose between a new home with a swimming pool in a different town and a new, but "boring" house in a nearby neighborhood. Ross's black-and-white drawings show Amber's humorous facial expressions and her daily life. This upbeat and funny first-person narrative will keep readers hooked, even while Amber deals with the emotions that many kids her age experience. This title will be enjoyed by early chapter-book readers whether familiar with Amber or not.Michele Shaw, Yorkshire Academy, Houston, TXCopyright 2003 Reed Business Information, Inc.Gr. 2-4. From the popular series that began with Amber Brown Is Not a Crayon (1994), this accessible chapter book finds Amber in some distress as her divorced parents struggle to make new lives for themselves. On their weekend "together," Amber's father breaks a promise to take her to a movie, leaves her with a sitter, and goes out with a woman he met that day in the grocery store. Meanwhile, Amber's mother and her intended husband, Max, shop for a house, but not necessarily in the same town or near the same school that Amber has always known. Worse still, Amber's dad is furious with her mom and Max, and the feeling is mutual. The first-person narrative is fresh, articulate, and occasionally funny, though Danziger delivers more than light entertainment here. Readers will feel Amber's pain as she confronts each parent and her surprise when she finds comfort in the most unlikely place--the principal's office. Ross contributes lively, expressive ink drawings that help lighten this truthful but hopeful portrait of Amber's family in transition. Carolyn PhelanCopyright American Library Association. All rights reserved; Title: Amber Brown is Green with Envy | [
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16,085 | 5 | According to newcomer Wright's 1,000-pound catfish character Ernie, Mayor Annie is an "uppity frog-kissin' steamboat captain" who should stay at home and "bake some cookies." But vivacious Annie has other ideas in this lively tall tale that features a heroine who can out-sing, out-talk and out-fish slimy, handsome villain Jefferson Jackson (who wants to be mayor) and his fishy friend. Catfish Ernie can't stand the constant singing of the citizens of Pleasant even the town's lone cow sings solos at the church so he decides to gobble not only the boats that journey down the Ohio River, but the town's church as well. With a colloquial style featuring plenty of outlandish exaggerations, Wright describes how Annie hooks Ernie and hangs on for a year and a half, all the while playing the calliope with her toes "so that folks would have dancing music." Fine's (Piggie Christmas) energetic, acrylic paintings feature skewed perspectives, striking landscapes, eccentric portraits bursting from portholes, 19th-century characters whose red-cheeked faces and white teeth look carved from wood, and even a spectacular close-up of Steamboat Annie's bare foot. Although the exuberant plot at times grows unwieldy, and the feisty-feminist slant to the story seems a little heavy-handed, Wright's "fearsome fishing battle" brims with sly humor and enthusiasm. Ages 4-up. Copyright 2001 Cahners Business Information, Inc.K-Gr 4-In this literary tall tale, everyone in the Ohio River town of Pleasant sings, which drives Ernie, a 1000-pound catfish, so crazy that he starts a feud by chomping on a ferry boat, eating Doc's dock, destroying Tom Sawyer's raft, and even eating the church. When the outspoken Steamboat Annie offers to rid the town of this fishy nuisance, Slimy Jefferson Jackson, who wants to be mayor, makes a deal with the catfish that if he will eat Annie, Jefferson will throw in the town's annoying singing cow for a tasty snack. However, in a loud exchange of insults, Annie tricks them both and ends up being towed by the fish up and down the Ohio and the Mississippi. A year and a half later, she has finally worn Ernie out, and she flings him clear to California, where he still causes earthquake trouble. Jefferson Jackson is saved for other uses. True to the genre, the highly humored telling is larger-than-life and features a memorable heroine plus not one but two loathsome villains, and Fine's exaggerated perspectives in bold acrylic paintings contribute to the good fun. A resounding success.Susan Hepler, Burgundy Farm Country Day School, Alexandria, VACopyright 2001 Cahners Business Information, Inc.; Title: Steamboat Annie & the Thousand Pound Catfish | [
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16,086 | 4 | PreS-Gr 2-This delightful picture book begins before the title page, as a father and two children get into their car to head out to lunch. However, a run-in with a huge mud puddle necessitates a stop at the car wash. As they enter, the children imagine that they are descending into the ocean in a submarine and immediately "Close hatch" (the car's sunroof). Inside, the different cleaning mechanisms become sea creatures, from "Coral reef" sponges to the "Giant arms" of the cloth "Octopus" to "Seaweed" brushes. After escaping the "Hurricane" of the rinse cycle, the vehicle passes through the "Red-hot breath" and finally ascends into the outside world. Then it's on to the fast-food restaurant and lunch-only to spill food all over the clean car. The rhythmic text emulates the relentless beat of a car wash: "Windows up. Engine off. On track." Fashioned from gouache, acrylics, pencil, and "some odds and ends," Karas's illustrations contrast sepia-toned scenes of the real world with vivid pinks, blues, and greens inside the car wash. Filled with clever touches, such as hot-pink fabric strips for the octopus legs and glass beads for water running down the windshield, these offbeat pictures provide a perfect counterpart to a story that is firmly rooted in a familiar experience. Creative, clever, and original, this offering is destined to be a hit in storytime or when shared one-on-one.-Kathleen Kelly MacMillan, Carroll County Public Library, Eldersburg, MDSUEN, Anastasia.Copyright 2001 Cahners Business Information, Inc.Ages 2-6. The glorious slop of a car wash is captured in eye-popping collages and jolly play-by-play. The co-authors, twin sisters, place another set of twins, a brother and sister, in the family car with Dad, on the way to lunch. When mud spatters all over the car, Dad takes a detour to the car wash. Karas' imaginative, crazy re-creations of a car wash from a kid's perspective are great: the car becomes a submarine, and a bubbly sea, a coral reef of sponges, and a hurricane of blowing air appear outside the porthole. It's highly inventive fun that transforms a potentially frightening experience into an entertaining underwater adventure. Connie FletcherCopyright American Library Association. All rights reserved; Title: Car Wash | [
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16,087 | 20 | Hubbard (Hip Cat) sends a cheerily illustrated book of affirmations to loved ones in this compact picture book. Opening with a picture of a gift, the book begins, "Today is a day to celebrate you." The text then catalogues such positive qualities as "You walk with confidence"; "When others need help you take responsibility"; "You are generous"; and closes with "You are the gift," making the volume an appropriate present for just about any occasion. While young children are not likely to grasp the full meaning here, the book's upbeat message is one that bears repeating. Hubbard's jazzy compositions are the real draw. With the crisp-lined look of cut-paper collage, they feature contrasting hues and bold, sharply drawn patterns that nearly vibrate off the pages. A dragon rendered in a red-orange geometric design is a standout, and the final spread creates visual fanfare with flocks of birds, a cat playing trumpet, a boy and his dog singing atop a bike and an abundance of balloons and flowers, all set against an orange, cloud-dappled sky. All ages. (Mar.) Copyright 2000 Reed Business Information, Inc.Grade 1 Up-"Today is a day to celebrate you because-" begins this 56-word ode that extols praiseworthy characteristics such as being compassionate, generous, confident, and courageous. The illustrator's distinctive, brilliantly colored paintings depict both calm, quiet moments-reading a book with someone-and others that are exciting or dangerous-bravely facing up to a dragon. Each double-page spread includes a simple statement such as, "You live with compassion." A vivid, textured picture supports each declaration with style and energy. Most of the spreads are straightforward, but a couple of the concepts are less than concrete (e.g., "You embrace Peace") and may require amplification. Similar to the author's The Friendship Book (Chronicle, 1993), this slight title is not a story, but a presentation of an idealized code by which to live.Maryann H. Owen, Racine Public Library, WI Copyright 2000 Reed Business Information, Inc.; Title: All That You Are | [
36356
] | Test |
16,088 | 14 | Claire Huchet Bishop (1899 1993) was a children's novelist and librarian. She was the winner of the Newbery Honor for Pancakes-Paris and All Alone, and the Josette Frank Award for Twenty and Ten. The Five Chinese Brothers won the Lewis Carroll Shelf Award in 1959.; Title: The Five Chinese Brothers | [
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16,089 | 10 | Rarely does potato poetry reach such laudable heights as in this piece of inspired lunacy from the tomfool team Toby Speed and Barry Root of Two Cool Cows. Surely these noble tubers have long deserved some sort of epic treatment (one wonders, for instance, why there's never been a "Charge of the Spud Brigade" or "The Tater Not Taken"), but Brave Potatoes at last gives the forsaken roots their well-deserved due, in a wonderfully weird and lyrical tribute.Squeezed in between the prize perennials and the summer squash at a county fair 4-H hall, the potatoes begin their night of adventure, rubbing their eyes as they stir to life. "Everyone's asleep in the Bud and Bean Arena. / So all the prize potatoes with their eyes wide open topple to the hard-knocky floor." This lumpy little crew has just one thing in mind: heading down the midway to take a ride on the Zip. "Over at the Fair, / potatoes in the air! / See them flip, flip, flip on the wild and woolly Zip!" But across town at the Chowder Lounge, Chef Hackemup has other plans for these high-flying potatoes--hoping to make curly fries, chips, and gumbo à la Zip, "Off goes / Hackemup / with a bag / to pack 'em up." Can these spuds possibly survive his shredder and his grater and his So-Long-See-You-Later? Only if they're brave enough, of course, and you can bet that all the other vegetables held captive in Hackemup's mad-scientist-style kitchen are counting on them.Speed's well-crafted verse ("If real words won't do, I make some up," he admits) is matched only by Root's luminescent and hilariously detailed illustrations. (Ages 7 to 10) --Paul HughesThe team behind Two Cool Cows returns in this remarkable veggie opera. After dark at the county fair's produce display, strange things are afoot: "All the prize potatoes with their eyes wide open/ topple to the hard-knocky floor/ and one potato, two potato, three potato, four/ head for the creak-cracky door." As complacent pumpkins and watermelons snooze, the spuds gallop into the moonlight and climb aboard a carnival ride, the Zip (whose name conveniently rhymes with "chip"). Meanwhile, in a nearby industrial kitchen full of steaming, gleaming copper kettles, Hackemup the chef whacks unfortunate onions, peppers and tomatoesA"But he hasn't got potatoes./ No, he hasn't got potatoes." Speed sets up a wicked confrontation between Hackemup and the innocent tubers, and the aptly named Root paints the midnight showdown with gusto. The collaborators present the unusual material without irony, and Root carefully portrays the russet red and Yukon gold heroes in all sizes, with unique personalities blazing in their beady little eyes. The intrepid potatoes stage a real grassroots campaign against The Man, and they ultimately march down the street chanting, "We will never be potpie./ We will never be potluck./ We will never be frittata./ We will always be potatoes." This poetically phrased and oddly poignant tale might make a good companion to Saxton Freymann and Joost Elffers's How Are You Peeling?, another omen of a budding potato-liberation movement. Ages 4-8. (May) Copyright 2000 Reed Business Information, Inc.; Title: Brave Potatoes | [
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16,090 | 1 | Kindergarten-Grade 3 A fine collection of 13 short poems on various major events in both the Summer and Winter Olympics, illustrated with a wonderful team of elephant athletes. Basic facts about the games are included in a note at the back. The emphasis in the poems is on good sportsmanship, the value of practice and teamwork, trying your best and persevering, etc. Each selection merits a double-page watercolor-and-pencil illustration, that shows the competitors engaging in athletic endeavors with elephantine grace there are even elephant clouds looking down on the superstars. Sprinters, skiers, skaters, and gymnasts all have their moments of glory. The cover art shows the Olympic torch being lit in Greece, and the two sections (Summer and Winter) each begin with a picture of a runner taking the flame up the path to the stadium. A perfect introduction to the Games for the very young. Judith Constantinides, East Baton Rouge Parish Main Library, LA Copyright 1999 Reed Business Information, Inc.Poet Kennedy imagines the Olympic games in a world of elephants. His fanciful verses focus on such tremendous competitors as Elijah the diver, Trinket the sprinter, and Tram the slalom champ. Readers who remember the sometimes biting wit of the Brats books will find Kennedy's humor gentler here, befitting the younger audience for this large-format, bountifully illustrated book. Each rhyming poem appears on its own double-page spread, illustrated with a large-scale picture featuring a single elephantine athlete. Deeply colored and beautifully shaded, the artwork appears to be done with heavily applied pastel crayons. The illustrations are notable for their simple, effective composition and child appeal. Librarians hard put to fill requests for preschool and primary-grade books on the Olympics will welcome this pleasant book of sports verse for young children. Carolyn Phelan; Title: Elympics | [
44858,
56184
] | Test |
16,091 | 0 | In this thought-provoking prehistoric adventure tale, part of a new series, Dickinson considers evolution, revisiting themes he explored in A Bone from a Dry Sea. Separated from the elders of the Moonhawk clan after an attack by a horde of "ferocious strangers," Noli and five other children roam the land in search of new "Good Places" in which to hunt and gather. After a volcano eruption drives them even further afield, the youngsters rescue and befriend a wounded man they dub Tor. Skilled with tools yet unable to speak beyond simple hoots and grunts, enigmatic Tor forces the children?and the reader?to examine what it means to be human. Likewise, Noli's various shaman-like encounters with her own clan's totem animal and the hitherto voiceless spirit guide of Tor's people provide an opportunity for Dickinson to ponder the nature of the sacred. The Moonhawks' encounter with the rest of Tor's people and their joint battle against a marauding lion make for an exciting read. But the real adventure here is the exhilarating mix of ideas the novel so nimbly sets forth. Ages 10-up. (June) FYI: Also due in June is The Kin: Suth's Story ($14.99 ISBN 0-399-23327-X; paper $3.99 -448-41709-X). Two more installments are scheduled for October publication.Copyright 1998 Reed Business Information, Inc.Grade 4-6-The author of A Bone from a Dry Sea (Dell, 1995) opens a quartet of novels also set in our distant past. After a devastating raid, the dazed survivors of the Moonhawk Kin flee to safety. They split up when two orphans, Suth and Noli, defy their headman's orders and return to the place where four young children were abandoned. Following Noli's visions, which she claims are sent by their totemic hawk, Suth leads the tiny band to a verdant haven in the crater of a volcano where they fall in with a group of cave dwellers who claim to be Monkey Kin. As Dickinson develops distinct personalities and inner conflicts in each of his characters, he inserts between chapters a creation myth in which Monkey, a trickster, brings sorrow, hunger, and ultimately murder into the world. In light of this, and seeing how closely the dwindling, inbred Monkey people are watching him, Suth is understandably uneasy. Though the author sometimes lets the plot coast while he's establishing believable, well-articulated cultural backgrounds for his protohuman cast, the pace does pick up near the end as Suth earns adult status by killing a leopard, and later engineers an escape for the Moonhawks when the volcano erupts. Less a self-contained story than an intriguing lead-in, this novel will prepare middle readers for the subsequent adventures of a young but resourceful band in a world 200 millennia agone.John Peters, New York Public LibraryCopyright 1999 Reed Business Information, Inc.; Title: Suth's Story (Kin) | [] | Train |
16,092 | 0 | Kindergarten-Grade 5-Togo is a spirited puppy, determined to be a sled dog even though his owner, Leonhard Seppala, does not think he has what it takes. He's small for a Siberian husky, and much too independent. When he is only eight months old, he breaks through a fence and finds his owner's team on a supply run; it takes only a day for him to prove himself as a musher. Soon the young dog is leading his team in races, and breaking speed records every time. When Togo is eight years old, Seppala is asked to make an emergency relay run to pick up a serum that can stop the diphtheria epidemic threatening the entire population of Nome, AK. Togo leads his team over 350 miles through storms, suffering terribly, and with almost no rest. While it is another dog, Balto, that became famous for the serum run of 1925, he actually led the final team in the relay, running 53 miles. Many people feel that Togo is an unsung hero, and so will readers, who will feel the terrible cold depicted chillingly in Blake's paintings. The urgency and desperation come across clearly in both the dramatic text and the full-page impressionistic paintings. The dogs are not anthropomorphized, but their expressions are haunting. Pair this first-rate historical adventure with Natalie Standiford's The Bravest Dog Ever: The True Story of Balto (Random, 1989) or with Blake's Akiak: A Tale from the Iditarod (Philomel, 1997).Susan Oliver, Tampa-Hillsborough Public Library System, FLCopyright 2002 Cahners Business Information, Inc.Robert J. Blake was born and raised in New Jersey. As a boy he made "tons of drawings" and used up thousands of crayons. He says, "I even did a huge crayon mural on our hallway that was not artistically appreciated by my parents."Sharing one large room with two older brothers was "total chaos," he recalls. "We had lots of animals - dogs, ducks, hamsters, gerbils, guinea pigs, lizards, turtles, snakes, birds, fish, and even two flying squirrels. And, oh yes, a tarantula. I think my parents were afraid to come up to our room."Mr. Blake now resides in New Jersey with his wife and son. He works in his studio, a renovated barn on his property. Mr. Blake says, "I would like to paint in every state in the United States and in every country in the world.""I hope my books lend the reader a feeling, and emotion, a new point of view, a new way to look at something that they might not have experienced otherwise."Robert J. Blake was born and raised in New Jersey. As a boy he made "tons of drawings" and used up thousands of crayons. He says, "I even did a huge crayon mural on our hallway that was not artistically appreciated by my parents."Sharing one large room with two older brothers was "total chaos," he recalls. "We had lots of animals - dogs, ducks, hamsters, gerbils, guinea pigs, lizards, turtles, snakes, birds, fish, and even two flying squirrels. And, oh yes, a tarantula. I think my parents were afraid to come up to our room."Mr. Blake now resides in New Jersey with his wife and son. He works in his studio, a renovated barn on his property. Mr. Blake says, "I would like to paint in every state in the United States and in every country in the world.""I hope my books lend the reader a feeling, and emotion, a new point of view, a new way to look at something that they might not have experienced otherwise."; Title: Togo | [
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16,093 | 1 | Hedgie the hedgehog discovers the wisdom of the adage, "Don't go poking your nose where it doesn't belong" only after curiosity gets this prickly fellow in a pickle. When Lisa's red and white woolen stocking blows off the clothesline, Hedgie finds it and sticks his nose inside, only to discover his prickles prevent him from pulling out of it. Soon all the farm animals are coming around to chuckle at silly Hedgie's stocking hat. But in the end, nimble-witted Hedgie gets the last laugh.This magnificently illustrated companion book to artist (and hedgehog owner) Jan Brett's classic The Mitten was the winner of the prestigious 1998 Boston Globe-Horn Book Award. Young readers can spend hours with this one short book, poring over the pleasing, spirited details of Brett's trademark picture borders. Throughout, Lisa can be seen in these artful frames, making preparations for the cold Scandinavian winter, never realizing that her clothesline is becoming more line than clothes. If it were possible to wrap oneself up in these warm, cozy illustrations, readers would be set for the winter. (Ages 4 to 8) --Emilie CoulterPreSchool-Grade 3. A clever and appealing picture book. In preparation for cold weather, Lisa takes her winter clothes out of their storage chest and hangs them up in the fresh air. A strong wind blows one of her knit socks off the line. A hedgehog sticks his head inside, and it becomes stuck on his quills. When a hen, goose, cat, dog, pig, and horse laugh at his appearance, he tries to salvage his dignity by telling each one that his new hat will keep him dry, warm, and cozy throughout the winter. Finally, Lisa finds him and removes her sock, telling him that animals don't wear clothing. But when she goes back to the clothesline, she sees all of the animals wearing her gloves, sweaters, and scarves on their heads. Brett's illustrations are done in her trademark style of highly detailed depictions of her characters and a creative use of borders. Contained within them are small illustrations foreshadowing what will happen next. Shades of grays and greens capture the chilly autumn landscape. Against this background, the earthy colors of the animals and the deep red of Lisa's sock make a stark contrast. The pictures, story, and subject matter make this a natural for sharing aloud. And while very young children may need to have the humor of Hedgie's predicament explained to them, the book's appeal will be broad.?Denise Anton Wright, Illinois State University, NormalCopyright 1997 Reed Business Information, Inc.; Title: The Hat | [
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... | Validation |
16,094 | 2 | Even Ichikawa's (the Tanya series) effervescent watercolors can't disguise a rhyming text that is as corny as Kansas in August. The simile-driven format is established on the very first page: "I am your parent; you are my child. I am your quiet place; you are my wild." As the sage teddy bear and the adorable child make their way through the day, the elder bear is always described in terms of wisdom and patience, while the offspring is ebullient and unpredictable (the characters' genders aren't specified). First-time author Cusimano stretches the conceit past the breaking point: for bathtime, she writes, "I am your dry towel; you are my wet bath." At the evening meal, it's "I am your dinner; you are my chocolate cake. I am your bedtime; you are my wide awake." Fortunately, Ichikawa's graceful, full-bleed pictures have none of the text's saccharine qualities. Her views of the teddy bear duo have a sweet, simple pellucidity, instantly communicating all that the reader needs to know about the wonders of loving and being loved. Ages 3-7. Copyright 2001 Cahners Business Information, Inc.PreS-The rhythmic and lyrical text of this beautifully illustrated picture book explores the special connections between a parent and child. The opening pages show an adult teddy bear curled up with a baby bear: "I am your parent;/you are my child./I am your quiet place;/you are my wild." The verses that follow describe the activities of a busy day. While they play outside, the grown-up explains, "I am your water wings;/you are my deep./I am your open arms;/you are my running leap." After a bath, dinner, and a favorite story, the poem ends with a quiet moment: "I am your lullaby;/you are my peekaboo./I am your good-night kiss;/you are my/I love you." The soft watercolor illustrations bring the spirit behind the text to light. The joy and movement of running, spinning, splashing, and hugging are all captured in a warm and lighthearted manner, and the baby bear's small toy animals often join in the fun and games. An appealing choice for bedtime sharing.-Genevieve Ceraldi, New York Public LibraryCopyright 2001 Cahners Business Information, Inc.; Title: You Are My I Love You | [
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7440... | Train |
16,095 | 10 | reschool-Grade 1--The fun begins as soon as a boy bursts into the backyard, toy airplane in hand. Flying comes first, and then he takes some turns in his race car. An encounter with a pirate ship, a trip to the jungle, and a ride on a noble steed all follow in quick succession. Each mini adventure is fraught with danger-crashes, villainy, and dragon flames-and every time the boy emerges successful, "HE SAVES THE DAY!" Finally the challenges are too much; he falls, he bawls, and this time it's Mom to the rescue: "SHE SAVES THE DAY!" A touching and satisfying coda explains, "He can't save them all!" The snappy text uses natural, unforced rhymes and repetition to great effect. Original in presentation and yet exploring traditional themes, the text works in seamless partnership with Cravath's gouache-and-ink illustrations to get readers' imaginations soaring along with the boy's. The exuberant art creates both the reality (a summer backyard scene) and the flights of fancy. The orange-haired child has a beguiling smile; his sidekick, a pup, is a constant companion. Bright colors, broad strokes, a cartoon style, and a flowing design give immediacy and energy to the pages. Then, too, there's Mom, the lady brave, whose reassuring presence frames the tale. This book demands to be read aloud. The energy contained within coupled with the innocent joy of imaginative play are engaging and satisfying.Martha Topol, Traverse Area District Library, Traverse City, MICopyright 2002 Cahners Business Information, Inc.; Title: He Saves the Day | [
36285,
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] | Test |
16,096 | 2 | Grade 1-4?An original tale about an Irish family, set in New England "some hundred years ago." Uncle Ambrose is expected at his sister's house on Christmas Eve. The musician of the family, he is the one who makes "Christmas sing" for his niece, Frances. However, Uncle Ambrose has a bad leg, and when an evening's snow turns into a blizzard, the excited activity around the house turns to worry. He finally arrives, saved by a huge black dog that no one has ever seen before. The "angel" of Mill Street disappears into the night and the family goes to bed. The narrative has the rhythm and pacing of oral storytelling. On each double-page spread, the text is set in a narrow vertical strip next to a large illustration. While the text describes what is going on in the house, the paintings show Ambrose's trek, with the black dog always shadowing him, making the story read as if it were being simultaneously told aloud and acted out. Two wordless, double-page illustrations at the climax (Ambrose's tumble into a snowbank and rescue) add to the meticulous structure of the book. Blake's watercolors, with the blue hues of the outside set against the yellow hues of indoors and the increasingly obscuring and wind-blown snow, add nicely to this cozy and old-fashioned Christmas story.?Nina Lindsay, Oakland Public Library, Copyright 1999 Reed Business Information, Inc.Ages 5^-8. The book opens with a picture of a girl looking out a window, a worried expression on her face. She is Frances Rosalie Murphy, and the time is 100 years ago. Frances Rosalie is waiting for her uncle Ambrose to arrive on the snowy Christmas Eve. Snow is a problem for lively Uncle Ambrose. An accident left him with a painful limp that makes it hard to walk in such bad weather. As Frances Rosalie recounts her concerns, readers will be immersed in the pictures that detail Uncle Ambrose's difficult excursion through snowy neighborhoods, out past the town, and over the river, each step more difficult until he slips and falls in a snowbank. Unable to get up, Uncle Ambrose is in real danger of freezing to death when a huge black dog appears, and Ambrose is led to safety. The dog is never seen again, nor is the dog familiar to anyone in the area. Was the dog a guardian angel? That's the way the story is passed down. Blake has made an interesting illustration decision: the pictures show only Ambrose's treacherous excursion, not what is happening in Frances Rosalie's house. A man struggling in the snow, even one in danger, may be of more interest to an older audience than to young kids, but no one can quibble with Blake's masterful paintings. Friendly at first, the landscape becomes icier and snowier as the story progresses--until the dramatic snow-drenched spread that shows Ambrose and the dog, tiny dots buried in drifts. Based on a true family story, this is a captivating tale, full of peril, mystery, and love. Ilene Cooper; Title: The Angel of Mill Street | [
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16299,
31105,
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] | Train |
16,097 | 2 | Camp (previously paired with Ross for The Midnight Feast) employs a comfortable storytelling style to evoke a stage of childhood familiar to parents everywhere, then adds playful dialogue asides and a dash of the fantastic. Lily nearly drives her father bonkers by forever asking "why." The duo's daily routine abounds with such exasperating exchanges as: "Time for bed, Lily." "Why?"; "It's time you were dressed." "Why?" But during an outing to the park one day, Lily's penchant for pourquoi proves particularly handy. A "gigantic Thargon spaceship" descends near the playground, and the aliens inside threaten to destroy Earth. Lily's well-timed "why" questions fortunately cause the Thargons to reconsider and lift off back into space. Ross's cross-hatched colored-pencil illustrations are equal parts warm and whimsical, a jolly complement to the text's lighthearted mood. And to great effect, many spreads are divided, comic-book-style, into panel illustrations, allowing room for fun-to-read dialogue balloons. Ages 4-8. (June) Copyright 1999 Reed Business Information, Inc.Kindergarten-Grade 3-Lily greets every statement with the question, "Why?" driving her father to distraction. Though he struggles valiantly to come up with reasonable responses, he sometimes finds himself with his head buried under a sofa pillow. One day in the park, father and daughter are having their usual exchange when a huge spaceship lands next to the sandbox. The Thargon leader declares his intention of destroying Earth and is greeted by stunned silence, except for Lily's "Why?" Caught in a frustrating question-answering spiral, the aliens quickly decide that they should reconsider their plan and make their exit. The invaders speak to each other in Thargish via dialogue balloons and there is a key at the end for intrepid readers who want to translate the language or use it for their own secret messages. Filled with colorful textured lines, Ross's whimsical illustrations add lots of visual humor. With his customary wit, the artist depicts a tiger-striped family cat, oozy blue-green aliens, and a feisty heroine with a sturdy stance and stick-straight red hair. Some of the artwork is arranged in comic-book squares, while other illustrations fill full- or double-page spreads. Children who are mired in the "Why?" stage will enjoy Camp's sprightly story as a one-on-one read-aloud. Those on the other side of "Why?" will delight in a trip down memory lane in a group or independent reading. A good choice-without question.Jody McCoy, The Bush School, Seattle, WA Copyright 1999 Reed Business Information, Inc.; Title: Why? (Picture Books) | [
17137
] | Train |
16,098 | 2 | Like Where Does Joe Go? (reviewed above), this warm blend of fantasy and reality delivers a satisfying surprise ending. Ostracized at school, an overweight foster child named Welcome Comfort is befriended by the equally rotund school custodian, who heads out of town with his wife every Christmas Eve ("It's just something we always do"). Plucked from his bed for a sleigh ride with Santa, Welcome wonders for years if the trip was just a dream, and finds the answer only after Mr. Hamp retires and chooses him as his successor. Polacco's artwork is even more vibrant than usual, and her Santa scenes are sure-fire crowd-pleasers. Ages 4-8. (Oct.) Copyright 1999 Reed Business Information, Inc.Kindergarten-Grade 3-With her well-known way with words and exuberant illustrations, Polacco has again created an endearing holiday offering. Welcome Comfort is an overweight foster child who knows loneliness well, but finds acceptance and solace in his friendship with the new school custodian, Quintin Hamp. It is through his influence that Welcome learns that "believin' is seein.'" The Hamps become a stable and lasting force in his life, even though they take a mysterious vacation north every year on Christmas Eve. One year the young man and his new bride are invited along and readers learn that Welcome has been groomed over the years to become the next Santa Claus. A touching and enjoyable story that reads well aloud.-T.T. Copyright 1999 Reed Business Information, Inc.; Title: Welcome Comfort | [
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... | Test |
16,099 | 1 | Lester (Really, Really, Really Bad Jokes) stands ceremony on its ear in this deviant abecedarian picture book, aimed at an audience who already has a firm grasp of their ABCs. As he breezes through the letters of the alphabet (well, most of them--"X and Y are not important letters. Never use them" he notes dryly), Lester dreams up a series of flagrantly flawed definitions, which he promptly undercuts with his illustrations. "A is for salad," for instance, shows an alligator eating a bowl of greens, and Lester tosses in a throwaway line after every few letters ("H is for pizza... I think"), adding to irreverent readers' glee. His full-color woodcuts of animal characters that seem to mug for readers' benefit often contribute to the wit, as in "G is for soccer," which shows a goat butting a soccer ball. But a few may be difficult to discern (e.g., "J is for hats" spotlights jellyfish whose identities are somewhat camouflaged by their chapeaux), and one illustration works against the conceit he's set up: in the vignette for "I can't figure out what Q is for. Can you?" all signs ("Look! It's a Quail!") point to the tiny, startled bird itself. The literal-minded will be happy to note that the animals reappear on the endpapers, along with their rudimentary labels ("K is also for kangaroo" and so on). A fun cavort through the 26 letters. All ages. (Apr.) Copyright 2000 Reed Business Information, Inc.Kindergarten-Grade 1-Lester presents each letter of the alphabet through a cartoonlike animal that actually begins with that letter, accompanied by totally unrelated text. For example, "A is for salad" has an alligator munching on a bowl of greens, "L is for hair dryer" has a lion blowing out his mane, etc. The back endpapers provide the correct correlation ("A is also for alligator"). Children just learning their letters will not benefit from this type of confusion, and the book provides little substance for older readers whose sense of humor has progressed past the tiger-in-underwear stage. Some of the examples are simply pointless, such as "X and Y are not important letters. Never use them." This spread depicts two garbage men carting the letters off to their truck. Many unique and interesting alphabet books are available such as George Shannon's Tomorrow's Alphabet (Morrow, 1998) or Stephen T. Johnson's Alphabet City (Viking, 1995). Pass on this one.Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ Copyright 2000 Reed Business Information, Inc.; Title: A is for Salad | [
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