2.5 stars. A befriending of the monster under the bed, which is a productive, endearing process. It's the art that gets me. I love running background 2.5 stars. A befriending of the monster under the bed, which is a productive, endearing process. It's the art that gets me. I love running background details like the teddy bear, and the monster design is a little doughy but certainly unique. But the human figures ... I always struggle with people in picture books, but this is the most off-putting I've ever found them, and combined with the skewed perspectives and proportions I found this the wrong kind of unsettling. ...more
Adorable illustrations, rich watercolors with an abundance of spoopy, cozy, whimsical autumnal vibes. But it's a counting book, and not a great one: tAdorable illustrations, rich watercolors with an abundance of spoopy, cozy, whimsical autumnal vibes. But it's a counting book, and not a great one: the vocabulary may be too advanced for that age, some panels ("eleven" is the worst offender) aren't great counting material, and the writing is a failed attempted at lyrical. I wish this had picked a direction, either aged down with better counting or, more likely, aged up with a richer narrative, because what's here is lovely to look at but hollow. ...more
This is MWB at her most list-y, physical and specific. But the wording is restrained, with only a few evocative lines ("And that is where the childrenThis is MWB at her most list-y, physical and specific. But the wording is restrained, with only a few evocative lines ("And that is where the children would play, but in this story the children are away, and only the animals are here today"), and the only movement is the transition to night. Hartman's illustrations (1956) are sketchy, red and green against graphite, and grow outright ominous as night comes - memorable, somber. Bond's illustrations (1989) are pretty jank and much cuter, happier, more vibrant and less memorable, although the transition to night, vibrancy faded away, lands cozy rather than creepy. Either way, I'm not crazy about this. I'm not convinced the Hartman illustrations work, but they're just about the only memorable bit of this book. ...more
As noted elsewhere, this story is also in The Sleepy Book aka The Golden Sleepy Book as a two-page spread, which is the reason it feels spread thin ovAs noted elsewhere, this story is also in The Sleepy Book aka The Golden Sleepy Book as a two-page spread, which is the reason it feels spread thin over 30 pages. But the illustrations transform this work, doing as much as the text: in vibrant, detailed linocuts with rich back outlines, Wolff creates a distinct sense of place, and the journey from rural farm to nearby jungle to coastal city, with a cast of color, roots this, grounds it, shapes it to bring out the best from MWB's gentle, precise lists. This impressed me....more
Various bedtime stories, songs, and poems, the contents varying between editions, with some of these longer works published as standalone texts elsewhVarious bedtime stories, songs, and poems, the contents varying between editions, with some of these longer works published as standalone texts elsewhere, all of which makes this a beast to review. The compact, collected work is convenient and allows for very short work that couldn't stand alone, but lacks the expansive, satisfying, fully illustrated read-along format of a picture book. So The Whispering Rabbit is better as a standalone; but Goodnight Little One aka Little Donkey Close Your Eyes, which can be read as standalones, feel a little slight and this is why: they could also just be two pages in a book of lullabies. The 1975 edition is the more complete, and it's the only place I've seen The Dreaming Bunny, which is worth seeking out, dreamy and beautiful with a message (everyone is "contributing," even if their contributions are unseen or undervalued) that I appreciate....more
Very charming, not very deep, teaching the wheel of the year, ending, delightfully, with the line "Everything that anyone would ever look for is usualVery charming, not very deep, teaching the wheel of the year, ending, delightfully, with the line "Everything that anyone would ever look for is usually where they find it." But I get grumpy about outdoor cat narratives even if they were published in 1951, and this doesn't have enough to counterbalance in my eyes.
Weisgard illus. 1951 are much more saturated and dark, with a bold graphic quality. Bosson illus. 1997 is pastel, cute, a little wonky, stylistically reminiscent of Home for a Bunny, and the text is edited from the original. It's a simplification (compare: "Time passed: hours and minute and nights and days. And Pussy Willow grew more fur." (1951) vs "Nights passed and days passed and Pussy Willow grew more fur." (1997)) and cuts down on the number of encounters with other creatures. I don't mind the latter so much, as it makes for an easier read for a young audience, but MWB's voice is so much more distinctive in the original; the rewrite lacks detail and character. ...more
This is just poetry, isn't it! I appreciate the arbitrary simplicity of each importance, fundamentally non-definitive and therefore open to counter-deThis is just poetry, isn't it! I appreciate the arbitrary simplicity of each importance, fundamentally non-definitive and therefore open to counter-definition, to reader involvement. The bold art and emphasis on graphic design compliments this nicely; there's a poster vibe to each panel. Brown has a penchant for list-oriented, experimental work, and while this is no Goodnight Moon it's a fascinating alternate example of the same general approach....more
This is so cute that it made me lose my mind a little. Sweet, pastel, adorable art (Szekeres illus.), but not obnoxiously so. But the narrative is whaThis is so cute that it made me lose my mind a little. Sweet, pastel, adorable art (Szekeres illus.), but not obnoxiously so. But the narrative is what won me: the invitation to creative invention which is so small, so gentle, so quiet, so thoughtful and sweet is a delightful, gentle premise and must make for a great bedtime book. ...more
I've read some strange picture books, and this is in the running for the strangest. Not in a good way. The art is photo edited/collage absurdity of a I've read some strange picture books, and this is in the running for the strangest. Not in a good way. The art is photo edited/collage absurdity of a chubby cat in galoshes; the text has a didactic young reader message, but the wording is overlong, but the tone is singsongy to the point of obnoxious. And all of it clashes with the surreal art. The result is a chaotic mess that misses its intended age range while still failing to appeal to adult readers, so, not great; but Tumford himself is fun. ...more
An interesting peek into an early reader; I'm enthusiastic about picture books, but have no experience reading this category/demographic, even as a yoAn interesting peek into an early reader; I'm enthusiastic about picture books, but have no experience reading this category/demographic, even as a young reader IIRC. This is in every way the expected telling of Balto's story, which is to say: simplifying the relay down to the big finale is reductive and aggrandizing. But it's also super engaging, so I can see why it would make this early reader stand out from the crowd. The illustrations don't do much for me; they're remarkably light on atmosphere, which is a lost opportunity given the extremity of the setting. All in all, not for me & not meant for me, but I'm not mad to've read it and gained some understanding of this category of children's books....more
4.5 stars? Rounded up, why not. While seeking an egg for Hanukkah latke, Asher is instead swept up by capmaking fairies in a journey to Jerusalem. The4.5 stars? Rounded up, why not. While seeking an egg for Hanukkah latke, Asher is instead swept up by capmaking fairies in a journey to Jerusalem. The illustrations resemble colored woodcuts with dark, slanting linework, dynamic and twisting; that magic and borderline-spooky edge is in the writing, too, which borrowed from Celtic mythology to whisk its protagonist away. Kimmel also wrote Hershel and the Hanukkah Goblins, so, dude loves a spooky Jewish story and, guess what, me too. () Atmospheric, weird, and a little free library find that I'm keeping for a winter reread....more
A reversed for want of a nail slash cumulative song narrative apparently based on an Armenian folktale, this has a lot of structural repetition while A reversed for want of a nail slash cumulative song narrative apparently based on an Armenian folktale, this has a lot of structural repetition while eschewing literal repetition--not a combination I often see, and I like it! It does a picture book a distinct disadvantage to introduce a fox into a vaguely autumnal setting & palette and then not draw his most distinctive feature; still, lovely rich texture and golden colors, with slightly janky art. Interesting, atmospheric, not a keeper (this was a little free library find).
I'm glad that explicitly Jewish picture books exist; the more explicitly [demographic] [medium] out there, the better the odds that there will be greaI'm glad that explicitly Jewish picture books exist; the more explicitly [demographic] [medium] out there, the better the odds that there will be great ones. But I don't know that this is one of the great ones: It's a relatively straightforward, earnest but sanitized, immigration narrative. Including "rest in peace" is weird--this might be a different story if written today, when it could be even more Jewish. I recognize Lynch's art from The Haunted Lake, and it's exquisite and richly detailed and classical. All perfectly nice but not especially memorable. ...more
Very cozy, a little dark, and diversely community- and family-focused. All good things! But nothing that sticks with me as an adult reader of picture Very cozy, a little dark, and diversely community- and family-focused. All good things! But nothing that sticks with me as an adult reader of picture books, and the jewel-toned cool greens and deep blues could not be more repulsive to me aesthetically, which is a personal problem but still stops me from appreciating this....more
4.5 stars, rounded up for fun. A most unusual picture book, this is illustrated in black and white photographs (apparently Berger's shtick) and comes 4.5 stars, rounded up for fun. A most unusual picture book, this is illustrated in black and white photographs (apparently Berger's shtick) and comes in at more than twice the usual length. And then the content, which is a dreamy, layered horror fantasy: a girl's longed-for dollhouse arrives as a surprise gift; she enters into it, a place she knows by heart, but all the usual occupants are unexpectedly absent. The tone can lean campy (especially in the final pages), but more often it has an affected, naïve tone of horror-by-implication which is playful and morbid and wondrous.
I'm intrigued by modern picture books that don't quite feel like they were written for children, that lack moralizing and are particularly dark or weird; but, rest assured, those were written in the 1980s, too! I can only envy what it might have been like to grow up with this - I'm sure it would have lodged in my subconscious and become half my personality. It's now incredibly out of print, which is unsurprising but regretful, although digging up a long-lost copy has a secret pleasure that suits such a strange little book....more
Tan's art - surreal, alien, with geometric character designs and an evocative sense of scale - elevates a text which is such an on-the-nose allegory fTan's art - surreal, alien, with geometric character designs and an evocative sense of scale - elevates a text which is such an on-the-nose allegory for colonialism that it feels flat, feels something worse even than didactic: simplistic. ...more
Fantastic, literally and descriptively: a lot of that big, strange Tan art, which means rich colors and rambling dieselpunk dystopias, existential andFantastic, literally and descriptively: a lot of that big, strange Tan art, which means rich colors and rambling dieselpunk dystopias, existential and nihilistic vibes. Like basically all depression metaphors, the happy ending is utterly unearned but still satisfying. Some picture books aren't really for kids, and I don't mind that - they can be graphic short stories, briefly evocative and particularly visually indulgent because of the constrained length. Rules of Summer is still the best Tan, though; he can get so unsubtle, depression here, conformity in Lost & Found, to say nothing of his really message-heavy works, but Rules of Summer plays up the weird to good effect. ...more
I could have sworn I'd read this as a kid, but nothing beyond the premise feels familiar, so - maybe not. Is it good, now, as an adult reader without I could have sworn I'd read this as a kid, but nothing beyond the premise feels familiar, so - maybe not. Is it good, now, as an adult reader without the apparent benefit of nostalgia? It's fine. Clayburgh plays up Mrs. Frankweiler's crotchety-old-lady voice in the Simon & Schuster audio narration, and takes a conceit I'd love - intrusive narrators are delightful - and renders it a little overdone. The sense of potential of living at the museum, getting private access to an infinitely rich, infinitely wondrous, liminal space, is phenomenal; the rest of the plot kind of misses me. There are fun characters and clear arcs, but a sort of conservative bent: eldest female child rails against her social position and wants her life to have value and meaning (relatable!); returns to status quo with a petty, selfish secret (...do not want).
Don't read the afterword unless you want more social conservationism and some irrelevant minutiae....more
Loading...
