Book list An Indigenous girl explains why water is sacred, before she speaks of the foretold black snake that will destroy the land, referring to the polluting oil pipelines that course through the earth. The girl then casts fear aside, crying, Take courage! as she marches forward, rallying her people to defend their village and their planet. Goade's watercolor illustrations fill the spreads with streaming ribbons of water, cosmic backdrops, and lush natural landscapes, sometimes intercut by the harsh red that comes with the black snake depicted literally, towering over people of many nations, who link hands in solidarity. Lindstrom's spare, poetic text flows with the river's rhythm, periodically stopping to beat out the refrain, We stand / With our songs / And our drums. / We are still here. Written in response to the construction of the Dakota Access Pipeline, famously protested by the Standing Rock Sioux Tribe and others, these pages carry grief, but it is overshadowed by hope in what is an unapologetic call to action. While the text draws on specific cultural beliefs, its argument is universal: We are stewards of the Earth. Back matter includes notes from both author and illustrator, and the final page offers a pledge that readers may choose to recite, sign, and date to affirm their commitment to the cause. A beautiful tribute and powerful manifesto.--Ronny Khuri Copyright 2020 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal K-Gr 3—From swirling, detailed watercolor illustrations to lyrical text with the refrain, "We stand with our songs and our drums. We are still here," this title explores the Indigenous fight to protect water from pollution. A young Anishinaabe girl explains the prophecy of the black snake "that will destroy the land. Spoil the water. Poison plants and animals. Wreck everything in its path." The unnamed girl calls for action to protect all living things and "fight for those who cannot fight for themselves." The illustrations use rich colors and shading to show the intricate connection among all living creatures. A broken pipeline leaks into blue waters, turning fish and fowl into skeletons. Ghosts of ancestors surround children as an elder tells them the black snake prophecy. Black pipelines form the body of the snake on a red background, its mouth open and ready to strike. The author and illustrator notes focus on the need to protect water, and explain events at Standing Rock, where tribal members and their allies fought against an oil pipeline. A glossary of terms is provided, and the last page has an "Earth Steward and Water Protector Pledge" for readers to sign. VERDICT An accessible introduction to environmental issues combined with beautiful illustrations, this book will both educate and inspire youth. First purchase for all libraries.—Tamara Saarinen, Pierce County Library, WA

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Horn Book The book opens with a young Indigenous girl collecting water with her grandmother, who tells her that "water is the first medicine." Vibrant blues, greens, and purples depict the river as it flows in the background of the beautifully composed spread. The river then flows onto the next spread, encircling a mother and her unborn child. The water "nourished us inside our mother's body. As it nourishes us here on Mother Earth." With every page-turn, the river continues to flow; it becomes the young girl's hair as she leads members of her community to where the "black snake" threatens to take over their land and water. The refrain "We stand / With our songs / And our drums / We are still here," which punctuates and strengthens the main text, is printed in italics and can easily be read as the voice of the community come together. The book closes with members of multiple Native communities united at Standing Rock to stop the "black snake." Back matter includes more information about water protection and Standing Rock; a glossary of Ojibwe, Tlingit, and Lakota words; an illustrator's note; and an "Earth Steward and Water Protector Pledge. (c) Copyright 2021. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Metis/Ojibwe author Lindstrom (Girls Dance, Boys Fiddle) honors those who fight to protect the Earth’s fresh water. The words are spoken by a child who’s shown first with her grandmother: “Water is the first medicine.... Water is sacred,” the white-haired woman tells her. Bold strokes of light, limpid color wash across layered spreads by Tlingit and Haida artist Goade (Encounter). The girl tells of the arrival of an oil pipeline, the “black snake” that will “spoil the water./ Poison plants and animals./ Wreck everything in its path.” The half-bleached figures of a bird and a fish lie next to the pipeline leaking black sludge. “The plants, trees, rivers, lakes...”—Goade pulls back to view the Earth from space studded with stars—“We are all related.” Observation is not enough, the book communicates: action is necessary. And the girl doesn’t just participate in protest; she stands at the front, carrying a feather in one hand, as other protestors answer her call. “We are water protectors. WE STAND!” An author’s note traces the story’s genesis to the 2016 Standing Rock protests in the Dakotas. A passionate call for environmental stewardship. Ages 3–6. Author’s agent: Kathleen Rushall, Andrea Brown Literary. Illustrator’s agent: Kirsten Hall, Catbird Productions. (Mar.)

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Kirkus In this tribute to Native resilience, Indigenous author-and-illustrator team Lindstrom and Goade invite readers to stand up for environmental justice. "Water is the first medicine," a young, unnamed protagonist reflects as she wades into a river with her grandmother. "We come from water." Stunning illustrations, rich in symbolism from the creators' respective Ojibwe and Tlingit/Haida lineages, bring the dark-haired, brown-skinned child's narrative to life as she recounts an Anishinaabe prophecy: One day, a "black snake" will terrorize her community and threaten water, animals, and land. "Now the black snake is here," the narrator proclaims, connecting the legend to the present-day threat of oil pipelines being built on Native lands. Though its image is fearsome, younger audiences aren't likely to be frightened due to Goade's vibrant, uplifting focus on collective power. Awash in brilliant colors and atmospheric studies of light, the girl emphasizes the importance of protecting "those who cannot fight for themselves" and understanding that on Earth, "we are all related." Themes of ancestry, community responsibility, and shared inheritance run throughout. Where the brave protagonist is depicted alongside her community, the illustrations feature people of all ages, skin tones, and clothing styles. Lindstrom's powerful message includes non-Native and Native readers alike: "We are stewards of the Earth. We are water protectors." An inspiring call to action for all who care about our interconnected planet. (author's note, glossary, illustrator's note, Water Protector pledge) (Picture book. 5-12) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book In 2012, civil war comes to Aleppo, then the largest city in Syria. Mohammad Alaa Aljaleel is an ambulance driver who remains behind while many of his neighbors flee. Soon his area is filled with abandoned cats, whose "lonely, confused faces remind Alaa of the loved ones he has lost." He begins feeding them (and, as cat lovers know, stray cats return to their food source). News of Alaa's actions circulates on social media, and he becomes known as the "Cat Man of Aleppo"; an outpouring of donations allows him to create a cat sanctuary. This gentle book emphasizes that in the midst of chaos, caring for the forgotten and discarded, no matter how small, affirms the preciousness of all life. In an author's note, Shamsi-Basha explains that during wartime, animals, too, "suffer, and caring for them illuminates what it means to be human." Shimizu's ink, watercolor, and digital illustrations capture scenes of human despair and physical wreckage along with images of cats perching (and napping) in burnt-out cars and on heaps of rubble. Other images showing the "hope and love [that] fill people's hearts," along with the playground Alaa builds and the wells he helps dig in the city, reflect optimism and solace. An introductory note by Alaa, printed in English and Arabic, along with appended author and illustrator notes and art references, provide additional context. (c) Copyright 2021. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal K-Gr 3—The power of one person's kindness and commitment to others is a potent message. Mohammad Alaa Aljaleel's life is "a story about cats and war and people. But most of all, it is a story about love." In this book based on an actual person and real events, Latham tells the tale of an ambulance driver who chose to stay in his hometown of Aleppo, Syria, even after war broke out. He begins to come across hungry, lonely cats as he drives his ambulance. With what little money he has, he buys scraps of meat to feed the animals; he extends his efforts to other animals and children as well. With international support, Mohammad creates a sanctuary from war's devastation for animals and children. The straightforward telling is accompanied by graphically strong illustrations. The art depicts war-torn streets, bombed buildings, and great sadness but also playful cats and smiling children who have been helped by Mohammad. Notes from both authors and the illustrator provide a glimpse into the book's inspiration and the research that went into the art. VERDICT A useful addition to school and public libraries to inform and to spark discussion about war, individual potential, and kindness to animals.—Maria B. Salvadore, formerly at District of Columbia Public Library

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Publishers Weekly In this picture book biography of an unexpected war hero, Mohammad Alaa Aljaleel—Alaa—is first seen in the old covered market of Aleppo, his native city. When war comes to Syria, many inhabitants leave, but Alaa stays to help: as an ambulance driver, “he swerves through the rubbled streets and carries the wounded to safety.” Intricate digitally colored ink drawings by Shimizu (Barbed Wire Baseball) portray scenes of desolation in this story by Latham (This Poem Is a Nest) and Shamsi-Basha, a Syrian-born writer and photographer. With meticulous care, Shimizu draws the destroyed buildings, the empty streets, and the cats that fleeing Syrians have left behind. In one striking spread, a huge olive tree towers over Alaa, two cats eyeing him from its branches. He starts bringing the strays food and water. “Together we can save them all,” he tells his neighbors. Donors who hear about his efforts help him fund a sanctuary (“Alaa is able to rescue other animals, too”), a playground for children, and a well. “All he did was love the cats, and that love multiplied and multiplied again.” Latham and Shamsi-Basha pick out the glimmers of light that make up Alaa’s story, and Shimizu portrays their beauty. Author’s notes give more information—including where to donate. Ages 4–8. Authors’ agents: Rosemary Stimola, Stimola Literary Studio (for Latham); Rena Rossner, Deborah Harris Agency (for Shamsi-Basha). (Apr.)

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School Library Journal K-Gr 3—The power of one person's kindness and commitment to others is a potent message. Mohammad Alaa Aljaleel's life is "a story about cats and war and people. But most of all, it is a story about love." In this book based on an actual person and real events, Shamsi-Basha and Latham tell the tale of an ambulance driver who chose to stay in his hometown of Aleppo, Syria, even after war broke out. He begins to come across hungry, lonely cats as he drives his ambulance. With what little money he has, he buys scraps of meat to feed the animals; he extends his efforts to other animals and children as well. With international support, Mohammad creates a sanctuary from war's devastation for animals and children. The straightforward telling is accompanied by graphically strong illustrations. The art depicts war-torn streets, bombed buildings, and great sadness but also playful cats and smiling children who have been helped by Mohammad. Notes from both authors and the illustrator provide a glimpse into the book's inspiration and the research that went into the art. VERDICT A useful addition to school and public libraries to inform and to spark discussion about war, individual potential, and kindness to animals.—Maria B. Salvadore, formerly at District of Columbia Public Library

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list The ongoing civil war in Syria has brought devastation for almost a decade now, and this picture-book collaboration relates that tragedy through the hopeful and incredible true story of Mohammad Alaa Aljaleel. When the war came to Aleppo, many people fled and were forced to leave behind their animals. Alaa, an ambulance driver, began feeding the stranded cats of his abandoned neighborhood, and their numbers quickly multiplied. One social media movement later, he was able to build an animal sanctuary, as well as offer other services for local human survivors. The story of the Cat Man of Aleppo is remarkable in its own right, but it also serves as a bridge between the harsh reality in Syria and young American students, with the cats serving as a more approachable and relatable proxy for the people suffering in the background. Shimizu's lifelike illustrations capture the joy and beauty prior to the war, juxtaposing it with the horror and grief that followed. A trio of early spreads depict the trauma, violence, and mass destruction, though there is no gore, and what follows is a purely hopeful tale of love for one's homeland. What a relief to see Middle Easterners depicted as recognizably modern people through their clothing, technology, and so on rather than religious caricatures or characters from Aladdin. A safe, sobering, and hopeful introduction to the crisis in Syria.--Ronny Khuri Copyright 2020 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus When the war comes to Syria, many flee, but Alaa stays in his beloved city, Aleppo, where he continues to work as an ambulance driver and helps the wounded to safety.Day after day, he misses his family and friends who have left, wondering where they are and how they are doing. His neighborhood emptiesexcept for cats! However, these cats are affected by the conflict too; they're left behind with shelters destroyed and food and water stringently limited. Alaa, who has a big heart, starts taking care of them using the little money he has. The love between man and cats multiplies, and many people from around the world step up to help. Soon, the cats of Aleppo get a pleasant shelter set in a courtyard. However, Alaa does not stop there and goes on to help other animals and more people, spreading joy, love, and hope. Based on a true story, this picture book is distinctive for its engaging narrative and impeccable illustrations. It is also enriched with notes from Alaa himself (the real one) as well as the authors and illustrator. The often-dramatic images offer a glimpse of the city prior to the conflict and a window on the real people who experience war and try to survive and help others around them. A beautifully told and illustrated story that offers a unique perspective on both war and humanity. (Picture book. 6-9) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly This poignant poem follows a Black child as they process emotions following a tragedy and find renewal in community action. The child gleans pleasure from skateboarding and playing basketball, until police killing a girl disrupts their equilibrium. As the protagonist recognizes internal sorrow, fear, and anger in turn, they join Black Lives Matter protests and attend a candlelight vigil. Identifying the pride, compassion, and hope they draw from community, the child ultimately concludes, “I am in love with/ my people/ all people,” and determines to “love myself/ most of all.” Denmon’s textured, dynamic illustrations situate a compassionate community among murals of flowers and vines. The characters’ varying ages, cultures, skin tones, features, and personal styles reflect a diversity of Black experiences, notably in a spread that portrays Black visionaries through the ages (including Beyoncé, Maya Angelou, Malcolm X, and Louis Armstrong). A resonant exultation of community and the importance of self-reflection. Ages 4–8. (July)

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Horn Book In this powerfully lyrical poem, Elliott articulates what resides "deep down inside" of the African American, skateboard-loving, first-person protagonist: joy, sorrow, fear, anger, hunger, pride, peace, and more. While the protagonist speaks, Denmon's illustrations, primarily in blue, pale yellow, and mauve, depict the tween boy doing skateboard tricks (showing the bottom of his board that's covered in peace and justice stickers) and spending time with friends, while muted backgrounds depict life in his urban neighborhood. This book delivers positivity, despite the inclusion of police brutality, a Black Lives Matter protest, and a vigil for the dead -- all of which affirm the child's realities. At school, when he presents his work to his classmates, great figures such as Mae Jemison, Jackie Robinson, Louis Armstrong, Maya Angelou, Malcolm X, and Martin Luther King Jr. appear on the opposite mural-like page, inspiring him as he takes pride in the past. On a page with no white space, a group of multigenerational Black individuals with different skin tones, facial features, hairstyles, and expressions faces the reader. The boy declares them "triumphant & beautiful," as faintly visible images of African women peer from the background, carrying baskets of food on their heads -- referencing the ancestry of those in the foreground. A well-crafted, twenty-first-century love poem by two truth-telling Black women artists and activists. (c) Copyright 2021. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly “Once/ we were part of Outside/ and Outside was part of us/ There was nothing between us,” begins Underwood (Ducks!) in plainspoken lines. “Now/ sometimes even when/ we’re outside.../ we’re inside.” Derby (How to Walk an Ant) portrays this tension in a gentle series of illustrations that mix gauzy, muted tones and textures with punctuations of color. The pictures follow a small child and family, visualizing moments, indoors and out, when “outside reminds us” of its abiding presence. Inside, “flashes at the window” illuminate a hallway, a window-side transformation exemplifies nature’s “slow magic tricks,” a tiny snail sneaks in on a bunch of kale, and rooftop serenades include “chirps/ and rustles/ and tap-taps on the roof.” Even when the girl sits (“in wooden chairs,/ once trees”) or stands at the bathroom sink (“rivers come inside”), the outdoors communicates its presence, requesting attention. In the final pages, the child and a cat step outside into a feathery, vibrant landscape—a moving reminder that nature’s beckoning need not go unrequited. Ages 4–7. Author’s agent: Erin Murphy, Erin Murphy Literary. Illustrator’s agent: Jennifer Laughran, Andrea Brown Literary. (Apr.)

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Kirkus Outdoors is part of people all the time, even when they're indoors."Once we were part of Outside and Outside was part of us," opens the text. The premise that nowadays humans sometimes forget about Outside is belied so thoroughly and passionately by the illustrations that it barely registerswhich works just fine in this love letter to nature. From opening spread to closing, nature is all-encompassing. Derby uses watercolors, powdered graphite, and thread or flower stems soaked in ink to paint full-bleed scenes bursting with dampness and leaves, branches and sticks, and qualities of light so various that they evoke different seasons and different weathers all at once. Outdoors, watery paint describes hanging branches or rain; leaves look liquid; large orange patches are treetops but evoke flower petals. Indoors, sunlight beams through glass panes to set a watery, purple-black hallway quietly aglow. Bits of dense color saturation and keen, crisp, sometimes prickly edges pierce, delineate, and offset the bountiful, wet, organic swaths. Outside "sings to us with chirps and rustles and tap-taps on the roof"; it "beckons with smells: sunbaked, fresh, and mysterious"; we feel it "in the warm weight of our cats and the rough fur of our dogs." The child character embraced by Outside (when both outdoors and in) has peach skin and long, straight, dark hair.Lushness without sweetnesswild, darkly romantic, and exquisite. (Picture book. 3-9) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book The intersection of outside and inside is creatively explored in this reflection on nature and its gentle persistence and ever-presence. The story begins in nature, as a young girl explores an impressionistic forest. "Once we were part of Outside and Outside was part of us. There was nothing between us." After a few page-turns, the girl is riding in a car, with contemplative text observing, "Now sometimes even when we're outside...we're inside. We forget Outside is there." But the outside always makes itself known in subtle and miraculous ways. Airy and translucent jewel-hued watercolors create a luminous canvas for powdered graphite details that delineate how the Outside sneaks In. From the sunlight that "flashes through the window" to the "warm bread and berries" on the kitchen table to the "wooden chairs, once trees," the natural world organically weaves its way into the girl's home, creating daily rhythms ("Outside shows us there is a time to rest and a time to start fresh") and routines ("a spider seeking shelter, a boxelder bug in the bath"). Visible brushstrokes and splashes create texture, reflecting the outside's raw, sensory, and uninhibited beauty -- a beauty that (on the last spread) summons the girl out of her house and into the golden outdoors, reminding readers of the majesty that is always there, waiting just outside. (c) Copyright 2021. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Lovely, expressionistic art and poetic prose invite readers to contemplate nature’s mystique and its role in everyday life, which is often taken for granted or goes unnoticed. The opening scenes set the pensive tone—“Sometimes even when we’re outside . . . / we’re inside. / We forget Outside is there”—while Derby’s illustrations show a road surrounded by trees, followed by a girl in close-up, inside a car. In her home, the girl’s experiences highlight how Outside makes itself known, such as when birds are silhouetted against a window, or is interwoven into daily indoor life, from the food we eat to what we wear (“Outside cuddles us / in clothes, / once puffs of cotton”). Ultimately, the girl heads outdoors, drawn to explore what’s there. Through an evocative mix of aqueous washes and richer, more saturated tones, the color-washed, loose-brushed illustrations capture a sense of nature’s intrigue, delights, and influence. While the lyrical text and concepts may be a bit too abstract or esoteric for younger children, the presentation and approach may still inspire reflection about interconnectedness in the natural world.

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal K-Gr 3—In this exquisite tale, the wonders of nature are revealed to be all around us if we just take the time to notice and appreciate them. Spare, lyrical text offers a fable-like depth of insight: "Once we were part of Outside and Outside was part of us. There was nothing between us. Now, sometimes even when we're outside… we're inside." Derby's luminous watercolor illustrations evocatively show this disconnection: A little girl, buckled into a car seat, seems unaware of the scenery passing by her. "Outside" is an ebullient character, and tries to capture the child's attention by singing to her with "chirps and rustles and tap-taps on the roof," and with "slow magic tricks" like a butterfly emerging from its chrysalis. Outside also makes its way inside, as seen in the nourishing berries on the kitchen counter, on the cotton T-shirt the child wears, and as a morning sunlight–streaming natural alarm clock. Ever patient, Outside waits and whispers, "I miss you," until the little girl rediscovers the world outside her window. VERDICT This gorgeous celebration of nature is a stirring invitation to play.—Linda Ludke, London Public Library, Ont.

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Horn Book In the early morning, a young unnamed Black girl tiptoes through the house and past various sleeping family members, to be greeted by the smell of cinnamon and her mother's good-morning song. Even though the day is rainy, it's a wonderful time to "be everywhere Mama is." Throughout her day, the child makes clever observations about the similarities and differences between herself and her mother. While she has less toothpaste on her toothbrush, both she and Mama know to brush "round my teeth with little circles." As they prepare to go outside to take a nature walk, it's noted that "Mama's rain boots are / bigger than mine. / And they're red" -- however, both pairs make an excellent splash in puddles. The girl is also keen to acknowledge how she and her mother care for each other -- after her hair is combed, she returns the favor, accentuating her mom's thick curls with "the purply pink barrette...She calls it fuchsia." At the end of her day ("Our day is done earlier than / Mama and Papa's / It's just that way when you're growing"), mother and daughter read stories to each other. Drifting off to sleep, the young girl is content to dream, knowing "there'll be me and Mama." Celebrating the beautiful dark brown skin of the duo, and surrounded by various hues of blue, Cabrera's color-saturated illustrations, a mix of single pages and double-page spreads, add to the gentle charm of the conversational text. Large and small pairs of everyday objects appear on the endpapers, bolstering the celebration of the mother/daughter relationship. (c) Copyright 2021. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Told from a first-person point of view, this quietly engaging picture book unfolds on a rainy morning, with a Black girl who “want to/ be everywhere Mama is.” Waking up before Papa and younger sibling Luca, the girl narrates aspects of the mother and daughter’s morning routine (“A shower is warm rain that gets you going”), comparing their respective cups and toothbrushes, oatmeal with toppings, and rain boots. Sensory details, fittingly tangential childlike observations, and familial dialogue make the narrative feel immediate and genuine (“I don’t like the bumblebee barrette, I say..../ She knows I mean just today”). Cabrera’s striking acrylic visuals recall painters such as Jordan Casteel and Maira Kalman. While a few of the girl’s lines feel nebulously philosophical (“Some things don’t let go. But for what?/ The stores are boxes filled with people”), the narrative offers an elegant testament to the love-filled bonds between child and parent. Ages 4–8. (Aug.)

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Kirkus A little girl shares a joy-filled rainy day with Mama. Mother-daughter pairings of swimsuits, flower bouquets, and bicycles are presented in small, bright vignettes on the endpapers of Cabrera’s cozy tale, serving as appetizers for the visual feast within. Impressively detailed scenes, from the first spread, which shows the child coming downstairs, to her mama’s artfully designed workspace to a later scene of the little girl drifting off to sleep haloed by stars and dreaming of day with her mother, are rendered with visible daubs of acrylic paint. They are complemented by alternating scenes of single objects, such as Mama’s teacup beside her daughter’s sippy cup, set against pastel backgrounds showing the strengthening of their bond through the daily actions mother and daughter share. Though much of the text is uneven in rhythm with no consistent movement to usher readers from page to page, it contains gems, such as a description of the vegetation on the sidewalk, “in the in-between. / It’s moss, Mama says. / It’s velvet, I say.” Still, the greatest delight is in the images that vibrantly showcase their simple, loving connection. In the book, the mother, daughter and, later, brother Luca all have gorgeous, varied hues of brown skin, with textured hair that is plaited, coily, and afro-puffed. (This book was reviewed digitally with 11-by-18-inch double-page spreads viewed at 48.3% of actual size.) A beautifully illustrated, slice-of-life ode of adoration for doting daughters and marvelous mamas. (Picture book. 4-8) Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list Lush acrylic hues of color wash every double-page spread while spare text describes the tender feelings a small Black child with curly, high-bunched pigtails has for her beautiful mother. Simple words express the little one’s emotions as she eagerly wakes up in the morning to enjoy their daily activities together. Throughout the pages there are comparisons between Mama’s and daughter’s familiar objects: Mama’s cup (big) and mine (little); Mama’s toothbrush and mine (“I get less toothpaste”); Mama’s boots (tall and red) and mine (short and yellow). Raining? “The perfect day for boots and puddles,” says Mama, with joyous depictions of the two singing and splashing in the wet outdoors as silvery drops fall. After a good day, there are pajamas, giggles, hugs, and kisses before bedtime. A gorgeous blue blackness envelops the girl's thoughts as she spins some pictures of her day with Mama and dreams of another tomorrow. Endpapers identify the 15 items, both large and small, that are shown in the story. A warm tribute to a special family relationship and comforting home.

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-Gr 2—A young Black girl enjoys a rainy day alone with her mother, savoring each ordinary moment for the joyful expression of love it represents. From combing their hair to a song-filled walk under cloudy skies, every part of the day is cherished because it is spent together. Mama is as bright as the sun and daughter orbits around her, basking in the glow of her kindness and understanding. Told from the daughter's perspective, the simple yet lyrical prose shines with trust and pride in the bond the two share. The muted color palette and painterly style of the art evoke a cozy sense of security. While realistically portrayed, each image has a soft, dreamlike quality that also highlights the timelessness of the story. VERDICT A strong portrait of familial connection, this title captures the essence of unconditional love between parent and child, and is recommended for all picture book collections.—Sophie Kenney, Aurora P.L., IL

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Book list Alexander and Nelson combine their considerable talents in this ode to inspiring African American heroes in the fields of sport, the arts, and political activism, as well as everyday champions whose very survival exemplifies success. In elegiac-style verse, Alexander celebrates the swift and sweet ones / who hurdled history . . . / the ones who survived / America / by any means necessary, and those who shine / their light for the world to see / and don't stop / til the break of dawn. Nelson's photo-realistic illustrations, rendered in oil, include action shots (Jesse Owens, mid hurdle), portraits (Martin Luther King Jr. and an African American Union soldier), composites (of jazz and sports greats), and iconographic compositions that depict the unspeakable (bodies lined up representing abducted Africans en route to America, part of the Middle Passage). Designed for reading aloud, the text also makes use of several typographic cues that signal meaning: emphasized words appear in larger font, while references to the words of others ( we shall not be moved ) appear in italics. And, while the content references several tragic events (slavery and police brutality, among others), the poem closes with a hopeful nod to the rising generation. Appended with notes on the historical figures cited, this is a beautiful volume that encourages multiple viewings and further research. HIGH-DEMAND BACKSTORY: With a lengthy roster of accolades and best-seller credits between them, this untouchable duo's book will fly off the shelf.--Kay Weisman Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal Gr 3 Up-This inaugural title from Newbery Medalist Alexander's new imprint is a poignant and powerful ode to the resilience and strength of black life and history in America. Originally performed for ESPN's The Undefeated in 2016, the poem adopts a picture book format with a new title, accompanied by stunning oil paintings in Nelson's trademark photorealistic style. The evocative illustrations stand out against stark white backgrounds and vary in their composition. On some spreads, the focus is on a single expressive portrait; others feature collages of African American icons from various disciplines, or refer to significant historical moments. The art functions in perfect harmony with the poet's spare, striking verse to electrify the Black American experience, and to celebrate black athletes, writers, musicians, activists, and heroes. From the unspeakable trauma of American slavery and the transatlantic slave trade to the brave service of black troops during the Civil War, from the fierce and unwavering fight for civil rights to the Black Lives Matter movement, from Selma to Birmingham to Harlem, this book is both a soaring tribute to the enduring perseverance and achievements of the past and a stirring call to action to "the dreamers and the doers" of the present and the future. Back matter includes an afterword from the author as well as additional information about the historical figures and events featured in the book. VERDICT Alexander and Nelson present an exceptionally moving and triumphant work. This book is an essential first purchase for all libraries. -Lauren Strohecker, McKinley Elementary School, Elkins Park, PA © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly Performed first on the ESPN show of the same name, this magnificent anthem to the courage and genius of black Americans has been turned into a picture book with stunning portraits by Nelson (Blue Sky, White Stars). "This is for the unforgettable," Alexander (Out of Wonder) opens, "The swift and sweet ones/ who hurdled history/ and opened a world/ of possible." Jesse Owens flies across the page, every limb outstretched, every muscle taut. Alexander's praise is not just for well-known figures, though; he also writes about nameless heroes ("the ones who survived/ America/ by any means necessary") and unsung martyrs ("the ones who didn't"). And he acknowledges the deepest wounds, repeating the phrase "This is for the unspeakable" over successive portraits of infamous atrocities committed against Americans of African descent. He writes of artistry, "the We Real Cool ones," above the smiling, lit-up faces of vocal and instrumental artists who make up a celestial chorus: Monk and Fitzgerald, Vaughan and Davis. Nelson paints historical figures and contemporary heroes with equal ease and grace; in a final spread, the faces of young black girls and boys look ahead, beaming and determined: "This is for us." Throughout, incantatory usage of "un" words ("unbelievable... unbending... underdogs... uncertain...") rings with force. Alexander remembers peaceful Civil Rights activists, "the righteous marching ones who sang we shall not be moved because black lives matter," communicating clearly that when black lives matter, America is stronger. Historical notes for each figure conclude this powerful work. Ages 4-7. Author's agent: Arielle Eckstut, Levine Greenberg Rostan Literary Agency. Illustrator's agent: Steven Malk, Writers House. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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Horn Book Alexander and Nelson honor the achievements, courage, and perseverance of ordinary black people as well as prominent black artists, athletes, and activists. Alexander's free-verse poem conveys a sense of pride at what his "unflappable" and "unafraid" predecessors have accomplished and what people continue to do today. Nelson's realistic oil paintings depict racial oppression in the past and present--demonstrating that racism remains deeply entrenched in America today. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Past and present are quilted together in this innovative overview of black Americans' triumphs and challenges in the United States.Alexander's poetry possesses a straightforward, sophisticated, steady rhythm that, paired with Nelson's detail-oriented oil paintings, carries readers through generations chronicling "the unforgettable," "the undeniable," "the unflappable," and "the righteous marching ones," alongside "the unspeakable" events that shape the history of black Americans. The illustrator layers images of black creators, martyrs, athletes, and neighbors onto blank white pages, patterns pages with the bodies of slaves stolen and traded, and extends a memorial to victims of police brutality like Sandra Bland and Michael Brown past the very edges of a double-page spread. Each movement of Alexander's poem is a tribute to the ingenuity and resilience of black people in the U.S., with textual references to the writings of Gwendolyn Brooks, Martin Luther King Jr., Langston Hughes, and Malcolm X dotting stanzas in explicit recognition and grateful admiration. The book ends with a glossary of the figures acknowledged in the book and an afterword by the author that imprints the refrain "Black. Lives. Matter" into the collective soul of readers, encouraging them, like the cranes present throughout the book, to "keep rising."An incredible connector text for young readers eager to graduate to weighty conversations about our yesterday, our now, and our tomorrow. (Picture book/poetry. 6-12) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 3-On the highest rock of a tiny island at the edge of the world stands a lighthouse. Every day and every night, the lighthouse guides the way for passing ships, as its keeper tends to the light and writes in his guidebook. Over time, the lighthouse becomes a constant fixture in the middle of the sea as endless waves, ships, winds, whales, fish, storms, and keepers come and go. Here, Blackall tells the story of a lighthouse and its keeper, and how they both serve the sea. In the end, a machine is able to tend the light and the keeper must move on. But he will be forever connected to his lighthouse. The keeper's own light across the bay shines back at the lighthouse, saying "hello!" Gorgeous and appealing illustrations done in Chinese ink and watercolor make readers feel as though they are inside the lighthouse along with the keeper, surrounded by the beauty and drama of the ever-changing sea. A spread full of information about lighthouses for those who seek further knowledge is appended. VERDICT A lovely picture book, recommended for all libraries. A delightful bedtime read perfect for one on one sharing.-Elizabeth Blake, Brooklyn Public Library © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Painted with the featherlight touch that distinguishes Caldecott Medalist Blackall's work, this graceful account of a lighthouse keeper's life celebrates a lost era. While it was lonely and sometimes dangerous, watching the lighthouse was monastic in its simplicity: "He tends the light and writes in the logbook." The lighthouse keeper readies his home for the arrival of his wife, who nurses him when he falls ill; then he helps her as she gives birth to their first child. Soon the family receives word that the lighthouse is to be fitted with a mechanical light, and their idyll comes to a serene end. Many spreads, delicate as painted porcelain, depict the lighthouse amid the breaking waves and changing life of the ocean. Seals bask, whales pass, and the aurora borealis flickers overhead. Repeated images of circles echo the lighthouse's circular rooms, from vignettes framed with nautical rope to a breathtaking sequence of the lighthouse-keeper's wife walking through her labor, each moment like the hand on the face of a clock. It's a jewel of a creation and a gift to those who dream of retreat. Ages 4-8. Agent: Nancy Gallt, Gallt + Zacker Literary. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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Horn Book This tall, narrow picture book opens as a new keeper arrives to take up his duties at a remote lighthouse; it ends with his departure, automation having made his job obsolete. In between we are treated to a series of snapshots of lighthouse-keeper life--a mix of routine and excitement. Blackall's gorgeous illustrations provide both homey detail and spectacular scenery. An extensive and lively author's note is appended. (c) Copyright 2018. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus This tribute to lighthouses of an earlier era focuses on one lighthouse and its dedicated keeper. Perched "on the highest rock of a tiny island / at the edge of the world," the lighthouse shines for seafaring ships. A new keeper arrives, continuing the endless routine of polishing the lens, refilling the oil, trimming the wick, winding the clockwork, painting the round rooms, fishing, making tea, sending letters to his wife (in bottles), and writing daily in his logbook. One day, a ship delivering supplies brings the keeper's wife! The keeper rings a warning bell in fog, rescues wrecked sailors, and logs his baby's birth. When he's ill, his stalwart wife tends the light and maintains the logbook. Eventually, a mechanical light replaces the keeper. While the spare, unemotional text resembles a keeper's log, the book's vertical orientation echoes a lighthouse tower. Rendered in Chinese ink and watercolor, precise, detailed illustrations present the lighthouse surrounded by patterned blue, green, or gray waves depending on the weather or season, reinforcing its solitary enterprise. A cutaway interior view exposes a compact, contained world. Close-ups of the keeper and his wife (both white) in porthole-shaped frames and from unusual aerial views emphasize their isolated, intimate, circular environment. An "About Lighthouses" section adds insightful detail. A fascinating, splendidly executed peek into both the mundane and the dramatic aspects of lighthouse life. (Picture book. 4-7) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list *Starred Review* When a new keeper arrives at a remote lighthouse, he sets out to make it a home, and in Blackall's rhythmic lines and gorgeous artwork, his adoration for the building, with its round rooms and windy ocean views, warmly comes through. Amid his responsibilities of lighting the beacon, clanging the bell in a fog, recording events in the logbooks, and helping ensure the safety of passing sailors, the lighthouse keeper makes a home with his wife, has a daughter, and feels remorse when he has to leave to make way for an automated light. All the while, Blackall's bright, crisp artwork depicts the changing skies and seas around the proud, solid lighthouse. Softly chopping waves give way to billowing white breakers that crash against the rocks. Clear blue skies transform into the black, inky clouds of a storm. It occasionally seems dangerous to live in a lighthouse, but the repeated refrain of Hello! . . . Hello! . . . Hello! is stalwart, friendly, and reassuring, just like a lighthouse should be, and the adoring expressions and gestures of the family living in it quietly demonstrate their affection for the building. Blackall's charmingly old-fashioned art style is beautifully matched to this nostalgia-rich story, which imbues an antiquated place with warmth and wonder.--Hunter, Sarah Copyright 2018 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus Alma Sofia Esperanza Jos Pura Candela has a very long name, and she's about to find out how she came to have it.Alma is a cute little girl with the sweetest pair of striped red-and-white pants ever. She also happens to have a very long nameso long, in fact, that it never fits. Her father sits her down to tell her the story of her name, "Then you decide if it fits." And so Alma learns about her grandmother Sofia; her great-grandmother Esperanza; her grandfather Jos; her great-aunt Pura; and her other grandmother Candela. And Alma? She learns Alma was picked just for her. "You will make your own story." Peruvian-born Martinez-Neal never expresses it in the text, but the illustrations are filled with references to Peru, the country where Alma's family comes from. Mostly monochromatic against a cream background, the illustrationsprint transfers with graphite and colored pencilsare delightful, capturing the distinctive essences of Alma's many namesakes. Alma is depicted as the color of the paper background, with pink cheeks and a black bob haircut. Whereas the story starts with Alma's name written in a childish print on a piece of paper that needs an extra piece of paper taped to it, the story ends with Alma's name in grand and elegant display types. That's her name, and it fits her just right! A Spanish edition, Alma y cmo obtuvo su nombre, publishes simultaneously.A celebration of identity, family and belonging. (Picture book. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list *Starred Review* Alma Sofia Esperanza José Pura Candela has a very long name for a little girl. So long, in fact, that she has to tape extra paper to the page when she writes it, just so it will fit. One day she complains about this to her father, and he sits down with her to tell Alma the story of her name. Tucked together in a cozy armchair, he opens a photo album to a black-and-white picture of Alma's grandmother Sofia. He tells his daughter how Sofia loved flowers and books, and Alma realizes she also loves those things. I am Sofia, she declares. Next, she hears about her great-grandmother Esperanza, who dreamed of traveling; and when readers turn the page, Alma stands before a large world map, zigzagged with red string marking all the places the girl wishes to go she is Esperanza, too. As her father continues, Alma comes to understand that her name fits her perfectly. Martinez-Neal brings her gentle story to life through beautiful graphite- and colored-pencil artwork set against cream-colored backgrounds. Soft blue and red details pop against the charcoal scenes, which perfectly reflect the snapshots of Alma's family. While Alma feels enriched by learning her family's history, she is also empowered by the knowledge that she will give her name Alma its own story.--Smith, Julia Copyright 2018 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Her full name is Alma Sofia Esperanza José Pura Candela, and it's so long that "it never fits," as the girl explains to her father. (When she writes it on a sheet of paper, she has to tape an extra piece to the bottom.) But as Daddy explains that there's a remarkable relative behind each of her names, Alma realizes that she embodies their talents and character, and she comfortably communes with the spirits of the departed. She loves to draw like her paternal grandfather, José, and she's so inspired by her activist maternal grandmother, Candela, that she strikes the classic Norma Rae pose and declares "I am Candela!" surrounded by her stuffed animals. Best of all, Daddy concludes, she is "the first and only Alma. You will make your own story." Martinez-Neal's first outing as author is a winner-her velvety and largely monochromatic pencil drawings, punctuated with cherry red, teem with emotional intimacy. It's an origin story that envelops readers like a hug. Ages 4-8. Agent: Stefanie Von Borstel, Full Circle Literary. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal PreS-Gr 2-It's said there's a story behind every name and Alma Sofia Esperanza José Pura Candela is surely a moniker worthy of six tales. After complaining that her name is so long that it "never fits," Alma's father shares stories with the girl about the people she's been named after, including a book lover, an artist, and a deeply spiritual woman, among others. Martinez-Neal, the recipient of the 2018 Pura Belpré Illustrator Award for La Princesa and the Pea , works in print transfers with graphite and colored pencils for these images, limiting her palette to black, charcoal gray, and blushes of color. The round, stylized figure of the girl, dressed in pink striped pants and a white shirt, pops against the sepia pages (reminiscent of old, family photo albums). As Alma's namesakes emerge from the shadows when they are introduced, they and their distinguishing items (books, plants, paintbrushes, etc.) are highlighted in a pale, gray-blue. The softly colored images and curvilinear shapes that embrace the figures evoke a sense of warmth and affection. At the story's end, the only tale readers have not heard is Alma's. "You will make your own story," states her father. VERDICT A beautifully illustrated, tender story to be shared with all children, sure to evoke conversations about their names.-Daryl Grabarek, School Library Journal © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book Alma Sofia Esperanza Josi Pura Candela feels self-conscious about her long name until her father tells her about the family members after whom she is named. The pictures--grayscale print-transfer illustrations with soft textures--steal the show in their depiction of the sweet closeness between Alma and her father as well as her connection to her ancestors. Also available in Spanish. (c) Copyright 2018. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Nighttime paintings by Lin (Where the Mountain Meets the Moon) add magic to this fable about why the moon waxes and wanes. The story's events unfold against the velvety black of the night sky as Mama and Little Star, dressed in black pajamas spangled with yellow stars, work on their mooncake (an Asian holiday treat, Lin explains in an author's note) in the kitchen. Mama takes the cake out of the oven and lays it "onto the night sky to cool." She tells Little Star not to touch it, and Little Star attends but awakens in the middle of the night and remembers the cake. A double-page spread shows Little Star's speculative glance on the left and the huge golden mooncake-or is it the round, golden full moon?-on the right. Whichever it is, Little Star takes a nibble from the edge, another the next night, and so on until the moon wanes to a delicate crescent. Lin successfully combines three distinctive and memorable elements: a fable that avoids seeming contrived, a vision of a mother and child living in cozy harmony, and a night kitchen of Sendakian proportions. Ages 4-8. (Aug.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list Against the backdrop of a black sky, Mama and Little Star bake a giant mooncake. But as she puts the cake out to cool, Mama admonishes her daughter not to touch it. And she doesn't until she wakes up in the night. Then, it's pat, pat, pat over to the mooncake, where she nibbles just a bit. Each night, there's more nibbling, causing the mooncake to change shape, until it's just a crescent. That's when Mama sees what's happened, but she isn't mad. It's just time to make another mooncake. Although the story is slight (and there's no direct aligning of the mooncake with the stages of the moon, either in text or note), the gouache illustrations are excellent. Mother and daughter, both dressed in star-covered black jumpsuits that add bits of light to inky backgrounds, are intriguing characters who come alive through facial expressions. Little Star's impish looks are worth the price of admission. This has no roots in Chinese mythology, Lin says, but she associates it with Asian moon festivals. A complementary read for those holidays.--Cooper, Ilene Copyright 2018 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-Gr 1-Little Star's mother admonishes her not to eat the giant mooncake, which she left cooling in the night sky, but Little Star has her own ideas. Little Star makes a mischievous choice. "Yum!" Each night, she wakes from her bed in the sky and nibbles from the giant mooncake. "'Little Star!' her mama said, shaking her head even though her mouth was curving. ' You ate the big mooncake again, didn't you?'" Rather than scolding, Mama responds with a kind offer to bake a new mooncake. Observant eyes will recognize that the final pages showing Little Star and her mama baking a new mooncake are a repeat of the front papers-a purposeful hint that the ritual is repeated monthly as Little Star causes the phases of the moon. Artwork is gouache on watercolor paper. Each page has a glossy black background and small white font. Little Star and her mother have gentle countenances twinkling with merriment. Both wear star-studded black pajamas that are distinguishable from the inky sky only by their yellow stars and the occasional patch of Little Star's exposed tummy. The cherubic Little Star floats through the darkness, her mooncake crumbs leaving a trail of stardust in the sky. VERDICT The relationship between Little Star and her mother offers a message of empowerment and reassurance. Lin's loving homage to the Mid-Autumn Moon Festival is sure to become a bedtime favorite.-Lisa Taylor, Florida State College, Jacksonville © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book In the night sky, Little Star and her mother bake a mooncake, the sweet treat associated with the Mid-Autumn Moon Festival. As the Big Mooncake hangs to cool, the girl's hunger overcomes her. It's all mesmerizing: Little Star's astral home; her outsized sense of mischief; the dwindling, nibbled-upon cake as a stand-in for the waning moon; and Lin's pleasing, soothing text, perfect for reading aloud to little moon-watchers on Earth. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Little Star has trouble resisting the Big Mooncake that Mama has hung in the sky in Lin's (When the Sea Turned Silver, 2016, etc.) luminous departure from her usual block-print style.After Little Star and her mama, both wearing jet-black pajamas adorned with bright yellow stars, bake a huge yellow mooncake, Mama reminds Little Star to leave it in the sky to cool. Of course Little Star tries, but she wakes in the night, unable to resist taking a tiny nibble. Mama surely won't notice. Each subsequent night, Little Star steals another bite, and soon observant readers may realize what is happening: The Big Mooncake is waning from a full moon to a new moon. Lin's storytelling is both clever and radiant. Painted in gouache against perfectly black pages, the characters' pajamas have no edges, only the stars defining the separation between foreground and background. The mooncake gleams against the black as well, crumbs scattering like stars in the skya visual delight, suffusing the book with a feeling of otherworldliness that is offset by Little Star's childlike authenticity and her loving relationship with Mama. An author's note on the jacket flap indicates that while this story is not rooted in Chinese cosmology, it is Lin's homage to the Mid-Autumn Moon Festival, her "favorite Asian holiday."A warm and glowing modern myth. (Picture book. 3-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list *Starred Review* Farmer Evan, portrayed as a fox in overalls, has a dog. Constant companions, they enjoy playing games, taking hikes, and working in the garden. But after the dog's death, Evan feels that nothing will be quite the same and so hacks his beloved garden to bits. Time passes. Weeds move in, and he lets the itchy, spiky-looking ones stay. He begins to tend a prickly vine, which eventually produces an enormous pumpkin. Feeling an old, familiar sense of excitement, Evan hauls his pumpkin to the local fair, where he enjoys the food, the games, and talking with old friends. His pumpkin wins him a prize: $10 or a puppy. He drives home with a new companion. Spare and beautifully phrased, the story is well told in the text. But Evan's emotions are most vividly conveyed in the artwork, created with acrylics, oils, and colored pencils. In the graveside scene, a shadow literally falls over Evan, while on the facing page, the phrase and nothing was the same appears on a light gray background, encroached by looming, chaotic darkness. Lies' rich colors and expressive use of light are evident throughout this picture book, which acknowledges grief and delivers a hopeful message with subtlety, empathy, and eloquence.--Phelan, Carolyn Copyright 2018 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus Nature brings healing and a reawakening of the heart.Evan, a farmer, is a red fox; his best friend and trusty companion is a black mutt. They do everything together, including work in Evan's lush garden. Eventually the dog dies, and Evan is inconsolable. Progressing through the stages of grief, Evan mourns, then feels bitter anger and destroys the garden, hacking it to pieces (presumably not, as some readers may wonder, the corner where he buried his friend). Matching Evan's mood, the formerly beautiful place is now weed-filled and forlorn. A creeping pumpkin vine gradually helps Evan to reassess his thinking. Deciding not to destroy the nascent plant, he cultivates it; his tender horticultural touch allows the pumpkin to develop into a gourd of enormous proportions. Bringing it to the fair, Evan wins third placeand oh, what a prize he chooses, revealed wordlessly on the book's final page! This story is simply and subtly told with admirably genuine emotion, but the textured, strong-hued art is the real standout. Charming images, such as Evan's gardening boots with holes for claws, and heart-wrenching onesnote Evan's bending over the dog's unmoving bodyare to savor. Lies also matches colors and characters' expressiveness to moods and provides white space around numerous vignettes to focus readers' attention. Reassuring and clear, this is a heartfelt story about loss and discovering that one can love again. (Picture book. 4-7) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly The polished, jaunty spreads that open this story by Lies (Gator Dad) give little hint of the deep emotion to come. Evan, a fox, cuts a handsome figure in his overalls and wire-rimmed spectacles, and he and his beloved black-and-white dog are always together. They drive in Evan's red farm truck and play games, "But what they loved the most was working in Evan's magnificent garden," a lush, fertile enclosure studded with neat trellises. Then, two terrible things happen: Evan's dog dies-readers see the fox slumped over the hound's body-and in his grief, Evan destroys his garden, swinging a hoe that fells the plants and snaps the trellises in two. The story of how Evan finds his way through his grief rings true, and Lies's atmospherically lit, exquisitely drafted paintings will absorb readers as they trace Evan's journey through mourning. Some sensitive readers may draw back from tragedy this stark, but others will be fascinated by Evan's mysterious world, in which pumpkins grow into prize-winning behemoths and rubber boots come specially made for fox feet. Ages 4-8. Agent: Erin Murphy, Erin Murphy Literary Agency. (Aug.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal Gr 2-5-Lies taps into the powerful nature of love, loss, grief, and hope in his latest picture book. Evan, a fox, and his dog are best friends and in a series of acrylic, oil, and colored pencil vignettes, they are shown attending a fair, playing games, and, most important, working in Evan's meticulously groomed garden. These loving scenes are abruptly cut short by a large spread of white space with spare text stating: "But one day, the unthinkable happened." On the opposing page, white space surrounds a grieving Evan as he mourns the loss of his dog. In his grief, Evan destroys the garden that reminds him so much of his friend and weeds grow in its place. When a pumpkin vine sneaks into the garden, Evan allows it to take root and with it, hope returns. With lyrical figurative language, Evan transitions from being devastated by heartache to a being willing to step back into the world again. With his pumpkin, Evan rejoins his friends at the fair. Although it's not the same without his best friend, he enjoys himself again and even wins a prize for his pumpkin. His prize and the hope of all those who suffer love's loss is a chance to love again with a new puppy. While best suited for independent readers or shared moments during a loss, this poignant picture book provides an exquisite depiction of grief and hope. VERDICT A remarkable first selection for all libraries and a helpful guide for children and adults who are going through their own rough patches.-Rachel Zuffa, Racine Public Library, WI © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book Evan (an anthropomorphized fox) and his dog enjoy doing everything together, especially working in Evan's garden. Lies's lush acrylic, oil, and colored-pencil illustrations with delicate line work evoke the magnificence of Evan's garden, then his intense sadness and isolation after his beloved dog dies. This tender story of loss, hope, and recovery comes full circle when Evan hesitantly returns to gardening--and gets a new puppy, to boot. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Omu (Nigerian for queen, but here grandma) enjoys cooking thick red stews for her evening meal. One day, while her pot simmers, a little boy knocks at her door, enticed by the delicious aroma. Of course Omu shares with him and later with others: a police officer, a hot dog vendor, a shop owner, a cab driver, a doctor, an actor, a lawyer, a dancer, a baker, an artist, a singer, an athlete, a bus driver, a construction worker, and the mayor! Predictably, the pot is empty when suppertime arrives, but Omu's friends give back with a feast that everyone enjoys. Mora's mixed-media collage art makes use of patterned papers and book clippings in addition to paints and pastels. She uses simplified forms to represent people and objects (somewhat reminiscent of Ezra Jack Keats' style), well suited to this cozy, urban setting. Particularly effective is the white trail of steam from Omu's stew that travels through the neighborhood. A great choice for food-themed story hours, or for introducing the concept of sharing.--Kay Weisman Copyright 2018 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Omu (pronounced AH-moo, it's Igbo for queen), the matriarch of her city neighborhood, is making "thick red stew in a big fat pot." As the delicious scent-rendered as an undulating strip of paper-wafts through the neighborhood, a little boy drops by, then "Ms. Police Officer," and then a deluge of hungry humans that eventually includes the mayor. Mora, a major new talent making her debut as an author-illustrator, gives her book a rhythmic, refrainlike structure: There's a "KNOCK!" at the door, a moment of thought on Omu's part, the presentation of a bowl, and a hearty "Thank you, Omu!" in brightly colored capital letters. Dinnertime arrives, and a chagrined Omu discovers that she's given all her stew away ("There goes the best dinner I ever had!"). But she isn't sad for long. The stew eaters arrive en masse at her door with a bountiful potluck (the boy proffers a handmade thank-you note), and "together they ate, danced, and celebrated." This sweet story of inclusivity, gratitude, and delicious fellowship is also a feast for the eyes, with its warm colors and inventive mAclange of cut paper and other materials. Ages 4-8. Agent: Steven Malk, Writers House. (Oct.) c Copyright PWxyz, LLC. All rights reserved.

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School Library Journal PreS-Gr 2-In her apartment on the top floor, Omu (Igbo for queen) makes a tasty, thick red stew for her dinner. The smell wafts through her community, enticing neighbors to knock at her door to inquire about the delicious smell. A little boy is first, followed by a police officer, the hot dog vendor, and many other neighbors. Omu shares a bit of her stew with each person until she has none left for her dinner. When she hears the next knock, it is the visitors again, but this time with a feast to share with Omu. Even the little boy makes a contribution: a red envelope that conveys everyone's sincere gratitude. The richly textured and expressive collage illustrations were created with patterned paper and old-book clippings using acrylic paint, pastels, and markers. Mora has crafted a memorable tale of community and the unexpected rewards of sharing. VERDICT Children will enjoy this fresh, engaging story of friendship and community building, perfect for any group gathering. -Maria B. Salvadore, formerly at District of Columbia Public Library © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book The "scrumptious scent" of grandmotherly Omu's thick red stew wafts out her apartment window; a little boy inquires after the delicious smell, followed by a peckish police officer and more until Omu's generosity means that she has no stew left for dinner. But everyone returns, this time to share with Omu. Mixed-media layers give the collage illustrations depth. Mora times her story perfectly, and repetition will encourage group participation. (c) Copyright 2019. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Omu makes a stew so delicious everyone in the neighborhood follows their noses to her door.Omu (which means "queen" in IgboOmu is black) is making a "thick red stew in a big fat pot" for her dinner. She tastes it, saying it'll be the most delicious supper she's ever had, while out the window drifts the scent of the "scrumptious" stew until it reaches a little boy. The story is peppered with synonyms for "scrumptious" (itself repeated throughout), allowing readers the chance to discuss and expand vocabulary. When the little boy follows the smell to Omu's door, she kindly offers to share her stew with him. So begins a veritable parade of neighborhood residents who, led by the smell, end up at Omu's door. The collage art adds texture, depth, and distinctiveness to each character. Omu shares her thick red stew with all and receives grateful thanks in reply. Alas, when Omu looks for her own supper, she finds her pot empty. The expressive illustrations convey her despondency as she answers yet another knock at her door to findthat the multiracial neighbors she shared with are back! This time, they have gifts in hand and are ready to make her a wonderful supper, which turns into another shared meal and a dance party.A lovely story of giving and community founded in Nigerian culture. Delectable. (author's note) (Picture book. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Kirkus A near-wordless story of kindness repaid.As the book starts, readers see a dark-haired, light-skinned family starting their day. A girl in a red, hooded parka bids goodbye to her dog, and with snow beginning to come down, shes off to school. As it happens, a wolf pack is also on the move. On her way home the snow has intensified. In a dramatic two-page spread the wolf pack can be seen walking in the girls direction, clouds of steamy air coming out of mouths filled with pointy teeth. As the girl trudges on, head lowered to the falling snow, and the wolf pack also trudges on, a wolf cub is left behind. Eventually, the girl and the scared, lost cub meet. Hearing the wolf pack howling in the distance, the girl takes the cub and, facing many perils, reunites cub and pack. Now exhausted and unable to move on, she collapses in the snow. The grateful pack returns favor for favor, and as its members surround and protect the girl, they howl in a call to her family, who has been out looking for her. The last page shows the family warm and safe back home. What distinguishes this book are the many feelings that Cordells pen-and-inkwith-watercolor illustrations capture so wellcold, fear, courage, exhaustion, reliefkeeping readers hooked to the end. Deeply satisfying. (Picture book. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list *Starred Review* In parallel opening spreads, a little girl says good-bye to her parents and dog as she heads off to school, and a wolf cub ranges across the field with his pack. At day's end, the girl, wearing a bright red coat and hood (catch that allusion!), heads home as snow begins to fall. The snow thickens across the subsequent pages, and soon she is lost, just as the wolf cub is separated from his pack in the storm. A chance encounter leads to a moment of solidarity: when the wolf cub sinks in the snow, the girl scoops him up, carrying him towards the distant howls of his family. He's home safe, but she's still lost until the wolves, realizing a debt is owed, return for her, and their howls bring her own family. This nearly wordless picture book is a tender, never precious story of kindness and cooperation. The ink-and-watercolor illustrations, though simple, are packed with emotion, while the minimal text relays only sounds: the distant howls of the wolves, the whines of the wolf cub, the girl's huffs of breath as she struggles through the snow. Cordell's wolves aren't cuddly cartoons by any means, but neither are they monsters; instead, they're realistically depicted wild animals who inherently understand loyalty. Expect this wintry tale to bring only warmth.--Reagan, Maggie Copyright 2016 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Caught in a blizzard on her way home from school, a girl in a red parka discovers a wolf pup left behind by its pack. Cordell's story is wordless, but there's a soundtrack: the cub whines, and distant howls reveal the pack's presence over the next hill. The snow is deep, and the girl is tired, but she puts the pup first, scooping it up and heading toward the howls, undaunted by frightening encounters along the way. Cordell (Leaps and Bounce) uses his customary light and loopy scrawl for the girl, but the bristling fur and open mouths of the wolves are startlingly real. The mother wolf comes to meet them: her golden eyes blaze, and she growls softly. But she's grateful, and when the girl collapses going home, the pack shows its gratitude in an unexpected way. Cozy vignettes, framed in rough circles, help reassure readers that the story will end well, and so does a tender opening portrait of the family. The girl's story is a hero's journey, and Cordell tells it with skill and heart. Ages 2-6. Agent: Rosemary Stimola, Stimola Literary Studio. (Jan.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal K-Gr 2-In this mostly wordless picture book, a girl gets lost in a snowstorm while walking home from school. At the same time, a wolf pup gets separated from its pack. The girl discovers the pup and carries it through dangerous and icy terrain to reconnect with its pack, and the wolves assist the girl by howling to attract her searching family. Cordell's artistic approach is a little more free-form than in his past titles. It works well in depicting the twisting trees in the snowstorm but is more challenging to pull off with the characterization of the girl. Yet he succeeds. Only her eyes are visible in her large red triangular parka, with a scarf across her mouth and nose, as she trudges through the snow; there is so much emotion in her eyes that viewers know all that they need to know about this almost comically bundled, shapeless figure. Cordell's landscapes do a wonderful job showing the vastness and desperation of the girl's journey, his blended watercolors of the snow and trees adding eloquence to the experience. VERDICT A heartwarming adventure about helping others, best shared one-on-one to pore over the engaging images.-Peter Blenski, Greenfield Public Library, WI © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Horn Book A child carries a lost wolf pup to its family during a blizzard. The wolves repay the favor, staying with the exhausted child and howling until, guided by the wolves' cries, the child's parents arrive. The pen-and-ink and watercolor illustrations balance detail and emotion. Hand-lettered sound effects in this otherwise wordless story support the cinematic feel created through varying perspectives and loosely demarcated panels. (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book This unsentimental picture book about the cycle of life rivets our attention on a housecat and its kitten companion--and then, after the death of the first, the now-grown second cat's new companion. Cooper's thick black lines produce figures full of kinetic energy and personality. The circular story is beautifully reinforced by repetition in the spare art and text; it's at once realistic and comforting. (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Like a Japanese brush painter, Cooper (8: An Animal Alphabet) uses bold, black lines to trace the outlines of a white cat; it roams through an apartment, playing with yarn and gazing at the bird feeder. Then a black kitten arrives, and the white cat shows it "when to eat, when to drink, where to go, how to be." "Big cat, little cat," Cooper writes as the two sleep embraced, their curves a rhythmic composition of black and white. The two grow ever closer until, with little warning, the white cat "got older, and one day he had to go... and didn't come back. And that was hard. For everyone." The black cat is pictured alone on the page; the next spread pulls back to reveal its human family, all bereft. Even younger readers will understand their grief. But when a white kitten arrives, the story begins again: "The cat showed the new cat what to do. When to eat, when to drink, where to go, how to be." With quiet grace, Cooper delivers the message that love persists through loss. Ages 3-6. Agent: Liz Darhansoff, Darhansoff & Verrill. (Mar.) © Copyright PWxyz, LLC. All rights reserved.

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Book list It's all about simple text and clean lines in this picture book about feline camaraderie. Cooper certainly loves and understands cat behavior, as exemplified in his various poses of cats at rest and in action. A big cat (white) welcomes a new little cat (black) to the household, and shows it when to eat, when to drink, where to go, how to be, and when to rest. The white cat is outlined in black lines on generous white space as the two partake in these activities; the black cat is profiled in silhouette, with only one tiny white dot for an eye. As the years go by, the black cat grows bigger, and eventually the white cat has to go. A silhouetted family mourn along with the black cat. But soon a little white cat arrives, and the now-big black cat teaches it all the same lessons. In a final double-page spread the two dream happily, completing the concept of the circle of life in loving contentment.--Gepson, Lolly Copyright 2017 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-Gr 1-Bold and simple illustrations perfectly depict life with cats. Elegant, expressive black line drawings on white backgrounds capture the essence of all things feline and call to mind the work of Clare Turlay Newberry and Nikki McClure. The book follows a lone white cat who gains a small black companion, their life together, and the eventual loss of the elder cat ("Years went by-and more years, too-") and ends with the addition of a new kitten. The spare text does an excellent job of conveying the story from the animals' point of view. Readers are told that "the older cat got older and one day he had to go...and didn't come back. And that was hard. For everyone." VERDICT A gentle, loving look at the life cycle of pets; young readers will be able to gain confidence in retelling the story using the text and the pictures. A must-have for all collections.-Paige Mellinger, Gwinnett County Public Library, Lawrenceville, GA © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Horn Book The unnamed black protagonist tells of his barbershop haircut from start to finish, narrating most of it in the second person. James's color-saturated illustrations capture the boy's bravado, swagger, and even his humility, which he needs in accepting a post-cut kiss from his admiring mother. Alternately precise, metaphorical, and culturally specific, Barnes's descriptions make each page a serendipity. A not-to-be-missed portrayal of the beauty of black boyhood. (c) Copyright 2018. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 3-Rhythmic text describes the feeling of a young African American boy as he gets a "fresh cut" and how a trip to the barbershop changes the way he feels about the world and in turn how the world perceives him. He might just "smash that geography exam" or "rearrange the principal's honor roll" and, of course, the cute girl in class won't be able to keep her eyes off of him. The protagonist spends time looking at black men in chairs next to him and creating vivid stories about their lives: "the dude to the left of you with a faux-hawk.looks presidential.maybe he's the CEO of a tech company." Oil paintings illustrate the intricacies of the haircuts, details in the characters' faces, along with the sense of well-being that is conveyed along the way. While a trip the barbershop is the main story line, the themes of confidence-building, self-esteem, and joy of young black boys are the important takeaways, and the illustrations jump off the page and invite readers to share in the experience. VERDICT A super fun read-aloud, this title is a recommended purchase for all picture book collections.-Kristen Todd-Wurm, Middle Country Public Library, NY © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Barnes (Ruby and the Booker Boys, 2008) playfully tells the story of a black boy getting a haircut at a barbershop. The boy comes in as a blank canvas, but as the haircut starts, Barnes leads the reader into all the things that might happen because of the cut, from passing a geography test, to becoming a star, and even impressing a girl. The other men in the barbershop look important and full of swagger because of their hair, and the barber knows what he's doing and doles out shape-ups and a faux hawk with skill. Colorful images illustrate all of the patrons, including a woman. Barnes mixes fresh and sharp lines with an integral part of the African American experience: maintaining one's hair. Illustrator James deftly uses bright colors including teal and fuchsia, and a colorful galaxy complements Barnes' words well. The strong voice will resonate with readers, soothe any young child scared of their first cut, and give a boost of confidence to the seasoned pros.--Gilfillian, Courtney Copyright 2017 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-G 2-Smooth jazz and a strong narration blend together to tell this story of the fresh cut, the experience of sitting in the barber's chair and the feelings that come with it. Gordon C. James's Caldecott Honor-winning illustrations are full of life as they shift and move, and pull viewers into the barbershop as they wait in anticipation to see the final results. An author's note from Derrick Barnes explains his own experience getting a haircut and the confidence that accompanies it. © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly How good can a haircut make a person feel? "Magnificent. Flawless. Like royalty." In a powerfully moving tribute to barbershop culture, Barnes (We Could Be Brothers) addresses readers directly-and it's safe to say his audience is primarily boys of color-using hyperbole to boost their confidence and help them recognize their own value. "You came in as a lump of clay," he writes, "a blank canvas, a slab of marble./ But when my man is done with you,/ they'll want to post you up in a museum." Created with thick, forceful daubs of paint, James's luminous portraits reinforce the idea that, when a person looks this good, not even the sky is the limit. Of a man admiring the curving designs newly shaved into his head, the narrator remarks, "Maybe there's a river named after him on Mars. He looks that important." Pride, confidence, and joy radiate from the pages, both in the black and brown faces of men, women, boys, and girls featured in Barnes's majestic paintings, and in writing that celebrates human worth with every syllable. Barbers included: "Tip that man! Tip that man!" Ages 3-8. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

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Kirkus Safe to say, there's nothing like the feeling of the fresh cut. You feel so extra visible with a fresh new cut, and this book built from that experience translates it in a way never before brought to the children's bookshelf. Basquiat-inspired king insignias and a bit of Kehinde Wiley flair shape portraits of all the various ways men (and women too!) come into the black barbershop to restore their cool, leaving the chair with high self-esteem, self-pride, and confidenceif only for as long as their hairlines remain crisp. It's sacred. The all-important line and the diverse styles take center stage here. The Big Daddy Kane-homage flat-top. The part. The light shape-up surrounded by cornrows and locs. The taper. The classic wavy dark Caesar. Barnes' imaginative prose mirrors the hyperbole and swagger of the barbershop. No cut is just good. It will have you looking "presidential," "majestic." Like you own "a couple of acres of land on Saturn." The swagger is on a million. The sauce is drippin'. James' oil-based portraiture will send many readers reminiscing. This book oozes black cool and timely, much-needed black joy, using the unique and expansive experience of the barbershop to remind young boys that their inner lives have always mattered there. One of the best reads for young black boys in years, it should be in every library, media center, and, yes, barbershop. (Picture book. 5-12) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 3—Is a haircut just the snip of the scissors and the buzz of the razor? No, Barnes insists that a visit to the barbershop is a rite of passage that renews the recipient again and again. In pulsing, pounding prose, he describes the experience of getting a "fresh cut" from the eyes of a young African American boy. It allows him to view the world differently and gives him the confidence to know the world is looking at him in a new light. Possibilities open up that seemed closed before. The world is new, and so is he. Corey Allen reads the book with a smile in his rich and rhythmic voice. VERDICT This is an exceptional production, beautifully performed. It certainly merits a place in library collections, and homes with young African American boys should especially appreciate this paean to self-esteem and confidence. It will be most effective when combined with the book, as Gordon C. James's gorgeous oil illustrations deepen the experience.—Teresa Bateman, Brigadoon Elementary School, Federal Way, WA

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus A fishing trip is not just a fishing trip in this poignant, semiautobiographical tale. As a young boy growing up in a Vietnamese refugee family in Minneapolis, Phi would wake up "hours before the sun comes up" to go fishing with his dad. Right from the start, he hints at his family's dire straits: "In the kitchen the bare bulb is burning." Readers learn they are up so early because his dad got a second job. And Phi asks innocently, "If you got another job, why do we still have to fish for food?" At the pond, father and son share moments of tenderness. A nod herewhen Phi lights a fire with one strike of a match; a warning thereto avoid "the spicy stuff" in his bologna sandwich. Father and son also bond through stories. "I used to fish by a pond like this one when I was a boy in Vietnam," says Dad. "With your brother?" Phi asks. Dad nods and looks away, a clue to the unspeakable devastation of the war. When they catch enough fish for dinner they head home, Phi dreaming about the landscape of Dad's home country. Together, Phi's gentle, melodic prose and Bui's evocative art, presented in brushy and vividly colored panels and double-page spreads, rise above the melancholy to tell a powerful, multilayered story about family, memory, and the costs of becoming a refugee. Spare and simple, a must-read for our times. (Picture book. 5-9) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal K-Gr 2-This gorgeous tale about a father/son fishing trip shows the interconnectedness of family and the inexorable way that generational history impacts the present. The story is told from the boy's perspective, as his father wakes him long before dawn to go fishing. Although the child enjoys the outing as a special adventure with his dad, they are fishing for food, not sport, and they must be home in time for the father to leave for work. The quiet time together provides opportunities for the man to talk about his past life fishing with his brother in a different pond in Vietnam, long ago before the war and before coming to America. After they return home, triumphant, with a bucket of fish, the boy contemplates his role as the youngest in the family-no longer a baby-and even though he is sad that both his parents have to work, he knows there will be a happy, love-filled family dinner later that night. Bui's cinematic illustrations make use of panels and weighted lines, evoking the perfect background or facial expression for each piece of text. The text placement and composition of the illustrations allow each occurrence or observation to be its own distinct event, stringing together the small, discrete moments that make up a life, a memory, and a history into a cohesive whole. VERDICT This gentle coming-of-age story is filled with loving, important aspects of the immigrant experience and is a first purchase for all libraries.-Anna Haase Krueger, Ramsey County Library, MN © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Phi, a poet whose parents were Vietnamese refugees, draws from childhood memories in this story about fishing with his father before sunrise on the lakes of Minneapolis. They didn't do it for fun; it was a way to put food on the table. "Everything in America costs a lot of money," his father tells him. Sometimes, they run into fishermen from other marginalized communities: a Hmong man "speaks English like my dad and likes to talk about funny movies," and a black man "shows me his colorful lure collection." Though the morning is an adventure for the boy, it's the start of a long day for his father, who heads to work afterward (as does the boy's mother). Bui (The Best We Could Do) uses confident ink lines and watery washes of deep blue to evoke the predawn setting and tender familial relationship. Graphic novel panels and strong figures give the pages the air of a documentary as Phi celebrates an unexpected superhero: a father who endures a strange new culture, works to support his family, cherishes time with his son, and draws no attention to the sacrifices he's made. Ages 6-8. (Aug.) © Copyright PWxyz, LLC. All rights reserved.

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Book list *Starred Review* Before dawn, a Vietnamese American man and his young son set out to fish for their supper in a nearby lake. As they travel the lamp-lit streets, build a small fire, and drop their hook into the water, the little boy contemplates his parents' lives, the everyday task of fishing for their supper, and the stories they've told him about living in Vietnam before coming to America as refugees. Phi's bittersweet story of the resourcefulness of an immigrant family is lovingly illustrated in Bui's evocative artwork. Her expressive ink-black brushstrokes stand out against a background of star-speckled, crepuscular blues, and at poignant moments in Phi's story, she movingly homes in on the facial expressions of the boy and his father. While the story occasionally hints at painful things, the gravity of those events is depicted in the emotional reactions of the characters in the present, rather than images of war in the past. The boy's father has fond memories of Vietnam, heartbreak for the people he lost in the war, and gratitude for the opportunities afforded to him in the U.S., all of which the boy silently internalizes into both appreciation for his life and curiosity about a place he's never been. This wistful, beautifully illustrated story will resonate not only with immigrant families but any family that has faced struggle.--Hunter, Sarah Copyright 2017 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Chin (Island: A Story of the Galapagos) packs the geologic history of the Grand Canyon into a stunningly illustrated story of a magical father-daughter hike. The duo's daylong trek out of the magnificent landform becomes a journey through time, as discoveries along the trail transport the girl to various eras in the canyon's creation. A prosaic narrative of facts follows their ascent ("Above the basement layer, you'll reach the Grand Canyon Supergroup"), while, at each new rock layer, the girl notices a fossil or other anomaly through a small die-cut hole. Turning the page, readers find her transported across epochs: a trilobite fossil turns into its living namesake as the surprised girl finds herself floating in an ancient sea. Vignettes of flora and fauna from different elevations frame scenes of the hike, as do explanatory sidebars about how rock layers and fossils form. With narrow white borders, the already-realistic ink-and-watercolor illustrations resemble photographs, evoking a scrapbook, and a concluding gatefold opens to reveal an awe-inspiring panoramic portrait of the Grand Canyon near sunset. Endnotes to this multilayered, thorough, and ingeniously assembled primer offer additional ecologic, geologic and anthropologic information. Ages 7-12. (Feb.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Gr 3-5-A breathtaking walk through multiple habitats and deep time. Beginning at the banks of the Colorado River, a child and her adult companion hike up the South Kaibab trail from 1.84 billion-year-old "basement rocks" past the layers of the Grand Canyon Supergroup, the Bright Angel Shale, and other major formations to the Kaibab Limestone layer at the top. At the same time, the two pass through riparian greenery, sun-baked desert scrub, and pinyon juniper woodland to reach the South Rim's ponderosa pine forest. In Chin's cleanly drawn scenes, viewers who follow along will catch glimpses of characteristic flora and fauna (with other wildlife lined up along the margins) at each elevation, plus clear looks at each distinctive rock layer. Better yet, occasional fossils in the rocks, seen through cutouts, temporarily transport the child with a page turn to prehistoric mudflats, sand dunes, and sea floor. A double gatefold vista vividly underscores Chin's opening proposition that the canyon is "much more than just a big hole in the ground," and the author supplements his information-rich running commentary with further notes and illustrations covering the canyon's history, human settlement, ecology, and geology. It's all Grand. VERDICT An outstanding introduction to one of the world's greatest outdoor wonders, with much to offer elementary students about Southwestern biomes, sedimentary geology, and the profound pleasures of observing nature.-John Peters, Children's Literature -Consultant, New York City © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* Filled with arresting artwork and fascinating information, Chin's imposing latest proves that the Grand Canyon is much more than just a big hole in the ground. Following a father and daughter from the North Rim to the South Rim, Chin's virtual hiking tour, which features actual locations and views, takes readers from the oldest, deepest area of the Grand Canyon (the Inner Gorge) to the youngest (Ponderosa Pine Forest). His stunning illustrations do double duty, offering snapshots of the pair's trek as well as myriad details in the page margins, such as a visual catalog of plants and animals that live in each featured region of the canyon, diagrams clearly explaining how the canyon was formed, and spreads revealing what the canyon looked like millions, even billions, of years ago. Chin's straightforward, lucid text seamlessly integrates concepts and scientific terms in engaging paragraphs full of surprising information, all of which is beautifully complemented by the illustrations. A culminating, panoramic gatefold spread reveals a breathtaking vista of the canyon, now made all the more incredible by the wealth of information in the preceding pages. Plenty of additional reading and information about the canyon closes out the volume. With vivid imagination, a crystal-clear grasp of the facts, and brilliant artwork, this illuminating look at one of the planet's most fascinating features will entrance young readers.--Lock, Anita Copyright 2016 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book Vacationing in the Grand Canyon provides a father and daughter--and readers--numerous opportunities to explore this national park's geology and ecology. Travel guidelike narration presents accurate scientific information, as do page perimeters filled with delicate sketches and diagrams. Detailed, scenic watercolors portraying actual sites cleverly feature selected objects through subtle die-cuts that transport the girl back to ancient geologic environments. Reading list. Bib. (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Steptoe chronicles the formative years and evolving style of Jean-Michel Basquiat, a Brooklyn-born graffiti artist with a rising career in the 1980s fine arts world; coverage ceases before his untimely drug-related death at age 27.Steptoes canvas is wood salvaged from the Brooklyn Museum and locales that Basquiat frequented. Spaces between the patched fragments contribute to the impression of a disjointed childhood. Steptoe shows that Basquiat was smart and driven early on, influenced by his Haitian fathers jazz records and his Puerto Rican mothers style, encouragement, breakdown, and institutionalization when he was only 7. Prior to that, she drew with him, took him to see Picassos Guernica, and gave him Greys Anatomy following a serious car accident. Images of body parts imprint his increasingly complex political paintings, along with other recurring motifs explained in outstanding backmatter. Several sentences per spread speak with understated lyricism and poignancy, an occasional internal rhyme underscoring a point: Jean-Michel is confused and filled with a terrible blues / when Matilde can no longer live at home. Acknowledging his multifaceted sense of connection, Steptoe interprets Basquiats style instead of inserting particular works. Vibrant colors and personal symbols channel the sloppy, ugly, and sometimes weird, but somehow still BEAUTIFUL paintings, incorporating meticulously attributed collage elements and capturing the artists energy and mystery. Stellar bookmakinga riveting portrait of a young artist. (authors note, bibliography, biography) (Picture book/biography. 6-12) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly In this visually arresting and vibrantly narrated biography, Steptoe (In Daddy's Arms I Am Tall) charts the childhood of incandescent, ill-fated artist Jean-Michel Basquiat (1960-1988). Although the book includes no work by Basquiat himself, Steptoe emulates 1980s street art by layering paint, paper scraps, paint tubes, and photos on found-wood panels. The artist, Steptoe writes, learned to see art in the "messy patchwork of the city," the "street games of little children," and the "terrible blues" of growing up. Basquiat's early influences include his Puerto Rican mother, Matilde, who encourages him with museum visits and with the textbook Gray's Anatomy. Poetry and his Haitian father's jazz records fuel his imagination, too: "His drawings are not neat or clean, nor does he color inside the lines." Basquiat's radiance was suffused with trauma, and Steptoe alludes to Matilde's mental illness and Basquiat's teenage strife ("His mother's mind is not well, and the family breaks"). Passing references to Warhol, Haring, graffiti, and Basquiat's heroin overdose appear in the afterword: "Basquiat lived an exhilarating life, but... he struggled with a drug addiction until his death." Overall, Steptoe focuses on Basquiat's meteoric rise, and readers see the artist smiling as he walks on the gritty Lower East Side. Collaged photographs picture a crowded gallery, and Steptoe concludes in the present tense: "He is now a famous artist!" Steptoe downplays tragic elements, instead celebrating Basquiat's irreverence and brilliance. Ages 4-8. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list Beautifully evoking his subject's exuberant, colorful, and playful art style in jostling paintings on scraps of found wood, Steptoe introduces young readers to Basquiat's childhood and early career. Born in Brooklyn, Basquiat loved art early, and with the encouragement of his similarly artistic mother, he actively pursued his dream of being a famous artist, finding creative inspiration not only at museums but also in the color and rhythm of the city around him. Basquiat's signature style sloppy, ugly, and sometimes weird, but somehow still beautiful should appeal in particular to kids who find joy in free-form scribbles, and that same spirit animates Steptoe's collage illustrations. Thickly laid paints and exploded perspectives in bright hues depict scenes from Basquiat's life and highlight some of his iconic imagery, like golden cartoon crowns, eyeballs, and vehicles scattered everywhere. There's no mention of his problems with addiction or untimely death; rather, the book closes with him achieving his dream, crown overhead and surrounded by clipped headlines about his work. A lively, engaging introduction to a one-of-a-kind artist perfect for art-loving kids.--Hunter, Sarah Copyright 2016 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book The art world first took note of Jean-Michel Basquiat's graffiti in the late 1970s. He earned a large following and several art shows but was often discouraged by racism. Steptoe's style, similar to Basquiat's with its vivid palette and use of found objects, provides a close impression of the painter's work. Appended notes provide additional information about Basquiat's life and art. Bib. (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 1-5-Through a simple text and vivid mixed-media collage art, the author evokes the life and work of the Brooklyn-born Basquiat, who was nurtured in a loving family and schooled in the museums and streets of New York City. Incorporating found materials into the illustrations, Steptoe captures the originality and urban vibe of a charismatic artist whose talent revealed itself early on and matured into a powerful social and political voice. © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 1-5-One extraordinary artist illuminates another in this textured, heartfelt picture book biography of the 1980s cultural phenom. Employing signature features of Jean-Michel Basquiat's work-vibrant colors, found objects, repeated motifs-Steptoe allows his own emotionally rich style to shine through the artistic and biographical references dotting the illustrations. Pieces of discarded wood from Basquiat's stomping grounds fit together to form the painted surfaces for Steptoe's scenes of the Afro Puerto Rican artist, each unfolding within a colored frame. Occasional collage elements of newsprint, photographs, and art materials add dimension and immediacy, highlighting both artists' immersion in their work and surroundings. Adhering to a straightforward chronology, Steptoe addresses events in Basquiat's life primarily as they affected his artistic growth from young boyhood in Brooklyn through the triumphant years as a critical and popular success in Manhattan. With minimal detail, the author sensitively touches upon his subject's childhood car crash and his mother's mental illness, though the story avoids his drug use and stops before his early death. Crucial back matter provides context for readers in every respect. Additional biographical information fleshes out the lyrical text of the main narrative, and an introduction to symbolism in Basquiat's work helps readers appreciate the layers at play in Steptoe's illustrations. An author's note articulates feelings that radiate from every page of the book: Steptoe's admiration for and attachment to Basquiat and his personal investment in depicting a complicated, loving relationship between a child and a mentally ill parent. VERDICT Pairing simple text with expressive, encompassing illustrations, this excellent title offers a new generation a fittingly powerful introduction to an artistic luminary.-Robbin E. Friedman, Chappaqua Library, NY © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal Gr 1-5-A visually stunning picture book biography about modern art phenomenon Jean-Michel Basquiat. Coretta Scott King Award-winner Steptoe's vivid text and bold artwork reflect the Haitian Puerto Rican artist's collage-style paintings that rocketed him to fame in the 1980s. Back matter and an introduction to symbolism in Basquiat's work help readers appreciate the layers of Black identity and Yoruba influences at play in Steptoe's illustrations. © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal PreS-Gr 2-Brosgol incorporates folktale elements in her amusing story of an old woman in search of a quiet place to knit. Fleeing her too small house overrun with too many energetic grandchildren, she packs her needles and yarn and heads for the mountains. Unfortunately, she can't find an undisturbed spot. Hungry bears, curious mountain goats, and little green moon-men provoke her to shout: "Leave me alone!" Climbing through a wormhole, she discovers a dark and quiet place to complete 30 little sweaters. Then she crawls through a wormhole that leads to her house, where 30 grandchildren rush to meet her. Peasant clothing, wooden houses, and village scenes create a setting reminiscent of the Brothers Grimm or of Fiddler on the Roof. The humorous illustrations depict the determined woman knitting in improbable circumstances as she climbs ever higher. A huge bear looms above her, curious "about what she might taste like." Mountain goats frolic with balls of yarn they consider tasty snacks. Green creatures investigate the woman with handheld scanners while she sits on a chair-shaped moon rock. Brosgol is a master of facial expressions, using eyes, mouth, and forehead lines to indicate the old woman's thoughts and emotions. VERDICT This offbeat tale will please readers who appreciate subtle humor, especially those who crave some time alone. A good choice for collections needing to bolster their supply of humorous titles.-Kathy Piehl, Minnesota State University Library, Mankato © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly Graphic novelist Brosgol's (Anya's Ghost) first picture book opens in a traditional folk tale setting as a Russian grandmother in a tiny cottage struggles to finish her winter knitting. She has dozens of grandchildren, and they swarm all over her yarn: "Her grandchildren were very curious about her knitting.... Could you eat it? Could you make your brother eat it?" Brosgol's cartooning delivers laughs throughout; here, a girl in a kerchief stuffs a ball of yarn into a baby's mouth as three boys chase another ball with sticks. Fed up, the old woman takes off (after cleaning the house thoroughly, of course), bellowing, "Leave me alone!" The cry is repeated in the forest, in the mountains, and even on the moon, where aliens inspect her "with handheld scanners that went 'beep boop.' " She finds peace at last in the black void on the other side of a wormhole, where she finishes her knitting. The fizzy collision of old-fashioned fairy tale elements with space-age physics is delightful, and even the most extroverted readers will recognize that sometimes you just need a little space. Ages 4-7. Agent: Judith Hansen, Hansen Literary. (Sept.) © Copyright PWxyz, LLC. All rights reserved.

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Book list It's time for Granny to knit new winter sweaters for her gigantic family, but every time she tries to get started, her grandchildren make a mess of things, unraveling her balls of yarn and getting their wet, grubby mouths all over her projects. There's only one thing to do: leave! So she packs up her supplies and heads out to the woods with a resounding, Leave me alone! Finally at peace in the calm forest, she finds a cozy spot to knit, but soon a bear family comes along and interrupts her yet again. Leave me alone! she shouts, and she departs to find a quieter location, but at every turn, she encounters an obstacle. Brosgol infuses her fairy tale-like story with a hefty dose of humor, thanks to her fantastic page turns and comedic timing, culminating in the surprising, otherworldly solution to Granny's problem. Warm, jewel-toned artwork and cartoonish details add to the warm atmosphere, and the sweet ending, when the woman finally returns home, is as cozy as a new sweater.--Hunter, Sarah Copyright 2016 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book In Louisiana, enslaved Africans were provided a half-day of rest each Sunday; in New Orleans, they gathered in Congo Square. Spare couplets, describing the labors and horrors of slavery, count down to Sunday. Weatherford sugarcoats nothing, but the text isn't mired in sadness or pain. Christie's illustrations, which recall Jacob Lawrence's work, add even more emotional depth. A foreword provides historical context. (c) Copyright 2016. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 1-3-This vibrant picture book examines Congo Square in New Orleans. A foreword and author's note explain how, historically, slaves in Louisiana were allowed Sunday afternoons off. This custom continued after the territory joined the United States, although in time, New Orleans established one location for all slaves to gather: an area that became known as Congo Square. This unique practice helped enslaved and free Africans maintain cultural traditions. The impact was felt far beyond New Orleans as musicians, dancers, and singers developed, explored, and shared rhythms that eventually grew into jazz music. The text is realistic but child appropriate. Couplets count down the days to Sunday in a conversational tone ("Slavery was no ways fair./Six more days to Congo Square."). The writing is accompanied by folk art-style illustrations, with paint applied in thick layers. Some images, such as faces, are more detailed, while others are presented as silhouettes. Collage with painted elements is incorporated on occasion. The architecture portrayed evokes the New Orleans setting. Bright colors suggest the exuberance displayed at Congo Square. Spreads where the slaves are finally able to sing, dance, and express emotion contrast effectively with the forced restraint of those depicting the work week. VERDICT Unique in its subject and artistic expression, this beautiful book belongs in most collections.-Lucinda Snyder Whitehurst, St. Christopher's School, Richmond, VA © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal Gr 1-3-Couplets count down the days of the week and detail the daily labor duties of those who were enslaved in New Orleans-all leading up to Sunday, the day of rest and an afternoon in Congo Square. Acknowledging and contrasting the brutal toll of slavery with the exuberance and collective power of their one half-afternoon of free expression, Weatherford has created a masterly and multifaceted work. Christie's illustrations, so loaded with color and movement, are the perfect accompaniment to this must-have book. © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Located in what is now the Treme neighborhood, Congo Square was the one place where the slaves and free blacks of New Orleans were allowed to gather on Sundays, a legally mandated day of rest. There they could reconnect with the dance and music of their West and Central African heritages and feel, at least for a few hours, that they were in "a world apart," where "freedom's heart" prevailed. Weatherford hits a few flat notes with her rhyming ("Slaves had off one afternoon,/ when the law allowed them to commune"), but she succeeds in evoking a world where prospect of Sunday becomes a way to withstand relentless toil and oppression: "Wednesday, there were beds to make/ silver to shine, and bread to bake./ The dreaded lash, too much to bear./ Four more days to Congo Square." Christie, who worked with Weatherford to illuminate another historic neighborhood in Sugar Hill (2014), takes readers on a visual journey, moving from searing naïf scenes of plantation life to exuberantly expressionistic and abstract images filled with joyous, soaring curvilinear figures. An introduction and afterword provide further historic detail. Ages 4-8. (Jan.) © Copyright PWxyz, LLC. All rights reserved.

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Book list *Starred Review* Coretta Scott King Honorees Weatherford and Christie have created a gorgeously artistic and poetic homage to the birthplace of jazz and a people whose legacy is too often ignored. For one day a week, the slaves of New Orleans were allowed by law to gather on one public space: Congo Square. Through sparse, deliberate language, Weatherford tangibly captures the anticipation of those Sundays, listing the physical and emotional work that slaves endured without respite. They tend to animals and crops, cater to their masters, endure losses and lashings, all the while counting the hours until they can revel in the freedom of Congo Square. Holding on to that joyful experience feels like a form of silent resistance as the slaves bear the harshness of the week. The blunt words are richly supplemented by illustrations reminiscent of Jacob Lawrence's work. Christie elegantly renders people's gestures in chalk, capturing their energy or lack of, depending on the context. Blocks of color stamped with texture bring to life the landscape and movement in a place where they rejoiced as if they had no cares; / half day, half free in Congo Square. Subtle and layered, this is an important story, beautifully told.--Chaudhri, Amina Copyright 2015 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus Count down the days until Sunday, a day for slaves in New Orleans to gather together and remember their African heritage. In rhyming couplets, Weatherford vividly describes each day of nonstop work under a "dreaded lash" until Sunday, when slaves and free blacks could assemble in Congo Square, now a part of New Orleans' Louis Armstrong Park and on the National Register of Historic Places. Musicians "drummed ancestral roots alive" on different traditional instruments, and men and women danced. They also exchanged information and sold wares. The poetry is powerful and evocative, providing a strong and emotional window into the world of the slave. Christie's full-bleed paintings are a moving accompaniment. His elongated figures toil in fields and in houses with bent backs under the watchful eyes of overseers with whips. Then on Sunday, they greet one another and dance with expressively charged spirits. One brilliant double-page spread portrays African masks and instruments with swirling lines of text; it is followed by another with four dancers moving beautifullyalmost ethereallyon a vibrant yellow collage background. As the author notes, jazz would soon follow from the music played in Congo Square. Weatherford and Christie dazzlingly salute African-Americans' drive to preserve their dignity and pride. (foreword, glossary, author's note) (Picture book. 5-9) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 3-Using intricate illustrations supported by spare dialogue in an invented language, Ellis elegantly weaves the tale of several square feet of ground in the insect world as the seasons pass. Multiple story lines intersect: a mysterious plant bursting from the soil, the rise and fall of a spectacular fort, and a caterpillar's quiet then triumphant metamorphosis into a shimmering moth. The illustrations demand to be pored over, with exquisite attention to detail, from the extravagantly dressed anthropomorphized insects in top hats to the decor of Icky the pill bug's tree-stump home. Much of the book's action occurs on the lower halves of the pages, the ample white space emphasizing the small world of the critters. As the flower and fort grow together and larger animals come into play, the illustrations take up more vertical space until the climax, when the plant blooms and is revealed to be a "gladenboot" (flower) and all of the insects come out to rejoice. As the weather cools, readers are treated to a delightful nighttime spread of the moth finally emerging and flying to a cricket's tune as the decayed flower's seeds dance all around. Though this could nearly work as a wordless book, the invented, sometimes alienlike language seemingly contains real syntax and offers readers the opportunity to puzzle over the meanings of the words and tell the story using their own interpretations. VERDICT This is a title that calls for multiple readings, as there is something new to be discovered each time. Perfect for one-on-one or small group sharing.-Clara Hendricks, Cambridge Public Library, MA © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Kirkus Viewers follow the unfurling of an exotic woodland plant through the actions and invented language of beautifully coiffed and clothed insects. The nonsense narrative is presented through dialogue. Because the conversations connect to specific phenomena and many words are repeated, decoding occurs fairly quickly. Du iz tak? (Probably: What is that?) Ma ebadow unk plonk. (Perhaps: I think its a plant.) The true meaning is anyones guess, but therein lies the fun. A large trim size and an abundance of white space on the opening pages send readers eyes to the delicate ink-and-gouache winged creatures and the small green shoot at the base of the spreads. Over several days and nights, the scene builds: a caterpillar forms a cocoon; a snail emerges from its well-appointed log to lend a ribble (ladder) so its friends can build a furt in the rising stalk; a cricket fiddles in the moonlight. Danger appearsa menacing spider that seems intent on caging the plant in its web until an enormous bird swoops in, altering the course of events. But there is glory too as the gladdenboot blooms and the encapsulated moth takes flight. This is certain to ignite readers interest and imaginings regarding their natural surroundings. Following the minute changes as the pages turn is to watch growth, transformation, death, and rebirth presented as enthralling spectacle. (Picture book. 4-7) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list *Starred Review* Ellis (Home, 2015) elevates gibberish to an art form with her brilliant account of a few bugs who discover a green shoot sprouting from the ground. Du iz tak? a dapper wasp asks upon seeing it. Ma nazoot, comes the puzzled reply. Next, three beetles come across the young plant, which has grown a little higher, and the question goes around again, Du iz tak? This time, they go to a nearby log to borrow a ribble (ladder) from Icky the pill bug so that they can sit on its highest leaves. The bugs' curiosity and excitement grows along with the plant, which eventually blossoms into a magenta flower. Soon the bugs have built a magnificent furt among its leaves, complete with a rope swing and pirate flag. Eventually, colder weather moves in (evidenced in the sweaters and hats the beetles don), the flower wilts, and the bugs bid their furt adieu. Readers and prereaders alike will find myriad visual cues in Ellis' splendid folk-style gouache-and-ink illustrations that will allow them to draw meaning from the nonsensical dialogue, as well as observe the subtle changing of the seasons. The entire story unfolds on the same small stretch of ground, where each new detail is integral to the scene at hand. Effortlessly working on many levels, Ellis' newest is outstanding.--Smith, Julia Copyright 2016 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Ellis's (Home) bewitching creation stars a lively company of insects who speak a language unrelated to English, and working out what they are saying is one of the story's delights. In the first spread, two slender, elegantly winged creatures stand over a green shoot. "Du iz tak?" says the first, pointing. The other puts a hand to its mouth in puzzlement. "Ma nazoot," it says. The insects marvel at the plant as it grows, build a fort in it (complete with pirate flag), exclaim as it produces a spectacular flower ("Unk scrivadelly gladdenboot!"), then disappear one by one, like actors exiting the stage. Observant readers will notice other changes over the course of the seasons: a fabulously hairy caterpillar spins a cocoon on a dead log, the log opens to reveal a cozy dwelling, and what looks like a twig atop the log is not a twig at all. Ellis renders the insects with exquisite, baroque precision, outfitting them with hats, eyeglasses, and tweed jackets; in a romantic interlude one serenades another with a violin. Generous expanses of cream-colored empty space emphasize the smallness and fragility of these living beings, who move busily along the forest floor at the bottom edge of the pages. Very gently, Ellis suggests that humans have no idea what wonders are unfolding at their feet-and that what takes place in the lives of insects is not so different from their own. Has there ever been anything quite like it? Ma nazoot. Ages 4-8. Agent: Steven Malk, Writers House. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

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Horn Book As a sleek, realistic-looking cat walks "through the world," a diverse assortment of creatures happens upon it, each with a distinct perception of the feline. Rendered in "almost everything imaginable," Wenzel's colorful, dazzling illustrations are as varied from page to page as the animals represented. The spare but steady text uses all-caps and italics for emphasis and plenty of rhythm and repetition. (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly "The cat walked through the world, with its whiskers, ears, and paws," writes Wenzel (Beastly Babies) at the opening of this perspective-broadening picture book. What those features add up to depends on the eyes of the beholder, not to mention scale relationships, instincts, and history. To a child, the cat looks like a pet: affectionate, big eyed, and adorable. But a flea sees a vast forest of dense hair to conquer. A mouse cowers before the dragonlike creature of horror that bounds out of a blood-red background with blazing yellow eyes. And a bee sees a collection of multicolored dots-a pointillist pussycat. The simple text ("the skunk saw a cat, and the worm saw a cat, and the bat saw a cat. Yes, they all saw the cat") creates a powerful, rhythmic juxtaposition between word and image, and inventively varied renderings showcase a versatile, original talent at work, in media ranging from collage to pencil and watercolor. This is Wenzel's first book as both illustrator and writer, and it's marvelous-no matter how you look at it. Ages 3-5. Agent: Steven Malk, Writers House. (Aug.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal PreS-Gr 3-This playful exploration of perspective presents its strolling subject through a range of animal lenses; the resulting views comprise a kaleidoscope of physical and psychological interpretations. A child pets a soft, smiling cat with cartoon eyes. The dog observes a scrawny, slinking creature dominated by a bell. Through the fishbowl, the cat is a blurry close-up. An expressionistic explosion exhibits the mouse's viewpoint: a red background sets the tone for the menacing monster, all pointy teeth and outsize claws. Entertaining and intellectually stimulating, Wenzel's ideas progress from ways of seeing that are easily grasped to those that require more thought, e.g., the underground worm understands the feline's presence by sensing its mirror image-shown in vibrating lines that surround him as it crosses overhead. The distinctive look of each spread and the skill with which the artist employs a multitude of media, from colored pencils, charcoal, and oil pastels to watercolor and markers, underscore the variety of perspectives and add visual pleasure. The symmetrical narrative structure, selective rhymes, and cumulative conclusion (in which the cat's body is built from a piece of each prior view and the animals are enumerated in a fast-paced, rhythmic manner) have the feel of a classic story song, such as "The Cat Goes Fiddle-I-Fee" or "The Green Grass Grew All Around." Ultimately the cat approaches a pond to see, of course, a reflection. From the endpapers to each clever composition, this title invites interaction and thoughtful looking, always allowing the child to discern meaning. VERDICT An excellent first purchase that belongs in all picture book collections.-Wendy Lukehart, District of Columbia Public Library © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal PreS-Gr 3-Readers see the world through a different set of eyes thanks to Wenzel's whimsical and eye-catching artwork as a child, a fox, a worm, and others look on as a tabby saunters through a variety of environments. Each distinctive and imaginative spread features a shape-shifting perspective-such as a bee's pointillistic view of the feline-set to a stripped-down, rhythmic text. © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* What does saw mean anyway? If you're Wenzel, the word is an invitation to explore, to think, and to see in new ways. Here, a repeating refrain with more than a hint of nursery rhyme pads through the book, right along with the central character: a cat. The cat walked through the world, with its whiskers, ears, and paws. Yes, they all saw a cat. Each page turn reveals how a series of creatures sees the cat. To the child, it is big-eyed and adorably fluffy; to the fish in the bowl, it's two huge, blurry eyes; and to the bee, it is a series of faceted dots. To create these varied visions, Wenzel uses the spacious width of double-page spreads and a wide range of materials, including oil, pastels, watercolor, and pencils. He plays with perspective in other ways, too. A yellow bird looks down at the cat below, and a flea peers through a forest of fur. The result is fascinating, thought-provoking, and completely absorbing. Rich in discussion possibilities and curriculum applications, this is a treasure for classrooms, story hours, and just plain enjoyment.--Rutan, Lynn Copyright 2016 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Mattick is the great-granddaughter of Capt. Harry Colebourn, the Canadian veterinarian who set all things Winnie-the-Pooh in motion: while en route to join his unit during WWI, Harry rescued an orphaned bear cub from a trapper (it cost him $20) and named her Winnipeg (Winnie for short), after his hometown. She accompanied Harry to England and became the mascot of the Second Canadian Infantry Brigade. Knowing Winnie couldn't follow him to France, Harry arranged for a new home for her at London Zoo, where a boy named Christopher Robin discovered her, and the rest is literary history. Framed as a bedtime story that Mattick tells her toddler son, Cole (who interjects questions such as "Is twenty dollars a lot?"), the book strikes a lovely, understated tone of wonder and family pride. It also suits Blackall (A Fine Dessert) to a T. While her work usually has a strong streak of fantasy, or at least ethereal otherworldliness, she proves that she's equally imaginative at chronicling straight-on reality, too. Ages 3-6. Author's agent: Jackie Kaiser, Westwood Creative Artists. Illustrator's agent: Nancy Gallt, Nancy Gallt Literary Agency. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal K-Gr 3-This sweet tale of the black bear that inspired the legendary children's book character Winnie-the-Pooh will resonate with readers. In the framing story, a mother tells her son, Cole, a bedtime tale about how veterinarian Harry Colebourn, a young Canadian soldier on his way to train and fight in Europe during World War I, stumbled upon a baby black bear that he bought off a trapper at a train depot. Colebourn named the bear Winnie, short for Winnipeg, a gentle reminder of his hometown, and took the bear with him to England. Winnie quickly became the mascot of his unit. But when the time came to ship out to France for combat, Colebourn left his beloved pet in the capable hands of the London Zoo. Later, Milne and his son, Christopher Robin, visited the London Zoo and Christopher Robin took an immediate shine to Winnie, developing an unusually strong bond with the animal and even playing with her in her enclosure. The boy imagined all sorts of adventures for Winnie, which became the basis for the now-famous stories written by Milne. Washes of muted colors convey a cozy cheeriness that imbues the book with warmth and comfort, while occasional interjections from young Cole add to the fun. Blackall's characters are rosy-cheeked and expressive, while Winnie is curious and whimsical. A perfect melding of beautiful art with soulful, imaginative writing, this lovely story, penned by Colebourn's great-great granddaughter, is ideal for sharing aloud or poring over individually. VERDICT Children everywhere will enjoy this tale for years. A must-have.-Jody Kopple, Shady Hill School, Cambridge, MA © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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School Library Journal PreS-Gr 3-The beautiful gouache and ink illustrations that earned this title the 2016 Caldecott Medal spring to life in this exceptionally well-done, heartfelt production. Delicate keyboard music sets a tender tone as narrator Katherine Kellgren introduces viewers to author Lindsay Mattick and her young son Cole. As seen in Sophie Blackall's illustrations, they're sharing a bedtime story about Cole's real-life great-grandfather Harry Colebourn. Harry was a World War I veterinarian who rescued a bear cub from a trapper at a train station. He named the bear Winnie after his hometown of Winnipeg, and she traveled with him and his regiment all over Canada and eventually across the Atlantic Ocean to England. She became the mascot of the Second Canadian Infantry Brigade, but when the time came for the men to march into battle, Harry knew it wouldn't be safe for the cub to come along. He drove her to the London Zoo, promising to always love her, even while they were apart. While staying at the zoo, Winnie met Christopher Robin Milne. The boy and the bear formed a special bond, and Christopher Robin's father, A.A. Milne, wrote about their adventures in his books. Real photographs are included at the end that depict Winnie with Harry, his fellow soldiers, and Christopher Robin. Close-ups of Harry's diary entries are featured as well. VERDICT Well-paced narration, gentle background music, strong storytelling, and expressive artwork combine seamlessly, making this perfect for a bear-themed storytime or for a World War I unit.-Anne Bozievich, Friendship Elementary School, Glen Rock, PA © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* Mattick's family ties to Winnie-the-Pooh form the backbone of her cozy debut. Framed as Mattick telling a bedtime story to her young son, Cole, her tale begins in 1914 in Canada, when veterinarian Harry Colebourn, her own great-grandfather, sets off to join the war in Europe. A fateful whistle-stop encounter with a gentle bear cub begins the historic friendship, when Colebourn buys the cub for 20 dollars. Though officers in Colebourn's division were initially aghast that he would bring a wild animal along, they were quickly won over by her irrepressible charm (and appetite), and the bear, named Winnipeg after their hometown, became the division's mascot. Winnie accompanied the soldiers all the way to England, where Colebourn eventually took Winnie to the London Zoo. There Christopher Robin met Winnie and the rest is literary history. Blackall's warm, beautiful gouache-and-ink illustrations capture an impressive depth of feeling, even in relatively simplified faces. The visuals not only complement the fablelike cadences of Mattick's text but also include subtle details that enrich the story the opening pages, for instance, recall a storybook forest before melting into the surroundings of Cole's bedroom, where he hears the story of Colebourn and Winnie. Little ones who love A. A. Milne's classic stories will be enchanted by this heartening account of the bear's real-life origins.--Hunter, Sarah Copyright 2015 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book A boy's mother tells him the story of his great-great-grandfather, owner of a baby bear named Winnie, and the circumstances that led to another boy, Christopher Robin Milne, befriending Winnie--inspiring that boy's father to write some children's tales. Mattick, the storytelling mother in this book, embellishes her family's history with evocative, playful language, matched by the period warmth of Blackall's carefully composed images. (c) Copyright 2016. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 3-This story of the bear who inspired Winnie the Pooh is sure to find a home in the hearts of listeners worldwide. Mattick's great-grandfather, Harry Colebourn, was a veterinarian who cared for horses in the Second Canadian Infantry Brigade during World War I. While traveling east by train across Canada from his home in Winnipeg on the first leg of his journey as a soldier, Harry paid a trapper $20 for a baby bear and named her Winnie after his home province. The bear traveled as Harry's companion across the ocean to England and trained with him until it was time for Harry to head to the front line in France. It was then that Harry made the difficult decision to give Winnie a new home-the London Zoo. That is where, as Mattick so aptly says, "sometimes you have to let one story end so the next one can begin." Christopher Robin Milne, A.A. Milne's son, discovered Winnie at the zoo and became enamored with her. The rest, as they say, is history. Erin Moon's narration is lovely and winsome, honoring the compassion inherent in this piece of history. VERDICT Just as Colebourn's "heart made up his mind," listeners should follow their hearts and seek out this book, which is sure to have wide appeal. ["Children everywhere will enjoy this tale for years. A must-have": SLJ 8/15 starred review of the Little, Brown book.]-Terri Perper, Olney Elementary School, Olney, MD © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus A mother tells a true bedtime story about the bear that inspired Winnie-the-Pooh's name. Mom tells little Cole about Harry, a veterinarian in Winnipeg "about a hundred years before you were born." En route to his World War I muster, Harry buys a bear cub from a trapper and names her Winnipeg "so we'll never be far from home." Winnie travels overseas with the Canadian soldiers to training in England, but when they ship out to France for actual combat, Harry leaves her at the London Zoo. "That's the end of Harry and Winnie's story," but another section begins, about a boy named Christopher Robin Milne who plays with Winnie at the London Zoo. Christopher Robin names his stuffed bear Winnie-the-Pooh after her, and his fatherA.A. Milne, of coursetakes the name and runs with it. Mattick's prose has a storyteller's rhythm and features the occasional flourish (repeating "his heart made up his mind"); Blackall's watercolor-and-ink illustrations have a peaceful stillness that's welcome in a book that, though not about combat, concerns the trappings of war. A photo album includes snapshots of Winnie with her soldiers and with Christopher Robin. The piece has something of a split personality, and the Winnie-the-Pooh angle comes so late it seems almost an afterthought. Beautiful but bifurcated, with the two stories in one making it a challenge to determine the audience. (photo album) (Picture book. 5-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal Gr 1-4-"Where y'at?" Troy Andrews, aka Trombone Shorty, opens his book with this phrase, letting readers know that it's New Orleans parlance for hello. In this stunning picture book autobiography, multi-instrumentalist and vocalist Andrews shares the story of his early years growing up in the Tremé neighborhood of New Orleans. Andrews desperately wished to emulate the musicians in his family and those he saw performing all over his city, so he and his friends made their own instruments out of found materials, played in the streets, and marched with bands. When one day he found a battered, discarded trombone bigger than he was, Andrews finally had a real instrument to play, and he practiced day and night, acquiring the nickname Trombone Shorty from his older brother. The moment Bo Diddley pulled Andrews on stage to play with him during the New Orleans jazz festival was a turning point, and he hasn't stopped performing since. Collier's beautiful watercolor, pen-and-ink, and collage artwork picks up the rhythm and pace of Andrew's storytelling, creating an accompaniment full of motion and color. Each spread offers a visual panoply of texture, perspective, and angles, highlighting the people and the instruments. Andrews's career is still on the rise, his music gaining an ever wider audience, and this title will be an inspiration to many. VERDICT Coupled with a selection of Trombone Shorty's music, this work will make for fun and thoughtful story sharing. A must-have.-Jody Kopple, Shady Hill School, Cambridge, MA © Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list In this contemporary autobiography, Andrews pays tribute to the New Orleans neighborhood of Tremé and the culture and community that propelled him into becoming the Grammy Award-nominated musician he is today. Like other stories of artistic achievement, this is one of determination and passion. Young Troy, nicknamed Trombone Shorty by his brother, forms a band with his friends using homemade instruments, until one day Troy finds a real trombone to call his own. But this story breaks from the motif of individualism to recognize that family, community, mentors, and friends are always part of life's journey. It reminds young readers particularly boys of color that they can follow their dreams and lean on people who will nurture and guide them. Andrews' journey is perfectly complemented by Collier's illustrations. Sharp panels of color and image, perspective that dips and soars, and layers of mixed-media collage unite to feel like renditions of brass band music itself. The author's note fills in the gaps in the story and reaffirms the importance of people and place. A portion of the proceeds from the sale of the book will benefit the Trombone Shorty Foundation.--Chaudhri, Amina Copyright 2015 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus An autobiographical tale of a young man who started making "musical gumbo" at age 4. Troy "Trombone Shorty" Andrews relates how he grew up in Trem in New Orleans, American's oldest black neighborhood, where he heard music everywhere. Young Troy admires his big brother's trumpet playing and makes music without instruments with his friends. After finding a discarded trombone, the little boy teaches himself to play. Troy narrates: "I was so small that sometimes I fell right overbecause it was so heavy." (Despite Collier's illustrations of young "Shorty," nothing prepares readers for his size in the parade photograph in the backmatter.) When Bo Diddley hears him playing in the crowd at the New Orleans Jazz Heritage Festival, the jazz great invites him to the stage. An author's note explains that Troy started a band at age 6 and joined Lenny Kravitz's band at 19. Trombone Shorty Orleans Avenue, his band, tours the world, and Troy shares New Orleans music and culture through his foundation and music academy. Employing his unmistakable mixed-media collage images, Collier portrays the story of this living legend with energy and style, making visible the swirling sounds of jazz. This well-told and exquisitely illustrated story of a musician with a steep career trajectory will inspire young readers to pursue their passions, despite the challenges. (illustrator's note) (Picture book/biography. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book Andrews, a.k.a. Trombone Shorty, concentrates on his younger years: growing up in New Orleans's Tremi neighborhood; making his own instruments before acquiring a trombone; practicing constantly; appearing onstage with Bo Diddley; and finally forming his own successful band. Expressive watercolor collages layer and texture each page, creating a mix of images that echo the combination of styles in Andrews's "musical gumbo. (c) Copyright 2015. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly The streets of New Orleans are filled with music, and so is the house of Troy Andrews, who narrates the story of his growth into the musician known as Trombone Shorty. Troy dreams of having his own band, and when he finds a battered trombone, he knows he's on his way: "It didn't sound perfect, but finally with a real instrument in my hand, I was ready to play." He brings it to a Bo Diddley concert, and Diddley brings him onstage. Andrews shares the culture of Tremé, his New Orleans neighborhood, punctuating his story's high moments with the traditional greeting-"Where y'at?" Collier's (My Country 'Tis of Thee) collaged illustrations give the story even more joyful power. He paints sound with sunbursts of color, the fragrance of gumbo with misty swirls, and Troy's dreams about the future with bubbles that rise from his bed as he sleeps with his arm around his trombone. If a fairy tale were set in New Orleans, this is how it would read. Ages 4-8. Illustrator's agent: Marcia Wernick, Wernick & Pratt. (Apr.)? © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Waiting is a huge part of every child's life, and Henkes uses a light touch to address the topic. Five toys, outlined in brown and filled in with muted colors, wait on a windowsill. Time passes slowly through seasons; small changes in body positions and eyes show a range of emotions. A straightforward text sets up predictable patterns with small surprises, while the design is varied to create momentum. (c) Copyright 2016. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Five toys ranged on a windowsill exemplify existential pleasure. In the mode of such pastel-hued, minimalist delights as A Good Day (2007), Henkes presents a pig with an umbrella, a bear with a kite, a puppy on a sled, an owl with spots, and a rabbit with stars (this last is depicted as a spring-loaded rabbit head, rather like the innards of a jack-in-the-box). Respectively, the first four wait for the rain, the wind, the snow, and the moon; the rabbit just likes waiting. Henkes keeps readers gently off-balance as to the nature of these toys' sentience. Sometimes, as when comically on their backs "sleeping," they seem stiff and immobile; other times, as when they huddle together during a thunderstorm, eyes wide and frightened, their bodies exude warmth and softness. Images are snapshots of single moments, and never is a child depicted; it is left to readers to decide whether the toys move on their own or have been posed by a hand outside the frame. The story is all about quietly filling in the gaps; though little appears to happen beyond the changing of seasons and arrival (and in one case, tragic departure) of other toys, the protagonists' contentment with just waiting is contagious. Waiting as a joyful activity in itself is almost never celebrated; this Zen-like meditation might win some converts. (Picture book. 3-6) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list *Starred Review* A pig with an umbrella, a spotted owl, a puppy on a sled, a bear holding a kite, and a rabbit with a long accordion body. These five little toys look out a tall window at nothing much, waiting. Pig waits for rain; Owl, the moon; Bear, the wind; Puppy, the snow; and Rabbit just waits. One day they are joined by a round wobble of a cat. She tumbles over and out come nested cats of decreasing size, who join the friends on the windowsill to wait and watch. Quiet yet evocative, this is a lovely melding of artwork, design, and text. The pictures, executed in a soft palette of brown ink, watercolors, and colored pencils, get a suitable home on buff-colored pages. The thoughtful design begins on the jacket, where the window, its panes accentuated by a shiny gloss, allows the toys to view clouds reflecting altered views of their own images: Pig's umbrella floats through the sky, while the staid owl soars with wings spread. The short sentences of the text flow with the precision one would expect from a master picture-book creator like Henkes. Little ones, to whom each experience is new, will know what it's like to dream and wait. HIGH-DEMAND BACKSTORY: Caldecott medalist and Newbery Honor Book author Henkes is a favorite among librarians and booksellers (and, of course, children). Any new book will spark demand from his fans.--Cooper, Ilene Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Waiting can make anyone feel helpless and frustrated, so the five toylike knickknacks in Henkes's (Penny and Her Marble) story should be at their collective wits' end. Perched on a windowsill, this odd, diminutive crew-a pig with an umbrella, a bear with a kite, a puppy attached to a sled, a rabbit on an accordion spring, and an owl-have little volition of their own ("Sometimes one or the other of them went away, but he or she always came back"). But while their lives are spent waiting, their existence seems full and rich with meaning. Waiting reinforces their sense of identity: the pig waits for the rain and when it comes, "the pig was happy. The umbrella kept her dry." Waiting also connects them to each other: looking out the window together, "they saw many wonderful, interesting things," like frost on the windowpane or a sky lit up with fireworks. Henkes never tells readers explicitly what he's up to, and several incidents are wide open to interpretation-and that's what makes this enigmatic, lovely book intriguing and inimitable. Ages 4-8. (Sept.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

School Library Journal PreS-K-Five toys sit on a windowsill, each waiting for something. There's an owl with spots waiting for the moon, a pig with the umbrella waiting for the rain, a bear with a kite waiting for the wind, and a puppy on a sled waiting for the snow. And then there's a "rabbit with stars," content to simply look out the window. With an economy of words and gently repeating patterns, the text informs readers about the emotional ups and downs of this tiny band of friends: what makes them happy (getting what they've waited for), what makes them sad (when one of them goes away), and what surprises them (gifts, visitors, new friends.) Along with happiness and friendship, there are small moments of grief, anxiety, and existential wonder-all thoughtfully and authentically depicted with childlike honesty and optimism. On thick, creamy pages, Henkes uses brown ink with touches of watercolor and colored pencil in muted shades of pink, green, and blue to depict the softly rounded figures, shown small before the expanse of the four-paned window. Henkes varies the compositions with vignettes and a four-page wordless sequence showing the beautiful (a rainbow, fireworks) and sometimes scary (lightning) sights that the toys observe from the vantage point of their windowsill. The careful placement of the text and images establishes a leisurely pace, encouraging readers and listeners to slow down, examine the pictures, and discuss. Are these sentient little beings or are they moved and posed by an unseen child? Henkes leaves it up to readers to determine. VERDICT Waiting further cements Henkes's place alongside picture book legends like Margaret Wise Brown, Crockett Johnson, and Ruth Krauss, through his lyrical text, uncluttered yet wondrously expressive illustrations, and utmost respect for the emotional life of young children.-Kiera Parrott, School Library Journal © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus A welcome addition to civil rights literature for children. Ask American children to recall a book on Martin Luther King Jr. or Rosa Parks, and most can. Fannie Lou Hamer? They will likely come up short. This expansive, richly illustrated biography about the "voice of the civil rights movement" recounts Hamer's humble and poverty-stricken beginnings in 1917 as the 20th child of Mississippi sharecroppers through her struggle to fight for the rights of black people on local, regional, and national levels. Hamer's quotes appear frequently in Weatherford's free-verse poetry, giving readers a sense of how and what she spoke: "Black people work so hard, and we ain't got nothin' / to show for it." The author also includes painful truths, describing the "night riders' " pursuit of Hamer after she attempted to register to vote and a brutal beating at the hands of police following her arrest, from which she suffered lifetime injuries. Hamer's determination, perseverance, and unwavering resolve come through on every page. Holmes' quiltlike collage illustrations emphasize the importance Hamer placed on community among African-Americans. Young readers who open this book with just a vague notion of who Fannie Lou Hamer was will wonder no more after absorbing this striking portrait of the singer and activist. Bold, honest, informative, and unforgettable. (author's note, timeline, source notes, bibliography) (Picture book/poetry/biography. 10-14) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal Gr 6 Up-This welcome biography brings to light one of the civil rights movement's most inspiring leaders. The youngest of 20 children, Fannie Lou Hamer grew up in a family of sharecroppers in the Mississippi Delta. Forced to leave school after sixth grade, she joined the rest of her family in the fields picking cotton. Still hungry for knowledge, she found strength in the love of her family and through her Christian faith. Weatherford describes the hardships that Hamer endured. For instance, in 1961, while she was having a small tumor removed, a doctor performed a hysterectomy without her consent; at that time, Mississippi law allowed poor women to be sterilized without their knowledge. Hamer was in her 40s when young activists spoke at her church; until that point, she hadn't known that she could vote, and she volunteered to register. Though she faced threats and in 1963 was brutally beaten, she spent the rest of her life rallying others. Told in the first person from Hamer's own perspective, this lyrical text in verse emphasizes the activist's perseverance and courage, as she let her booming voice be heard. Holmes's beautiful, vibrant collage illustrations add detail and nuance, often depicting Hamer wearing yellow, which reflects her Sunflower County roots and her signature song, "This Little Light of Mine." Pair this title with Don Mitchell's The Freedom Summer Murders (Scholastic, 2014), which features a short chapter on Hamer, for a well-rounded look at this tumultuous, turbulent era. VERDICT Hamer's heroic life story should be widely known, and this well-crafted work should find a place in most libraries.-Marilyn Taniguchi, Beverly Hills Public Library, CA © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* In this stunning biography of Fannie Lou Hamer, we walk beside her through tears and smiles on a remarkable journey of resilience and determination that leaves us transformed. The narrative is organized into a sequence of free-verse poems that stand alone as successfully as they link together. They describe what it was like to begin life under Jim Crow oppression and emerge a national hero. We learn that she cared for her aging mother, married, and adopted children; that she was forcibly sterilized, arrested, beaten, and most important, remained an activist her entire life. Caldecott Honor winner Weatherford (Moses: When Harriet Tubman Led Her People to Freedom, 2006) has rendered Hamer's voice so precisely that it is like sitting at her knee as she tells her story. Holmes' multimedia collages perfectly capture the essence of each poem. Like Hamer's life, the illustrations are filled with light, texture, movement, and darkness. They are both abstract and realistic, brilliantly juxtaposing gentle floral motifs with protest placards and Fannie Lou Hamer's face in bold relief. Ultimately, though this is Hamer's story, it includes the collaborative struggles of others with whom she worked and fought for a different America. Bold, unapologetic, and beautiful.--Chaudhri, Amina Copyright 2015 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book Weatherford chronicles the life of civil rights icon Hamer from her beginnings as the child of Mississippi sharecroppers, through the evolution of her political awareness, to her lasting impact on the civil rights movement. Conversational free-verse text seamlessly incorporates direct quotes; richly colored collage illustrations add emotional heft. This majestic biography places the civil rights movement in personal, local, national, and international contexts. Timeline. Bib. (c) Copyright 2016. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 2-How long would you wait and how far a journey would you make to find your truest friend? Born on an island for imaginary friends, Beekle waits to be "imagined by a real child." He waits and he waits, but his turn never comes. Filled with impetuous courage, Beekle does the unimaginable and heads out across deep waters until he reaches the real world. He finds that life there is so harried that no one notices him. Eventually, as he waits at the top of a star-leafed tree, a small girl with a friendly face calls out to him with a picture in her hand. They learn to be friends, share adventures and snacks, joke, "and together they did the unimaginable." Santat's attention to detail in the mixed-media illustrations shares a child's eye for laughter and movement on full-bleed spreads with strategically placed text. Gazes of wonderment, broad smiles, and changes in perspective ensure an easy transition from page to page. Beekle's round white visage and taped orange paper crown are immediately identifiable in each scene, a sharp contrast to his surroundings against variations of dark neutrals on a city street or the brightly colored dragons of a child's imagination. Like Beekle's new friend, there's something here that feels just right as an "unimaginary" friendship creates a joyous, recognizable bond. A terrific addition to any library.-Mary Elam, Learning Media Services, Plano ISD, TX (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book Imaginary friend Beekle waits and waits for a child to think him into existence. When it doesn't happen, Beekle sails off to the real world--a city full of boring adults--to find her. Santat's bright digital illustrations capture the vivid land of imagination, the drab adult world, and the giggle-inducing expressions on marshmallow-like Beekle's pudgy white face. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list In this picture book, imaginary friends are born on a distant island, where they await their real-life kid friends to dream them up and name them. One surprisingly expressive pudgy white blob gets sick of waiting, so he hops in a boat and embarks on an adventurous voyage to the real world, departing on a sunny sea next to a rainbow-scaled dragon and arriving in a gray, dingy city harbor. Once he reaches his destination, a fortuitous breeze brings him to bespectacled Alice, who names him Beekle, and it's the beginning of a beautiful friendship. It's unclear why Beekle is so unimaginary, since the only thing that sets him apart is his initiative, but that's an easily forgivable quibble. Santat's plush illustrations fill each two-page spread with beautiful, varied layouts and a kaleidoscope of tones. Whether he's lost amid a sea of black pants-legs, lonely on top of a bare tree, or joyful at discovering the loopy, colorful world of vivacious children with vivid imaginations, Beekle's journey is lovely.--Hunter, Sarah Copyright 2014 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly On an island of imaginary friends waiting "to be picked by a child and given a special name," one friend-he's adorably pudgy, and wears a paper crown-resolves to wait no longer. He sets sail in a small boat, but the sea serpents and whales he encounters are not nearly as daunting as the real world, which is gray and pedestrian: "No kids were eating cake. No one stopped to hear the music." At last, his human appears: she's a geeky, mop-headed girl who likes to draw. A sweet sequence shows the two shifting and blushing next to each other; she turns to him with his new name: "Beekle." He's overjoyed. Santat (Crankenstein), a versatile and talented illustrator, ranges wide, drawing underwater ocean scenes, grim cityscapes, and appealing alien creatures. The third-person retelling weighs the story down somewhat-there's no conversation-and the pace drags as Beekle's search has more obstacles than it needs to. Affirming thoughts abound ("thinking about his friend gave him the courage to journey on"), but fans may miss the cracked humor of Santat's more irreverent work. Ages 3-6. Agent: Jodi Reamer, Writers House. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Kirkus A child learns to appreciate Nanas urban environs.Nana has a new apartment in the city, and her grandchild is excited but nervous about visiting. I love my nana, / but I dont love the city, she tells readers. Accompanying art depicts how the city seems busy and loud and filled with scary things. Illustrating the last point, the picture shows the child small and scared against a graffitied wall while following Nana and looking back at a homeless man who is begging with a cup held before him. That night, Nana listens to her grandchilds fears and promises a better day, but she also describes her love of the city. A facing wordless spread depicts Nana knitting into the night; careful readers may recognize the red yarn from a title-page vignette of two cats with a ball of yarn. The next day, she gifts her grandchild a knitted red cape (the same one depicted in jacket art). This acts as a security blanket or magical talisman of sorts to change the childs perspective of the city. Even an encounter with the previously scary homeless person becomes an opportunity for kindness as Nana hands him not money, but food. Throughout, Castillos soft, warmly colored art expresses the childs changing feelings about the city while also depicting the characters close bond.A sweet story for country-mouse readers. (Picture book. 3-6) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list When a little boy arrives in a big city to stay with Nana in her new apartment, he is overwhelmed and scared by the noise, the crowds, and the new experiences, from subway trains to panhandlers to graffiti. That next morning, though, he feels brave in the red cape Nana has knitted for him brave enough to venture out with her to explore. Now confident, he embraces new experiences and finds the city filled with extraordinary things! The short, simple text reads aloud well, and the watercolor artwork extends the narrative's tone and content beautifully. Strong, expressive black lines define the characters and settings, while autumn colors and interesting textures help bring the images to life. Children will want to linger over the busy urban scenes, discovering for themselves what might scare or excite the boy, while watching his body language convey his initial fears and his later engagement with all that he sees. A rewarding picture book with a vibrant setting.--Phelan, Carolyn Copyright 2014 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book Visiting Nana in the city, the unnamed child narrator is initially unreceptive to the appeal. "The city is busy...loud...[and] filled with scary things." Nana promises to show her young visitor that "the city is wonderful--bustling, booming, and extraordinary," and their tour the following day does just that. The simple, meaningful text is well served by richly detailed watercolors conveying a bustling city. (c) Copyright 2015. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly "I love my nana," a boy explains, "but I don't love the city." She greets him with a hug, but he's still nervous. "The city is busy," he says (crowds press in). "The city is loud" (a whistle shrieks). "The city is filled with scary things" (the boy shrinks from a homeless man holding out a cup). "It is no place for a nana to live," he concludes. While he sleeps, nana knits him a gift-a big red cape. A series of vignettes shows him wearing it the next morning, striking delighted poses. With new courage, the boy discovers a city he hasn't seen before-one full of life, wonder, and pretzels for homeless men: "It is the absolute perfect place for a nana to live," he decides. Castillo (The Troublemaker) examines childhood anxiety and the crucial love of grandparents with sensitivity, while her portraits of the city's challenges are honest and affectionate. It deserves a place on the shelf of classic New York City picture books. Ages 4-8. Agent: Paul Rodeen, Rodeen Literary Management. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

School Library Journal PreS-Gr 1-Nana's young grandson is excited about staying with her, but her new apartment is in the city, which, according to him, is "busy," "loud," and "filled with scary things." Nana, however, thinks the city is "bustling, booming, and extraordinary," and the next day, she takes him out to experience the sights and sounds for himself. Soon, the boy discovers that "busy" can be fun as he romps through Central Park, which is filled with people appreciating a fine fall day. "Loud" is actually enjoyable as he listens to street musicians and sees a fellow break-dancing to recorded music. By day's end, he comes to realize that the city is "filled with extraordinary things" and is "the absolute perfect place...to visit." While the child's account is related in brief text, the watercolor illustrations tell readers much more. They see him initially hang back as his grandmother leads him into the cavernous subway, hold hands over his ears and grimace at construction and traffic noises, and cling to Nana as a street person approaches her for money, which later becomes for him a friendly encounter when she offers the man a pretzel. Dark, graffiti-filled scenes change to a spread dominated by reds and yellows as the boy points in wonder to the lights, buildings, and bustle of the city at day's end. This is a fine example of how firsthand experience can overcome initial fear. Pair it with Lilian Moore's celebration of the city in Mural on Second Avenue (Turtleback, 2013).-Marianne Saccardi, formerly at Norwalk Community College, CT (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus This impressive biography of Vasily Kandinsky highlights the unusual connection between his art and the music that inspired it. As a young boy in Russia, Vasily--nicknamed Vasya--glumly studies "bookfuls of math, science, and history." His heavy eyelids droop; he sits "stiff and straight" while adults drone on. Then his aunt gives him a paint box, and everything changes. As Vasya mixes one hue with another, he hears the colors making sounds. "Whisper" is set in a faux handwriting type; "HISS" is also set in a different type from the primary text. Vasya listens as "swirling colors trilllike an orchestra tuning up." Rosenstock explains the mixing of Vasya's senses--synesthesia, in contemporary terms--through the shapes he paints: "Crunching crimson squares," "[w]hispering charcoal lines" and "a powerful navy rectangle that vibrated deeply like the lowest cello strings." Using acrylic paint and paper collage, Grandpr emphasizes the blending of two arts by showing Vasya's paintbrush-holding arms aloft as if he were conducting and by letting Vasya's colors waft upward from his palette, making curlicues in the air, with music staffs and notes interwoven. As Vasya grows up, he faces resistance to his nonrepresentational work, including the repeated interrogation, "What's it supposed to be?"--but his magnificent, abstract, sound-inspired paintings won't be repressed. A rich, accomplished piece about a pioneer in the art world. (author's note, painting reproductions, sources) (Picture book/biography. 5-10)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book Pioneering abstract artist Vasily Kandinsky experienced "colors as sounds, and sounds as colors," a neurological condition called synesthesia. Concentrating primarily on Kandinsky's childhood, Rosenstock embellishes known events with dialogue. GrandPri does a fine job showing color and sound as abstractions while presenting the artist and his surroundings realistically. An author's note provides more information about the artist and four reproductions. Websites. Bib. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 1-4-A stirring tribute to a prominent pioneer of abstract art, Paintbox follows the life of Russian-born artist Vasya Kandinsky from his childhood to adulthood, conveying the astounding imagery conjured in the painter's (probably genetic) condition, synesthesia, which caused sensory fields to collide in explosions that enabled him, for example, to hear colors. In this delightful homage, Rosenstock's crisp visual language unites with GrandPre's deeply expressive and whimsical paintings to re-create the intriguing world of art as seen through Kandinsky's distinct lens. The book offers diverse potential for different types of study, whether one is reading for information or for pleasure. Outstanding.-Kathryn Diman, Bass Harbor Memorial Library, Bernard, ME (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly "Is it a house?" "Is it a flower?" "What's it supposed to be?" When an aunt gives Moscow schoolboy Vasily Kandinsky a paint box, no one knows what to make of the wild shapes he creates. He doesn't just see the colors. He hears them: "blaring crimson... burbling green, clanging orange, and tinkling violet." Even after he gives up his career teaching law years later and decides to study art, his teachers steer him toward traditional subjects. He resists, and his works become the art world's first abstract paintings. Rosenstock (Thomas Jefferson Builds a Library) focuses on passages of Kandinsky's writing that seem to indicate he experienced synesthesia, the neurological phenomenon that blurs the boundaries between the senses, and her prose strikes a balance between lightheartedness and lyricism. GrandPre's (The Wee Hours) paintings, meanwhile, conjure up an entire epoch, lingering over the candelabras and tasseled drapes of the Kandinskys' apartment, breathing life into all the characters, and conveying the energy and vitality of the colors Kandinsky hears. Contains an afterword and reproductions of some of Kandinsky's works. Ages 4-8. Author's agent: Rosemary Stimola, Stimola Literary Studio. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list *Starred Review* Richly colored, large acrylic paint and paper collage pictures illustrate the life of Vasily Kandinsky, one of the first painters of abstract art. As a young boy, Vasya was given a paint box, and when he first mixed colors, he was amazed to find he could hear the colors he created. Throughout his early life, Kandinsky struggled to live as others expected but couldn't forget his exhilarating experiences with painting. Even after giving in and taking lessons, he was unable to suppress the need to create his own style of art. He would see colors and hear music, hear music and see colors. Art should make you feel. Like music. Narrow white frames surround the wonderfully dense illustrations that reveal the sounds the colors make to the artist. The rich word choice is a delight: pistachio, cobalt, and saffron introduce readers to colors while hissing, blaring, and whispering reveal the sounds of the colors. This not a full biography, but rather a revelation of a real and talented person striving to express himself and succeeding. The author's note and source list impart more information. This is a beautiful blend of colors, music, and life.--Owen, Maryann Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus When Sam and Dave dig a hole, readers get "something spectacular." The boys, on the other hand, do not. Their quest to find the spectacular brings them painfully and humorously close to buried jewels as they spade their way into the ground, accompanied by an intrepid canine companion. Readers occupy a superior position as cross-section illustrations reveal those jewels buried just out of the shovels' reach. Each time they near one, the increasingly grubby boys maddeningly change course. On they dig, tunneling in different directions, and each effort reveals (to readers) yet larger jewels evading them. Exhausted, they fall asleep, but the dog digs after a bone it senses below. In an unexpected turn, the ground gives way to nothingness, and the trio falls through empty space "until they landed in the soft dirt." At first glance, it seems they've ended up where they began: A small tree stands on the recto, and a house with a porch is on the verso, as before. But careful readers will notice that the tree here bears pears, while the tree at the story's start had apples. Other differing details (a weathervane duck instead of a chicken; a blue flower instead of a red one; a blue cat collar instead of a red) suggest that they've unwittingly fallen into another dimension. Poor Sam and Dave. Lucky readers. (Picture book. 4-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 1-The winning picture book team that created Extra Yarn (HarperCollins, 2012) is back together in this understated, humorous, and charmingly perplexing tale. Sam and Dave, who are either identical twin boys or friends who look astonishingly alike and share a sartorial sensibility, set out to dig a hole in the hopes of finding "something spectacular." With shovels in hand, the boys (with an eager terrier looking on) begin to tunnel into the soil, but they just can't seem to find anything of interest. What works spectacularly is the clever play between words and pictures. As in Klassen's This Is Not My Hat (Candlewick, 2012), readers are in on a joke to which the characters are oblivious. Namely, that each time the boys change direction, they narrowly miss discovering increasingly enormous jewels hidden in the earth. The book progresses with each verso showing the boys' progress, while the recto features simple text, mostly dialogue between the practical but unlucky explorers. About halfway through, a spread reveals a diamond so large it can barely be contained on the page; it dwarfs the two boys and their trusty canine companion-but all for naught, since they decide to dig in a different direction. Exhausted and covered from head to toe in dirt, Sam and Dave decide to take a rest. Klassen's use of muted earth tones and uncomplicated compositions is paired well with Barnett's deadpan humor. As they nap in their hole, the dog continues to dig.until suddenly the trio is falling; they soon land in a place that looks an awful lot like home. Small details reveal that this house and its inhabitants are ever so slightly changed. Are they dreaming? On the other side of the world? In a different dimension? Readers will have to puzzle that one out for themselves.-Kiera Parrott, School Library Journal (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Sam and Dave, each wearing baseball caps and wielding long-handled shovels, set out to dig a hole. How big a hole? We won't stop digging until we find something spectacular, says Dave, so off they go, digging ever deeper while their little dog follows their progress. A cross section of their dig reveals that Sam and Dave come awfully close to their prize, but they keep digging and missing treasure until they decide to take a nap, during which they tumble right through the earth. Their landing sets them right back on safe ground though, and that, of course, is pretty spectacular. Klassen's pebbly, earth-toned, colored-pencil and digital illustrations of Sam and Dave's dig are exaggerated to comic effect, especially when coupled with Barnett's dry, simple text. Subtle visual clues (the final absence of dirt on Sam's and Dave's clothes; a closing house that's just slightly different from the opening one) suggest there's more to the story than meets the eye, and canny little ones will likely be delighted by the beguiling ending. HIGH-DEMAND BACKSTORY: From I Want My Hat Back (2011) to The Dark (2013), New York Times best-selling Klassen's titles have made him a star of the moment.--Hunter, Sarah Copyright 2014 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Starred Review. Barnetts comic voice is at its driest as he recounts that quintessential American childhood activity-the digging of the giant hole. His deadpan prose mimics the declarative sentences of early readers: On Monday Sam and Dave dug a hole. When should we stop digging? asked Sam. We are on a mission, said Dave. Klassens boys, with identical poker faces and glassy expressions, hold their shovels American Gothic-style, considering their next move. Cross-sections of earth show them further and further down, and comic tension erupts as readers see gigantic diamonds buried at intervals underground while Sam and Dave tunnel on, missing every one: So Dave went one way, and Sam went another. But they didnt find anything spectacular. Meanwhile, their dogs pursuit of a small bone leads further downward, possibly through the Earth and out the other side. They land in their own backyard again-or do they? Barnett and Klassen (Extra Yarn) dangle the prospect of fantastic subterranean treasure before readers, but leave them with an even greater reward: a tantalizingly creepy and open-ended conclusion. Ages 4-8. Agent: Steven Malk, Writers House. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Sam and Dave hope to dig up "something spectacular" but, alas, unearth nothing, repeatedly coming close to (but just missing) precious gems. When their dog, digging for a bone, ruptures the hole's dirt floor, the explorers fall "down, down, down," and land in what appears to be their own yard. Well-chosen words and plentiful white space support readers; cross-section illustrations add visual humor. (c) Copyright 2015. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 3-Yuyi Morales's groundbreaking exploration of artist Frida Kahlo's journey to creative expression fails to make a graceful leap to video. For a viewer unfamiliar with the bilingual picture book (Roaring Brook, 2014), the production may seem like a disjointed jumble of Spanish and English phrases projected on a backdrop of indecipherable imagery accompanied by a Spanish guitar. While the text and illustrations are nicely married in the spreads of the printed edition, the video's animation and voice-over make following the poetic narrative arc challenging. Actress and voice artist Adriana Sananes narrates with spirit, but she can't overcome the stilted fragmentation between the Spanish and English phrases, alternately spoken and displayed on the screen. Morales's mixed-media illustrations (photography of puppets, acrylic paintings, and digital manipulation) are slightly animated, which adds visual interest. A bilingual bonus, the author's note, is easier to follow and more entertaining than the main feature. VERDICT This disc unfortunately does not bring new life to Morales's book but rather obfuscates it.-Jennifer Verbrugge, State Library Services, Roseville, MN © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus This luminescent homage to Frida Kahlo doesn't hew to her artwork's mood but entrances on its own merit. Adults will recognize Kahlo's signature eyebrows, but readers of all ages will be caught immediately by the bewitchingly bright colors and detailed photographs. Morales makes her figures from steel, polymer clay and wool, and the illustrations come together with acrylic paint, digital manipulation and O'Meara's dramatically angled photographs of the scenes. Kahlo has the thin, posable arms and stiff legs of a fashion doll, with earrings, a necklace and flowered dresses. Her vibe is contented curiosity as she and her monkey explore a box and find a skeleton marionette. A second thread shows Kahlo as two-dimensional (possibly doll-Kahlo's dream?), rescuing a wounded deer; doll-Kahlo then includes the deer in a self-portrait. Vivid textures and high-saturation colors enthrall. However, the text (in English and Spanish) is platitudinous and vague: "I realize / that / I feel / And I understand / that I love / And create / And so / I live!" It would be impossible (and undesirable) to translate the violence, pain and anger of Kahlo's work for an audience this young; these illustrations, while including some of her visual motifs, don't even try. The final spread is downright festive. Morales' author's note (also in English and Spanish) provides a brief biographical sketch that makes clear the artist's profound effect on her.Out of context, visually radiant; as an introduction to Kahlo herself, almost irrelevant. (Picture book. 3-6) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book Morales initially shows Kahlo as a puppet: made from steel, polymer clay, and wool, three-dimensional figures are photographed and digitally manipulated inside double-page-spread collages. As we enter Kahlo's mind, the medium changes to lush acrylics. The illustrations are accompanied by just a few words of text in both Spanish and English that leave readers with a dreamlike impression. An ingenious tour de force. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 1 Up-Kahlo's unusual life story, background, and art have made her a frequent topic of biographies. Morales's perception of her creative process results in a fresh, winning take on an artist who has rarely been understood. The author uses strong verbs to give Kahlo voice: "I see (Veo)"; "Se (I know)." Kahlo is depicted as a self-possessed woman with a drive to create. Her artistic process has room for others to participate, though-love, imagination, and dreams are closely entangled in her art. In the illustrations, Diego Rivera is shown creating alongside his wife. While the artistic process seems magical to readers, Kahlo knows what she is searching for. Each spread has just one or two words on it, both in English and Spanish. The text floats on the page, with the Spanish in a lighter color, adding to the ethereal, dreamlike feel of the book. Morales's art and O'Meara's photographs take this book to another level. Created with stop-motion puppets, paintings, and digital elements, these are amazing works of art themselves. The puppets are lifelike, resembling Kahlo (with her unibrow) and Rivera accurately. They are surrounded by the animals Kahlo loved, including vibrant feathered parrots, a monkey, and dog. Throughout the book, Kahlo goes searching for inspiration and finds it all around her. Morales incorporates many of the hallmarks of Kahlo's art into her own. The artist wears silver, open-hand earrings and multicolored dresses. She plays with a skeleton puppet on these pages and imagines herself soaring, freed from her fragile body. Morales's note in both English and Spanish describes her connection with Kahlo. A resonant title that can be used anywhere Kahlo's art is studied. It will also be admired in bilingual collections.-Susan E. Murray, formerly at Glendale Public Library, AZ (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Readers will recognize Morales's (Nino Wrestles the World) handmade Frida Kahlo doll from Kahlo's self-portraits-Morales's doll has the same haunting beauty and direct gaze, and she wears the same Mexican peasant clothing. In a series of composed photographs, Frida gazes at her pet monkey-another handmade creation-who slips the artist a key. The key opens a locked box, which holds a marionette, a jointed skeleton. Spare, lyrical text is set in English and, in fainter type, in Spanish, and each page turn reveals a new word or phrase. "Juego/ I play," Frida says, manipulating the marionette while the monkey sits on her shoulder. Now a paper cutout, Frida is shown dreaming, rescuing an injured fawn, then awakening, restored to doll form, as her husband-a plump, affectionate Diego Rivera-gives her a kiss on the cheek. "Vivo!" she says. "I live!" Frida is presented less as a historical figure than as an icon who represents the life Morales holds sacred; Frida lives because she loves and creates. A detailed biography is included. Ages 4-8. Agent: Charlotte Sheedy, Charlottte Sheedy Literary Agency. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list Morales artistically distills the essence of the remarkable Frida Kahlo in this esoteric, multigenre picture book. Morales layers English and Spanish words never more than four to a page to depict a Frida who is curious, playful, wise, and inspired. Rather than tell a story, the text captures fragments of Frida's life, like snapshots with bilingual captions. Readers who know about this artist will appreciate that she is so much more than the product of the bus accident that robbed her of her health, and readers who do not know about her will be intrigued to learn more. The heartfelt yet succinct biography at the end provides that information in both languages. The three-dimensional quality of the illustrations lends realism, even though they are quite surreal, and the photography always captures the sparkle in Frida's eyes and the lights at any fiesta. While the picture-book format and bright photographed tableaux will appeal to a younger audience, it's slightly older readers who will be best suited to appreciate the deceptively simple text and references to Kahlo's art.--Chaudhri, Amina Copyright 2014 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly The award-winning team behind A River of Words takes on the story of British physician Peter Mark Roget, author of the eponymous thesaurus. Bryant draws a clear line from the dislocations of Roget's youth-the death of his father in 1783 and the family's frequent moves thereafter-to his need for order as he starts making lists of words. "Words, Peter learned, were powerful things. And when he put them into long, neat rows, he felt as if the world itself clicked into order." Yet Roget wasn't merely a reclusive scholar. He meant for his thesaurus to have a democratizing effect: "I want everyone to be able to use my word book, not just doctors, politicians, and lawyers, but cobblers, fishmongers, and factory workers." Sweet envisions Roget's work as a shadow box crammed with the wonders of the natural world, adorned with exuberant hand-lettered typography. Together with Bryant's sympathetic account, Sweet's gentle riot of images and words humanizes the man behind this ubiquitous reference work and demystifies the thesaurus itself. Ages 7-up. Author's agent: Alyssa Eisner Henkin, Trident Media Group. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list *Starred Review* Bryant's and Sweet's talents combine to make the lowly thesaurus fascinating in this beautifully illustrated picture-book biography of Peter Mark Roget. Born in the late eighteenth century, shy Roget was prone to wandering alone and began keeping lists of words at a young age. Even as he went to medical school and became a talented and respected physician, he still kept his book of word lists, gradually improving on the concept until he published his first thesaurus, classified thematically rather than alphabetically as it is today, in 1852. Echoing Roget's obsession with words, Sweet's intricate and elaborate collage illustrations made out of textbooks, graph paper, maps, fabric, typewriter keys, and other found objects put words on center stage. Lists in wildly expressive handwritten fonts along with cut-paper assemblages stuff the dynamic pages, even the appended time line and endpapers, with arresting detail. Pivotal moments in Roget's life get a similar treatment: terms related to plants bloom in tendrils around a watercolor illustration of Roget on one of his many walks. In brilliant pages teeming with enthusiasm for language and learning, Bryant and Sweet (A Splash of Red, 2013) joyfully celebrate curiosity, the love of knowledge, and the power of words.--Hunter, Sarah Copyright 2014 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal Gr 2-5-Those who have relied upon a thesaurus (meaning treasure house in Greek), either in print or through the tool menu of word processing software, will gain a greater appreciation for the reference tool in this beautifully designed picture book biography of its creator, Peter Roget. Bryant describes bibliophile Roget, taking him from a timid, studious child who was always compiling lists to an accomplished doctor who by 1805 had compiled the beginnings of the first thesaurus. Busy and exuberant, Sweet's charming watercolor illustrations, layered over collages of vintage images and fonts, capture Roget's passion for classification while also providing readers new opportunities for discovery (Latin translations of animal names, mathematical terms, and a plethora of synonyms). Expertly researched and well written, Bryant's narrative not only details the creation of the thesaurus; it also conveys a sense of Roget the man: his shy nature, his keen intelligence, and his passion for knowledge. There truly was a particular blend of artistry and intellect that went into Roget's book, as evidenced from a reproduced page from the original thesaurus. The book contains extensive back matter, including an incredibly detailed time line that goes into the man's other inventions (the slide rule, the pocket chess set) and an author and illustrator's note, as well as Roget quotations that are sure to inspire if not a love of language then at least a search for the perfect turn of phrase. An excellent illustrated biography.-Joanna K. Fabicon, Los Angeles Public Library (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus After award-winning collaborations about poet William Carlos Williams and artist Horace Pippin, Bryant and Sweet return to investigate the life of Peter Mark Roget. Born in London in 1779, Roget was plagued by lifelong setbacks. His father died early; his mother was unstable. Frequent moves and pronounced shyness engendered solace in books. Partial to classifying his knowledge and experiences, Peter composed his first book of lists by age 8. Inspired by the taxonomy of Swedish physician and botanist Linnaeus, teenage Peter studied medicine in Scotland, eventually establishing a practice in London, and he worked on a book of word classifications, completing it in 1805 for his own reference. Roget lectured, invented (the slide rule and the pocket chess set) and, inspired by the publication of several contemporary, inferior books of lists, returned to his own. His Thesaurus, published in 1852 and nurtured by his descendants, has never gone out of print. Bryant's prose is bright and well-tuned for young readers. She goes gently, omitting Roget's darkest traumas, such as witnessing his uncle's suicide. Sweet tops herselfagain!visually reflecting Roget's wide range as a thinker and product of the Enlightenment. Injecting her watercolor palette with shots of teal, scarlet and fuchsia, Sweet embeds vintage bits (ledger paper, type drawers, botanical illustrations and more), creating a teeming, contemplative, playfully celebratory opus. In a word: marvelous! (chronology, author's and illustrator's notes, selected bibliography, suggested reading, quotation sources, photograph of manuscript page) (Picture book/biography. 6-10) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book Apt language and ingenious imagery combine to tell the life story of Peter Mark Roget, creator of the thesaurus. Bryant's linear telling follows Peter closely, expressing his curiosity, sensitivity, and populist spirit in language both decorous and warm. Clever book design and visionary illustration add layers of meaning. Sweet embellishes her own gentle watercolors with all manner of clippings and realia. Reading list, timeline. Bib. (c) Copyright 2015. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 8 Up-Every summer, Rose and her parents vacation at a lakeside cottage. The rest of the world fades away as Rose reunites with her friend Windy and delves into leisurely games of MASH, swimming, and the joy of digging giant holes in the sand-but this summer is different. Rose is on the cusp of adolescence; she's not ready to leave childhood behind but is fascinated by the drama of the local teens who are only a few years older, yet a universe apart in terms of experience. They drink, they smoke, they swear. As Rose and Windy dip their toes into the mysterious waters of teen life by experimenting with new vocabulary ("sluts!") and renting horror movies, her parents struggle with their own tensions that seem incomprehensible to Rose. Layers of story unfurl gradually as the narrative falls into the dreamlike rhythm of summer. Slice-of-life scenes are gracefully juxtaposed with a complex exploration of the fragile family dynamic after loss and Rose's ambivalence toward growing up. The mood throughout is thoughtful, quiet, almost meditative. The muted tones of the monochromatic blue-on-white illustrations are perfectly suited to the contemplative timbre, and the writing and images deserve multiple reads to absorb their subtleties. This captivating graphic novel presents a fully realized picture of a particular time in a young girl's life, an in-between summer filled with yearning and a sense of ephemerality. The story resolves with imperfect hope and will linger in readers' mind through changing seasons.-Allison Tran, Mission Viejo Library, CA (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* Mariko and Jillian Tamaki earned critical acclaim for Skim (2008), and they return here with another coming-of-age tale about the awkward transition from carefree childhood to jaded, self-conscious young adulthood. Rose and her parents spend every summer at their lakeside cabin in Awago, right down the path from Rose's best friend, Windy, and her family. They spend lazy days collecting rocks on the beach, riding bikes, swimming, and having barbecues. But this summer, Rose's parents are constantly fighting, and her mother seems resentful and sad. In that unspoken way kids pick up on their parents' hardships, Rose starts lashing out at Windy and grasping at what she thinks of as adulthood turning up her nose at silliness (at which Windy excels), watching gory horror movies, reading fashion magazines, and joining in the bullying of a local teenage girl who finds herself in a tough spot. Jillian Tamaki's tender illustrations, all rendered in a deep purpley blue, depict roiling water, midnight skies, Windy's frenetic sugar highs, and Rose's mostly aloof but often poignantly distressed facial expressions with equal aplomb. With a light touch, the Tamakis capture the struggle of growing up in a patchwork of summer moments that lead to a conclusion notably absent of lessons. Wistful, touching, and perfectly bittersweet.--Hunter, Sarah Copyright 2014 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book Rose's family goes to Awago Beach every summer. This year she's feeling too old for some of the activities she used to love--and even for her more-childish friend Windy. Rose's contemplative observations and flashbacks, along with the book's realistic dialogue, offer insight into her evolving personality, while the dramatic perspective changes and purply-blue ink illustrations capture the graphic novel's raw emotional core. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus A summer of family drama, secrets and change in a small beach town.Rose's family has always vacationed in Awago Beach. It's "a place where beer grows on trees and everyone can sleep in until eleven," but this year's getaway is proving less idyllic than those of the past. Rose's parents argue constantly, and she is painfully aware of her mother's unhappiness. Though her friendship with Windy, a younger girl, remains strong, Rose is increasingly curious about the town's older teens, especially Dunc, a clerk at the general store. Jillian and Mariko Tamaki (Skim, 2008) skillfully portray the emotional ups and downs of a girl on the cusp of adolescence in this eloquent graphic novel. Rose waxes nostalgic for past summers even as she rejects some old pursuits as too childlike and mimics the older teens. The realistic dialogue and sensitive first-person narration convey Rose's navet and confusion, and Windy's comfort in her own skin contrasts with Rose's uncertainty. Both the text and art highlight small but meaningful incidents as readers gradually learn the truth behind the tension in Rose's family. Printed in dark blue ink, Jillian Tamaki's illustrations feature strong, fluid lines, and the detailed backgrounds and stunning two-page spreads throughout the work establish the mood and a compelling sense of place.Keenly observed and gorgeously illustrateda triumph. (Graphic novel. 13 up) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly Rose and Windy, friends for two weeks every summer in nearby Ontario lake cottages, have hit early adolescence. Rose, a bit older, has knowledge and polish that tubby, still-childish Windy lacks, and Windy sometimes bores her. Yet Windy's instincts are often sound, while Rose is led astray by an infatuation with a local convenience store clerk. As Rose's parents' marriage founders and the taunts of local teens wake her to issues of social class, Rose veers between secret grief and fleeting pleasure in the rituals of summer. Jillian Tamaki's exceptionally graceful line is one of the strengths of this work from the cousin duo behind Skim. Printed entirely in somber blue ink, the illustrations powerfully evoke the densely wooded beach town setting and the emotional freight carried by characters at critical moments, including several confronting their womanhood in different and painful ways. Fine characterization and sensitive prose distinguish the story, too-as when Rose remembers the wisdom a swimming teacher shared about holding his breath for minutes at a time: "He told me the secret was he would tell himself that he was actually breathing." Ages 12-up. Agent: Sam Hiyate, the Rights Factory. (May)? (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Striking cinematic front endpapers describe the creation of the Transcontinental Railroad. Then, in a sort of historical-fiction-meets-travelogue narrative, Floca zeroes in on one family's journey from Omaha to San Francisco. Floca excels at juxtaposing sweeping panoramas with intimate, slice-of-life moments. Varied font sizes and styles on the large pages beautifully capture the feel of the Old West. An author's note is included. Bib. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Gr 3-5-It all started with "a new road of rails/made for people to ride" where "covered wagons used to crawl." Almost 150 years ago-just after the Civil War-the completion of the transcontinental railway radically changed both this country's landscape and the opportunities of its people. The book traces the advent of cross-country train travel, focusing on an early trip from Omaha to Sacramento. As in Moonshot (2009) and Lightship (2007, both S & S), Floca proves himself masterful with words, art, and ideas. The book's large format offers space for a robust story in a hefty package of information. Set in well-paced blank verse, the text begins with a quick sketch of "how this road was built" and moves abruptly to the passengers on the platform and the approaching train. The author smoothly integrates descriptions of the structure and mechanics of the locomotive, tasks of crew members, passing landscapes, and experiences of passengers. Simply sketched people and backgrounds, striking views of the locomotive, and broad scenes of unpopulated terrain are framed in small vignettes or sweep across the page. Though a bit technical in explaining engine parts, the travelogue scheme will read aloud nicely and also offers absorbing details for leisurely personal reading. Substantial introductory and concluding sections serve older readers. There's also a detailed explanation of the author's efforts and sources in exploring his subject. Train buffs and history fans of many ages will find much to savor in this gorgeously rendered and intelligent effort.-Margaret Bush, Simmons College, Boston (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Floca took readers to the moon with the Apollo 11 mission in Moonshot (2009); now he takes them across the country on an equally historic journey of 100 years earlier. In a collegial direct address, he invites readers to join a family--mother, daughter and son--on one of the first passenger trips from Omaha to Sacramento after the meeting of the Union Pacific and the Central Pacific in May 1869. With encyclopedic enthusiasm, Floca visually documents the trip, vignettes illustrating the train's equipment as well as such must-know details as toilet and sleeping conditions. Full- and double-page spreads take advantage of the book's unusually large trim for breathtaking long shots of the American landscape and thrilling perspectives of the muscular engine itself. The nameless girl and boy provide touchstones for readers throughout, dubiously eyeing an unidentifiable dinner, juddering across a trestle, staring out with wide-eyed wonder. Unjustly undersung as a writer, Floca soars with his free-verse narrative, exploiting alliteration, assonance and internal rhyme to reinforce the rhythms of the journey. Frequent variations in font and type ("HUFF HUFF HUFF!" is spelled out in ornate, antique letters) further boost the excitement. Front endpapers provide detail on the building of the transcontinental railroad; back endpapers show the steam engine in cross section, explaining exactly how coal and water made it go. Nothing short of spectacular, just like the journey it describes. (Informational picture book. 4-10)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly In 1869, not long after the golden spike is driven into the rails at Promontory Summit, a mother and her two children climb aboard the Transcontinental Railroad, leaving behind their old life in Omaha for a new one in California, where Papa awaits. Floca (Moonshot) chronicles their journey from multiple perspectives: documentarian, poet, historian, tour guide, and irrepressible railroad geek. With the rhythmic, verselike text that's become his signature; expressive typography; and handsome, detailed watercolor, ink, and gouache paintings, he celebrates the majestic (the passing western landscape), the marvelous (the engineering and sheer manpower required to keep the engine safely on its course), and the mundane, from the primitiveness of the toilets to the iffiness of depot food ("If the chicken/ tastes like prairie dog,/ don't ask why"). It's a magisterial work (even the endpapers command close reading), but always approachable in its artistry and erudition. And readers will come away understanding that the railroad wasn't just about getting a group of passengers from Point A to Point B; it carried an entire nation into a new, more rapid world: "Faster, faster, turn the wheels,/ faster, faster breathes the engine!/ The country runs by, the cottonwoods and river./ Westward, westward,/ runs the train,/ through the prairies,/ to the Great Plains,/ on to the frontier." Ages 4-10. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Book list *Starred Review* Floca follows up the acclaimed Moonshot: The Flight of Apollo 11 (2009) with this ebullient, breathtaking look at a family's 1869 journey from Omaha to Sacramento via the newly completed Transcontinental Railroad. The unnamed family is a launching point for Floca's irrepressible exploration into, well, everything about early rail travel, from crew responsibilities and machinery specifics to the sensory thrills of a bridge rumbling beneath and the wind blasting into your face. The substantial text is delivered in nonrhyming stanzas as enlightening as they are poetic: the smoke and cinders, / ash and sweat of the coal engine and the Great Plains stretching out empty as an ocean. Blasting through these artful compositions are the bellows of the conductor ( FULL STEAM AHEAD ) and the scream of the train whistle, so loud that it bleeds off the page: WHOOOOOOO! Font styles swap restlessly to best embody each noise (see the blunt, bold SPIT versus the ornate, ballooning HUFF HUFF HUFF ). Just as heart pounding are Floca's bold, detailed watercolors, which swap massive close-ups of barreling locomotives with sweeping bird's-eye views that show how even these metal giants were dwarfed by nature. It's impossible to turn a page without learning something, but it's these multiple wow moments that will knock readers from their chairs. Fantastic opening and closing notes make this the book for young train enthusiasts.--Kraus, Daniel Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Becker develops concepts for film studios, and his wordless picture book debut reads like a cinematic tribute to Harold and the Purple Crayon. Drab sepia drawings introduce a lonely girl whose afternoon is jolted into life (and full color) when she uses a piece of red chalk to draw a door on her wall, walking through it into a lantern-lit forest with a winding river. Drawing a red boat, she drifts toward a breathtaking castle city whose gleaming turrets and domes promise adventure and intrigue. Yet she does not linger-she draws a hot-air balloon, takes to the air, and encounters a squadron of magnificent, steampunk-style airships manned by soldiers who have trapped a phoenix-like bird. Her release of the bird earns the ire of the airmen, the bird in turn rescues her, and a clever resolution leads the girl to a friend with his own magic chalk. Wonder mixes with longing as the myriad possibilities offered by Becker's stunning settings dwarf what actually happens in the story. Readers will be both dazzled and spurred on imagined travels of their own. Ages 4-8. Agent: Linda Pratt, Wernick & Pratt. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Kirkus Ignored by her digitally distracted family, a girl draws a red door on her bedroom wall and steps through. A lush green forest twinkles with lanterns and strung lights; a dizzying castle towers, its gates, turrets and halls linked by complicated waterways; a hovering aircraft festooned with propellers and wheels holds an imprisoned purple-plumed bird. Amid these marvels, the girl appears markedly ordinary with her common pageboy haircut, minimal facial features and simple clothes. She could be anyone, really, and readers will easily appropriate her journey as their own. Putty-colored grays and flat, boxy city shapes defined the girl's urban reality, but here, color rules, modulating from mossy greens to slate blues to dusky purple--all punctuated with her crayon's brilliant red and the yellow of a golden bird cage. White pages highlight action (the girl's crayon whips up a boat, a hot air balloon and a magic carpet when needed), but most spreads deliver fantastically intricate pen, ink and watercolor architectural illustrations that remain playfully engrossing. They conjure contextual questions with no clear answers, or perhaps with so many answers one's imagination finds itself opening door upon door and crossing thresholds, just as the girl did to escape loneliness. After freeing the bird, she needs its help for a quick escape through a small purple door back to her everyday street and back to a boy who wields an equally powerful purple crayon (an obvious and moving homage). An imaginative adventure story whose elaborate illustrations inspire wonder, careful examination and multiple reads. (Picture book. 2-6)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal Gr 1-4-In this auspicious debut picture book, a lonely girl escapes the boredom of a sepia-toned world by drawing a doorway to a magical realm. Harkening back to Crockett Johnson's Harold, this child uses a red crayon and a lot of imagination to venture across a Venice-like kingdom, fly among a fleet of steampunk airships, and take off on a magic carpet ride. When an act of compassion and bravery lands the heroine in a cage, it's her magic crayon and a bit of help from a new friend that save the day. This captivating wordless story has all the elements of a classic adventure: unknown lands, death-defying stunts, and a plucky lead. Finely detailed pen-and-ink line drawings combine with luminous washes of watercolor to create a rich and enchanting setting. Becker builds a sense of suspense by varying colorful full-page spreads with smaller vignettes that feature the girl and her red crayon surrounded by ample white space. The final page shows the youngster and her new friend riding a tandem bicycle pointing onward. Endpapers spotlight all manner of transportation: ships, trains, cars, and even space shuttles. The strong visual narrative makes this an appealing choice for a wide range of ages. By the turn of the last page, children will immediately begin imagining the next adventure.-Kiera Parrott, Darien Library, CT (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book In the tradition of Harold and the Purple Crayon, this wordless story follows a bored girl who uses a crayon (red) to draw herself into other worlds. Unlike Harold, the worlds she enters are lush, detailed, and elaborate, and she gets pulled into a rescue mission involving a purple bird. There is much to pore over in the watercolor and pen-and-ink illustrations. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* First-time author Becker sweeps readers away on the very best kind of journey, allowing a complex color scheme, intricate fantasy environments, and a stirring sense of adventure to tell the story without a single word. Worn out by an urban world of washed-out colors and too-busy adults, a young girl makes her escape through a slightly foreboding mystical forest and floats into a city-sized castle, where she spies a magnificent bird that is captured and caged. Without hesitation, she takes on an army of Samurai-like air-warlords and saves the bird, who ushers her back into her own world, where friendship and great new adventure await. Becker's background in movie animation is apparent in his sense of pace, motion, and action; his extraordinary detail work; and his sharp visual cues: objects of imagination and escape, for example, are all colored in blazing red. But through elements that reverberate with the power of Crockett Johnson's Harold and the Purple Crayon (1955), Maurice Sendak's Where the Wild Things Are (1963), and Barbara Lehman's The Red Book (2004), he clearly has a deep understanding of his literary antecedents, too. Laudable for its adventuresome female protagonist, scope, and sense of fun, this title will draw girls and boys back to it again and again.--Karp, Jesse Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Without providing a backstory for the eponymous pair's curious meeting, Idle (Nighty Night, Noah) imagines a wordless encounter between a lithe, sultry flamingo and a pudgy little girl in a bathing suit, swim cap, and flippers. The call-and-response nature of their dance-the flamingo poses in a series of sinuous movements on the left, Flora does her awkward best to mimic them on the right-produces a series of beautifully lighthearted tableaus. At first, Flora models her movements on the flamingo's, unbeknownst to the bird. A series of stumbles draws a sharp reaction from the flamingo and a sulk from Flora, but the flamingo relents and the two collaborate on a graceful duet that ends with a joyous flourish. Inset flaps add drama by revealing new poses, and Idle's crisp, confident drafting produces a reading experience akin to flipping through a series of animation cells. There's an undertone of a growing-up story, too, as Flora almost seems to shed childhood self-consciousness and take her first tentative steps into womanhood. It's seamless and dynamic visual storytelling. Ages 3-up. Agent: Lori Nowicki, Painted Words. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book In this unique wordless picture book, a little girl mimics a flamingo's movements. The bird, at first annoyed, eventually relents and teaches her ballet. The book is cinematic, comedic, and balletic, with dynamic pacing facilitated by ingenious flaps. Spare illustrations in tutu-pink with pops of yellow allow the characters' chemistry--and the physical comedy--to take center stage. (c) Copyright 2013. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 2-This charming story begs to be an animated short-unsurprising, given the author's animation background-yet it works remarkably well as a wordless lift-the-flap book. Sparely illustrated, its full-spread white backgrounds with delicate pink-blossom borders emphasize the actions of the two protagonists. A lone flamingo lands onto the nearly blank expanse of the title page. Soon, it is joined by little Flora, who provides a sweetly round counterpoint to the angular bird. She furtively imitates the flamingo's moves with utmost concentration and extremely comical poses until it catches on and squawks angrily, driving her away in a sulk. Friendship triumphs in the end, and the unlikely couple dance together and joyously cannonball into water on the last double foldout page. As neither flamingos nor little girls are known for their inherent elegance, the duo's surprisingly graceful moves are reminiscent of dancing hippos and ostriches from Disney's Fantasia. This delightful romp is a worthy addition to most collections and will appeal to flamingo and ballet fans alike.-Yelena Alekseyeva-Popova, formerly at Chappaqua Library, NY (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Klutzy but endearing Flora (dumpily clad in swimsuit, bathing cap and flippers) and a dancing flamingo are the protagonists of this whimsical, wordless tale, which will have special appeal for budding ballerinas. Initially playing hard to get, then gradually warming to her overtures, the flamingo literally takes Flora under his wing and teaches her to dance. The story of the evolving camaraderie between this unlikely duo is told with humor and compassion through the use of a delicate flowing line and a limited, subtle color palette (mostly pink). The occasional simple rectangular fold-down flap cleverly allows each character to reveal a quirky new gesture or change of mood when the story demands. Illustrator Idle's prior experience as a DreamWorks animator is evident in the flowing, musical quality of the illustrations; one can almost hear the 3/4 beat of a waltz in the background. The seamless grace of the flamingo's dance contrasts humorously with Flora's faltering steps, but by the end of the story, they swoop, plunge and soar together like old ballet partners. Courageous use of white space--several pages contain a solitary waterlily--and a confident animated style are used to good effect in this sweet story of a young girl and her unlikely mentor. (Picture book. 3-6)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Kirkus A house cat pooh-poohs most proffered toys and gets his comeuppance tangling with a tiny alien spacecraft and its penny-sized adventurers. Peppered with speech bubbles in English, alien- or insect-speak, Wiesner's multipaneled tour de force treats the green ETs to maximum upheaval. Their initial celebration at landing turns to mayhem as their craft is buffeted by Mr. Wuffles. The aliens assess a smoldering engine part and disembark for help. The ensuing comic interplay pits cat against aliens as the tiny ones flee beneath a radiator cover. A ladybug and several ants assist them, and the repair's successfully made by harvesting cross sections of detritus: pencil eraser, MM, marble and metal screw. The insects have decorated the wall of their lair with drawings la Lascaux, the menacing Mr. Wuffles depicted prominently. After sketching a game plan, with insects playing transport and diversionary roles, the crew escapes back to the ship. Against oak floorboards and wallpaper prettily conveyed in ink and watercolor, the now-crazed Mr. Wuffles is riveted to the radiator, perplexing his human. Final panels show the cat gazing out the window, claws fruitlessly deployed; ants draw new scenes on their wall. Wiesner truly "gets" cats: An end-flap photo shows that the artist's "model" for the beleaguered Mr. Wuffles is indeed a household denizen. Expertly imagined, composed, drawn and colored, this is Wiesner at his best. (Picture book. 4-8)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly Mr. Wuffles, a handsome black cat with white paws and an arrogant air, couldn't care less about the many toys purchased for his amusement. But he homes in on a metal object (imagine two doll-size colanders soldered shut), imperiling the tiny green aliens inside. Mr. Wuffles bats their spaceship about playfully, damaging it, and in a daring move, the aliens break for safety under the radiator. Wiesner constructs his story in a mix of full spreads and comics-style panels. Though the artwork, done in watercolor and India ink, is superbly colored and composed, the most inventive aspect of the story may be the hieroglyphic language the three-time Caldecott Medalist has invented for his aliens: this is a nearly wordless book full of dialogue no one (excepting maybe Wiesner) will know how to speak aloud. The aliens succeed in befriending the insects that live within the walls of the house, and together they concoct a plan to outwit Mr. Wuffles-yes, humans aren't even a factor in this story of extraterrestrial first contact. Wiesner once again produces a fantasy adventure that isn't like anything else around. Ages 4-8. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Cat Mr. Wuffles toys with a tiny spaceship. Inside, the little green creatures regroup. Helped by a ladybug, they flee to the space under a radiator, which harbors a thriving insect civilization. Friendship ensues, food and technology are shared, repairs are made, and the cat is foiled. This exemplary almost-wordless book incorporates the delights of Borrowers-style innovations, quintessential cat behavior, and Wiesner's exquisite art. (c) Copyright 2014. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 4-Mr. Wuffles ignores all his fancy cat toys. Still sporting price tags, they line the hallway as he strolls by. But resting quietly among the feathers, balls, and mice is a tiny metal spaceship, and this catches his attention. His playful batting knocks around the alien explorers inside, causing bumps but no injuries. The ship's flying disks do not survive, however, and the aliens set out to explore the house and repair their craft. Barely escaping Mr. Wuffles's claws, they dash behind the radiator and discover primitive art of the cat's previous battles and make friends with the house's insects. The bugs help the aliens repair the spaceship, avoid capture, and fly away. Nearly wordless, the story is told through pictures and the languages of the ants and aliens, depicted by dashes and symbols. The book is fairly complex, best suited for elementary students, who will enjoy decoding the aliens' cryptographic alphabet. Wiesner humorously captures the curiosity and confusion of Mr. Wuffles and his human, who remains oblivious to the drama underfoot. The idea of a separate, tiny world next to ours makes a great premise, and Wiesner's engaging art and lively pacing carry the day. Visual storytelling at its best.-Suzanne Myers Harold, Multnomah County Library System, Portland, OR (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* Once again Wiesner dips into his irrepressible imagination to deliver a mostly wordless conceptual picture book where the mundane and the magical collide. Mr. Wuffles, an aloof, perspicacious black cat, takes no interest in his playthings, save one peculiar toy that looks something like a hobnail tea strainer. Closer inspection, like only Wiesner can provide, reveals that it is a miniature alien spacecraft experiencing mechanical trouble. Its little green passengers evade Mr. Wuffles and retreat to a hole beneath the radiator, where they discover a series of cave paintings immortalizing battles between the cat and troops of ants and ladybugs. The aliens and the bugs join forces and, speaking in rectangular pictographic word balloons (that some readers will thrill to decipher), hatch a plan to repair the spaceship, foil the feline, and return home. The drama plays out across long, low panels full of kinetic energy and comic detail, all captured in the artist's careful watercolor renderings. In the end, the mission is successful and the aliens escape, but not without leaving behind a few reminders of their visit and an updated record of the epic conflict on the inner wall. Wiesner's many fans will delight at poring over the detailed account of this master plan, again and again, discovering something new with each successive reading. HIGH-DEMAND BACKSTORY: Wiesner is a three-time Caldecott winner. Three. Fans will be ready to pounce.--Barthelmess, Thom Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus Klassen combines spare text and art to deliver no small measure of laughs in another darkly comic haberdashery whodunit. While not a sequel to I Want My Hat Back (2011), the story does include a hat, a thief (a little fish) and a wronged party (a big fish). This time, first-person narration follows the thief, whose ego far outstrips his size as he underestimates the big fish's tracking abilities. Meanwhile, much of the art follows the big fish on his hunt, creating a pleasing counterpoint with the text. For example, a page reading "he probably won't notice that it's gone" shows not the thieving piscine narrator but the big fish looking up toward the top of his own bare head; he clearly has noticed that his hat is gone, and the chase is on! Sublime book design exploits the landscape format, with dogged movement from left to right across the double-page spreads. This culminates in a page reading "I knew I was going to make it," as the little fish disappears on the recto into plants evocative of Leo Lionni's setting in Swimmy (1963), while a narrow-eyed big fish enters the verso. The little fish is clearly doomed--a fact coyly confirmed by wordless page turns revealing the big fish swimming away, now from right to left, hat firmly on head. Hats off! (Picture book. 4-8)]] Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 3-Opening with "This hat is not mine. I just stole it," a small fish takes the listener into his confidence as he makes his getaway toward a place where he thinks that no one will ever find him. This unapologetic thief, his annoyed (and very large) victim, and a stool pigeon crab tell this wryly humorous and cautionary fish story. The outcome contains enough ambiguity that sensitive listeners can believe that the robber has more options than becoming a fish dinner. Irish narrator John Keating does a great job with a title that relies heavily on sight gags. Appropriately, his impudent robber is not particularly likable. Nevertheless, the listener empathizes with the brash little chap. A string ensemble, in a manner similar to Peter and the Wolf, accompanies the narration. A cello represents the larger fish, who never speaks, while a violin characterizes the smaller fish. The music ebbs and flows to match the story. Two versions are included on the CD. A gentle marimba riff signals page turns on the first version. The accompanying hardcover book is a "must" to truly enjoy this Caldecott Medal winner. Humor fans will love it.-Lisa Taylor, Ocean County Library, NJ (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 3-The narrative tension between text and art is as crystalline as the water at the bottom of the sea is murky in this tale of underwater mischief. The little fish in the stolen hat is absolutely sure he is going to get away with his crime, but attentive children will holler, "Look behind you!" (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 1-With this new creation, Klassen repeats the theme from I Want My Hat Back (Candlewick, 2011), but with a twist. The narrator here is the thief-a small, self-confident fish who has pilfered a little blue bowler from a big sleeping fish. He wastes no time or words in confessing his crime as he swims across the page announcing, "This hat is not mine. I just stole it." He continues his narrative with no regrets, but with a bit of rationalizing ("It was too small for him anyway.") as he swims to his hiding place, unaware that the big fish is in quiet pursuit. Readers, of course, are in on this little secret. When the two disappear into a spread filled with seaweed, the narration goes silent, and youngsters can easily surmise what happens as the big fish reemerges with the tiny blue bowler atop his head. Simplicity is key in both text and illustrations. The black underwater provides the perfect background for the mostly gray-toned fish and seaweed while the monochromatic palette strips the artwork down to essential, yet exquisite design. Movement is indicated with a trail of small white bubbles. This not-to-be-missed title will delight children again and again.-Carolyn Janssen, Public Library of Cincinnati & Hamilton County, Cincinnati, OH (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* Klassen's authorial debut, I Want My Hat Back (2011), became one of the surprise picture-book hits of the year. This follow-up is really only related in its hat-theft theme, animal characters, deadpan humor, and a suggestively dark conclusion. Which might seem like everything, but whereas the first book featured light sleuthing by a semi-dopey bear looking to find his lost lid, this is a similar story from a fishy absconder's point of view. This hat is not mine. I just stole it, claims a minnow darting through the deep-sea black. He tells how he lifted it from a bigger fish. At each stage, the minnow reassures himself that he's gotten away with his perfect crime. We see it ain't so, as the big fish trolls along right behind him, right down to the minnow's final, prophetic double entendre: Nobody will ever find me. Once again, the simple, dramatic tension and macabre humor mesh splendidly with Klassen's knack for tiny, telling details and knockout page turns. Who knew hat thievery was such a bottomless well? HIGH-DEMAND BACKSTORY: Klassen's debut was a #1 New York Times best-seller and Geisel Honor Book. The publisher is rolling out a 15-city tour and pulling out all the publicity stops in support of this release.--Chipman, Ian Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Like Klassen's very funny and much-praised I Want My Hat Back, this story involves a hat theft; this time, Klassen ups the ante by having the thief narrate. It's a small gray fish who has stolen a tiny bowler hat from a much larger fish ("It was too small for him anyway," the little fish sniffs. "It fits me just right"). Klassen excels at using pictures to tell the parts of the story his unreliable narrators omit or evade. "There is someone who saw me already," admits the little fish, about a goggle-eyed crab. "But he said he wouldn't tell anyone which way I went. So I am not worried about that." The spread tells another story; the crab betrays the small fish in a heartbeat, pointing to its hiding place, "where the plants are big and tall and close together." Readers hope for the best, but after the big fish darts in, only one of them emerges, sporting the hat. It's no surprise that the dominant color of the spreads is black. Tough times call for tough picture books. Ages 4-8. Agent: Steven Malk, Writers House. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

School Library Journal PreS-Gr 3-The picture book (Candlewick, 2012) of this title relies on the pause for turning pages, allowing readers to absorb the action more easily than the video. In both, a tiny fish steals a little blue bowler from a big sleeping fish and, without remorse, justifies his crime. ("It was too small for him anyway.") The book's pauses enhance the humor and build tension. The discordant, ominous strings that make up the video's soundtrack do much to build suspense. The blackout that occurs when the big fish follows the tiny one into dense seaweed might at first make viewers wonder what just happened and ask for a second viewing, but it is, indeed, a dramatic and effective conclusion. The art is true to Klassen's deceptively simple work, and where the film adds real humor is in the eyes of the characters. When the big fish wakes suddenly, his eyes roll upward toward where the hat should be, then they turn into slits as he determinedly pursues the perpetrator. Likewise, the crab's look of surprise seems to share the moment with viewers by staring, wide-eyed, directly at the camera. One may not have anticipated the thief having a British accent and may have also imagined his voice a great deal haughtier. Yet, narrator John Keating elicits sympathy for the thief. His delivery makes the fish seem more unwitting and misguided than disordered. Overall, well done.-Constance Dickerson, Cleveland Heights-University Heights Public Library, OH (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 2-A gray-and-white pup and her red ball are constant companions until a poodle inadvertently deflates the toy, taking the air out of Daisy as well. Raschka's nuanced illustrations brilliantly depict joy, shock, disbelief, sadness-and, with the gift of a blue ball-renewed contentment. (Aug.) (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book In this wordless story, dog Daisy and her little-girl owner play catch. All goes well until another dog, joining in play, pops Daisy's big red ball. Raschka communicates so much through Daisy's posture, varying the line to echo her emotions. Background washes also reflect Daisy's mood, from bright yellows to somber browns. A satisfying story noteworthy both for its artistry and child appeal. (c) Copyright 2012. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 2-Ever the minimalist, Raschka continues to experiment with what is essential to express the daily joys and tribulations of humans and animals. This wordless story features Daisy, a dog. The motion lines framing her tail on the first page indicate that a big red ball is her chief source of delight. Ever-changing, curvy gray brushstrokes, assisted by washes of watercolor, define her body and mood. Blue and yellow surround her ecstatic prance to the park with toy and owner. The story's climax involves another dog joining the game, but chomping too hard, deflating the beloved ball. A purple cloud moves in, and eight squares fill a spread, each surrounding the protagonist with an atmosphere progressing from yellow to lavender to brown as the canine processes what has occurred; a Rothko retrospective could not be more moving. Until that point, the action has occurred within varying page designs, many showing Daisy's shifting sentiments in four vertical or horizontal panels. Her attentive human's legs are glimpsed frequently, a sunny child whose warmth is transferred in comforting full view at bedtime. When another day dawns, the frisky dog's person proffers a blue surprise; the exuberance at having a ball and a friend is barely containable across two pages. Raschka's genius lies in capturing the essence of situations that are deeply felt by children. They know how easy it is to cause an accident and will feel great relief at absorbing a way to repair damage.-Wendy Lukehart, Washington DC Public Library (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list This story about loss (and joy) is accomplished without a single word, which is perfect it puts you directly in the head space of its canine protagonist. The title tells us her name is Daisy, but she is a pretty anonymous little thing, drawn by Raschka as just a few indistinct yet somehow expressive squiggly lines. What's clear is that she loves playing with her ball, both indoors and out, until the fateful moment that another dog bites too hard on the ball and deflates it. In a heartaching series of nearly identical paintings, Daisy slumps into a sofa as depression overtakes her. Dogs, of course, don't know that there are more balls in the world, which makes her glee at the end of the book all the sweeter. Raschka uses fairly sophisticated comic-book arrangements long, narrow, horizontal panels, and so forth but masks them with soft watercolor edges instead of sharp corners. The result feels like something of pure emotion. Pretty close approximation of what it's like to be a dog, probably.--Kraus, Danie. Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal K-Gr 2-Amos McGee, an elderly man who works at the zoo, finds time each day for five special friends. With empathy and understanding he gives the elephant, tortoise, penguin, rhinoceros, and owl the attention they need. One morning, Amos wakes up with a bad cold and stays home in bed. His friends wait patiently and then leave the zoo to visit him. Their trip mirrors his daily bus ride to the zoo and spans three nearly wordless spreads. Amos, sitting up in bed, clasps his hands in delight when his friends arrive. The elephant plays chess with him, and the tortoise plays hide-and-seek. The penguin keeps Amos's feet warm, while the rhinoceros offers a handkerchief when Amos sneezes. They all share a pot of tea. Then the owl, knowing that Amos is afraid of the dark, reads a bedtime story as the other animals listen. They all sleep in Amos's room the rest of the night. The artwork in this quiet tale of good deeds rewarded uses woodblock-printing techniques, soft flat colors, and occasional bits of red. Illustrations are positioned on the white space to move the tale along and underscore the bonds of friendship and loyalty. Whether read individually or shared, this gentle story will resonate with youngsters.-Mary Jean Smith, Southside Elementary School, Lebanon, TN (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-The Caldecott Medal-winning tale about a gentle zookeeper, whose animal pals show him as much tender love and care during a sick day as he's always shown them, makes its board book debut in this unabridged edition. Just as endearing and heartfelt as the original, the sturdy new format will introduce Amos and his chess-playing, bus-riding buddies to the littlest of pre-readers.-Kiera Parrott, School Library Journal © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Zookeeper Amos McGee always makes time to visit his good friends at work: he plays chess with the elephant, runs races with the tortoise (who always wins), sits quietly with the penguin, lends a handkerchief to the rhinoceros (who has a runny nose), and reads stories to the owl (who is afraid of the dark). Then, after Amos gets a cold, his friends miss him, and they leave the zoo and ride the bus to his place to care for him and cheer him up. Like the story, the quiet pictures, rendered in pencil and woodblock color prints, are both tender and hilarious. Each scene captures the drama of Amos and the creatures caring for each other, whether the elephant is contemplating his chess moves, his huge behind perched on a stool; or the rhinoceros is lending Amos a handkerchief; or the owl is reading them all a bedtime story. The extension of the familiar pet-bonding theme will have great appeal, especially in the final images of the wild creatures snuggled up with Amos in his cozy home.--Rochman, Hazel Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly With quiet affection, this husband-and-wife team tells the story of a zookeeper whose devotion is repaid when he falls ill. On most days, the angular, elderly Amos rides the bus to the zoo, plays chess with the elephant ("who thought and thought before making a move"), sits quietly with the penguin, and spends time with his other animal friends. But when Amos catches a cold, the animals ride the bus to pay him a visit, each, in a charming turnabout, doing for Amos whatever he usually does for them. The elephant sets up the chessboard; the shy penguin sits on the bed, "keeping Amos's feet warm." Newcomer Erin Stead's elegant woodblock prints, breathtaking in their delicacy, contribute to the story's tranquility and draw subtle elements to viewers' attention: the grain of the woodblocks themselves, Amos's handsome peacock feather coverlet. Every face-Amos's as well as the animals'-brims with personality. Philip Stead's (Creamed Tuna Fish and Peas on Toast) narrative moves with deliberate speed, dreaming up a joyous life for the sort of man likely to be passed on the street without a thought. Ages 2-6. (June) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Every day kindly zookeeper Amos McGee plays chess with the elephant, keeps the penguin company, reads stories to the owl, etc. When Amos stays home one day, his friends have just the right medicine: they make time to visit their good friend. The attentively detailed pencil and woodblock illustrations reveal character and enhance the cozy mood of the gentle text. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book This board-book edition of the 2011 Caldecott Awardwinner is a sturdier alternative to the original picture book--even if it's not really a board-book story. Kindly zookeeper Amos McGee plays chess with the elephant, reads to the owl, etc. When Amos stays home one day, his friends have just the right medicine: they make time to visit their pal. The detailed pencil and woodblock illustrations enhance the gentle text's cozy mood. (c) Copyright 2018. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 5-This wordless iconographic rendering of Jerry Pinkney's Caldecott winner (Little, Brown, 2009) is filled with action, suspense, and song. Filmed in South Africa, the film features the animal sounds of the Serengeti and riveting Zulu music. The popular fable of a lion's merciful decision to release a defenseless mother mouse, only to later be saved by her, offers several messages for youngsters. Pinkney's lush, expressive watercolor and colored-pencil illustrations are even more effective in this medium; static images scan across the screen as the camera zooms in and out, lingering on dramatic close-ups which enable viewers to notice details such as the unknowing mouse standing in the lion's paw prints and the beast's shock and terror at being trapped. An interview with Pinkney in his studio includes childhood photos, an account of his early life and career, as well as an explanation of the evolution and creation of this wordless picture book. There is also an interview with composer/musician Sazi Dlamini in the South African sound studio where he translates the song, expounding on idiomatic expressions and African instruments such as the kalimba. The illustrator's intention, that "the art suggest the text," is not only realized, but viewers are naturally moved to narrate the action as they watch. As a follow-up activity, students can write or role-play the conversation between the two protagonists. Use with units on fables, Africa, or endangered animals.-Barbara Auerbach, PS 217, Brooklyn, NY (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 3-The African Serengeti forms the backdrop for a lion that captures a rodent and-for reasons left for readers to ponder-releases it. His decision is rewarded, and the value of even the smallest creature is recognized in this stunning Caldecott winner rendered in expressive watercolors. A visual feast. (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus A nearly wordless exploration of Aesop's fable of symbiotic mercy that is nothing short of masterful. A mouse, narrowly escaping an owl at dawn, skitters up what prove to be a male lion's tail and back. Lion releases Mouse in a moment of bemused gentility andwhen subsequently ensnared in a poacher's rope trapreaps the benefit thereof. Pinkney successfully blends anthropomorphism and realism, depicting Lion's massive paws and Mouse's pink inner ears along with expressions encompassing the quizzical, hapless and nearly smiling. He plays, too, with perspective, alternating foreground views of Mouse amid tall grasses with layered panoramas of the Serengeti plain and its multitudinous wildlife. Mouse, befitting her courage, is often depicted heroically large relative to Lion. Spreads in watercolor and pencil employ a palette of glowing amber, mouse-brown and blue-green. Artist-rendered display type ranges from a protracted "RRROAARRRRRRRRR" to nine petite squeaks from as many mouselings. If the five cubs in the back endpapers are a surprise, the mouse family of ten, perched on the ridge of father lion's back, is sheer delight. Unimpeachable. (author's note) (Picture book. 3-6) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 3-This story starts on the cover with the glorious, golden countenance of a lion. No text is necessary to communicate the title: the direction of the beast's gaze and the conflicted expression on his tightly cropped face compel readers to turn the book over, where a mouse, almost filling the vertical space, glances back. The endpapers and artist's note place these creatures among the animal families of the African Serengeti. Each spread contributes something new in this nearly wordless narrative, including the title opening, on which the watchful rodent pauses, resting in one of the large footprints that marches across the gutter. In some scenes, Pinkney's luminous art, rendered in watercolor and colored pencil, suggests a natural harmony, as when the cool blues of the sky are mirrored in the rocks and acacia tree. In other compositions, a cream-colored background focuses attention on the exquisitely detailed and nuanced forms of the two main characters. Varied perspectives and the judicious use of panels create interest and indicate time. Sounds are used sparingly and purposefully-an owl's hoot to hint at offstage danger or an anguished roar to alert the mouse of the lion's entrapment. Contrast this version with Pinkney's traditional treatment of the same story (complete with moral) in Aesop's Fables (North-South, 2000). The ambiguity that results from the lack of words in this version allows for a slower, subtle, and ultimately more satisfying read. Moments of humor and affection complement the drama. A classic tale from a consummate artist.-Wendy Lukehart, Washington DC Public Library (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Other than some squeaks, hoots and one enormous roar, Pinkney's (Little Red Riding Hood) interpretation of Aesop's fable is wordless-as is its striking cover, which features only a head-on portrait of the lion's face. Mottled, tawny illustrations show a mouse unwittingly taking refuge on a lion's back as it scurries away from an owl. The large beast grabs and then releases the tiny creature, who later frees the lion who has become tangled in a hunter's snare. Pinkney enriches this classic tale of friendship with another universal theme-family-affectingly illustrated in several scenes as well as in the back endpapers, which show the lion walking with his mate and cubs as the mouse and her brood ride on his back. Pinkney's artist's note explains that he set the book in Africa's Serengeti, "with its wide horizon and abundant wildlife so awesome yet fragile-not unlike the two sides of each of the heroes." Additional African species grace splendid panoramas that balance the many finely detailed, closeup images of the protagonists. Pinkney has no need for words; his art speaks eloquently for itself. Ages 3-6. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Book list *Starred Review* The intricate lion's face that crowds the cover of Pinkney's latest folktale adaptation is unaccompanied by any title or credits, and that is entirely appropriate there are no words inside, either. Through illustration alone Pinkney relates the well-known Aesop fable of the mouse who is captured by a lion, only to be unexpectedly released. Then, when the lion finds himself trapped by hunters, it is the mouse who rescues him by gnawing through the twine. Pinkney bends his no-word rule a bit with a few noises that are worked into the art ( Screeeech when an owl dives; Putt-Putt-Putt when the hunters' jeep arrives), but these transgressions will only encourage young listeners to get involved with read-along sessions. And involved they will be how could they not get drawn into watercolors of such detail and splendor? Pinkney's soft, multihued strokes make everything in the jungle seem alive, right down to the rocks, as he bleeds color to indicate movement, for instance, when the lion falls free from the net. His luxuriant use of close-ups humanizes his animal characters without idealizing them, and that's no mean feat. In a closing artist's note, Pinkney talks about his choice to forgo text.--Kraus, Daniel Copyright 2009 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-Gr 1-Inspired by traditional cumulative poetry, Swanson weaves a soothing song that is as luminescent and soulful as the gorgeous illustrations that accompany her words. A journey both humble and epic begins with a key to a house. "Here is the key to the house./In the house burns a light./In that light rests a bed-." In the bedroom of the house, a girl reads a book in which a bird "breathes a song-all about the starry dark." Swanson's poem then takes readers on a flight across the night sky to the realm of the moon and sun, then back along the path to the key that marked the beginning of the journey. Krommes's folk-style black-and-white etchings with touches of yellow-orange make the world of the poem an enchanted place. Patches of light and shadow give shape to the darkness, while smiling celestial bodies populate the potentially lonely night with their friendly warmth. This picture book will make a strong impression on listeners making their first acquaintance with literature. It is a masterpiece that has all the hallmarks of a classic that will be loved for generations to come.-Jayne Damron, Farmington Community Library, MI (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Inspired by a traditional poem from The Oxford Nursery Rhyme Book, Swanson's cumulative tale begins, "Here is the key to the house." Readers are welcomed inside the house, where they find a light, a bed within the light, a book on that bed and a bird inside that book. The book opens to reveal a bird that sings a song about the dark, and within that song are the moon and the sun shining on the moon's face. And then, from deep in the night, the poem begins to climb back out of itself: "Sun in the moon, / moon in dark, / dark in the song, / song in the bird," and so forth, finally arriving back to "the house in the night" which is, indeed, a "home full of light." Krommes's breathtaking scratchboard illustrations, in black and white with accents of yellow and gold, embody and enhance the text's message that light and dark, like comfort and mystery, are not mutually exclusive, but integral parts of each other. (Picture book. 3-7) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book Here is the key to the house. In the house burns a light." So begins a soothing bedtime verse that ends with a child tucked in bed, bathed by the light of the moon. The quiet patterned text is accompanied by dramatic black-and-white scratchboard illustrations with just enough gold touches to fill the pages with gentle light. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list *Starred Review* A young girl is given a golden key to a house. In the house / burns a light. / In that light / rests a bed. On that bed / waits a book. And so continues this simple text, which describes sometimes fantastical pleasures as a bird from the book spirits the child through the starry sky to a wise-faced moon. The cumulative tale is a familiar picture-book conceit; the difference in success comes from the artwork. Here, the art is spectacular. Executed in scratchboard decorated in droplets of gold, Krommes' illustrations expand on Swanson's reassuring story (inspired by a nursery rhyme that begins, This is the key of the kingdom ) to create a world as cozy inside the house as it is majestic outside. The two-page spread depicting rolling meadows beyond the home, dotted with trees, houses, barns, and road meeting the inky sky, is mesmerizing. The use of gold is especially effective, coloring the stars and a knowing moon, all surrounded with black-and-white halos. A beautiful piece of bookmaking that will delight both parents and children.--Cooper, Ilene Copyright 2008 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly Using only a few graceful words per page to illuminate the dark, this bedtime gem shines its light clearly on things that matter--a home filled with books, art, music and ever-present love. Krommes's (The Lamp, the Ice, and a Boat Called Fish) astonishing illustrations are so closely intertwined with the meticulous text that neither can be isolated without a loss of meaning. The book begins, intriguingly, "Here is the key to the house./ In the house burns a light./ In that light rests a bed./ On that bed waits a book." That book takes the child reader up into the skies and back home again, to sleep ("dark in the song, song in the bird, / bird in the book, book on the bed"). Krommes's black-and-white scratchboard illustrations are as delicate and elegant as snowflakes, and she uses a single color, a marigold, to bring warmth to both home and stars. This volume's artful simplicity, homely wisdom and quiet tone demonstrate the interconnected beauty and order of the world in a way that both children and adults will treasure. Ages 3-6. (May) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Kirkus From Selznick's ever-generative mind comes a uniquely inventive story told in text, sequential art and period photographs and film. Orphaned Hugo survives secretly in a Parisian train station (circa 1930). Obsessed with reconstructing a broken automaton, Hugo is convinced that it will write a message from his father that will save his life. Caught stealing small mechanical repair parts from the station's toy shop, Hugo's life intersects with the elderly shop owner and his goddaughter, Isabelle. The children are drawn together in solving the linked mysteries of the automaton and the identity of the artist, illusionist and pioneer filmmaker, Georges Mli's, long believed dead. Discovering that Isabelle's godfather is Mli's, the two resurrect his films, his reputation and assure Hugo's future. Opening with cinematic immediacy, a series of drawings immerses readers in Hugo's mysterious world. Exquisitely chosen art sequences are sometimes stopped moments, sometimes moments of intense action and emotion. The book, an homage to early filmmakers as dreammakers, is elegantly designed to resemble the flickering experience of silent film melodramas. Fade to black and cue the applause! (notes, film credits) (Fiction. 9-12) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal Gr 4-9-With characteristic intelligence, exquisite images, and a breathtaking design, Selznick shatters conventions related to the art of bookmaking in this magical mystery set in 1930s Paris. He employs wordless sequential pictures and distinct pages of text to let the cinematic story unfold, and the artwork, rendered in pencil and bordered in black, contains elements of a flip book, a graphic novel, and film. It opens with a small square depicting a full moon centered on a black spread. As readers flip the pages, the image grows and the moon recedes. A boy on the run slips through a grate to take refuge inside the walls of a train station-home for this orphaned, apprentice clock keeper. As Hugo seeks to accomplish his mission, his life intersects with a cantankerous toyshop owner and a feisty girl who won't be ignored. Each character possesses secrets and something of great value to the other. With deft foreshadowing, sensitively wrought characters, and heart-pounding suspense, the author engineers the elements of his complex plot: speeding trains, clocks, footsteps, dreams, and movies-especially those by Georges Melies, the French pioneer of science-fiction cinema. Movie stills are cleverly interspersed. Selznick's art ranges from evocative, shadowy spreads of Parisian streets to penetrating character close-ups. Leaving much to ponder about loss, time, family, and the creative impulse, the book closes with a waning moon, a diminishing square, and informative credits. This is a masterful narrative that readers can literally manipulate.-Wendy Lukehart, Washington DC Public Library (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Selznick's unique, visually arresting illustrated novel is transformed into an equally unique audiobook-plus-DVD presentation here. The story of 12-year-old Hugo Cabret-orphan, clockmaker's apprentice, petty thief and aspiring magician-and how a curious machine connects him with his departed father and pioneering French filmmaker Georges Melies is full-bodied material for Woodman. The narrator dives in, reading with both a bright energy and an air of mystery-befitting the adventurous plot. Listeners will likely cotton to Woodman's affable tone and be fascinated by all the unusual elements here, including the sound-effects sequences (footsteps, train station noises) that stand in for Selznick's black-and-white illustrations, which appear like mini-silent movies in the book. Selznick himself takes over as host on the making-of style DVD, in which he divulges his love of film and his inspiration for the book, discusses (and demonstrates) his drawing technique and even performs a magic trick. The "chapters" of his interview are interspersed with excerpts from the audiobook, as he explains how the recording was a translation of both his words and pictures to sound. This inventive audio-visual hybrid will be a welcome addition to both home and classroom libraries. Ages 9-12. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Publishers Weekly Here is a true masterpiece-an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching. Twelve-year-old orphan Hugo lives in the walls of a Paris train station at the turn of the 20th century, where he tends to the clocks and filches what he needs to survive. Hugo's recently deceased father, a clockmaker, worked in a museum where he discovered an automaton: a human-like figure seated at a desk, pen in hand, as if ready to deliver a message. After his father showed Hugo the robot, the boy became just as obsessed with getting the automaton to function as his father had been, and the man gave his son one of the notebooks he used to record the automaton's inner workings. The plot grows as intricate as the robot's gears and mechanisms: Hugo's father dies in a fire at the museum; Hugo winds up living in the train station, which brings him together with a mysterious toymaker who runs a booth there, and the boy reclaims the automaton, to which the toymaker also has a connection. To Selznick's credit, the coincidences all feel carefully orchestrated; epiphany after epiphany occurs before the book comes to its sumptuous, glorious end. Selznick hints at the toymaker's hidden identity (inspired by an actual historical figure in the film industry, Georges Melies) through impressive use of meticulous charcoal drawings that grow or shrink against black backdrops, in pages-long sequences. They display the same item in increasingly tight focus or pan across scenes the way a camera might. The plot ultimately has much to do with the history of the movies, and Selznick's genius lies in his expert use of such a visual style to spotlight the role of this highly visual media. A standout achievement. Ages 9-12. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Over a sequence of twenty-one double-page wordless, illustrated spreads, a story begins. The tale that follows is a lively one, involving the dogged Hugo, his ally Isabelle, an automaton that can draw pictures, and a stage magician turned filmmaker. The interplay between the illustrations and text is complete genius, and themes of secrets, dreams, and invention play lightly but resonantly throughout. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list tf1ansideff0Selznick's novel in words and pictures, an intriguing mystery set in 1930s Paris about an orphan, a salvaged clockwork invention, and a celebrated filmmaker, resuscitates an anemic genreemdash the illustrated novelemdash and takes it to a whole new level. The result is somewhat similar to a graphic novel, but experiencing its mix of silvery pencil drawings and narrative interludes is ultimately more akin to watching a silent film. Indeed, movies and the wonder they inspire, like seeing dreams in the middle of the day, are central to the story, and Selznick expresses an obvious passion for cinema in ways both visual (successive pictures, set against black frames as if projected on a darkened screen, mimic slow zooms and dramatic cuts) and thematic (the convoluted plot involves director Georges M'e9li'e8s, particularly his fanciful 1902 masterpiece, A Trip to the Moon0 .) This hybrid creation, which also includes movie stills and archival photographs, is surprising and often lovely, but the orphan's story is overshadowed by the book's artistic and historical concerns (the heady extent of which are revealed in concluding notes about Selznick's inspirations, from the Lumi'e8re brothers to Fran'e7ois Truffaut). Nonetheless, bookmaking this ambitious demands and deserves attentionemdash which it will surely receive from children attracted by a novel in which a complex narrative is equally advanced by things both read and seen. --Jennifer Mattson Copyright 2007 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal Gr 3-6-Brian Selznick's atmospheric story (Scholastic, 2007) is set in Paris in 1931. Hugo Cabret is an orphan; his father, a clockmaker, has recently died in a fire and the boy lives with his alcoholic Uncle Claude, working as his apprentice clock keeper in a bustling train station. When Hugo's uncle fails to return after a three-day absence, the boy decides it's his chance to escape the man's harsh treatment. But Hugo has nowhere to go and, after wandering the city, returns to his uncle's rooms determined to fix a mechanical figure-an automaton-that his father was restoring when he died. Hugo is convinced it will "save his life"-the figure holds a pen, and the boy believes that if he can get it working again, it will deliver a message from his father. This is just the bare outline of this multilayered story, inspired by and with references to early (French) cinema and filmmaker George Melies, magic and magicians, and mechanical objects. Jeff Woodman's reading of the descriptive passages effectively sets the story's suspenseful tone. The book's many pages of pictorial narrative translate in the audio version into sound sequences that successfully employ the techniques of old radio plays (train whistles, footsteps reverberating through station passages, etc.). The accompanying DVD, hosted by Selznick and packed with information and images from the book, will enrich the listening experience.-Daryl Grabarek, School Library Journal (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 4-A wave deposits an old-fashioned contraption at the feet of an inquisitive young beachcomber. It's a "Melville underwater camera," and the excited boy quickly develops the film he finds inside. The photos are amazing: a windup fish, with intricate gears and screwed-on panels, appears in a school with its living counterparts; a fully inflated puffer, outfitted as a hot-air balloon, sails above the water; miniature green aliens kowtow to dour-faced sea horses; and more. The last print depicts a girl, holding a photo of a boy, and so on. As the images become smaller, the protagonist views them through his magnifying glass and then his microscope. The chain of children continues back through time, ending with a sepia image of a turn-of-the-20th-century boy waving from a beach. After photographing himself holding the print, the youngster tosses the camera back into the ocean, where it makes its way to its next recipient. This wordless book's vivid watercolor paintings have a crisp realism that anchors the elements of fantasy. Shifting perspectives, from close-ups to landscape views, and a layout incorporating broad spreads and boxed sequences, add drama and motion to the storytelling and echo the photographic theme. Filled with inventive details and delightful twists, each snapshot is a tale waiting to be told. Pair this visual adventure with Wiesner's other works, Chris Van Allsburg's titles, or Barbara Lehman's The Red Book (Houghton, 2004) for a mind-bending journey of imagination.-Joy Fleishhacker, School Library Journal (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS Up-Photos developed from a "Melville underwater camera" washed ashore astound the boy who discovers the device. Fantastic scenes of undersea life and images of children from years before encourage him to add his own photo to the series. Wiesner wordlessly stretches readers' imaginations about the timeless ocean circling the globe. (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 4-The properties and attendant framing shapes of the magnifying glass, camera, and microscope focus on photographs from a camera found on the beach. The watercolor sequence moves around the world and back in time, revealing a child holding a picture of the subsequent child (and an underwater fantasy) in this Caldecott winner. (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Two-time Caldecott winner Wiesner (Tuesday; The Three Pigs) crafts another wordless mystery, this one set on an ordinary beach and under an enchanted sea. A saucerlike fish's eye stares from the exact center of the dust jacket, and the fish's scarlet skin provides a knockout background color. First-timers might not notice what's reflected in its eye, but return visitors will: it's a boxy camera, drifting underwater with a school of slim green fish. In the opening panels, Wiesner pictures another close-up eye, this one belonging to a blond boy viewing a crab through a magnifying glass. Visual devices binoculars and a microscope in a plastic bag rest on a nearby beach towel, suggesting the boy's optical curiosity. After being tossed by a wave, the studious boy finds a barnacle-covered apparatus on the sand (evocatively labeled the "Melville Underwater Camera"). He removes its roll of film and, when he gets the results, readers see another close-up of his wide-open, astonished eye: the photos depict bizarre undersea scenes (nautilus shells with cutout windows, walking starfish-islands, octopi in their living room ? la Tuesday's frogs). A lesser fantasist would end the story here, but Wiesner provides a further surprise that connects the curious boy with others like him. Masterfully altering the pace with panel sequences and full-bleed spreads, he fills every inch of the pages with intricate, imaginative watercolor details. New details swim into focus with every rereading of this immensely satisfying excursion. Ages 5-8. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Book list PreS-Gr. 2. As in his Caldecott Medal Book Tuesday 0 (1991), Wiesner offers another exceptional, wordless picture book that finds wild magic in quiet, everyday settings. At the seaside, a boy holds a magnifying glass up to a flailing hermit crab; binoculars and a microscope lay nearby. The array of lenses signals the shifting viewpoints to come, and in the following panels, the boy discovers an old-fashioned camera, film intact. A trip to the photo store produces astonishing pictures: an octopus in an armchair holding story hour in a deep-sea parlor; tiny, green alien tourists peering at sea horses. There are portraits of children around the world and through the ages, each child holding another child's photo. After snapping his own image, the boy returns the camera to the sea, where it's carried on a journey to another child. Children may initially puzzle, along with the boy, over the mechanics of the camera and the connections between the photographed portraits. When closely observed, however, the masterful watercolors and ingeniously layered perspectives create a clear narrative, and viewers will eagerly fill in the story's wordless spaces with their own imagined story lines. Like Chris Van Allsburg's books and Wiesner's previous works, this visual wonder invites us to rethink how and what we see, out in the world and in our mind's eye. --Gillian Engberg Copyright 2006 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus From arguably the most inventive and cerebral visual storyteller in children's literature, comes a wordless invitation to drift with the tide, with the story, with your eyes, with your imagination. A boy at the beach picks up a barnacle-encrusted underwater camera. He develops the film, which produces, first, pictures of a surreal undersea world filled with extraordinary details (i.e., giant starfish bestride the sea carrying mountainous islands on their backs), and then a portrait of a girl holding a picture of a boy holding a picture of another boy . . . and so on . . . and on. Finally, the boy needs a microscope to reveal portraits of children going back in time to a sepia portrait of a turn-of-the-century lad in knickers. The boy adds his own self-portrait to the others, casts the camera back into the waves, and it is carried by a sea creature back to its fantastic depths to be returned as flotsam for another child to find. In Wiesner's much-honored style, the paintings are cinematic, coolly restrained and deliberate, beguiling in their sibylline images and limned with symbolic allusions. An invitation not to be resisted. (Picture book. 6-11) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Kirkus On the title page, a little girl springs away from her parents; turn the page, and the reader sees only her arms on the gate, the reader taking her perspective as she looks over to the white clapboard house where her Nanna and Poppy's faces stare equally eagerly out of the Hello, Goodbye Window. The exuberant tot proceeds to spend a thoroughly idyllic overnight with her loving grandparents, the stay punctuated by a harmonica serenade, a bike ride ("Not in the street, please") and a nap. Juster adopts the voice of the child, whose present-tense narration is just right, describing pleasures (saying good night to the stars) and perils (the tiger at the back of the garden) with a steady, sweet candor. Raschka's mixed-media illustrations are characteristically loose and energetic, depicting this happy, biracial family with jewel tones and extravagant swirls. As the little girl unwinds at the end of the stay, she imagines the many possible visitors who might come to the Hello, Goodbye Window—but no one is more happily welcomed than her parents, who pick her up after her picture-perfect day. (Picture book. 3-7) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 1-The window in Nanna and Poppy's kitchen is no ordinary window-it is the place where love and magic happens. It's where the girl and her doting grandparents watch stars, play games, and, most importantly, say hello and goodbye. The first-person text is both simple and sophisticated, conjuring a perfectly child-centered world. Sentences such as "When I get tired I come in and take my nap and nothing happens until I get up" typify the girl's happy, imaginative world. While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand. Perfect for lap-sharing, this book will find favor with children and adults alike.-Angela J. Reynolds, Washington County Cooperative Library Services, Hillsboro, OR (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Juster (The Phantom Tollbooth) crafts a cozy portrait of a grandchild and her grandparents in this endearing book, illustrated in paintbox colors by Raschka (Be Boy Buzz). A curly haired girl-who dances with wiggly energy in Raschka's lush paintings-describes playful visits to her Nanna and Poppy, whose kitchen window provides the perfect venue to say hello and goodbye. "You can climb up on the flower barrel and tap," she says, "then duck down and they won't know who did it." Her grandparents welcome her into a sunlit, spacious kitchen filled with plants, where she doodles and listens to Poppy play "Oh, Susannah" on the harmonica. At night, the "Hello, Goodbye Window" functions as a mirror, and the girl jokes about being outside looking in: "Poppy says, `What are you doing out there? You come right in and have your dinner.' And I say, `But I'm here with you, Poppy,' and then he looks at me in his funny way." Juster departs from the over-the-top punning of his earlier works to create a gently humorous account of a family's conversations and games, all centered on the special window. Raschka warms the pages with glowing yellow, emerald, sapphire and golden brown, and he pictures the garden and trees in emphatic midsummer greens. The characters smile at one another with a doting twinkle in their eyes, and grandparents especially will be charmed by this relaxed account of how a child's visit occasions everyday magic. Ages 2-up. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book In Juster's paean to loving grandparents, the young narrator relates the comforting routines she shares with her grandparents when she visits. The familial love that is Juster's subtext finds overt expression, spectacularly, in Raschka's lush mixed-media illustrations set off perfectly by white space. A varied layout, balancing exterior and interior landscapes with smaller character vignettes, helps sustain the book's energy. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list PreS-Gr. 2. Two well-known names come together in a book that speaks to the real lives of children and their experiences. The young narrator visits her grandparents, Nanna and Poppy, in their big house. They explore Nanna's garden, and Poppy plays his harmonica. The narrator rides her bike and takes a nap, and nothing happens till I get up. Looking out the picture window, the hello, goodbye window, she sees the pizza guy, and, more fancifully, a dinosaur. She also spots her parents coming to pick her up. The curly-haired girl is happy to see them, but sad because it means the end of the visit. The window imagery is less important than the title would make it seem. More intrinsic is Juster's honest portrayal of a child's perceptions (a striped cat in the yard is a tiger) and emotions (being happy and sad at the same time just happens that way sometimes ). Raschka's swirling lines, swaths, and dabs of fruity colors seem especially vibrant, particularly in the double-page spreads, which have ample room to capture both the tender moments between members of the interracial family and the exuberance of spending time in the pulsating outdoors, all flowers, grass, and sky. --Ilene Cooper Copyright 2005 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-K-An irresistible offering from the multifaceted Henkes. The spare and suspense-filled story concerns a kitten that mistakes the moon for a bowl of milk. When she opens her mouth to lick the treat, she ends up with a bug on her tongue. Next, she launches herself into the air, paws reaching out for the object of her desire, only to tumble down the stairs, "bumping her nose and banging her ear and pinching her tail. Poor Kitten." Again and again, the feline's persistent attempts to reach her goal lead to pain, frustration, and exhaustion. Repetitive phrases introduce each sequence of desire, action, and consequence, until the animal's instincts lead her home to a satisfying resolution. Done in a charcoal and cream-colored palette, the understated illustrations feature thick black outlines, pleasing curves, and swiftly changing expressions that are full of nuance. The rhythmic text and delightful artwork ensure storytime success. Kids will surely applaud this cat's irrepressible spirit. Pair this tale with Frank Asch's classic Moongame (S & S, 1987) and Nancy Elizabeth Wallace's The Sun, the Moon and the Stars (Houghton, 2003) for nocturnal celebrations.-Wendy Lukehart, Washington DC Public Library (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus In a surprisingly new guise, Henkes turns his hand for his 34th book to a retro look, with rough-hewn, black-and-white illustrations that pair perfectly with this deceptively simply story. When Kitten mistakes the full moon for a bowl of milk, she ends up tired, wet, and hungry trying to reach it. The coarse but masterfully controlled line with heavy black outlines contains vigor and exuberance, creating a spontaneous feeling. A keen sense of design uses double spreads and panels to depict the action and Kitten's puzzlement. Some spreads are almost all white space with dark shadows outlining Kitten and the moon. The style is reminiscent of Clare Newberry (Marshmallow, April's Kittens) without soft, fuzzy shapes, but artful in its gracelessness and naïvetÉ, just like a kitten. Simply charming. (Picture book. 3-5) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Book list PreS. Henkes creates another winner in this simple, charming story about a naive little kitten who mistakes a round, shining moon for a bowl of milk.itten laps at the sky's creamy circle, but she is surprised when she tastes bugs instead of milk. Then she chases the milk-bowl moon through the garden and field to the pond, where she climbs a tree, discovers another milk bowl shining in the water, and dives in after it. Finally, wet and sad and tired and hungry, she returns home to find, at last, a true bowl of milk, out of the sky and on the porch, waiting for her. Henkes' text, reminiscent of Margaret Wise Brown's work in the elemental words, rhythms, and appealing sounds, tells a warm, humorous story that's beautifully extended in his shimmering, gray-toned artwork. Working in bold black lines and the silvery palette of moonlight, he creates a lovable, expressive character in the determined kitten, and his dramatic contrasts of light and dark capture the excitement of a nighttime adventure. Wise preschoolers may chuckle at the kitten's folly, but they'll also recognize the mysterious power of moonlight to transform the familiar world of daytime into something altogether new. --Gillian Engberg Copyright 2004 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Horn Book The black-and-white forms in this sweet story about a kitten who thinks the full moon is a bowl of milk are larger and more solid-looking than Henkes's usual work. The kitten, whose white fur glows against the charcoal-gray sky, is sprightly and expressive as she fails repeatedly (""Poor Kitten!"") to get at that milk. The rhymthic, action-oriented text is just right for small children. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal PreS-Gr 1-Kevin Henkes's Caldecott Award-winning picture book (Greenwillow, 2004) is about a kitten who thinks that the full moon is a bowl of milk. Her attempts to lick it and catch it are futile. After much frustration, she comes home and finds a bowl of milk waiting for her on the porch. Joan Allen provides flawless narration for this animated production, eliciting concern and triumph in all the right places. Ernest Troost's musical accompaniment is pitch perfect, employing woodwind and piano to adroitly accent the story's drama. Unfortunately, the animated film lacks the velvety richness and depth of Henkes's delightful charcoal-and-cream-colored illustrations. The backgrounds appear flat at times and two-dimensional at best. When Kitten makes chase, not even the fireflies follow. Kitten is disappointingly devoid of cat-like movements except for some spot-on bottom twitching. The most disappointing moment, though, occurs at the denouement of the book when Kitten realizes that the bowl of milk she's been seeking all night is on the porch. In the book, her eyes grow wide and the moment is packed with emotion; this doesn't occur in the film. Still, this lovely story can stand on its own in video translation, but it should always be viewed along with the book, its superior inspiration.-Constance Dickerson, Cleveland Heights-University Heights Public Library, OH (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Library Journal Gerstein illustrates the captivating story of Philippe Petit's high-wire walk between the Twin Towers in 1974. Winner of the 2004 Caldecott Medal. (SLJ 11/03) (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus A spare recounting of Philippe Petit's daring 1974 wire walk between the Twin Towers depicts him as a street performer who defies authority to risk his feat, is arrested, and then sentenced to perform for the children of New York. At the conclusion, on the only non-illustrated page are the stark words, "Now the towers are gone," followed by the changed skyline and finally by a skyline on which are etched the ghost-like shapes of the towers as memory of the buildings and of Petit's exploit. At the heart are the spreads of Petit on the narrow wire, so far above the city that Earth's curve is visible. Two ingenious gatefolds draw readers' eyes into the vertiginous sweep of wirewalker—sky and city below. Unparalleled use of perspective and line—architectural verticals opposed to the curve of wires and earth—underscore disequilibrium and freedom. In a story that's all about balance, the illustrations display it exquisitely in composition. Readers of all ages will return to this again and again for its history, adventure, humor, and breathtaking homage to extraordinary buildings and a remarkable man. (Picture book/nonfiction. 5+) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal K-Gr 6-In 1974, a young Frenchman saw the completion of the World Trade Center towers as an irresistible invitation to stretch a cable between them and dance across it. Gorgeous oil-and-ink paintings capture the aerialist's spirited feat and breathtaking perspectives high above Manhattan harbor. Winner of the 2004 Caldecott Medal. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 4-Mordicai Gerstein's 2004 Caldecott Medal winning book (Roaring Brook, 2003) expressively conveys the joy and skill of French trapeze artist Philippe Petit and his amazing 1974 tightrope walk between the two World Trade Center towers during their construction. The animated adaptation of the book, superbly narrated by actor Jake Gyllenhaal, captures the awe and whimsy of Petit's tale. Sound effects add to the atmosphere and wonder of the story. The text is constructed with a paucity of words that read like poetry. Gerstein's oil and ink paintings are breathtaking. This exciting, touching, and haunting tale is a testament to Petit's determination and a fine memorial to the towers.-B. Allison Gray, John Jermain Memorial Library, Sag Harbor, NY (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 6-As this story opens, French funambulist Philippe Petit is dancing across a tightrope tied between two trees to the delight of the passersby in Lower Manhattan. Gerstein places him in the middle of a balancing act, framed by the two unfinished World Trade Center towers when the idea hits: "He looked not at the towers, but at the space between them and thought, what a wonderful place to stretch a rope-." On August 7, 1974, Petit and three friends, posing as construction workers, began their evening ascent from the elevators to the remaining stairs with a 440-pound cable and equipment, prepared to carry out their clever but dangerous scheme to secure the wire. The pacing of the narrative is as masterful as the placement and quality of the oil-and-ink paintings. The interplay of a single sentence or view with a sequence of thoughts or panels builds to a riveting climax. A small, framed close-up of Petit's foot on the wire yields to two three-page foldouts of the walk. One captures his progress from above, the other from the perspective of a pedestrian. The vertiginous views paint the New York skyline in twinkling starlight and at breathtaking sunrise. Gerstein captures his subject's incredible determination, profound skill, and sheer joy. The final scene depicts transparent, cloud-filled skyscrapers, a man in their midst. With its graceful majesty and mythic overtones, this unique and uplifting book is at once a portrait of a larger-than-life individual and a memorial to the towers and the lives associated with them.-Wendy Lukehart, Washington DC Public Library (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list PreS-Gr. 3. Here's a joyful true story of the World Trade Center from a time of innocence before 9/11. In 1974 French trapeze artist Philippe Petit walked a tightrope suspended between the towers before they were completed. Gerstein's simple words and dramatic ink-and-oil paintings capture the exhilarating feats, the mischief, and the daring of the astonishing young acrobat. He knew his plan was illegal, so he dressed as a construction worker, and, with the help of friends, lugged a reel of cable up the steps during the night and linked the buildings in the sky. As dawn broke, he stepped out on the wire and performed tricks above the city. Gerstein uses varied perspectives to tell the story--from the close-up jacket picture of one foot on the rope to the fold-out of Petit high above the traffic, swaying in the wind. Then there's a quiet view of the city skyline now, empty of the towers, and an astonishing image of the tiny figure high on the wire between the ghostly buildings we remember. --Hazel Rochman Copyright 2003 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

Publishers Weekly This effectively spare, lyrical account chronicles Philippe Petit's tightrope walk between Manhattan's World Trade Center towers in 1974. Gerstein (What Charlie Heard) begins the book like a fairy tale, "Once there were two towers side by side. They were each a quarter of a mile high... The tallest buildings in New York City." The author casts the French aerialist and street performer as the hero: "A young man saw them rise into the sky.... He loved to walk and dance on a rope he tied between two trees." As the man makes his way across the rope from one tree to the other, the towers loom in the background. When Philippe gazes at the twin buildings, he looks "not at the towers but at the space between them.... What a wonderful place to stretch a rope; a wire on which to walk." Disguised as construction workers, he and a friend haul a 440-pound reel of cable and other materials onto the roof of the south tower. How Philippe and his pals hang the cable over the 140-feet distance is in itself a fascinating-and harrowing-story, charted in a series of vertical and horizontal ink and oil panels. An inventive foldout tracking Philippe's progress across the wire offers dizzying views of the city below; a turn of the page transforms readers' vantage point into a vertical view of the feat from street level. When police race to the top of one tower's roof, threatening arrest, Philippe moves back and forth between the towers ("As long as he stayed on the wire he was free"). Gerstein's dramatic paintings include some perspectives bound to take any reader's breath away. Truly affecting is the book's final painting of the imagined imprint of the towers, now existing "in memory"-linked by Philippe and his high wire. Ages 5-8. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book Is this another September 11 book? No--and yes. In 1974, Philippe Petit, the French street performer and high-wire walker, couldn't resist the temptation to dance between the twin towers of the World Trade Center. Gerstein pulls the reader into the story with a conversational style extended by playful pen and paint illustrations. Like Petit, Gerstein conceals much careful planning behind an obvious enjoyment of his subject. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Ages 4^-8. Mouse, the narrator who flies a red and yellow biplane, tells listeners that his friend Rabbit "means well," but that trouble always follows him. Then comes a smart, sassy object lesson on how much trouble Rabbit brings. The fun of this is in the spacing and sequencing of the heavily ink-outlined drawings. After Rabbit has thrown Mouse's beloved biplane into a tree, one full page consists of tiny Mouse staring up, ink accents marking his exasperation. On the facing page, Rabbit darts off, promising a solution. The next double-spread shows an anxious Mouse as Rabbit drags one enormous tail into view. The space fills with a massive elephant. Then Rabbit pulls in, among others, a rhino, a reindeer, and a duck (followed, of course, by ducklings). Now, the two-page spread must be turned vertically to reveal a giant pyramid of animals, topped by a squirrel holding Mouse, who reaches for the biplane--then the mass topples. Rage-filled beasts turn on Rabbit. Mouse, flying in on his recovered plane, saves Rabbit from their clutches and claws. Tremendous physical humor delivers a gentle lesson about accepting friends as they are. --Connie Fletcher

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus Best known for fluid, superbly realistic oil paintings, Rohmann (Prairie Train, 1999, etc) switches to thick-lined colored woodcuts and a simpler pictorial style for this nearly wordless, engagingly wacky episode. After carelessly throwing little Mouse's airplane up into a tree, Rabbit finds a unique way to reach it. ("Not to worry, Mouse. I've got an idea!") Industrious, if not too practical, he drags in a reluctant bear, a crocodile, a purple hippo, and other animals, then stacks them atop a wobbly-legged elephant. Great is the inevitable fall thereof, but Mouse and airplane are reunited, and Mouse, being a true friend, swoops down to rescue Rabbit from the now-annoyed menagerie. Rohmann uses wordless, and sometimes even empty, frames to great comic effect, allowing huge animals to make sudden entrances from the side-or from above, and artfully capturing the expressions on their faces. Young readers and pre-readers will chortle at the silliness of it all while enjoying the sometimes-demanding friendship between these disparately sized chums. (Picture book. 4-7)

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly My friend Rabbit means well, begins the mouse narrator. But whatever he does, wherever he goes, trouble follows. Once Rabbit pitches Mouse's airplane into a tree, Rohmann tells most of the story through bold, expressive relief prints, a dramatic departure for the illustrator of The Cinder-Eyed Cats and other more painterly works. Rabbit might be a little too impulsive, but he has big ideas and plenty of energy. Rohmann pictures the pint-size, long-eared fellow recruiting an elephant, a rhinoceros and other large animals, and coaching them to stand one on top of another, like living building blocks, in order to retrieve Mouse's plane. Readers must tilt the book vertically to view the climactic spread: a tall, narrow portrait of a stack of very annoyed animals sitting on each other's backs as Rabbit holds Squirrel up toward the stuck airplane. The next spread anticipates trouble, as four duckling onlookers scurry frantically; the following scene shows the living ladder upended, with lots of flying feathers and scrabbling limbs. Somehow, in the tumult, the airplane comes free, and Mouse, aloft again, forgives his friend... even as the closing spread implies more trouble to follow. This gentle lesson in patience and loyalty, balanced on the back of a hilarious set of illustrations, will leave young readers clamoring for repeat readings. Ages 4-8. (May) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

School Library Journal PreS-Gr 1-A simple story about Rabbit and Mouse, who, despite Rabbit's penchant for trouble, are friends. When Rabbit launches his toy airplane (with Mouse in the pilot seat at takeoff) and it gets stuck in a tree, he convinces his friend that he will come up with a plan to get it down. He does so by stacking animals on top of one another (beginning with an elephant and a rhinoceros) until they are within reach of the toy. The double-page, hand-colored relief prints with heavy black outlines are magnificent, and children will enjoy the comically expressive pictures of the animals before and after their attempt to extract the plane. The text is minimal; it's the illustrations that are the draw here.-Kristin de Lacoste, South Regional Public Library, Pembroke Pines, FL (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book When narrator Mouse?s well-meaning but trouble-prone friend Rabbit gets Mouse?s airplane stuck in a tree, his solution (a precarious tower of reluctant animals that almost reaches the airplane) causes even more problems. The book is visually exciting--Rohmann?s hand-colored relief prints make fresh and innovative use of picture book space--and broadly humorous. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Even the book's younger readers will understand the distinctive visual code. As the pigs enter the confines of a storybook page, they conform to that book's illustrative style, appearing as nursery-rhyme friezes or comic-book line drawings. When the pigs emerge from the storybook pages into the meta-landscape, they appear photographically clear and crisp, with shadows and three dimensions. Wiesner's (Tuesday) brilliant use of white space and perspective (as the pigs fly to the upper right-hand corner of a spread on their makeshift plane, or as one pig's snout dominates a full page) evokes a feeling that the characters can navigate endless possibilitiesDand that the range of story itself is limitless. Ages 5-up. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Horn Book In this postmodern interpretation, the style of the artwork shifts back and forth a few times, as Wiesner explores different realities within a book's pages. The story begins by following the familiar pattern, but the art and dialogue balloons tell another tale: the pigs actually step out of the panel illustrations without being eaten and the perplexed wolf remains behind. There's a lot going on here, but once you get your bearings, this is a fantastic journey told with a light touch. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal K-Gr 6-In Tuesday (Clarion, 1991), Wiesner demonstrated that pigs could fly. Here, he shows what happens when they take control of their story. In an L. Leslie Brooke sort of style (the illustrations are created through a combination of watercolor, gouache, colored inks, and pencils), the wolf comes a-knocking on the straw house. When he puffs, the pig gets blown "right out of the story." (The double spread contains four panels on a white background; the first two follow the familiar story line, but the pig falls out of the third frame, so in the fourth, the wolf looks quite perplexed.) So it goes until the pigs bump the story panels aside, fold one with the wolf on it into a paper airplane, and take to the air. Children will delight in the changing perspectives, the effect of the wolf's folded-paper body, and the whole notion of the interrupted narrative. Wiesner's luxurious use of white space with the textured pigs zooming in and out of view is fresh and funny. They wander through other stories-their bodies changing to take on the new style of illustration as they enter the pages-emerging with a dragon and the cat with a fiddle. The cat draws their attention to a panel with a brick house, and they all sit down to soup, while one of the pigs reconstructs the text. Witty dialogue and physical comedy abound in this inspired retelling of a familiar favorite.-Wendy Lukehart, Dauphin County Library, Harrisburg, PA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus With this inventive retelling, Caldecott Medalist Wiesner (Tuesday, 1991) plays with literary conventions in a manner not seen since Scieszka?s The Stinky Cheese Man and Other Fairly Stupid Tales (1993). The story begins with a traditional approach in both language and illustrations, but when the wolf huffs and puffs, he not only blows down the pigs? wood and straw houses, but also blows the pigs right out of the story and into a parallel story structure. The three pigs (illustrated in their new world in a more three-dimensional style and with speech balloons) take off on a postmodern adventure via a paper airplane folded from the discarded pages of the traditional tale. They sail through several spreads of white space and crash-land in a surreal world of picture-book pages, where they befriend the cat from ?Hey, Diddle Diddle? and a charming dragon that needs to escape with his cherished golden rose from a pursuing prince. The pigs, cat, and dragon pick up the pages of the original story and return to that flat, conventional world, concluding with a satisfying bowl of dragon-breath-broiled soup in their safe, sturdy brick house. The pigs have braved the new world and returned with their treasure: the cat for company and fiddle music, the dragon?s golden rose for beauty, and the dragon himself for warmth and protection from the wolf, who is glimpsed through the window, sitting powerlessly in the distance. On the last few pages, the final words of the text break apart, sending letters drifting down into the illustrations to show us that once we have ventured out into the wider world, our stories never stay the same. (Picture book. 5-9)

Copyright © Kirkus Reviews, used with permission.

Book list Ages 3^-6. This spectacular, large-format edition has double-page-spread illustrations that resonate with bold strokes and exuberant images of the moon as it prepares for its nightly activities. The moon paints the sky, gets rid of fog and mist, plants dreams, locks up nightmares until morning comes and it's time to go to sleep. Even very young children will understand this simple, almost poetic Spanish rendition of a sweet bedtime story.

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal Gr 4-8-Curious tidbits of personal information and national history combine with humorously drawn caricatures to give this tongue-in-cheek picture book a quirky appeal. "There are good things about being President and there are bad things about being President." So begins a walk through a brief history of facts, successes, oddities, and mishaps. For example, most readers won't know that William Howard Taft weighed over 300 pounds and ordered a specially made bathtub. Small's drawing of a naked Taft being lowered into a water-filled tub by means of a crane should help them remember. Another spread depicts a men's shop where Andrew Johnson (a tailor) fits Ronald Reagan (an actor) for a suit while Harry Truman (a haberdasher) stands behind the counter. While the text exposes the human side of the individuals, the office of the presidency is ultimately treated with respect and dignity. A list of presidents with terms of office, birthplace, date of birth and death, and a one-sentence summary of their accomplishments is provided. This title will add spark to any study of this popular subject.-Alicia Eames, New York City Public Schools (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list Gr. 3^-5, younger for reading aloud. Portraits of the presidents can be generally described as staid, stodgy, and dull. Throw these adjectives out the window when describing this book's group portrayal of American presidents. St. George leads her audience, ostensibly young presidential hopefuls, through the good points of the presidency (big house with its own bowling alley and movie theater) and bad points (lots of homework). Then she offers a spiffy presidential history with comparisions and contrasts: most popular names, log cabin origins, ages, looks, backgrounds, pets, musical abilities, favorite sports, and personalities ("William McKinley was so nice that he tried to stop a mob from attacking the man who had just shot him"). The book holds out the possibility that someday a woman, a person of color, or a person who is neither Protestant nor Roman Catholic might be elected president. The discussion ends with the oath of office and the thought that most presidents have tried to do their best to fulfill it. David Small's delightful illustrations, usually droll and sometimes hilarious, will draw children to the book and entertain them from page to page. Memorable images include the comical sight of the obese President Taft being lowered into a bathtub by a crane and a powerful scene showing two figures, Nixon (looking disgruntled) and Clinton (looking dejected), descending the steps of the Lincoln Memorial, under the shadow of impeachment. Thoughtful composition and layout both contribute to the lively visual presentation of this most original look at the presidency. The light tone of the book makes it possible for readers to absorb a great deal of information, some of it silly, but underlying the treatment is a sense of the significance and dignity of the office and the faith that children still aspire to be president. --Carolyn Phelan

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus Just in time for the presidential election, St. George (In the Line of Fire: Presidents Lives at Stake, 1999, etc.) uses the experiences of our 42 presidents to counsel youngsters harboring that uniquely American desire—to be president. Reflecting on the "good things about being President and . . . bad things about being President . . ." she offers a pleasingly diverse slate of facts and figures for her readers' consideration: age (the oldest—Reagan; the youngest—Teddy Roosevelt), size (the smallest—Madison—at 100 lbs., contrasting with Taft, at over 300), career choices (generals, lawyers, haberdashers, farmers), first names (six Jameses, four Johns, four Williams, two Georges, two Franklins), education (nine presidents never went to college, while one—Andrew Johnson—"didn't learn to write until after he was married"). At the close of this sometimes wry, sometimes sober survey (including impeachments, wars, and assassinations), St. George encourages: "If you want to be president—a good president—pattern yourself after the best . . . [those who] have asked more of themselves than they thought they could give . . . They [who] have had the courage, spirit, and will to do . . . [what's] right." Small's (The Huckabuck Family, 1999, etc.) pitch-perfect caricatures, rendered in a mix of watercolor, ink, and pastel, expand on the personalities and support the narrative's shifting moods. There's a helpful key to every illustration and a presidential chronology from Washington to Clinton. Even a few "non-presidents" are featured: Pat Nixon and Henry Kissinger watch (with future President Ford) President Nixon bowl in the White House lanes, and there's a wonderfully wry glimpse of two "also-ran's"—Jesse Jackson and Geraldine Ferraro—excluded from an across-the-centuries presidential reception by a velvet rope. A superb, kid-centered survey and a perfect way to enliven the perennial class unit on the presidents. (Nonfiction. 7-12) Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book The presidential faces on Mount Rushmore are depicted in a jovial cartoon style on the cover--an encouraging invitation to the witty observations within. Arranging historical tidbits in an attractive buffet, this well-timed book offers anecdotes both cautionary and guaranteed to attract attention and arouse interest. Appended are brief biographical sketches of the presidents and a short bibliography. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal This Caldecott Medal winner features humorous facts about U.S. presidents with a viewpoint especially interesting to children. Droll, cartoon-style illustrations extend the text and provide intriguing presidential caricatures. Difficult issues are presented in age-appropriate fashion. Channing's reading enhances the humor and the background music includes variations of "Hail to the Chief" and other patriotic songs that lend an energetic air to the narration. (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly HThis lighthearted, often humorous roundup of anecdotes and trivia is cast as a handbook of helpful hints to aspiring presidential candidates. St. George (Sacagawea; Crazy Horse) points out that it might boost your odds of being elected if your name is James (the moniker of six former presidents) or if your place of birth was a humble dwelling ("You probably weren't born in a log cabin. That's too bad. People are crazy about log-cabin Presidents. They elected eight"). She serves up diverse, occasionally tongue-in-cheek tidbits and spices the narrative with colorful quotes from her subjects. For instance, she notes that "Warren Harding was a handsome man, but he was one of our worst Presidents" due to his corrupt administration, and backs it up with one of his own quotes, "I am not fit for this office and never should have been here." Meanwhile, Small (The Gardener) shows Harding crowned king of a "Presidential Beauty Contest"; all the other presidents applaud him (except for a grimacing Nixon). The comical, caricatured artwork emphasizes some of the presidents' best known qualities and amplifies the playful tone of the text. For an illustration of family histories, Small depicts eight diminutive siblings crawling over a patient young George Washington; for another featuring pre-presidential occupations, Harry Truman stands at the cash register of his men's shop while Andrew Johnson (a former tailor) makes alterations on movie star Ronald Reagan's suit. The many clever, quirky asides may well send readers off on a presidential fact-finding missionDand spark many a discussion of additional anecdotes. A clever and engrossing approach to the men who have led America. Ages 7-up. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Pre-Gr 3-A book bursting at the seams with ingenuity and creative spirit. When Joseph's overcoat becomes "old and worn," he snips off the patches and turns it into a jacket. When his jacket is beyond repair, he makes a vest. Joseph recycles his garments until he has nothing left. But by trading in his scissors for a pen and paintbrush he creates a story, showing "you can always make something out of nothing." Clever die-cut holes provide clues as to what Joseph will make next: windowpanes in one scene become a scarf upon turning the page. Striking gouache, watercolor, and collage illustrations are chock-full of witty details-letters to read, proverbs on the walls, even a fiddler on the roof. Taback adapted this tale from a Yiddish folk song and the music and English lyrics are appended. The rhythm and repetition make it a perfect storytime read-aloud.-Linda Ludke, London Public Library, Ontario, Canada (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Learning Activity: Have students create cut-outs of Joseph's garments as they retell the story, demonstrating their understanding of the central message and its key details. (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Horn Book In this newly illustrated adaptation of a Yiddish folk song, die-cuts help tell the story of resourceful Joseph, a farmer/tailor, who recycles his worn overcoat into ever-smaller items. A mixture of painting and collage create a somewhat surreal but delightful effect; details in the art make this a pageant of pre-WWII Jewish-Polish life. Clever, humorous, visually engrossing, poignant, this tribute to a vanished way of life is worth holding on to. Reviewed by: mvp (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly As in his Caldecott Honor book, There Was an Old Lady Who Swallowed a Fly, Taback's inventive use of die-cut pages shows off his signature artwork, here newly created for his 1977 adaptation of a Yiddish folk song. This diverting, sequential story unravels as swiftly as the threads of Joseph's well-loved, patch-covered plaid coat. A flip of the page allows children to peek through to subsequent spreads as Joseph's tailoring produces items of decreasing size. The author puts a droll spin on his narrative when Joseph loses the last remnant of the coatÄa buttonÄand decides to make a book about it. "Which shows... you can always make something out of nothing," writes Taback, who wryly slips himself into his story by depicting Joseph creating a dummy for the book that readers are holding. Still, it's the bustling mixed-media artwork, highlighted by the strategically placed die-cuts, that steals the show. Taback works into his folk art a menagerie of wide-eyed animals witnessing the overcoat's transformation, miniature photographs superimposed on paintings and some clever asides reproduced in small print (a wall hanging declares, "Better to have an ugly patch than a beautiful hole"; a newspaper headline announces, "Fiddler on Roof Falls off Roof"). With its effective repetition and an abundance of visual humor, this is tailor-made for reading aloud. All ages. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved

Book list Ages 4^-7. This newly illustrated version of a book Taback first published in 1977 is a true example of accomplished bookmaking--from the typography and the endpapers to the bar code, set in what appears to be a patch of fabric. Taback's mixed-media and collage illustrations are alive with warmth, humor, and humanity. Their colors are festive yet controlled, and they are filled with homey clutter, interesting characters, and a million details to bring children back again and again. The simple text, which was adapted from the Yiddish song "I Had a Little Overcoat," begins as Joseph makes a jacket from his old, worn coat. When the jacket wears out, Joseph makes a vest, and so on, until he has only enough to cover a button. Cut outs emphasize the use and reuse of the material and add to the general sense of fun. When Joseph loses, he writes a story about it all, bringing children to the moral "You can always make something out of nothing." --Tim Arnold

From Booklist, Copyright © American Library Association. Used with permission.