How nice to see a familiar story made new with a family of color and a little brother as hero.

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THE NEW SMALL PERSON

A familiar theme—a big brother feels displaced by a new baby—seems fresh in Child’s latest.

“Elmore Green started off life as an only child, as many children do,” opens the wry text. Accompanying art depicts a brown-skinned boy with tousled black hair, wearing photo-collaged knitwear and grasping his bedroom doorknob. At first, his room remains his own, even when “the new small person” arrives, and Elmore’s upset arises not from sharing either space or things, but from insecurity. He worries that his parents and others might like the baby “a little bit MORE than they liked Elmore Green.” Such concerns don’t foster affection, and Elmore sees even more reasons to remain leery when his brother begins copying him, following him around, interfering with his things and (horrors!) sharing his bedroom. This last development, however, provokes brotherly love when Elmore has a nightmare and his brother crawls into his bed to soothe him. It’s a pleasing twist on typical stories about sibling rivalry, in that the little brother’s actions change the dynamic rather than vice versa. Shared activities and playthings strengthen their bond, resulting in a happy ending for Elmore and Albert, whose name is finally revealed upon his big brother’s change of heart.

How nice to see a familiar story made new with a family of color and a little brother as hero. (Picture book. 3-7)

Pub Date: Feb. 10, 2015

ISBN: 978-0-7636-7810-4

Page Count: 32

Publisher: Candlewick

Review Posted Online: Nov. 11, 2014

Kirkus Reviews Issue: Dec. 1, 2014

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A pro-girl book with illustrations that far outshine the text. (Picture book. 3-7)

I AM ENOUGH

A feel-good book about self-acceptance.

Empire star Byers and Bobo offer a beautifully illustrated, rhyming picture book detailing what one brown-skinned little girl with an impressive Afro appreciates about herself. Relying on similes, the text establishes a pattern with the opening sentence, “Like the sun, I’m here to shine,” and follows it through most of the book. Some of them work well, while others fall flat: “Like the rain, I’m here to pour / and drip and fall until I’m full.” In some vignettes she’s by herself; and in others, pictured along with children of other races. While the book’s pro-diversity message comes through, the didactic and even prideful expressions of self-acceptance make the book exasperatingly preachy—a common pitfall for books by celebrity authors. In contrast, Bobo’s illustrations are visually stunning. After painting the children and the objects with which they interact, such as flowers, books, and a red wagon, in acrylic on board for a traditional look, she scanned the images into Adobe Photoshop and added the backgrounds digitally in chalk. This lends a whimsical feel to such details as a rainbow, a window, wind, and rain—all reminiscent of Harold and the Purple Crayon. Bobo creates an inclusive world of girls in which wearing glasses, using a wheelchair, wearing a head scarf, and having a big Afro are unconditionally accepted rather than markers for othering.

A pro-girl book with illustrations that far outshine the text. (Picture book. 3-7)

Pub Date: March 6, 2018

ISBN: 978-0-06-266712-0

Page Count: 32

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: Dec. 3, 2017

Kirkus Reviews Issue: Jan. 15, 2018

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Plotless and pointless, the book clearly exists only because its celebrity author wrote it.

YOUR BABY'S FIRST WORD WILL BE DADA

A succession of animal dads do their best to teach their young to say “Dada” in this picture-book vehicle for Fallon.

A grumpy bull says, “DADA!”; his calf moos back. A sad-looking ram insists, “DADA!”; his lamb baas back. A duck, a bee, a dog, a rabbit, a cat, a mouse, a donkey, a pig, a frog, a rooster, and a horse all fail similarly, spread by spread. A final two-spread sequence finds all of the animals arrayed across the pages, dads on the verso and children on the recto. All the text prior to this point has been either iterations of “Dada” or animal sounds in dialogue bubbles; here, narrative text states, “Now everybody get in line, let’s say it together one more time….” Upon the turn of the page, the animal dads gaze round-eyed as their young across the gutter all cry, “DADA!” (except the duckling, who says, “quack”). Ordóñez's illustrations have a bland, digital look, compositions hardly varying with the characters, although the pastel-colored backgrounds change. The punch line fails from a design standpoint, as the sudden, single-bubble chorus of “DADA” appears to be emanating from background features rather than the baby animals’ mouths (only some of which, on close inspection, appear to be open). It also fails to be funny.

Plotless and pointless, the book clearly exists only because its celebrity author wrote it. (Picture book. 3-5)

Pub Date: June 9, 2015

ISBN: 978-1-250-00934-0

Page Count: 32

Publisher: Feiwel & Friends

Review Posted Online: April 15, 2015

Kirkus Reviews Issue: May 1, 2015

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