THE GOOD LITTLE GIRL

David’s good little Miranda is being handed a bill of goods from her working parents: “Tomorrow,” they reply to her requests, and they take her consent for granted. When they fail to deliver Miranda’s favorite Saturday waffle breakfast, and again make the feeble “tomorrow” response, Miranda metamorphoses into a rough-and-tumble alter-ego—Lucretia, who is green and nasty. Miranda is inside Lucretia’s head, staring out her eyeball to witness the proceedings, and can communicate with Lucretia but not with her parents. Lucretia asks Miranda what she wants, and at first all is well, with all Miranda’s requests fulfilled. Then Lucretia turns mean, humiliating the parents and disregarding Miranda’s pleas. After Lucretia makes Miranda’s mother stick pencils up her nose and sing “Polly Wolly Doodle,” Miranda cuts loose and reappears, sending Lucretia back to a primitive corner of her brain. The parents are delighted to have their good girl return, but slip into their “tomorrow” motif until prompting from Lucretia firms up negotiations. Lucretia will appeal to every child who has ever succumbed to vague parental procrastinations, and Oubrerie’s illustrations are just what the story ordered: bug-eyed, elemental, and more than a tad crazy. (Picture book. 6-9)

Pub Date: Oct. 1, 1998

ISBN: 0-385-32614-9

Page Count: 32

Publisher: Doubleday

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1998

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KEVIN AND HIS DAD

There is something profoundly elemental going on in Smalls’s book: the capturing of a moment of unmediated joy. It’s not melodramatic, but just a Saturday in which an African-American father and son immerse themselves in each other’s company when the woman of the house is away. Putting first things first, they tidy up the house, with an unheralded sense of purpose motivating their actions: “Then we clean, clean, clean the windows,/wipe, wipe, wash them right./My dad shines in the windows’ light.” When their work is done, they head for the park for some batting practice, then to the movies where the boy gets to choose between films. After a snack, they work their way homeward, racing each other, doing a dance step or two, then “Dad takes my hand and slows down./I understand, and we slow down./It’s a long, long walk./We have a quiet talk and smile.” Smalls treats the material without pretense, leaving it guileless and thus accessible to readers. Hays’s artwork is wistful and idyllic, just as this day is for one small boy. (Picture book. 5-8)

Pub Date: April 1, 1999

ISBN: 0-316-79899-1

Page Count: 32

Publisher: Little, Brown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1999

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TEA WITH MILK

In describing how his parents met, Say continues to explore the ways that differing cultures can harmonize; raised near San Francisco and known as May everywhere except at home, where she is Masako, the child who will grow up to be Say’s mother becomes a misfit when her family moves back to Japan. Rebelling against attempts to force her into the mold of a traditional Japanese woman, she leaves for Osaka, finds work as a department store translator, and meets Joseph, a Chinese businessman who not only speaks English, but prefers tea with milk and sugar, and persuades her that “home isn’t a place or a building that’s ready-made or waiting for you, in America or anywhere else.” Painted with characteristic control and restraint, Say’s illustrations, largely portraits, begin with a sepia view of a sullen child in a kimono, gradually take on distinct, subdued color, and end with a formal shot of the smiling young couple in Western dress. A stately cousin to Ina R. Friedman’s How My Parents Learned To Eat (1984), also illustrated by Say. (Picture book. 7-9)

Pub Date: April 1, 1999

ISBN: 0-395-90495-1

Page Count: 32

Publisher: Houghton Mifflin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1999

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