Twenty poems celebrate the denizens of the garden through day, night and all sorts of weather. The strongest poems scan well, with disciplined rhyme and insightful metaphors. “Garden Lullaby” gently explores the moonlit garden, sotto voce: “Sweet dreams, little peas, ten to a pod. / Good night, radishes, tucked under sod. / Gone are the bees and butterflies.” Less successful are erratically rhyming poems such as “The Pumpkin’s Revenge”—“The ugly pumpkin, so heckled and shamed, / defied the fairy deadline and remained / a one-of-a-kind carriage in gilded frame. / You can see him today in a Paris museum.” Davenier deftly commands her medium, layering transparent, luminous watercolor. The best compositions liberally employ black line to contour leaves, pods and worms, and the endpapers, contrasting the garden in summer and winter, truly sparkle. A childlike fairy, never referenced in the poems, appears prominently in every illustration, and the correspondence between poem and illustration is at times lacking. Uneven, but not without its bright charms. (Poetry. 6-10)
Pub Date: April 1, 2006
ISBN: 0-8118-3962-1
Page Count: 32
Publisher: Chronicle Books
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: March 15, 2006
Categories: CHILDREN'S POETRY
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A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)
Pub Date: Feb. 1, 2001
ISBN: 0-8050-6744-2
Page Count: 32
Publisher: Henry Holt
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: Feb. 1, 2002
Categories: CHILDREN'S POETRY | CHILDREN'S BIOGRAPHY & MEMOIR
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BOOK REVIEW
A dozen familiar dinosaurs introduce themselves in verse in this uninspired, if colorful, new animal gallery from the authors of Commotion in the Ocean (2000). Smiling, usually toothily, and sporting an array of diamonds, lightning bolts, spikes and tiger stripes, the garishly colored dinosaurs make an eye-catching show, but their comments seldom measure up to their appearance: “I’m a swimming reptile, / I dive down in the sea. / And when I spot a yummy squid, / I eat it up with glee!” (“Ichthyosaurus”) Next to the likes of Kevin Crotty’s Dinosongs (2000), illustrated by Kurt Vargo, or Jack Prelutsky’s classic Tyrannosaurus Was A Beast (1988), illustrated by Arnold Lobel, there’s not much here to roar about. (Picture book/poetry. 7-9)
Pub Date: March 1, 2005
ISBN: 1-58925-044-3
Page Count: 32
Publisher: Tiger Tales
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: March 1, 2005
Categories: CHILDREN'S POETRY
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