An attractive complement to Eric Carle’s The Mixed-Up Chameleon.

INVISIBLE LIZARD

Napoleon, a colorful, “spiffy” chameleon, lives on an equally “spiffy” tree limb and blends in so well with his surroundings the other jungle residents cannot see him.

With his charming personality, Napoleon tries to entice and engage Polly, a squawking parrot, and Mike, a screeching monkey, by waving his arms, weaving a welcome mat, and making funny faces. Much to their fright and distress, the parrot and monkey see only a talking tree. In his final attempt to be recognized, Napoleon stands on his head and eventually slips and falls, so he’s forced to use his sticky tongue to flick and grab hold of the limb. Suddenly everyone is able to see him hanging by his tongue. Polly is impressed by his colors, and Mike admires his swinging. The three become friends through daily visits and games of hide-and-seek. Detailed, vibrant paintings in boldly verdant colors give Napoleon’s rain-forest environment a surrealistic twist. Curved shapes echo the lizard’s bulging eyes, rounded body, bumpy skin, and curling tail, melding kaleidoscopically with his ever changing colors. The well-designed layout draws children into the paintings to search for Polly, Mike, and, of course, Napoleon in each amid abundant insects, mushrooms, ferns, and fungus living and growing on the tree limb.

An attractive complement to Eric Carle’s The Mixed-Up Chameleon. (Picture book. 4-6)

Pub Date: Aug. 15, 2017

ISBN: 978-1-58536-378-0

Page Count: 32

Publisher: Sleeping Bear Press

Review Posted Online: May 10, 2017

Kirkus Reviews Issue: June 1, 2017

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A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history.

THE SCARECROW

Ferry and the Fans portray a popular seasonal character’s unlikely friendship.

Initially, the protagonist is shown in his solitary world: “Scarecrow stands alone and scares / the fox and deer, / the mice and crows. / It’s all he does. It’s all he knows.” His presence is effective; the animals stay outside the fenced-in fields, but the omniscient narrator laments the character’s lack of friends or places to go. Everything changes when a baby crow falls nearby. Breaking his pole so he can bend, the scarecrow picks it up, placing the creature in the bib of his overalls while singing a lullaby. Both abandon natural tendencies until the crow learns to fly—and thus departs. The aabb rhyme scheme flows reasonably well, propelling the narrative through fall, winter, and spring, when the mature crow returns with a mate to build a nest in the overalls bib that once was his home. The Fan brothers capture the emotional tenor of the seasons and the main character in their panoramic pencil, ballpoint, and digital compositions. Particularly poignant is the close-up of the scarecrow’s burlap face, his stitched mouth and leaf-rimmed head conveying such sadness after his companion goes. Some adults may wonder why the scarecrow seems to have only partial agency, but children will be tuned into the problem, gratified by the resolution.

A welcome addition to autumnal storytelling—and to tales of traditional enemies overcoming their history. (Picture book. 4-6)

Pub Date: Sept. 3, 2019

ISBN: 978-0-06-247576-3

Page Count: 40

Publisher: Harper/HarperCollins

Review Posted Online: May 8, 2019

Kirkus Reviews Issue: June 1, 2019

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PIRATES DON'T TAKE BATHS

Echoes of Runaway Bunny color this exchange between a bath-averse piglet and his patient mother. Using a strategy that would probably be a nonstarter in real life, the mother deflects her stubborn offspring’s string of bath-free occupational conceits with appeals to reason: “Pirates NEVER EVER take baths!” “Pirates don’t get seasick either. But you do.” “Yeesh. I’m an astronaut, okay?” “Well, it is hard to bathe in zero gravity. It’s hard to poop and pee in zero gravity too!” And so on, until Mom’s enticing promise of treasure in the deep sea persuades her little Treasure Hunter to take a dive. Chunky figures surrounded by lots of bright white space in Segal’s minimally detailed watercolors keep the visuals as simple as the plotline. The language isn’t quite as basic, though, and as it rendered entirely in dialogue—Mother Pig’s lines are italicized—adult readers will have to work hard at their vocal characterizations for it to make any sense. Moreover, younger audiences (any audiences, come to that) may wonder what the piggy’s watery closing “EUREKA!!!” is all about too. Not particularly persuasive, but this might coax a few young porkers to get their trotters into the tub. (Picture book. 4-6)

Pub Date: March 1, 2011

ISBN: 978-0-399-25425-3

Page Count: 32

Publisher: Philomel

Review Posted Online: Jan. 26, 2011

Kirkus Reviews Issue: Feb. 1, 2011

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