The Steads’ work adopts a folkloric approach to cooperative relationships; the affectionately rendered animals that stand in...

BEAR HAS A STORY TO TELL

Within a gentle tale of hibernation and renewal, the Steads’ second collaboration (after Caldecott-winning A Sick Day for Amos McGee) explores a second, internal theme: the nature of the storytelling narrative itself.

Increasingly sleepy, Bear pads through the fall landscape with “a story to tell” before winter’s sleep. Mouse, Duck, Frog and Mole are well into their own winter preparations and cannot listen. Months later, when the reunited friends gather beneath a full moon, Bear can’t remember his story. Helpfully, his friends suggest a protagonist (“Maybe your story is about a bear”), a plot (“Maybe your story is about the busy time just before winter”), and supporting characters (themselves). Thus, Bear begins his story as this one ends: The first line of his story is both the last line of the book and its first. Erin Stead’s pictures quietly appeal: Pencil line and shading define basic features of animals and trees, while washes and smudges of paint suggest seasonal colors, Bear’s rotund mass, and the brushy cobalt expanse of starlit skies. Sharing an affinity with Jerry Pinkney yet evoking the sparer 1960s work of Evaline Ness and Nonny Hogrogian, Stead’s compositions exude an ineffable, less-is-more charm.

The Steads’ work adopts a folkloric approach to cooperative relationships; the affectionately rendered animals that stand in for humans convey a nurturing respect for child readers. (Picture book. 3-7)

Pub Date: Sept. 4, 2012

ISBN: 978-1-59643-745-6

Page Count: 32

Publisher: Neal Porter/Roaring Brook

Review Posted Online: April 25, 2012

Kirkus Reviews Issue: Aug. 1, 2012

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Hee haw.

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THE WONKY DONKEY

The print version of a knee-slapping cumulative ditty.

In the song, Smith meets a donkey on the road. It is three-legged, and so a “wonky donkey” that, on further examination, has but one eye and so is a “winky wonky donkey” with a taste for country music and therefore a “honky-tonky winky wonky donkey,” and so on to a final characterization as a “spunky hanky-panky cranky stinky-dinky lanky honky-tonky winky wonky donkey.” A free musical recording (of this version, anyway—the author’s website hints at an adults-only version of the song) is available from the publisher and elsewhere online. Even though the book has no included soundtrack, the sly, high-spirited, eye patch–sporting donkey that grins, winks, farts, and clumps its way through the song on a prosthetic metal hoof in Cowley’s informal watercolors supplies comical visual flourishes for the silly wordplay. Look for ready guffaws from young audiences, whether read or sung, though those attuned to disability stereotypes may find themselves wincing instead or as well.

Hee haw. (Picture book. 5-7)

Pub Date: May 1, 2010

ISBN: 978-0-545-26124-1

Page Count: 26

Publisher: Scholastic

Review Posted Online: Dec. 29, 2018

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As ephemeral as a valentine.

LOVE FROM THE CRAYONS

Daywalt and Jeffers’ wandering crayons explore love.

Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.

As ephemeral as a valentine. (Picture book. 4-6)

Pub Date: Dec. 24, 2019

ISBN: 978-1-5247-9268-8

Page Count: 32

Publisher: Penguin Workshop

Review Posted Online: Feb. 2, 2021

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