THE CHILDREN OF LIR

In a tale ``loosely based on an Irish myth,'' Lir's four children are turned into swans by jealous stepmother Aiofe, who grants them just one day a year in their true form—but ``on that day your feet may not touch the earth or you will surely die.'' They find refuge on a whale's back; still, she pursues them relentlessly until the spell is broken by friendly birds who form an arch to join two mountains—the ``Man from the North'' and the ``Woman from the South.'' In the original, these are a man and woman, from warring tribes, who marry; 900 years have elapsed; and the aged children join Lir in heaven—this isn't for purists, but it makes a dramatic story in a folkloric style. The Russian- born Spirin uses watercolors to create lush formal paintings in his neo-Renaissance style, with romantic landscapes and ornately clad figures; best are his sinuous, beautifully painted swans and sea mammals. A bit pretentious, but undeniably handsome. (Folklore/Picture book. 5-10)

Pub Date: March 1, 1993

ISBN: 0-8037-1121-2

Page Count: 32

Publisher: Dial Books

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1993

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ABIYOYO RETURNS

The seemingly ageless Seeger brings back his renowned giant for another go in a tuneful tale that, like the art, is a bit sketchy, but chockful of worthy messages. Faced with yearly floods and droughts since they’ve cut down all their trees, the townsfolk decide to build a dam—but the project is stymied by a boulder that is too huge to move. Call on Abiyoyo, suggests the granddaughter of the man with the magic wand, then just “Zoop Zoop” him away again. But the rock that Abiyoyo obligingly flings aside smashes the wand. How to avoid Abiyoyo’s destruction now? Sing the monster to sleep, then make it a peaceful, tree-planting member of the community, of course. Seeger sums it up in a postscript: “every community must learn to manage its giants.” Hays, who illustrated the original (1986), creates colorful, if unfinished-looking, scenes featuring a notably multicultural human cast and a towering Cubist fantasy of a giant. The song, based on a Xhosa lullaby, still has that hard-to-resist sing-along potential, and the themes of waging peace, collective action, and the benefits of sound ecological practices are presented in ways that children will both appreciate and enjoy. (Picture book. 5-9)

Pub Date: Oct. 1, 2001

ISBN: 0-689-83271-0

Page Count: 40

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 2001

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HELLO, HARVEST MOON

As atmospheric as its companion, Twilight Comes Twice, this tone poem pairs poetically intense writing with luminescent oils featuring widely spaced houses, open lawns, and clumps of autumnal trees, all lit by a huge full moon. Fletcher tracks that moon’s nocturnal path in language rich in metaphor: “With silent slippers / it climbs the night stairs,” “staining earth and sky with a ghostly glow,” lighting up a child’s bedroom, the wings of a small plane, moonflowers, and, ranging further afield, harbor waves and the shells of turtle hatchlings on a beach. Using creamy brushwork and subtly muted colors, Kiesler depicts each landscape, each night creature from Luna moths to a sleepless child and her cat, as well as the great moon sweeping across star-flecked skies, from varied but never vertiginous angles. Closing with moonset, as dawn illuminates the world with a different kind of light, this makes peaceful reading either in season, or on any moonlit night. (Picture book. 6-8)

Pub Date: Sept. 22, 2003

ISBN: 0-618-16451-0

Page Count: 32

Publisher: Clarion Books

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 2003

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