THE GINGERBREAD DOLL

When the extended family gathers for its annual cookie baking, great-grandma Rebecca tells about her ninth Christmas, in 1930 during the Depression. Times were hard on their Wisconsin farm, and there was no hope of the porcelain doll she wanted; so Mama improvised a doll of thick gingerbread, with yarn hair and a dress of cloth scraps. Rebecca ``loved Button Marie in a way you could never love anything from a store''; but though she was careful, ``Button Marie'' eventually broke. Later, times got better and she had a cornhusk doll and, finally, the porcelain doll. But it's Button Marie's scrap of a dress that great-grandma Rebecca treasures and talks about on cookie-baking day: she ``was made from love, and that's the part...that lasts forever.'' Lloyd's sharply observed realistic watercolors—in a palette somewhat grayed as if to recall old b&w photos—beautifully reflect this well-told story's warmth and focus on essential values. (Picture book/Young reader. 5-9)

Pub Date: Aug. 15, 1993

ISBN: 0-395-56438-7

Page Count: 32

Publisher: Clarion Books

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 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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