Being the oldest child in a family has perks. In the beginning, as the only child you are everything to your parents. Every single first is documented. With the arrival of a younger sibling, everything shifts away from you. This is a bit of a shock. The shock grows larger when another realization dawns.
You are assigned more responsibilities. It's safe to say, some are okay. Others stink, literally and figuratively. In The Baby-Changing Station (Megan Tingley Books, Little, Brown And Company, August 2, 2022) written by Rhett Miller with illustrations by Dan Santat, older brother James initially believes a wish has been granted. He learns, as most of us do, to be careful about making wishes.
People have names
And my name is James.
I'm a regular ten-year-old kid.
I always thought
I was nice but I'm not.
I feel bad 'bout this thing that I did.
James is lamenting the fact he is no longer in the spotlight. Joe, his new baby brother, has taken this from him. Everything Joe does is adorable, even the gross stuff. If James commits even the tiniest infraction, in his parent's eyes he is not nice. James begins to plot how to get rid of Joe. Taking him back to a store or sending him in return mail are out of the equation.
When Thursday rolls around, the family goes to The Magical Pan, the best pizzeria in town. Mom, Dad, and James are stuffed with this delicious treat, when Joe starts to grimace. Then, the air fills with a tell-tale odor.
Dad looks at Mom. Mom looks at Dad. They both look at James. James reluctantly takes Joe to the men's room Baby-Changing Station. Surprisingly efficient, probably motivated by the smell, James has Joe clean and happy in a jiffy. It is then that James notices a screen over the table.
The screen offers to make Joe disappear with a push of a button. In his place, there are three options (cool stuff to own). A huge plus is all memories of Joe will be erased from the family's minds. As each choice appears, James has visions of future fun. A countdown from ten to zero begins on this one time offer. Will he or won't he push that button? A single word shouted at the end gives us a warm-hearted answer.
By the time you get to the second six line stanza in this narrative, the cadence captures you to the point you might be ready to dance. James's first person rhyming words by Rhett Millerspeak to the truth a first child feels when a younger brother or sister arrives. Readers will readily find themselves laughing at the dilemma Joe presents to James. The screen above the baby-changing station seemingly granting James's fervent wish is sheer genius as are James's thoughts when each option is presented. The rhyming beat, the first person viewpoint, the humor, and the three choices all build toward a conclusion certain to elicit a sigh of satisfaction from readers. Here is another passage.
Before I could question
This crazy contention
A picture appeared on the screen.
Some weird-looking glasses
With high-tech attachments,
Camouflage, dark brown and green.
NIGHT VISION SPECS
TWO COMPLETE SETS
ALLOW YOU TO SEE IN THE DARK
(Page turn completes stanza)
As soon as you see the open dust jacket, with Dan Santat's signature artwork, you know you are in for an interpretive pictorial treat. In both images, right front and left back, the screen above the changing table holds text. On the front James and stinky Joe have just entered the men's room. (Notice the green fumes.) On the back, Joe sits on the changing table, clean and much less smelly. He is wide-eyed with his head and eyes raised. Above him, the sign makes the first verbal announcement. One look at this and readers will laugh out loud.
On the book case, we zoom in to the changing table, pre-change. On the right side, Joe down to his diaper seems to be oblivious to the fumes. On the left, James has laid out all the necessary supplies. He has wipes, a towel, a clean diaper, pins, and BABY BUTTER.
On the opening and closing endpapers are eight different kinds of diaper folds. Each one is labeled next to diagrams indicating numbered steps. Who knew?
These illustrations
were done in color pencil, watercolor, and Adobe Photoshop.
Each image, single-page or double-page, enhances the text with extra doses of comedy. The facial expressions are off-the-charts funny. Usually, we are brought close to the characters and their actions like when Joe is grimacing and loading his diaper as Mom, Dad, and James watch with apprehension. When James is imagining three different futures with one of the possible selections, readers will wish they could jump into the scene.
One of my many favorite illustrations is a two-page visual. It is nighttime. A large dark area with scalloped edging on the corners fills the pages. There is a sprinkling of stars. Four boys with flashlights are shining them in the park. Three are in the background and one is closer to the front on the left. On most of the right side and with some crossing of the gutter is James and Baby Joe. Baby Joe is wearing a onesie and carrying a flag. Both boys are running with mouths wide open and arms spread at their sides. They are the only two wearing night-vision goggles. They have captured the flag and a ton of fun.
In this book, The Baby-Changing Station written by Rhett Miller with illustrations by Dan Santat, readers will connect with the family dynamics depicted in exuberant rhyming words and equally rambunctious artwork. They will knowingly laugh and rejoice at the uplifting ending. This will be a much requested story time title. I highly recommend it for your personal and professional collections.
To learn more about Rhett Miller and Dan Santat and their other work, please follow the link attached to their names to access their websites. Rhett Miller has accounts on Facebook, Instagram, and Twitter. Dan Santat has accounts on Facebook, Instagram, and Twitter. Rhett Miller and Dan Santat were interviewed about this book at School Library Journal, A Fuse #8 Production by Betsy Bird.
Tuesday morning an article said the first of twenty-one funerals began on that date, May 31, 2022. There will be twenty-one celebrations of life and mourning, and the worlds of those families and friends are changed forever. On May 24, 2022 the shock of another school shooting reverberated through a community, a state, a nation, and around the world. For parents, caregivers, and educators the weight of this latest horrific tragedy is very heavy. The more we know about the events of that day, the more heartbreaking it becomes. We seek to make sense, when it does not make sense. We seek security, solace, and serenity.
My friend and colleague, John Schu, recently released a book titled The Gift of Story: Exploring the Affective Side of the Reading Life (Stenhouse Publishers, May 3, 2022). In chapter two we learn about Story as Healer. At the close of this chapter, John suggests books in support of the chapter's premises. After a brief description of each title, John offers commentary about his choices. I have gone back to this section and read two sentences in particular over and over this past week. John says:
This story is about grief, how it can weigh us down, but how, over time, our friends can help share the burden and in the process make it smaller.
It's not dread and worry that sustain us, but rather the love we share and the memories we create that will last.
Keeping these two sentences in my mind and heart, I selected six new titles from my bins of new releases. Previously, author Pat Zietlow Miller and author illustrator Eliza Wheeler have collaborated on two wonderful books, Wherever You Go and When You Are Brave. Their third title, When I'm With You (Little, Brown And Company, March 1, 2022), declares, reaffirms, and pays tribute to those individuals who make us whole.
There's something that I've noticed.
Perhaps you've seen it, too . . .
Life is so much better
when it's me and you.
Sometimes it seems as though you've always had that one special companion. Other times, you realize your relationship has grown like a well-nourished seed. You complement each other wherever you go and whatever you do.
You see a brighter future from sharing it with this being. You might be opposites, but together you make something beautiful. What you need, when you need it, is provided by this forever friend.
There will be moments when things go awry, but you and this partner support each other. You work through the less than ideal situations. The sad and bad are not as sad and bad.
Whether you explore the new or repeat a previous adventure, it is best when experienced with a perfect pal. When you are older, nothing will change despite distance and time because nothing without this soul has reason or rhyme. Nothing will ever separate these two.
Each time the rhyming lines in this narrative are read, the warmth of the words written by Pat Zietlow Miller wrap around you. Her four-line lyrical observations, double couplets, speak of building bonds using two parts to an array of relationships. She speaks of commitment, creativity, comfort, laughter, sadness, mistakes, and mending. One abiding current threads through the entire book. It is the word constant. Here is a passage.
You're the hat that fits my head.
You're the hilltop for my sled.
When I sneeze,
you say, "Ah-CHOO!"
And that makes me
laugh with you.
The open and matching dust jacket and book case introduce readers to the four groups of best friends featured throughout the book. On the front they are all enjoying the delights of a sunny day, kite flying, playing in a tree house, swinging, and having a tea party. The two main children, the kite and string and the title text are varnished on the jacket. To the left of the spine, on the back, the day is coming to a close.
The pals in the tree house are sitting on a branch of the tree gazing at a pink and peach sky dotted with pink clouds. Birds are in the background. Butterflies flutter in the foreground. The kite-flying friends are now seated in a hammock, arms around each other's shoulders. They, too, are facing the setting sun. The sun is dropping below a body of water. The children have their backs to readers.
The opening and closing endpapers are charming visions. They are panoramic pastoral vistas showing the four homes where the children and their families live. On either side of the gutter are two large trees. On either side of them are two homes. Each of the homes are as different as the occupants. In the background are faint outlines of rolling hills and evergreen forests. In the foreground is the pond with a stream stretching to the right between two of the homes.
The adults are all engaged in activities as the children play. On the opening endpapers it is daylight. On the closing endpapers it is night. Lights glow in the windows of the homes. The parents are now inside each house. A crescent moon and stars decorate the sky. On the left side, the children (and one canine companion) gather around a crackling fire roasting marshmallows.
created using ink, watercolors, acrylic paint, wax pastels, and digital collage.
On the title page, we see the seven children and the one dog at the trees setting up for a day of wonders. This is one of many double-page pictures. Single page illustrations cross the gutter to be joined with smaller visuals on the opposite side. Eliza Wheeler skillfully combines two separate illustrations into a larger picture. You will stop at every page turn to absorb all the included details. Everywhere you look there is joy and a blend of reality and imagined reality.
One of my many favorite illustrations is a double-page picture. It shows all the children in a magical underwater scene. Only the outline of a fish tank in the upper, left-hand corner of the image indicates they are inside a fish tank. Two friends wearing helmets and their regular clothing are cleaning. A ray is smiling as it is dusted. The two tea-party pals are feeding the fish and carrying a huge seaweed cupcake to an octopus. Two other companions are caring for the underwater flowers and seahorses. The final child is wearing scuba gear as he explores a treasure chest. The dog is above him in a personal submarine powered by paw action.
This book, When I'm With You written by Pat Zietlow Miller with artwork by Eliza Wheeler, is an ode to friendship and its power. It is a lively and lovely invitation to share life with a special individual. It is a balm for all our souls. I highly recommend it for both your personal and professional collections.
To learn more about Pat Zietlow Miller and Eliza Wheeler and their other work, please follow the link attached to their names to access their websites. Pat Zietlow Miller has accounts on Facebook, Instagram, and Twitter. Eliza Wheeler has accounts on Facebook, Instagram, and Twitter. Pat Zietlow Miller was recently interviewed by Madison Magazine. Pat Zietlow Miller and Eliza Wheeler chat about this book at PictureBookBuilders. John Schu, librarian and writer, highlights this title in conversations with Pat Zietlow Miller and Eliza Wheeler on his blog, Watch. Connect. Read.Pat Zietlow Miller is in conversation with Eliza Wheeler about this title in a previous Crowdcastevent.
When your canine companion is considered a sporting dog, regardless of the weather or your state of health, you walk miles every single day. It is a commitment you must keep. There are times when the very thought of leaving the cozy comfort of your home is downright daunting, but you go. Without fail, something wonderful happens. You see a deer crossing the road in front of you, a group of raptors gliding overhead, countless sunrises in breathtaking colors, and ever-changing cloud formations, and the birdsong is like your own personal symphony. In Climb On! (North|South, March 8, 2022) written by Baptiste Paul with illustrations by Jacqueline Alcantara, this is exactly what occurs.
Morning, Dad!
Morning!
It's a great day for
watching futbol.
The child quickly reminds her father of a promise to hike to the summit of a local mountain. They place essentials in their backpacks and begin their hike. Dad keeps offering reasons to stop or turn back.
There are too many beautiful things to see to turn back or stop. His daughter reminds him to climb on. When she asks him to swing on a vine to take a plunge in a waterfall pond, he takes up the mantra of climb on.
The father is exhausted and wants to know if they are at the top. They are only midway to the top. There is a small setback, a slip and fall, but through the leaves they see their multi-colored town below them.
Now tired, the child rides on her father's shoulders as he steadily continues in the heat with muscles aching. They break through the vegetation. A single three-letter word describes what they behold before them. Wonderful.
Through a blend of narrative and conversation, author Baptiste Paultells the tale of a memorable trek, a day of shared revelations. Short sentences, sometimes only a series of single words give readers a real sense of participating in this climb. The inclusion of Creole words in the dialogue between the Dad and his daughter draws us further into their adventure. Here is a passage.
The rocks weep from yesterday's rain.
Each step slower than the last.
Fe vit. Hurry up!
Step.
Breathe.
Sweat.
Not only does the front, right side, of the open and matching dust jacket and book case inspire you to climb a mountain, but it invites you to open the book and read the story. The natural beauty of the area in which the tale is told is reflected in the vivid hues of blue and green with spots of other colors. You can almost feel the heat and humidity and breathe the salty air. The green found in the palm leaves is used for the spine and back of the jacket and case. Here flora and fauna found on the hike are displayed around praise for the previous collaboration by the author and illustrator, The Field.
On the opening endpapers is an illustration of a green field. Houses frame the border on two sides. On the left side in the foreground, we can see the beginning of the trail to the mountaintop. In the distance the sea and sky appear as one. In a word, this is serenity. On the closing endpapers, the child and her father are back at the waterfall pond. Together they are swinging on a vine over the water. It is a lush setting with various shades of green with the waterfall in the background.
These illustrations by Jacqueline Alcantarabegin and end with the endpapers. On the verso and title pages, her pictorial interpretation starts with the daughter, first, studying a map, and second, lifting a hat from her resting father's face. The images, double-page and single-page, extend to the edges. Even though opposite single-page pictures are different scenes, they flow together superbly.
Readers will find themselves carefully looking at each image, studying the details. What flora and fauna are on display? The facial expressions on the child's face mirror her every emotion.
One of my many favorite illustrations is a single-page visual. The child is close to readers in the foreground. She is bending over to study a caterpillar on a cupped, dark green leaf. In the background, her dad is lying on his back, stretched out over a large boulder. He is clearly exhausted. Graceful, red and green leafy vines act as a partial border on either side.
There will be times when you would rather not keep a promise or a commitment, but in honoring it, positive discoveries will be made. Climb On! written by Baptiste Paul with artwork by Jacqueline Alcantara clearly depicts this truth. Natural world wonders heal. You will want to have a copy of this title in both your professional and personal collections. (There is a surprise challenge tucked into the closing endpapers.)
To learn more about Baptiste Paul and Jacqueline Alcantara and their other work, please visit their websites by following the link attached to their names. Baptiste Paul has accounts on Facebook, Instagram, and Twitter. Jacqueline Alcantara has accounts on Facebook, Behance, Instagram, and Twitter. At the publisher's website, you can view the first few pages and download resources. At Simon & Schuster, you can see other interior illustrations. The cover reveal was hosted at School Library Journal, A Fuse #8 Production by Betsy Bird. Both the author and illustrator are interviewed about this book at We Need Diverse Books.
Unconditional love is powerful. It is always present, like a heartbeat that does not stop. How do we know if we are loved unconditionally? We know in ordinary and extraordinary moments, some lasting seconds and others lasting years. Author Andrea Beaty and illustrator Vashti Harrison have created a heartwarming portrait in poetic phrases and tender lively artwork of this love in their new collaboration, I Love You Like Yellow (Abrams Books for Young Readers, March 29, 2022).
I love you like yellow.
I love you like green.
Like a flowery orchid
and sweet tangerine.
These three sentences begin a sensory expression of love. Opposites, too, are used to show the extent of this love. This love happens in times of jubilance and in times of sorrow.
If you could taste this love, it would be like sugar and dill pickles. It is there when time pauses or speeds, even when the recipient of this love is slow when they wish to be fast. Whatever the weather, rain or sunshine, hot or cold, the love is still there.
This love is present in daylight and beneath the stars at night. Like those stars, it is there, always. From the beginning of the day and until the end of the day, this love is ever constant.
During each moment of the day, at work or at play, you are loved. You are a song. You are silence. When you are nestled in your bed, more asleep than awake, you will be embraced by love.
Whether the sentences written by Andrea Beaty are read silently or aloud, they are like singing a song. The rhyming words (and use of alliteration) fashion a melody. You find yourself humming, quietly or aloud. These words remind us of the vastness and universality of love. Here is a passage.
Like brisk and breezy.
Like bouncy and bold.
After looking at the open dust jacket, I think I need a pair of yellow boots to match my yellow raincoat. I know I will find as much joy as this parent and child in puddle splashing. Their spirited play surrounded by the softly-textured setting is definitely welcoming. The title text and rain gear on the jacket are varnished.
The scene continues across the spine. The meadow stretches to the left side. Reddish pink flowers mound in the lower, left-hand corner as a blue butterfly stops for a sip. Across the grass, there is another bunch of yellow flowers and orange butterflies near them. Above the misty slopes, a rainbow arcs from the left to off the top of the visual.
On the book case, we have moved to a close-up of the puddle covering both sides. There is some grass framing the puddle along the bottom and right side. The parent and child stand still in the puddle, but you can tell by ripple marks they just moved. All we can see are their boots and a small portion of their legs. The parent is to the left of the spine and the child is to the right of the spine.
On a crisp white canvas on the opening and closing endpapers is a pattern of items found within the book. The elements are a paper airplane, leaves, butterflies, lemons, playing cards, orchids, apples, and yellow umbrellas. On the initial title page, the parent and child look out a window at the rain. On the formal title page and dedication page, the mother is putting a raincoat on her child.
For each of the four phrases, a different parent and their child or children are featured. Using
colored pencil and Photoshop,
Vashti Harrisonhas created warmhearted, playful, and highly animated images. She shifts her perspectives, bringing us close to the families at times and then places them in a more scenic setting. The illustrations are full-page pictures, groups of smaller visuals, and glorious double-page images. The families reflect a range of ethnicity and ages.
One of my many favorite pictures is a single-page illustration. A father has been spending time with his daughter and her younger brother. They are now baking cookies. On the kitchen counter in front of them are ingredients and a cookie sheet with some cutout cookies ready for baking. The father has his hands in a bowl mixing the ingredients. On his head is a pie tin. The daughter is laughing with her arms up in the air. Her brother is seated on the counter. He, too, has a pan on his head and he is holding a wooden spoon. There is flour in the air along with the laughter.
The love portrayed through the words of Andrea Beaty and the artwork of Vashti Harrison in I Love You Like Yellow radiates from the pages. This book is certain to soothe souls of all ages, readers and listeners alike. There is a lot of happiness to be found here. No personal or professional collection is complete without a copy of this book.
To learn more about Andrea Beaty and Vashti Harrison and their other work, please access their websites by following the link attached to their names. Andrea Beaty has accounts on Facebook, Instagram, Pinterest, and Twitter. Vashti Harrison has accounts on Facebook, Instagram, and Twitter. At the publisher's website, you can view interior images. There is also a video there with Andrea Beaty discussing the inspiration for this title.
We try to measure and keep track of time with watches, phones, clocks, planners, and calendars, but truthfully time has always gone at its own pace, altered only by our perspectives. It seems to go slow when the only thing we want is for it to speed like a lightning flash. Then, the older we get, the faster it goes. We find ourselves frequently thinking, how could so many years have come and gone . . . like a lightning flash. In their two previous collaborations, Drawn Together and Lift, author Minh Le and author illustrator Dan Santat gave us life's truths by putting their collective hearts into their words and art. They have done this again, beautifully, in The Blur (Alfred A. Knopf, an imprint of Random House Children's Books, May 3, 2022).
From the beginning
there was something different
about this child.
Yes, this child had a shockingly loud voice and limber arms and legs. She mastered hearing the softest sound. And, this child could become invisible. These traits blended to make the most fascinating characteristic of all, magnetism. People gravitated toward this bundle of superpowers.
As a youngster, the parents could hardly keep up with all the tasks this child presented, except when she slept. Then time seemed to stop, until she learned to walk.
Wowee! Look out! She's always in motion. Again, moments blended into one another because of
The Blur.
As years pass at a ferocious pace, the girl embraces every activity with unbridled enthusiasm. There are mostly high points, the sadness of loss, and some tense-filled seconds for her parents. Before any of them realize it, time halts again. It is high school graduation day. And then, she's off once more. All those memories fueling this superhero, a child who was different from the beginning.
With that first sentence, author Minh Le has us hooked. What made this child different? As each aspect of her personality is disclosed, each reader will bring their personal experiences to interpret those aspects. You will find yourself nodding knowingly or howling with laughter or both. Three times, Minh Le takes us on a whirlwind of growing up, only to have us pause and savor that pause. It is a splendid storytelling technique. Here is a passage.
NOTHING STANDS IN THE WAY AS
THE BLUR TAKES THE WORLD BY STORM!
And yet . . .
CRASH!
How can you look at the front, right side, of the dust jacket and not want to hug this family? Happiness radiates off this image. Everyone is smiling, the parents, the daughter, the puppy, and even the stuffed toy lion. (It looks like a smile to me.) Artist Dan Santat has placed these individuals on a background collage of captured moments from the interior pages. The dots consist of color combinations from the title text. They might also signify time and how fast it can pass.
To the left of the spine, on the back, on a light cream and peach background is a single image. It is a graduation hat thrown in the air. Multi-colored dots balloon up from the hat. Everything on the front and back of the dust jacket is varnished except for the background and background pictures.
On the book case the canvas changes to a blend of white and teal. Teal swirls and loops on the back and front indicate a path taken by The Blur. She is running on the front, eyes closed in bliss with her mouth open in happiness and her arms wide open. Her cape is flying behind her as colored dots follow her movements. Her puppy is running and barking beside her. (I want to run with them!)
On the opening and closing endpapers on a white background are large, vibrant dots. They look as if they are circles of watercolor or chalk. On the right side of the opening endpapers, there is an additional element. It is a bandage appearing under the words:
THIS BOOK IS FOR:
These images by Dan Santat were
created using colored pencil and watercolor on paper and Adobe Photoshop.
On the title page sits the stuffed toy lion next to a vase of flowers with a congratulations card. That lion is on its way to resting with the child in the hospital bed on the next two-page picture. Illustration sizes vary from double-page visuals to single-page pictures, edge to edge, or surrounded by white space for dramatic framing. Sometimes there will be multiple pictures on a single page to interpret the words pictorially. Several times the parents (and The Blur) are placed among smaller images. The details in the illustrations and facial expressions of the parents and their daughter ask us to stop, to freeze time and remember and laugh and cry. (I love how the younger girl swings into a series of pictures on one page and with a page turn she swings out of another set of images, but is now much older. Brilliant.)
One of my many favorite illustrations is when The Blur believes she is invisible. She is seated on the floor, wearing a one piece pair of pajamas with feet. She has her cape, now much larger, held in her hands and covering her eyes. Her puppy sits next to her, tail wagging and nose sniffing. They are enveloped in white space.
This book, The Blur written by Minh Le with artwork by Dan Santat, is about a special child, all children, and time. It is a recognition of how precious every moment is, even though when we are in the midst of them, we don't always appreciate their value. It asks us to hold fast to life. I highly recommend this title for your professional and personal collections. You will find yourself gifting this title repeatedly.
To discover more about Minh Le and Dan Santat and their other work, please access their websites by following the link attached to their names. Minh Le has accounts on Facebook, Instagram, and Twitter. Dan Santat has accounts on Facebook, Instagram, and Twitter. Minh Le and Dan Santat Talk with Roger at The Horn Book about this title. Minh Le and Dan Santat are interviewed about this book at We Need Diverse Books. The cover reveal was at School Library Journal, 100 Scope Notes, hosted by Travis Jonker and an interview with the collaborators. At Penguin Random House, you can view the endpapers.
The thing about life is regardless of our past, present, or possible future, things happen beyond our control. There are things wonderful beyond our imagining and things which plunge us into deep sadness. We find ourselves stunned by both.
What we can do in those times of tragedy is look for a sliver of silver lining. It may not be there for a long time. If we cannot find it, perhaps we need to change or be a part of a larger change. If children are a part of our lives, as parents, caregivers, or educators, we need to help them to understand their futures are full of potential and promise. Like the weather, the clouds pass to reveal the sunshine or moonlight and stars. You Are Here (Chronicle Books, May 10, 2022) written and illustrated by Zach Manbeck is a joyful reminder to be ourselves, going forward with hope. It is his debut book.
YOU are here.
And from here,
you can go anywhere!
Readers are next asked a question.
But how will you find your way?
The following pages paint in words and pictures possible positive paths. Although it might seem obvious, we need to begin. Depending on our abilities, we will all begin differently.
We are invited to be explorers. There is no perfect direction for everyone. Some individuals will go quickly, others more slowly. There will be those who are at the same pace as we are.
Will the path be smooth? Sometimes it will. Sometimes it won't, but we need to be relentless in seeking our potential and promise.
We need to be ready for what we might discover using our senses. Perhaps we begin anew each day. That is why it is most important to remember where we are . . . always.
The thoughts presented in this book by Zach Manbeck are bursting with positivity. Every recommendation is as if he is cheering for readers, encouraging them forward. Individuality is paramount in this delivery. Here is a passage.
BE PATIENT
You'll find your way . . .
if you let if find you.
The color palette shown on the open dust jacket is used throughout the book. It speaks to warmth and new growth and being fully alive. On the front, right side, we are introduced to many of the children and one of the animals seen often in the narrative. The yellow butterfly figures importantly and prominently in many of the images. It can be seen as a symbol of change, growth, and the beauty of becoming your best self. The rays are embossed in gold.
To the left of the spine, on the back, more children and two animals run to the right. They are running through what appears to be a jungle, replete with tall plants, trees and hanging vines. One individual has a pair of binoculars and the other holds a magnifying glass.
On the cream book case a large yellow butterfly is displayed. The center of the butterfly is in the center on the right side. The left wing crosses the spine into the center of the left side. The right wing bleeds off the right side. A looping line from the left indicates the flight of the insect. The thumb and finger of a child reaches toward the body of the butterfly from the bottom of the illustration.
The opening and closing endpapers are bright yellow with spots of green and orange. Three separate pages, a word on each page, delivers the title to readers. The word "here" is shown in a circle of cream on orange with the yellow butterfly zooming in from the left.
These illustrations by Zach Manbeck
were rendered in gouache and various mixed media, then edited digitally.
Large circles become frames for the children and text and act as design elements with stars and splashes of bright colors, depending on the setting. The setting might be a garden, a jungle, a cave, different modes of travel or an array of contraptions. The layouts draw our eyes to the individuals and their activities.
One of my many favorite illustrations is a double-page picture. It is a jungle and floral scene. All we can see on most of the visual is darkened outlines, except for a particular area. On the left side, a child, the first child and wearing a backpack is running into this darkness. In one hand they are holding a flashlight. It makes a beam of light through the darkness to the right, ending in a large circle holding the text. Wherever the light shines, the colors are boldly shown.
The exuberance you feel after a positive affirmation envelopes you with every page turn in You Are Here written and illustrated by Zach Manbeck. This book is yes to no and go to stop. It is hope. You will want to place a copy on the bookshelves in your personal and professional collections.
By following the link attached to Zach Manbeck's name, you can access his website, finding out more about him and his work. Zach Manbeck has accounts on Instagram, Twitter, and YouTube. At the publisher's website, you can view interior pictures.
In my cupboard is an array of tea canisters. Each one holds a different flavor of tea. They supply me with selections based on the time of day, my level of thirst, and my emotional frame of mind. Tea is a source of comfort. Depending on the type of mug or glass, the tea can cool on a sweltering day or warm hands and body on a chilly morning or evening. It can elevate a meal or celebration or be a reminder of people no longer with us. (I still have some of the tea cups and saucers my mother collected.)
Tea and tea ceremonies are found in all corners of the world. When drinking tea, connections are made with those other people and their communities. In an endearing story, a bow of respect, to those connections, Luli and the Language of Tea (Neal Porter Books, Holiday House, May 24, 2022) written by Andrea Wang with pictures by Hyewon Yum presents to children the power they have through sincerity and their hearts to add light to their worlds.
The playroom was quiet.
Luli couldn't speak English.
Neither could the others.
Not being able to communicate with each other, the children were apart, playing by themselves. This was what Luli did when she was previously at the playroom. Then, she had an idea. She made a picture to show Miss Hirokane her idea.
This next time Luli took special items from her backpack. She removed
a thermos, a canister, stacks of cups, and a fat-bellied teapot.
Luli got busy combining and using these items. Then, Luli called out a word in Chinese.
The children stopped playing and looked at Luli. Soon single words were called out, child by child, around the room, in nine different languages. Do you know what those words meant?
Pulling up chairs, the children came to the table. The tea was poured in the first cup and passed from child to child until each child had a cup. Wait! There was no tea left for Luli. Luli's cup was passed from child to child. Everyone was speaking the same language, the language of sharing and the language of . . .
With simple, lovely sentences Andrea Wangsupplies readers with an understanding of Luli's heart and the hearts of the other children in the room. Are we not all looking for connections and commonality like these children? After Luli calls out tea in her language, a cadence is supplied by each child responding with the word for tea in their language. Andrea Wang also gives us their first name, making the story more intimate. (The word for tea is also written in its native language.) She again generates a rhythm when the tea cups are passed from child to child, naming them and once more when Luli's cup is passed from child to child. Andrea Wang's carefully chosen words welcome us. Here is a passage.
Now everyone had a share.
Hands curled around warm cups.
Mouths curved into shy smiles.
In looking at the matching dust jacket and book case, we meet Luli, the one child who made a huge difference, and how she changed the entire atmosphere in the playroom. On the front, right side, her quiet, gentle smile speaks volumes. We want to know what she has to say and what the language of tea is. To the left of the spine, on the back, we see the children after drinking their tea. There are still some at the table with Luli. Two more are chatting as they walk away. Two children are on the floor playing with a toy bulldozer. Two are standing by the shelves watching three goldfish swim in a bowl.
Still using a brilliant white canvas with excellence, Hyewon Yum features ten cups for tea gathered from the countries of Morocco, Iran, China, Chile, India, Kenya, Brazil, Kazakhstan, Turkey, and Germany on the opening and closing endpapers. They are drawn in detail and labeled. Two more page turns begin the pictorial story. The first double-page picture shows parents going through the door to a classroom for learning English as a second language. The children enter the playroom door next to the classroom. For the verso and title pages, this image shows Luli peeking through the playroom doorway.
Rendered with
colored pencils
by artist Hyewon Yum, the illustrations complement the narrative with their delicate details. The images are double-page pictures, some of them including two moments in one visual, and single-page pictures. Sometimes there are two images to a page using vertical and horizontal panels. Her use of white space is splendid with it acting as another element. Perspective is shifted to accentuate the pacing and to provide us with added emotion. The bird's eye view of the table with the seated children and their cups of tea is exquisite.
One of my many favorite illustrations is a single-page picture. Luli is seated at the table. Before her are the
full-bellied teapot, stacks of cups, and the canister
in blue and white. Luli's mouth, after she took a breath, is wide open as she shouts tea in Chinese. This is the beginning of something important.
When I think of the children in this playroom, alone and separated by a language barrier, my love for this brave and wise child swells. Luli and the Language of Tea written by Andrea Wang with artwork by Hyewon Yum allows children to see, regardless of their age, the power they have to make positive changes. At the close of the book is A Note from the Author, words under About the Children and Languages in This Story and a focus on people from Asia, Africa, Europe, and South America. The children are identified by the country from which they immigrated. I highly recommend you place a copy of this book in your professional and personal collections.
To learn more about Andrea Wang and Hyewon Yum and their other work, please follow the link attached to their names to access their websites. Andrea Wang has accounts on Facebook, Instagram, and Twitter. Hyewon Yum has accounts on Facebook, Instagram, and Twitter. Andrea Wang and this book are showcased at author, reviewer, and blogger Julie Danielson's Seven Impossible Things Before Breakfast. Andrea Wang speaks about this book at PictureBookBuildersfor the cover reveal. At Maria Marshall's site the author and illustrator are interviewed about this book, their work, and themselves. At the publisher's website, there is an educator's guide. At Penguin Random House, you can view the endpapers.
There is a rare love in our world. (If you research the types of love, it does not appear in the lists your investigations reveal except when a similar word is used in religious references.) If you are the recipient of this remarkable love, it remains with you always, even if the giver of this affection is gone. You simply can't forget it once it touches your life.
Our animal friends, members of our family and our communities, are capable of this love. Their capacity to love unconditionally is beautiful to witness and receive. Another individual in our lives is gifted in giving us this same love. Our toy stuffed animal companions, without ever uttering a word, supply us with unlimited devotion. Bear Is A Bear (Balzer + Bray, an imprint of HarperCollinsPublishers, September 14, 2021) written by Jonathan Stutzman with illustrations by Dan Santat is the story of a cherished bear and a special girl. Without strings, an unbreakable tie is formed.
Bear is a bear hopeful and shy.
Bear is a bear full of love.
Bear is there to be a friend, a first friend. Bear's availability makes Bear handy for multiple uses like as a tissue or the coziest kind of pillow. Most importantly . . .
Bear is a bear full of love.
Bear is there for pretend parties and dress-up occasions. Bear sails the high seas with a wild captain. Bear is there for those scary moments, a champion and comforter.
Bear is there for bold and fearless undertakings. As a reader and artist, Bear enjoys quiet contemplation and colorful coverings. Day or night, Bear shares all with infinite care.
Bear's companion, a baby girl, grows into a young woman. Bear never wavers as a steadfast friend until one day, Bear is tucked away. Bear is saved. Years pass until what was new and then old is new again. Some things change, but unconditional love remains. Always.
For readers, young or old, the words written by Jonathan Stutzman in this story ring true. Sentence by sentence we are told what Bear is. These rhythmic refrains are joined by a single constant statement. The repetition of words and sentence structure used in this narrative embraces readers like a hug. As the child grows, two of the initial sentences reappear because some things do not change. Three times, over the decades, in a poetic description, the one thing which alters is Bear's appearance, but like so many things, it is the inside that counts the most. Here are several sentences.
CRACKOW!
Bear is a brave protector.
Bear is a bear steadfast and snug.
Bear is a bear full of love.
Each time this book is read, readers will find their appreciation for the visual interpretation of the narrative grow. On the open dust jacket, we see first, on the right, Bear enjoying the book Little Women as Bear's girl draws. No words are spoken here (ever) between this duo, but their mutual affection is apparent by the strength shown in their physical connection. Bear is for the girl what the tree is for Bear.
To the left, on the back, on the same color of canvas as the sky on the front, Bear and the girl are together. Their backs are to readers. Hand and paw clasped; they are joyfully running toward their next adventure.
On the book case, illustrator Dan Santat has recreated the same scenes as on the front and back of the dust jacket. There is a noted contrast. Of this contrast, nothing will be disclosed. It is for the reader to discover.
On the opening and closing endpapers a darker golden yellow is displayed for the background. Fine-lined images in black of a teapot, a teacup and saucer, and the flower shown in the center of the teapot create a repeating pattern. Only the upper portion of Bear's head is shown on the title page peeking up from the bottom of the page. On the dedication page toward the bottom is the child's table with two teacups and the teapot ready for a special party.
These illustrations rendered
in watercolor, pencil, and Adobe Photoshop
by Dan Santat are a heartwarming tribute to the words penned by Jonathan Stutzman. They elevate the narrative with their insight. The visuals alternate between double-page pictures and single-page pictures to enhance the cadence of the story.
The facial expressions and body postures convey a range of emotions, most importantly they are infused with Bear's love. Readers are invited to pause with every page turn to notice the details. (I am wondering about the significance of the J, E, and H shown on the wooden blocks.) Two double-page illustrations depict powerful understandings. (My eyes fill with tears every time I see one of them.)
One of my many favorite illustrations is for the second time the words
Bear is a soft, warm pillow
are used. The girl, now a young woman, has graduated from high school. She and Bear are back at the tree. Stretched across the lower branches in a colorful array is a banner spelling out CONGRATUALTIONS. Bear leans against the tree, eyes closed and paws resting on his/her stomach. Bear wears the girl's graduation cap. The girl leaning against Bear with her eyes closed is hugging her diploma, a pencil stuck in her hair. She still wears her gown, but her feet are bare. There is an unspoken tenderness in this scene.
Bear Is A Bear written by Jonathan Stutzman with illustrations by Dan Santat is a recognition of the unconditional love freely given daily around the world by our toy stuffed animals, especially by this Bear to his/her girl. It is a verbal and visual celebration of a friendship we all hold in our hearts. You will want a copy of this title on both your personal and professional bookshelves so it can be shared often and widely.
To learn more about Jonathan Stutzman and Dan Santat and their other work, please follow the link attached to their names to access their respective websites. Jonathan Stutzman has accounts on Facebook, Instagram, and Twitter. Dan Santat has accounts on Facebook, Instagram, and Twitter. At the publisher's website is a book trailer. Jonathan Stutzman and Dan Santat chat with librarian, lecturer at Rutgers, and writer John Schumacher on his site, Watch. Connect. Read., about this book.
Reading a newsletter yesterday written by a soon-to-be-published romance author, who is also a master teacher and friend, two words tied her series of thoughts together. Those two words, silver linings, ask us to look beyond our current circumstances. When we seek silver linings, they will reveal themselves to us. Sometimes they are a tiny sliver. Other times, they are huge, life-changing moments.
For many of us, books which make us grin or giggle, or guffaw are the silver linings every time we read them. They are silver linings which never fail us. When a character returns to a series of books, it means more fun is in the offing. We first met him eight years ago in Crankenstein and again in A Crankenstein Valentine. He has returned in Trick Or Treat, Crankenstein (Little, Brown And Company, August 17, 2021) written by Samantha Berger with illustrations by Dan Santat. In this newest entry, a beloved holiday is not as it should be.
Do you know what today is?
Crankenstein knows what today is.
It's a day that rhymes with Schmalloween, and
it's Crankenstein's FAVORITE day of the year.
His first inkling the day is awry is a throbbing toothache. It goes downhill further when his brother fails to recognize his costume identity. And just when he thinks it can't get any worse, it does. No one mentions a raging rainstorm was coming.
Every activity at school to celebrate the holiday is off kilter. What are the chances of someone else having the same costume and standing next to Crankenstein in the parade? That night in his neighborhood trick-or-treating, someone is handing out toothbrushes instead of candy. What kind of person does that?
Some other neighbor has a weird idea of frightening decorations. Crankenstein is not happy at being scared. Back home, finally, his sly brother is swiping his candy. What has happened to
Crankenstein's FAVORITE day of the year?
Wait! Is that the doorbell ringing? Opening the door, Crankenstein is shocked at what he sees. He bursts out laughing. He keeps on laughing when he sees a lot more great minds who think alike.
This author, Samantha Berger, knows comedy. She understands how delighted readers are in the contrast between the expected and the reality. AND either through experience or observation, she has included the perfect pairs of opposites. Initially, she creates a rhythm through the use of the word
EXCEPT
bringing it back to great effect at the close of the story. She then establishes another cadence which increases Crankenstein's grit-your-teeth frustration and our rib-tickling laughter. Here is a passage.
EXCEPT---when his brother doesn't know
WHAT he's supposed to be, and laughs till he falls
off the couch.
Crankenstein would say,
MEHHRRRR!
Look at the front, right side of the dust jacket! Everything screams Halloween and not any ordinary Halloween. This is a Halloween gone wrong. There are webs in the title text with a black spider dangling between the K and O. Bats fly around Crankenstein on an orange background. The handle on his treat bag is ripped, spilling his collected candy. His signature reply to his fateful events is carved into the jack-o-lantern. Crankenstein's face allows for no denying his current mood. To the left, on the back, in shades of gray is a silhouette of Crankenstein shouting his displeasure. Across Crankenstein's form is a toothbrush with a jack-o-lantern, TRICK or TREAT tag hanging from the handle. Adding insult to injury along the handle it reads:
Dr. Spooner DDS 555-9874
On the book case, on a cream background, is Crankenstein. On the front he is facing us in his
ROBO AVENGER COSTUME
with all the parts labeled. On the back Crankenstein has turned his back to us. Four parts of his costume not previously shown are labeled.
You cannot, I repeat cannot, just glance at the opening and closing endpapers. Illustrator, Dan Santat, has fashioned a collage of enlarged candy. Each of the candies have been renamed to depict the spookiness of Halloween. The wrappers are familiar, but the names are decidedly not. Have you had
TOOTHROT
It suffices
or
Original
Skulltills
Imbibe The Spectrum!
Even some of the information on the verso has been "Halloweened."
Each of the double-page illustrations (and a group of smaller panels) were rendered in Adobe Photoshop. All the scenes inside Crankenstein's home depict a love of his favorite holiday. There are ghoulish lamps and lampshades, and Halloween cups, glasses, bowls, placemats, pillows, and blankets. The exaggerated facial expressions will have you grinning from ear to ear. For most of the pictures, we are close to the action. We are a part of this story.
One of my many favorite illustrations is the only panoramic setting. Across most of the two pages are hues of green formed into a corn maze. Four costumed classmates of Crankenstein are gleefully running down several pathways on the left. Across the top of the page is a gray sky with a smattering of darker rain clouds and some parked vehicles on the right. On the bottom of the image, to the right of the gutter (with one arm crossing the gutter), is a scarecrow. He is looking grim. Where is Crankenstein you ask? Two arms with clenched fists extend straight up in a row on the right. Above those arms in a speech balloon is a visual of an angry face. Crankenstein is lost!
Guaranteed to make you smile at the least and surely laugh out loud, Trick Or Treat, Crankenstein written by Samantha Berger with illustrations by Dan Santat is a feast of fun. Readers will relate to the mishaps but will be pleasantly surprised by the conclusion. Treat yourself to a copy for your professional and personal bookshelves.
To discover more about Samantha Berger and Dan Santat and their other work, please visit their respective websites by following the link attached to their names. Samantha Berger has accounts on Facebook, Instagram, and Twitter. Dan Santat has accounts on Facebook, Instagram, and Twitter.
Many individuals use meal preparation as an act of love or as an artistic expression. There are a few others, a very few, harboring an ulterior motive. One such fellow is found in Chez Bob (Little, Brown And Company, September 21, 2021) written and illustrated by Bob Shea. This alligator has a voracious appetite but is loath to exert himself. What he lacks in energy and ambition, he more than makes up for it in ingenuity.
Bob worked very
hard at being lazy.
"Being lazy is making me very hungry,"
said Bob to no one.
Bob hopes his request for birds to fly directly into his mouth will work. They flee with haste. He then observes how grass entices birds to it because of its seeds. Like the proverbial lightning strike, Bob has a plan.
His long snout will house a birdseed restaurant. It will be so successful, other alligators will want to purchase his idea. He will be wealthy, but most importantly, he will no longer be hungry.
The first bird at Chez Bob is impressed. Bob has to let him go rather than eat him. He is going to spread the word about the delectable meal on the menu. Chez Bob is an international success. Before long, a community surrounds Bob and his restaurant. There is a school for the youngsters and a library for everyone. As a member, new member, of this flock, Bob participates in a service project. He joins a book club? Oh, Bob!
Mother Nature exerts her will. Bob has a huge decision to make. Birds or breakfast? What could possibly be worth more than fame and fortune?
When author Bob Shea pens a story, his keen sense of humor shines in every sentence. His blend of narrative and Bob's personal voice and thoughts is true and perfectly paced. The hilarity escalates with Bob acting and saying one thing and thinking about consuming the birds at the same time. Then, in the best possible manner, a dilemma is presented. It is a heightened what-if moment. Readers will appreciate the choices made by both Bobs. Here is a portion of one passage and the following two sentences.
"Oh, then I will not eat you,"
said Bob.
"What?" said the bird.
"I said, 'So nice to meet you,' "
said Bob.
And he couldn't wait to meet
the bird's tasty friends.
Soon Chez Bob was
the talk of the trees.
Birds flew in from all
over the world to eat
on Bob's face.
(Please note I am working with an F & G. I was hoping to have a copy this week, but unfortunately, they have been delayed. The anticipation grows.)
The expression on Bob the alligator's face on the right side of the open dust jacket has me laughing out loud every time I see it. That smirky grin with one hand attempting to cover it is priceless. Bob salting the bird as the bird salts its seeds is over-the-top comical. The choice of the teal canvas makes Bob and the bird shine.
On the left, back of the dust jacket, Bob is seated on a navy background. Birds are around him, his hat, and his face. It is movie night. On the end of his nose is the screen. Bob is scooping popcorn into his mouth as birds nibble what is on the ground.
On a spring green canvas with short yellow and blue blades of grass, birds of a variety of colors gather on the opening endpapers. On the far left, a pink worm looks at the group of birds aghast. With the same background, the closing endpapers tell a different tale. It is a blur of bicycles, birds, and Bob . . . on a bicycle. The verso and title pages present a double-page picture of Bob lazily resting on the edge of the water with the jungle flora and fauna around him.
The color palette of blues, greens, purple, yellow, pink and white welcomes readers to the story. The images, double-page pictures and single-page pictures, are highly animated. When Bob opens his mouth, he opens it WIDE! The tiny details in some of the scenes ask readers to pause. There are birds in lounge chairs around a pond. There are birds riding on a roller coaster. There is a tiny bus with two passengers and a capped driver.
One of my favorite illustrations is when Bob is taking his patrons on a sunset dinner. Among the lily pads, some flowers holding candles, are a frog happily waving as Bob passes and a turtle rowing a boat nearby. Bob, mostly above the beautifully hued water, is wearing his chef's hat, eyeing his customers, and smiling. Across his back are tiny tables with red-and-white-checked tablecloths. Pairs of birds are seated, enjoying their birdseed meals and chirping conversationally.
Sometimes when the best-laid plans shift in their results, so do personalities. Our protagonist in Chez Bob written and illustrated by Bob Shea is a prime example. Innocence can soften the cleverest and hungriest heart. If you are looking for a title replete with laughs that lead toward newfound friendship, this book comes highly recommended for both your personal and professional collections.
To learn more about Bob Shea and his other work, please follow the link attached to his name to access his website. Bob Shea has accounts on Facebook, Instagram, and Twitter. This title is featured at author, reviewer, and blogger Julie Danielson's wondrous Seven Impossible Things Before Breakfast. There are many process pieces there to see.
UPDATE: Please enjoy this interview with Bob Shea about this title at Max's Boaton September 16, 2021.
There comes a time when a single dramatic event causes us to assess how we will respond in certain situations. There is usually an initial reaction. It happens almost instinctively, but it is not always the right one. Upon reflection, we realize we must improve how we think and act. This makes the connections between family, friends, colleagues, and even strangers stronger.
Less than one year ago, we met an abundantly positive petite personality in an uplifting take on a classic tale. Chicken Little The Real And Totally True Tale (Scholastic Press, May 5, 2020) written and illustrated by Sam Wedelich through wit allowed us to see the wisdom in collecting information before making a decision. This fact-loving fowl is back in Chicken Little and The Big Bad Wolf (Scholastic Press, March 2, 2021) written and illustrated by Sam Wedelich. How big and how bad is this legendary wolf?
I am so
NOT
scared
of any
wolf!
As Chicken Little boldly proclaims her lack of fear repeatedly, she is oblivious to the approaching figure. There is a colossal collision. When a dismayed voice asks if Chicken Little is alright, she looks up, screams, and skedaddles without hesitation.
As she tries to process what she has seen, there is only one logical choice. It is the Big Bad Wolf! An older chicken raises the alarm. Chicken Little tries to run after her, but she is, after all, little.
Back in the barnyard, the chickens can't agree on a plan, but ultimately select an unwise alternative. Fortunately for the flock, Chicken Little arrives with her voice of reason. She gathers clues. These don't satisfy her.
Hesitantly, she approaches the BBW. The ensuing conversation has the residents of the coop rolling their respective eyes in disbelief. And yet . . . Chicken Little speaks truths one cannot ignore. Let's eat!
Each sentence Chicken Little utters in the beginning sets readers up for the BIG crashing comedic reveal. This is a gift author Sam Wedelich gives to us. The humor continues as Chicken Little ponders this unexpected situation. Readers will delight in the word play, the use of re-worded iconic phrases, the fear factor trigger, and phrases with double meanings. Told in dialogue, first person and other characters, and a bit of narrative, Chicken Little at the end brings us back to her first words. Here is a passage.
WOLF?! YOU
CAN'T TRUST A WOLF!
HE'S PULLING THE FEATHERS
OVER YOUR EYES!
YEAH!
HE'S THE
BIG
BAD
WOLF!
Hmm . . .
I see what
you mean.
In looking at the front and back of the book case, we immediately notice hilarity is a huge part of this story. Look at the shadow of the wolf on the front. It is a clear contrast to the words Chicken Little is saying. On the back are four questions begging to be answered. The first one has multiple-choice replies. Chicken Little, wing on her hip, warns readers to not check the third box. This is an irresistible invitation to start reading the story. There is a little bit of text about Sam Wedelich, similar to what you might read on the back flap of a dust jacket. Chicken Little on the front and back and the title text are varnished.
On the opening and closing endpapers is a pattern in two shades of red, pale and bright. These are the identical hues shown on the book case. Here Chicken Little is engaged in a variety of activities. Cameras and photographs of The Big Bad Wolf are a part of the design.
On the title page, wings spread open to her sides, Chicken Little wearing her signature tiny red boots and large circular red glasses starts the story. These illustrations on cream, matte-finished paper are rendered digitally with the type hand lettered by Sam Wedelich. Dialogue appears in speech balloons, differently colored depending on the speaker.
Each portion of these images is defined by the heavy black lines around them. Chicken Little is portrayed in a variety of sizes in partial-page pictures, full-page pictures or double-page pictures. Motion and emotion are conveyed with excellence, each assisted by perspective.
One of my many, many favorite illustrations is a single-page visual. It features four of the coop chickens. They are all wearing old-style flying helmets. Three have on goggles. These three are carrying suitcases. They are looking straight at readers. This picture is after they have decided
to fly the coop.
This bird is certainly the word. Chicken Little and The Big Bad Wolf written and illustrated by Sam Wedelich allows us to examine ourselves in light of the situation in which Chicken Little and the coop characters find themselves. Everyone wants to belong, accepted as they are and not as they are perceived. I highly recommend this title for both your professional and personal collections.
To learn more about Sam Wedelich and her other work, please follow the link attached to her name to access her website. Sam Wedelich has accounts on Instagram and Twitter. You can see loads of Sam Wedelich's art on her Instagram account.
In her poem, The Summer Day, Mary Oliver closes with a question:
Tell me, what is it you plan to do
with your one wild and precious life?
Assuredly the responses to her question will vary with each reader, but it is a hope many will share identical replies. After reading A New Day (Dial Books for Young Readers, an imprint of Penguin Random House LLC, March 2, 2021) written by Brad Meltzer with illustrations by Dan Santat, this is guaranteed. This story centers on how a grateful heart extended with kindness can be an agent for significant change.
Sunday quit.
Just like that.
She said she was tired of being a day.
Do you know how much
work it takes to give the
world a beautiful,
free day . . .
As Sunday speaks, the other days, understandably shocked, listen to her list the other things she wants to do. Monday, ever practical, suggests they find a new day. Posters are posted from one end of the earth to the other end. The six remaining days, Monday, Tuesday, Wednesday, Thursday, Friday, and Saturday start interviews the next day. It's safe to say, the witty commentary begins, also.
First up is FunDay followed by BunDay (hair). Canines make an appearance, suggesting all the right reasons for DogDay. Not to be excluded a group of cats offer conversation on the sidelines suggesting Caturday. After getting some promising proposals, Friday and Saturday want more similar ideas. And this is when the real trouble (comedy) commences. The cats are still on the scene, ever hopeful.
The rivalry heightens. Clever contenders disguise themselves and solicit partners, claiming teamwork. There were crazy days like UnicornsWithHornsForHornsDay and ridiculous days like GelatinSuitsDay. Of course, the dogs are vigilant making a third showing which has the cats in a furry. When it seems as though the word sensible has vanished from everyone's vocabulary, Monday asks a question.
A small, quiet voice says two simple words.
I do.
As Monday continues the chat, she, the other days and readers are astonished by the child's other words. The most surprised is Sunday. All Sunday needs, all anyone needs, is exactly what this child is offering. It is indeed A New Day.
Author Brad Meltzerthrough dialogue, narrative, and details supplies us with page-turning action. We promptly step into this story and its fun. We embrace that dialogue, text, and details creating the outlandish exaggerations found in the new day presentations. But let's be clear, Sunday's claims are sincere and true. When we compare her desires with those of the new day possibilities, amid our laughter, we feel Monday's frustrations. This is why our souls soar along with Sunday's and the other six days at the end. Brad Meltzer must have had loads of fun writing this story. Here is a passage.
Oh, c'mon!
Those're the
same dogs as
before---
but with
mustaches!
This isn't fair.
When do we get to
pitch Caturday?
The cats were right about it being unfair.
But as word began to spread that teamwork was a good thing . . .
The remarkable, signature artwork of Dan Santat is boldly presented on the matching and open dust jacket and book case. On the front, right, Monday, Tuesday, Wednesday, Thursday, Friday, and Saturday each have defining characteristics and distinguishing colors. In an ingenious design, the title text is placed in an outline of a possible new day personality.
On the back, left, is the WANTED A NEW DAY poster. The description of the qualities needed are lengthy and explicit. They describe what many experience on a Sunday. You know something, the opposite of what is expected to happen, is in the offing when you read the final line on the poster.
SERIOUS INQUIRIES ONLY
On the opening and closing endpapers, Dan Santat introduces and finishes his pictorial interpretation of this story. On the first set, the six perplexed days, looking worried and disgusted, stand on an enlarged calendar within some of the square lines. On the second set, the six days, now overjoyed, have left the audition table. They are hugging Sunday, have open arms, and all are smiling.
On a dramatic two-page picture for the title page are seven vertical panels. Each one contains one of the days except for the first one. There is a smudge where Sunday should be. These illustrations prepared
with watercolor, color pencil, crayon, and digitally rendered in Adobe Photoshop
are highly animated. Facial expressions, body postures and clothing are captivating. Background colors showcase dialogue displayed in speech bubbles.
Sometimes a single page will focus on one thing, bringing us close to that item or person. Other times a series of horizontal or vertical panels will present the new days. At times we are looking at the six-day audition panel, other times we are behind them or even looking down on the action. Every time you read this book; you'll notice a different brilliant detail. You'll burst out laughing at the text and image following the dedication and publication page at the end.
One of my many, many favorite illustrations is for DogDay. It is a two-page image. All the days are merrily enjoying the dogs and puppies. It's a day where everyone will get a dog or a puppy. There are dogs present in all kinds of shapes and sizes. Some of the days have left their chairs to get closer to the dogs and puppies. One puppy has joined Tuesday, Thursday, and Friday at the table. Off to the right side, one dog is talking with a disgruntled cluster of cats.
Brightly hued and lively images paired with light-hearted, inventive language beckon readers into the book, A New Day written by Brad Meltzer with illustrations by Dan Santat. You'll carry this funny, lovable story in your heart, remembering how the right two words can be all we need. I know you'll want a copy of this title for both your collections, personal and professional.
To learn more about Brad Meltzer and Dan Santat and their other work, access their websites by following the link attached to their names. Brad Meltzer has accounts on Facebook, Instagram, and Twitter. Dan Santat has accounts on Facebook, Instagram, and Twitter. At the publisher's website you can view the opening endpapers. Here is a link to a clip on Good Morning America with Brad Meltzer speaking about this book.
The two other blog posts in the Better Together series are here and here.
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