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Celebrating Black History Month!
Title: Poet: The Remarkable Story of George Moses HortonPoet:
Author and illustrator: Don Tate
Publisher: Peachtree Books, 2015
Themes: slavery, illiteracy, poetry, African American, perseverance,
GEORGE LOVED WORDS. He wanted to learn how to read, but George was enslaved. He and his family lived … Continue reading →
— From Beatrix Potter &the Unfortunate Tale of a Borrowed Guinea Pig(Click to enlarge) — From Say It! Today at Kirkus, I look at some reissues that make me happy. That link will be here later. * * * Last week, I wrote here about, in part, Deborah Hopkinson’s newest picture book, Beatrix […]
For today's post I thought I'd share how one of my goals for the year is going: Use one art book at a time completing ALL the lessons. The book I'm starting with is How to Draw Buildings, by Ian Sidaway. I chose it for a number of reasons:
It dovetails nicely with my other art goal and theme of drawing and painting doorways, especially those connected with my current WIP, Ghazal.
It give me a good foundation (no pun intended) for my weekend outings with Urban Sketchers.
I really, really want to learn how to use perspective better/correctly.
Being familiar with buildings and architectural detail will help me with some ideas I'm tossing around for illustrating picture books.
The more buildings I draw for practice, the easier it will be to sketch in my travel journals.
And more than anything, I just love buildings!
I particularly like the way this book is structured. Each lesson is divided into three: first is the main example with several pages of instructions followed by the suggestion to "Try Another Medium," and ending with a third prompt, "Try Another Building." The first chapter, and the one I've completed, is all about drawing simple small houses, beginning with graphite on white paper. I used a new 9 x 12 inch Strathmore Recycled 400 series sketchbook I bought for just this purpose:
Once I'd finished the drawing, I then moved on to Part II: try another medium. For this I chose to use an ultrafine black Sharpie on a heavier sketchbook page (Strathmore Visual Journal) that I had already painted with a background using my Japanese Kuretake Gansai Tambi watercolors:
The last section, "Try Another Building" provided a photo of what the book called a "stern little house," which it certainly was. For this piece I chose a sheet of student-grade watercolor paper that I had previously experimented on last year by placing a piece of crumpled wax paper face-down on the surface and then ironing the whole thing with my craft iron. After removing the wax paper and letting the watercolor sheet dry, I then painted it with a light wash of Prang watercolors (my super-favorite, ever-so-cheap but excellent brand for art journaling, etc.). The result was an interesting resist pattern resembling bare tree branches that also matched the photo in this last part of the lesson. I drew the house and filled in the "trees" with Faber-Castell Polychromos color pencils and white charcoal--doing my best to make the whole thing as stern as possible.
So there you are, three houses, three ways, and all ready for the Three Little Pigs to move in! Another interesting option might be to write a story or vignette based on each of these settings. Anybody want to try? I've set aside Sunday afternoons to be my "class time" using this and my other how-to books throughout the year. Next Sunday I'll be moving on to Lesson 2 and two-point perspective (the example shown on the cover of the book above). Already I'm feeling nervous which is exactly why I'm using this step-by-step approach. No more just buying books, looking at the pictures, and working on the "easy" parts. Instead, I'm "building up my courage" to go straight through from cover to cover, lesson to lesson. And because I've put that in writing, I'm now honor-bound to stick to my goal! (Taking a deep breath.) Tip of the Day: What difficult phases of the creative process do you find yourself frequently avoiding and therefore never learning to the degree you want? For me it was never attempting the "advanced" lessons in my art and other reference books. I've found that breaking a task down into easy steps is a good way to overcome and/or work with anxiety. For instance, gathering all your needed supplies for a project a day before you start can be be one step. Setting a timer to work on a portion of the project for just twenty-minutes at a time can be another. Whatever you do, keep in mind that the only way to learn anything is with steady practice, not "instant genius absorption." Good luck and have fun!
A Baby’s Guide to Surviving Dad Series: Baby Survival Guides Written by Benjamin Bird Illustrated by Tiago Americo Capstone Young Readers 2/01/2016 978-1-62370-610-4 24 pages 6″ X 7″ Ages 0—3 . “HELLO, BABY. “The whole life thing is pretty new to you, right? Luckily, you have a dad. Unluckily, he’s new to the …
“I love telling stories, and I would say that writing and illustrating for children is not really different from writing or illustrating for adults. The plots might be more complicated, but the messages and connections with the reader are the same. That is why children and adults share joy when experiencing a book together.” * […]
Babies love to look at babies. And even though there are no more babies in my family, every few years or so, there is a book that comes along that reminds me of how much babies love to look at babies and how wonderful the perfect book filled with babies can be. Little Bitty Friends, written by Elizabeth McPike and illustrated by Patrice Bartonis one of those books. McPike and Barton also created Little Sleepyhead, which is due out in board book this spring. Both books pair repetitive, mellifluous rhymes with equally charming illustrations of toddlers that pop thanks to crisp white backgrounds. In Little Bitty Friends the setting moves from bedtime to the natural world, which, after babies, is the second greatest thing babies love to look at.
A trail of ants, a fuzzy caterpillar, a field of flowers and a snail leaving a trail fill the pages of Little Bitty Friend along with a diverse array of adorable, bright eyed, big headed babies. The sneeze of a cat, the chitter of chipmunks and the nibble of a mouse are the sounds of Little Bitty Friend. As the cadence of the book winds down, a basket full of baby rabbits, "nuzzle while they nap," and a toddler and a puppy snuggle on a blanket under a tree. The final spread, above, has to be one of the sweetest I have seen in a long while and one that will always make me smile and remember when my own babies were small enough to tuck their heads under daddy's chin.
Little Bitty Friends, and Little Sleepyhead, are the perfect gifts for anyone welcoming a baby into the world, from moms and dads to grandpas and grandmas, and anyone lucky enough to have a baby in their lap!
If English is your native language, there is a very strong possibility that can sing the first few lines of the nursery rhyme lullaby Rock-a-Bye Baby without even thinking about it. If you can do this, then you know how strange the words to this 250+ year old song are. With Rock-a-Bye Romp, Linda Ashman not only reclaims this song, she manages to give this updated version a classic nursery rhyme feel - without the original Mother Goose strangeness. Add to this the patterned, playful, painterly mixed media illustrations of Italian artist Simona Mulazzani.
Rock-a-Bye Romp begins with these adorable endpapers that really need to become a textile - be it bedding or jammies for babies. Ashman begins with the question, "Rock-a-Bye, Baby, in the treetop. How did you ever get so high up?" as if she's addressing the weirdness of the original and moving onward and down, into a crow's nest. As baby bounces down from the nest to the barnyard, then from pig to sheep to duck Mulazzani's illustrations almost evoke a Tuscan farm with rolling golden hills and a lapis colored night sky.
Ashman brings Baby and her book home on the wings of a hawk and into the nursery where Mommy is rocking Baby to sleep in her arms beneath a mobile made up of the animals Baby encountered. As Mommy tucks Baby into the cradle the illustrations shows a tree painted on the nursery wall that mirrors the original tree the cradle was stuck in at the start of the book. And the blanket Mommy tucks Baby in with? It's the same pattern as the endpapers!
Rock-a-Bye Romp is a wonderful new book - a much needed update of a curious classic paired with gorgeous illustrations that make it a beautiful, perfect gift for a new baby.
Premise/plot: The garbage truck is the star of this book about "brave trucks" in the city. True, you won't find him among the three brave trucks shown on the first page. The three "brave" trucks are the fire truck, the bucket truck, and the tow truck. But Garbage Truck is brave all the same even if the other trucks are unaware of his secret identity. Essentially, the book shows what happens in the city when a BIG, BIG snow storm comes through. All the super-brave trucks are STUCK, STUCK, STUCK. But one truck is a SUPERTRUCK and "saves" the city. The other trucks are clueless who this HERO is...but readers know the truth.
My thoughts: I liked it. I definitely liked it. Yes, it is very, very simple. The illustrations are simple. The text is simple. The plot is simple. But it works, it all comes together and just WORKS.
Text: 4 out of 5 Illustrations: 3 out of 5 Total: 7 out of 10
Snow – love it or dread it, I think most adults would agree at least that for children there’s something very special about it. And there are also some very special picture books around too. Here, in no particular order, is a small selection of snowy stories set around the … Continue reading ... →
I have been following Jen for quite a while now on social media and as I am a huge Darwin fan, I wanted to highlight her on my blog before her next picture book comes out!
[JM] Illustrator or author/illustrator? If … Continue reading →
Originally published in 1972, Princeton Architectural Press has brought The Brownstone, a fantastic classic, back to the shelves in a beautiful new edition. Written by Paula Scher, graphic designer and partner at the international design consultancy Pentagram, The Brownstone is her only book for children. Illustrations are by cartoonist Stan Mack, who's work has appeared in the New Yorker, the New York Times Magazine and Adweek. The Brownstone definitely looks like it's from the 70s, but the story and illustrations are timeless. I read this book over and over to classes of all ages and they were enthralled!
The story in The Brownstone is simple, but the solution to the problem the residents of the brownstone face is not... As he is walking home from work one day, Mr. Bear "noticed a familiar chill in the air." It is time for the Bear family to take their long winter nap. But, the theatrical Miss Cat is howling away at her baby grand, making any kind of sleep impossible, let alone hibernation.
A climb to the third floor apartment of the landlord, Mr. Owl, seems to bring about a resolution - and a move for more than a few residents. But, as you might expect, a move for one tenant means an upset for another. One thing that I learned right away from the teachers that I work with is to encourage students to make predictions when reading a story, and The Brownstone is the perfect book for this kind of endeavor.
Every other page turn presents a new situation, a new combination of tenants with different hobbies and needs and it is so much fun to pause and ask listeners what they think will happen next - will this be a good move with everyone happy or will someone have another complaint? The kids love guessing and The Brownstone is a treat to read out loud and a great lesson on the complexities and rewards of living in harmony!
I’m gonna resort to my favorite, the rock-and-roll hands: I’m Chicago-bound on Friday to talk about blogging at the Center for Teaching through Children’s Books at National Louis University. Since 7-Imp is 10 years old this year, I could talk all day but instead have one hour to fill. If you’re in Chicago and signed […]
The Daring Prince Dashing Written by Marilou T. Reeder Illustrated by Karl West Sky Pony Press 11/03/2015 978-1-63450-161-6 32 pages Ages 3—6 “PRINCE DASHING IS DARING AND WILL STOP AT NOTHING TO FIND A NEW FRIEND! “Prince Dashing bathes with crocodiles, eats while dangling upside down from the tallest trees, and toasts …
Dylan the Villain
by K. G. Campbell; illus. by the author
Primary Viking 40 pp.
2/16 978-0-451-47642-5 $17.99 g
“‘Congratulations,’ said the doctor. ‘It’s a healthy little super-villain!’” Sweet, unsuspecting new parents Mr. and Mrs. Snivels are surprised by this development (and by the fact that they just “happened to have a baby”), but not disappointed. They tell their son Dylan, born wearing a purple mask and a fiendish expression, that he’s “the very best and cleverest super-villain in the whole wide world!” Dylan thinks so, too, until he goes to school and meets Addison Van Malice (sporting blue Princess Leia–style hair and a swashbuckling eye patch), who out-evils Dylan at every turn. Campbell’s soft-focus illustrations — rendered in watercolor and colored pencil on tea-stained paper — give all the characters personality, even those without speaking roles. The classroom of small villains is a hoot, and there are lots of dastardly details in the not-at-all-villainous art. The well-paced narrative’s comedic timing reinforces the absurdity of the premise. When a “most diabolical robot”–building contest is announced, Dylan seizes the chance to prove he’s more fiendish than Addison: “That hideous trophy…will be mine! All MINE!” And it is, after Dylan accidentally-on-purpose sends Addison and her menacing robot into space. And that’s that…or is it? In a satisfying twist, the final pages give Addison the last “MU-HA-HA-HA!!”
We all tend to label people, even when we try not to, and often the labels come with a certain amount of judgement. All too often our preconceptions of people are way off the mark, and sometimes they are unkind and hurtful as well.
In today's picture book we see how the labels we like to put on people are a waste of time and counterproductive. All that really matters are the relationships that we build together.
One rainy day Buddy is feeling “bored and a little lonely.” Thankfully, his person, Meredith, comes into the room where Buddy is sitting and life gets interesting again. Meredith is carrying a box, which she puts on the floor. She tells Buddy to “stay,” but the dog, after scratching an itch, forgets all about the command he was given and he goes over to the box to investigate. Inside the box there is a strange prickly thing, which Buddy sniffs and sniffs. He considers licking the thing but decides that this might not be such a good thing to do. Then the thing begins to snuffle and hiss. Buddy is thrilled. The brown, prickly thing is alive!
Buddy introduces himself and the thing says that he is called Earl. Earl then proceeds to tell Buddy that he is a racecar, a giraffe, a sea urchin, and a talking hairbrush. Buddy knows full that that Earl isn’t any of these things and he points out why Earl cannot be a car, a giraffe or a sea urchin.
After this rather peculiar discussion, Earl then decides to try and guess what Buddy is. He is convinced that Buddy is a pirate, and before logical Buddy can explain that he is a dog and not a pirate at all, he and Earl are having a wonderful adventure on the high seas.
This wonderful book explores the nature of friendship, and it also looks at how important it is to connect with others in a meaningful way that sets asides labels. Children and adults alike will be touched when they see that Buddy eventually figures out who Earl is. It turns out that what really matters is not what you are, but who you are.
I’m working on a revision of my book, How to Write a Picture Book (Look for the new version in September). One section goes through various genres with tips on writing an ABC book, a narrative nonfiction, a picture book mystery, etc. One genre that I neglected in the first draft was metafiction picture books.
A Revealing Conversation between DH and Me
Me: I need to write a blog post about metafiction picture books.
Darling Husband (DH): What’s that?
Me: You know. Postmodern stuff.
Me: They are books that refer to themselves in some way. They break the concept of “book” in the story itself.
DH: Oh. Faux books.
Metafiction picture books are those that break the mold by making the reader aware that they are reading a book. Often fiction writers talk about the immersive book, and value stories that transport a reader to a story world and immerse them totally in the story. The reader’s surroundings disappear and they are deeply involved with the story.
Metafiction breaks that immersive experience. Why? In the theater, this is referred to as breaking the fourth wall. The stage has a back wall and two wings; the fourth wall is invisible wall that separates the audience from the stage. When an actor turns to the audience and makes comments, it’s breaking the fourth wall. The technique can be used to add information, set up irony, create humor or other purposes.
While metafiction isn’t new, it’s been more prevalent in the last few decades. Some say that it’s related to the postmodern philosophy. Read more about postmodernism here.
So, what is a metafiction picture book? Let’s look at some characteristics typical of this genre. Of course, you won’t use all of these in any given book. You can mix and match techniques to tell your story (or un-story). The best way to understand these is to read through a variety of the books suggested below.
Characteristics of a Metafiction Picture Book
Me: One reason I need to write this is because I’ve been trying to critique some manuscripts and having a hard time.
DH: You expect them to be a certain way and they aren’t.
Me: Well. Yes. There are rules about writing picture books.
DH: Are there?
Parody or irony.
Some metafiction picture books refer to folk or fairy tales, often with irony or parody. Who’s Afraid of the Big Bad Book? By Lauren Child
Pastiche. Copying a certain style of art to create something very different, these are usually author-illustrator stories. Willy the Dreamer by Anthony Browne.
Story gaps. Sometimes the text has gaps that require readers to make decisions about the story and its meaning. Academics call this interdeterminancy. The Three Little Pigs by David Wiesner.
Multiple narrators or characters. The story includes multiple point-of-view characters, often with multiple story arcs. In Chloe and the Lion by Mac Barnett, illustrated by Adam Rex, the author, illustrator and main character each tell separate stories and talk to each other. The complex interaction has three separate endings.See also:
Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka and Lane Smith
Black and White by David Macauley
Voices in the Park by Anthony Browne
Direct address to reader. When you use second person point-of-view and talk to the reader, the story can fall into the metafiction category.In a quick review of different points-of-view, you can usually figure out the story’s POV by looking at the pronouns.
1st person: I, me, my
2nd person: You, yours
3rd person: he, she, it, his, hersIn Warning! Do Not Open This Book, by Adam Lehrhaupt, the reader is warned against opening the book. When—of course—the child does open the book, the text provides other warnings.
See also: Thank You, Sarah: The Woman Who Saved Thanksgiving, by Laurie Halse Anderson,
Non-linear, non-sequential. Most narratives follow a certain time sequence. This happens first, and then that happens. There’s a beginning, middle and end. However, metafiction picturebooks create stories without a clear reference to time order. In Black and White by David Macaulay, each page is divided into four sections which tell different stories and it’s up to the reader to connect them. Or not.
Narrator becomes a character. The author or narrator of the story steps into the story and participates. In Chester, by Melanie Watts, a simple story devolves into an argument between a cat and the author about what story to tell.
Unusual book design or layout. Some metaficiton picture books have unusual typography, while others use a layout that breaks the story out of the page or book. Three Little Pigs by David Wiesner, has illustrations showing the pigs folding up a page and climbing out of the story onto a blank page. Or, they fold up a page into a paper airplane and take a ride.
Stories within Stories. No Bears by Meg McKinlay, Ella writes a book within the book.
Characters and narrators speak directly to the reader.
Sandra Boynton’s board book, Moo, Baa, La, La, La.
The text says,
“The pigs say, ‘la, la, la.’
‘No, no,’ you say, that isn’t right.
The pigs say, ‘Oink,’ all day and night.”
Characters who comment about their own or other stories. In Chester by Melanie Watt, the author and cat character go back and forth about the story. Among other shenanigans, the cat crosses out the author’s name on the cover and puts his own name.
Disruption of time and space relationships. Redwoods by Jason Chin. A boy picks up a nonfiction book about redwood forests and enters the forest.
Something makes the readers aware of what makes up a story. In Help! We Need a Title! By Herve Tullet, characters realize someone is watching them (that’s YOU, the reader) and decide to make up a story. In the end, they invite the author to help finish the story.
Mixing of Genres.
In A Book by Mordecai Gerstein, a girl runs into characters from different genres in a search for her own story. This allows the reader to learn about elements of different genres.
Metafiction + Creative nonfiction. Can you write a metafiction nonfiction picture book? Yes. These stories often mix informational text with fiction. No Monkeys, No Chocolate by Melissa Stewart and Allen Young features a couple of worms who make funny comments while the narrator explains where chocolate comes from.
Writing a Metafiction Picture Book
DH: Actually, I do metaficiton.
Me: What? When?
Flashback to memory of DH telling bedtime stories to our kids:
“Once upon a time, there were three bears. Flopsy, Mospy and Peter Bear.”
Me: (Slapping forehead) Oh, my goodness. You’re a metafiction storyteller!
At least, there’s one in the family.
Know the Rules – Break the Rules
If you’ve read my book, How to Write a Children’s Picture Book, you’ll know most of the “rules” of writing a picture book. Break any rule that’s reasonable for the story, but have a reason to break it. You may want to inject humor, parody, information, or yourself into the story for a good reason. Do it. And do it boldly.
While you can write about anything, often the topic of a metafiction picture book is to explain a book or some element of fiction or writing. That’s reflected in titles such as It’s a Book, There are No Cats in This Book, and Who’s Afraid of the Big Bad Book. Of course, if you try this, remember that you’ll have lots of competition.
Good Read Alouds
Make sure these are good read alouds because youngest readers may read these with adults to make sure it’s understood. Read more about how to make your story a good read aloud here.
One of the main reasons to write a metafiction picture book is to have fun, to play with the genre. Do something unexpected, disrespectful, funny.
Critiquing Metafiction Picture Books
DH: Actually, I like a lot of the books you’re calling metafiction.
DH: They’re unexpected. A surprise. They make me laugh. Kids love them.
An aside: In my household, it’s understood that I don’t have a sense of humor.
Slap stick? No, it’s not funny.
Potty jokes? Absolutely not.
Metafiction? I’m not laughing.
DH: Of course, it’s hard for you to critique metafiction manuscripts.
Me: (Groan. Why is he always right?)
DH: (Wisely, DH refrains from saying anything else.)
Authors, give your group (or editor) a heads up.
When I approach a critique of a picture book, I am always expecting a traditional story. So, it’s helpful if the author is aware of the type picture book they are writing and can tell the critique group, “This is a metafiction picture book.”
Readers, read the story in front of you.
I often read movie or book reviews and get aggravated because the review is more about the reader than the text. The reviewer talks about what they wanted or predicted and how those preconceptions were disappointed. That’s the danger in critiquing this special type of picture book. Especially for metafiction picture books, you must read the text in front of you. Be open to a new way of telling a story for kids.
Ahlberg, Allen. The Pencil
Barnett, Mac. Chloe and the Lion
Bingham, Kelly. Z is for Moose
Boynton, Sandra. Moo, Baa, La, La, La
Browne, Anthony. Willy the Dreamer
Child, Lauren. Who’s Afraid of the Big Bad Book?
Chin, Jason. Redwoods
Freedman, Deborah. Scribble
Gerstein, Mordecai. A Book
Gravett, Emily. Wolves
Hopkinson, Deborah. Abe Lincoln Crosses a Creek
Lehman, Barbara. The Red Book
Macauley, David. Black and White
Schwarz, Viviane. There are No Cats in this Book
Scieszka, Jon and Lane Smith. Stinky Cheese Man and Other Fairly Stupid Tales
Smith, Lane. It’s a Book
Spiegelman, Art. Open Me. . .I’m a Dog!
Stewart, Melissa. No Monkeys, No Chocolate
Tullet, Herve. Help! We Need a Title!
Watt, Mélanie. Chester
Willems, Mo. We Are in a Book
Prolific British picture book author Vivian French teams up with the reigning Queen of the art of the fairy tale, Angela Barrett to create The Most Wonderful Thing in the World, a contemporary story that feels like a classic fairy tale.
The story begins, "Once, in the time of your grandmother's grandmother, there was a kingdom." Looking very much like Venice, Italy, the kingdom sits on a lagoon dotted with islands. The king and the queen are very proud of their kingdom and of their daughter, Lucia. Realizing that she will someday rule the kingdom, they determine that they must start the search for a husband who will reign with her. They send a letter to Wise Old Angelo who lives on the smallest island in the kingdom to ask exactly what they should do. Angelo thinks long and hard and tells the king and queen that they must find the young man who can show them, "the most wonderful thing in the world," and has his grandson, Salvatore, hand deliver this missive.
Lucia has also realized that she will be queen one day and asks permission to explore the city and get to know her future subjects and realm. As Lucia is leaving the castle, the first person she meets is Salvatore! Upon being asked, Salvatore says that nobody knows the city better than he does and he will spend "Today, tomorrow and the next day, until you have seen all that you want," guiding Lucia. Meanwhile, suitors from all over the world are arriving with marvels that include airships, pyramids and mermaids in tanks. The king and queen "grew grey with exhaustion," but nothing seemed to be the most wonderful thing. Meanwhile, Salvatore has fallen in love with Lucia, although, he tells his grandfather, his face "wet with tears," that he can never marry her. Wise Old Angelo tells Salvatore to show the king and the queen the most wonderful thing in the world and then he can.
It may seem wrong to tell the ending of The Most Wonderful Thing in the World, but I think that it's very difficult to pull off a believable, successful ending to a contemporary fairy tale - which this book does. Together for their final day touring the city, Lucia and Salvatore are on Angelo's island - the only place she has not yet been. Looking for their daughter, the king and queen head to Angelo's island also. Exhausted by their trip, on top of days and days of looking for the most wonderful thing, the royals stop to rest on a bench. Salvatore approaches and asks if he may show them the most wonderful thing in the world. They agree, even though he is so unlike the others. Salvatore presents to them . . . Lucia!
And, as wonderful as this twist is, I really, really love the ending of The Most Wonderful Thing in the World. Lucia and Salvatore marry with the pomp and ceremony to be expected, "your grandmother's grandmother would remember." As the new king and queen, Lucia and Salvatore walk through their city every day, talking with the people. They are so beloved, that the people of the city build a statue in their honor. In the middle of a fountain, carved out of stone, stand Lucia, Salvatore and their first born child, carved underneath are the words, "The Most Wonderful Thing." The only thing more charming than the ending of this fairy tale are Angela Barrett's Edwardian influenced illustrations that fill every page. A sumptuous story, gorgeously illustrated - The Most Wonderful Thing in the World is a very special book.
This week has been busy, moving furniture around two rooms, setting up new televisions and sound. It was all more than I thought it would entail. Despite what is left to accomplish, KLR will be back on track come Monday (4-5 reviews / M-F). I am looking for bloggers interested in joining a book blog …
(Click to enlarge) Over at Kirkus today, I’ve got nonfiction picture books on the mind. That link will be here later. Today, I’m following up with some illustrations from the books I wrote about (here) last week. They include: The new edition of Margaret Wise Brown’s The Dead Bird, illustrated by Christian Robinson (Harper, […]
Title: Big Snow
Author & Illustrator: Jonathan Bean
Publisher: Farrar Strauss Giroux, 2013
Themes: Anticipation, excitement, first snowfall of season
Awards: Charlotte Zolotow Award Nominee for Highly Commended Title, 2014
“Mom,” said David, “when will it snow?” “I think soon,” said Mom. “Why don’t you help … Continue reading →
The New Small Person Written and Illustrated by Lauren Child Candlewick Press 2/10/2015 978-0-7636-7810-4 32 pages Ages 4—8 “Elmore Green started life as an only child, as many children do. He had a room all to himself, and everything in it was his. But then one day a new small person came along, …
I got a postcard in the mail this week with the image above on it. It was a happy surprise and a note from a RISD graduate, named Will Quinn, who told me he reads and enjoys my blog. I was taken with the image and then visited his website to see more of […]