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It’s a Tiger!
By David LaRochelle
Illustrated by Jeremy Tankard
Chronicle Books
$16.99
ISBN: 978-0-8118-6925-6
Ages 4-8
On shelves now

There is an art to reading a picture book but I’ve not encountered many schools that actually teach that skill. Librarians will learn it in their graduate courses, of course, but what about parents and booksellers? Are they doomed to stumble through their readings without getting some of the insider tips and tricks? Yup, pretty much. The only thing you can really do is just recommend to them picture books that make reading aloud one-on-one or to large groups a painless experience. Books that have an inherent interior rhythm and logic that kids will naturally adhere to. So each and every year I sit and wait for those great picture book readalouds of the year. For 2012 I’ve seen a couple that lend themselves to groups. Up, Tall and High by Ethan Long is ideal for preschoolers. Creepy Carrots! by Aaron Reynolds is perfect for the 1st and 2nd graders. But the all-around best readaloud of the year, bar none as far as I can tell, has got to be It’s a Tiger! A boon to librarians and booksellers looking for new storytime fare as well as parents and grandparents, David LaRochelle’s latest is a hoot, a holler, and could even be called a hootenanny if you’re so inclined to call it that.

So you’re walking through the forest, minding your own business, checking out monkeys when you realize that the orange and black tail over there isn’t a vine at all. It’s a TIGER!! Like a shot you (which is to say, the boy in the book) take off lickety split. Still, it doesn’t matter where you go. Whatever you do, that darned tiger seems to follow. Dark caves, ships at sea, desert islands, the tiger is everywhere! At the end you realize that the tiger doesn’t really want to eat you. So to put it to sleep you decide to tell it a story. A story about a boy walking through the forest until he sees a green scaly vine. Wait a minute . . . that’s not a vine . . . .

It took a couple readings before I realized something essential about this particular book. Turns out, this is one of the rare picture books written in the second person. You do this. You do that. The reader actually is the little boy who finds himself inexplicably running into the same orange and black foe over and over again. It’s a narrative technique that I just know that I’ve seen in picture books before, but when I try to think of them I find myself stumped. They’re not as common as you might think and I certainly can’t come up with any that are also great read alouds for large groups. By making the audience the narrator they get all the requisite chills and thrills without actually feeling like they’re in direct danger. It would be a good companion to Michael Rosen’s We’re Going On A Bear Hunt honestly. Same threat level. Same you-are-there aspects.

I think what I like best about the book is the fact that it goes from surprising to funny in fairly short order. The first three or four times you turn the page and encounter a tiger the kids are still uncertain about the order of occurrences. Once the pattern is firmly established, that’s when they can kind of let go and enjoy. Then LaRochelle ratchets up the silly factor and the kids really begin to have fun. We don’t always remember that children have a relatively refined sense of the absurd. They’re literalists, every last one, and though they might point out the flaws in your logic as you read the book (how can you swing and land on the tiger when you just escaped the tiger?) there’s a different kind of fun to be had in telling grown-ups they can’t possibly be right about something. It’s a Tiger! combines several different kinds of reading pleasures then. Interactive (kids can yell “It’s a tiger!” along with the reader). Power plays (telling adults they must be mistaken). The element of surprise. The controlled fear factor. It’s all there. And it’s awesome.

It is difficult for me to be impartial about a book that features the art of Jeremy Tankard. A couple years ago he burst onto the picture book scene with three books that changed the way I do preschool storytimes (Grumpy Bird, Me Hungry!, and Boo Hoo Bird). Even when he’s working on other people’s books, as in the case here, he has a distinctive style that can’t be beat. In this book he utilizes his usual ink and digital media style, but the colors are extraordinary. They just pop off the page with these magnificent blues, greens, oranges, yellows, and reds. It was interesting to note that the pages themselves have a sheen and gleam I’ve not noticed in a picture book before. Hold them up to the light and watch as the thick black lines and colors seem as though they should be transparent, if that makes any sense. That visual pop means that when you reach the every-other-page “surprise” of the tiger, Tankard can really make the animal’s appearance seem surprising. He uses some anime-type lines around the tiger from time to time to direct the eye to the center of the page, which as of this review still has a new and contemporary feel to it. We’ve seen it in books by folks like Dan Santat for years, of course. My suspicion is that though it will certainly make the book feel like an early-21st creation, that doesn’t mean it’ll age poorly. It’s simply a work of its time now.

Long story short, we haven’t seen a boy/tiger relationship this complex since the days of Calvin and Hobbes. Tigers are such cute and cuddly carnivores, and honestly it’s very difficult to be perfectly afraid of something as soft and fluffy as a tiger. That sort of makes them ideal picture book threats. LaRochelle has written innovative picture books for years now (The End, etc.). Pairing him with Tankard just guarantees a hit. Put this one on your Must Have list and stat.

On shelves now.

Source: Final copy sent from publisher for review.

Like This? Then Try:

• We’re Going on a Bear Hunt by Michael Rosen, ill. Helen Oxenbury

• Snip, Snap! What’s That? by Mara Bergman

• Fortunately by Remy Charlip

Other Blog Reviews: 

• Shelf Elf
• Picture-Book-a-Day
• books4yourkids.com
• Cinjoella

Professional Reviews:

• Kirkus
• Publishers Weekly

Other Reviews:

• ChildrensBooksGuide.com
• Richie’s Picks

Interviews:

• Watch. Connect. Read. talks with David LaRochelle
• Watch. Connect. Read. talks with Jeremy Tankard

Misc:

• A behind the scenes glimpse at the making of the book.

• And here’s the activity kit.

• And here’s a teacher’s guide.

Videos:

A handy dandy book trailer, here for the viewing.

The Chicken Problem
By Jennifer Oxley and Billy Aronson
Random House
$16.99
ISBN: 978-0-375-86989-1
Ages 3-7
On shelves now.

I was once in Prospect Park in Brooklyn when I passed a very small child wearing a porkpie hat running as fast as his chubby legs could carry him. Behind him his father yelled out (to little avail), “Pontius! Pontius, slow down!” I mention this because there is a particular Brooklyn aesthetic to a picture book like The Chicken Problem. Consider, if you will, its heroine Peg. Here she is sporting a mighty trendy little outfit replete with striped tights and buckled red boots. Even her name, Peg, suggests that she was named after Peggy Lee or someone of equal caliber. Notice too that she’s playing a ukulele on the endpapers and that pretty much clinches it. Peg is trendy. Too trendy for your preschooler? Not in the least. Peg may be a specific type of heroine peculiar to a single geographical location but with her urbane Cat and her trouble with high-spirited chicks this is one of those memorable heroines and one-on-one readalouds that add a little bit of math to a little bit of story alongside a whole lot of fine and beautiful art to bring us one fine fine book.

It’s a bright and beautiful day when young Peg and her cat Cat go to the farm to have a perfect picnic with a pig. Peg is one of those girls who like everything to be just so, and when she discovers that she accidentally cut an extra slice of pie she feels it’s a dire problem. Cat solves the imbalance by removing a very small chick from a nearby coop and surely that would be the end of that . . . if he’d managed to remember to close the coop door. Suddenly one hundred chickens are free and roaming the farm. It’s up to Peg, Cat, and maybe that pig they picked up, to figure out a way to cajole these freedom loving fowl into returning from whence they came. When that mission is finally accomplished that leaves one final matter: Time for pie!

I’ve read the occasional professional review that snarked about the svelte story found here, but to be honest I was rather charmed by it. It’s not the most dire straits that Peg and Cat must escape but in the simplest sense it’s a story with a mistake, a solution, and a conclusion that feels satisfying. The language itself repeats in good ways and sounds pleasant on the tongue (“The pie was fresh and juicy and gooey”) while the plot appeals to the pint-sized obsessive compulsives out there that insist that everything be exactly right.

The art is particularly charming, though I found I couldn’t figure out the medium. If I was going to harbor a guess I’d say that it was digital art doing a stand-up and cheer imitation of mixed media. I might have figured it to be done by hand, were it not for the fact that on more than one occasion a chicken will repeat in a large crowd scene. No matter, since it’s the charm of the characters that ultimately pull this puppy through. Peg, noseless though she may be, is a likeable soul. Cat, a feline I initially considered lacking in smiles, turns out to have quite a bit of nuance to his rotund eggplant-like little body. The pig is always referred to as “a pig”, as if he were just some barnyard stray the duo stumbled over on their travels. He seems so content wherever he is, legs neatly crossed beneath him, that you suspect he’d follow Peg and Cat to the ends of the earth if they asked. As for the chickens themselves, they’re beautifully expressionless and yet you spend a lot of your time just trying to keep up with their antics.

Speaking of endpapers, I’ve seen inside jokes in my day. I’ve seen clever details and little pokes of fun. What I have never seen are endpapers that are SO o’erfilled with details and ideas that you could spend the better part of twenty minutes parsing them. It is important to know that the front endpapers are incredibly different from the back endpapers. I mention this in part because I know that libraries have a tendency to glue their bookflaps to their books’ front and back covers and the result is going to cover up quite a bit of content. At the front of the book you can find six scenes drawn from Peg and Cat’s adventures. Sometimes they might be rowing George Washington over the Delaware while other times they’re jamming with a band of bears. Quick flip to the back of the book and you’ve the strangest collection of one hundred chickens you ever did see. An explanation is provided in the special thanks section. It says, “And, for posing so patiently for the pictures, the one hundred chickens,” and then names each and every last one of them. It took a while for me to realize that the names correspond with the pictures on the opposite page. I had already looked at the pictures of the chicks before and noticed odd details about them (like the fact that one of them resembled President Obama on his HOPE poster) but didn’t realize that each one had a name (“Barawk Obama”). Look closely enough and you’ll find references to Lady Gaga, Mahatma Gandhi, Rumpelstiltskin, St. John, George Bernard Shaw, and many others. My personal favorite was the preppy turtleneck donning Cluck C. Cluck III. Even without reading his name I knew he was a 1% chicken, if you know what I mean.

As the bookflaps explain, Peg and Cat are well on their way to becoming a television series on PBS that teaches preschoolers math someday. And while that might account for some of the adventures on the endpapers, the story stands perfectly well on its own. I don’t need to see Peg on my TiVo to know she’s a special kind of kid. Whether or not the show occurs, I do hope that we’ll see more of Peg and her erstwhile purple companion on good old-fashioned paper and board in the future. I suspect folks will end up picking up the book more for the art and story than the math, and that’s okay. Fun pretty much sums it up.

On shelves now.

Source: Final copy sent from publisher for review.

Like This? Then Try:

• Chicken Dance by Tammi Sauer, ill. Dan Santat

• The Day the Babies Crawled Away by Peggy Rathmann

• Millions of Cats by Wanda Gag

• The Problem With Chickens by Bruce McMillan, ill. Gunnella

Interview: Nerdy Book Club

Video:

There was a cute little book trailer, of course:

And though its website is gone, you get a pretty clear sense of Peg, Cat and their world here.

I am now entertaining the ridiculous hope that when the show premiers they make Peg-with-ukelele YouTube videos like the millions already out there.  Just Peg, a ukelele, a blank wall, and one of her songs.  I mean, might as well at this point, right?

Creepy Carrots!
By Aaron Reynolds
Illustrated by Peter Brown
Simon & Schuster Books for Young Readers
$16.99
ISBN: 978-1-4424-0297-3
Ages 4-8
On shelves now

A children’s librarian is half media specialist, half psychic. It isn’t enough to have to know the books in your collection. You have to know what that pint-sized patron standing before you REALLY wants when they say they want “a scary book”. For a while there I had this very persistent three-year-old who would beg me for scary fare and wait as I dutifully pulled picture book after picture book for him. After a while I’d begin to wonder what would happen if I actually gave him what he said he wanted. What if I’d handed him Alan Schwartz’s Scary Stories to Tell in the Dark)? Would it have scarred him for life? Fortunately the shelves of your average children’s room abound with titles that are “scary” enough for a small fry. The trick is to find something that manages to balance the funny and the frightening in equal measures, never overplaying its hand. Had Creepy Carrots! by Aaron Reynolds been available when I met that kid, it would have been the first thing I’d have pulled from the shelf. With pitch perfect illustration by the increasingly talented Peter Brown, this beautifully shaded creation is a great example of how to get the tone of a picture book exactly right. Strange and wonderful and weird in all the right places.

Jasper Rabbit. You average everyday hare. Jasper has a penchant for carrots. Stands to reason. He’s a rabbit. Every day he plucks them from the Crackenhopper Field. Never has a care in the world either. But one day Jasper has a suspicion. Carrots in his tummy he understands, but carrots in his bathtub? In his bedroom? In the tool shed? Seems that Jasper is being stalked by vegetation. Without realizing it, Jasper Rabbit is crossed out of his everyday existence and into . . . the carrot zone.

Before we get into anything else, let’s talk text. As difficult as it may be, I tried reading this book without paying attention to the accompanying illustrations (no small feat) to get a sense of what author Aaron Reynolds is doing here. What I discovered when I went through it on a word alone basis was that Reynolds has penned a really good readaloud. There’s a great inherent drama to lines like, “Jasper was about to help himself to a victory snack.. when he heard it. The soft… sinister.. tunktunktunk of carrots creeping. He turned… but there was nothing there.” This passage is just begging to be read aloud with Vincent Price-esque cadences. The inherent ridiculousness of creeping carrots being scary is paired with the rather effective “tunktunktunk” sound. It reminded me of the sound of the dead son in that old short story The Monkey’s Paw. It speaks of unnatural slowness, always creepy to kids who move at lightning speeds themselves. Reading this book you hit that dichotomy of potentially frightening and potentially funny over and over until, at last, you reach the end. The book’s finale is one of those twist endings that some kids will get while others just enjoy the visuals. I love a picture book with a good twist, and so do child audiences. Particularly when they don’t see where the story is going.

It’s interesting that though Reynolds has specialized in child lit noir for years (his Joey Fly Private Eye comic books practically typify the genre) there’s nothing ostensibly noir-ish about the text for Creepy Carrots! Just the same, Peter Brown saw something atmospheric there to be plundered. The decision was the right one and Brown cleverly culled from not a single noir source but from many. There are hints of Hitchcock, Wells, Twilight Zone, and other influences (Vertigo being the most direct reference of them all). The result is a picture of psychosis running rampant. Kids are naturally afraid that there might be monsters under their beds, so they understand paranoia. Only a few books think to take advantage of that fact. Meet one of the few.

Atmospheric black and white, when done right, yields picture book gold. Think about the Caldecott Honor winner The Spider and the Fly as illustrated in a 1920s movie house style by Tony DiTerlizzi. Brown’s work isn’t wholly black and white, of course. He allows himself a single color: orange. This is a deep dark orange though. One that goes rather well with the man’s copious shading. Previous Brown books like The Curious Garden had fun with the borders, filling them with creeping smog around the edges. In Creepy Carrots! the borders now teem with encroaching darkness. Each picture is enclosed in a black border that seeps a foglike substance into the images. It’s like watching a television show or a movie where you know something’s gonna get the hero sometime. You just don’t know when.

Fair play to Brown with his carrots too. As you can see from the cover alone, he takes care to make them funny and scary all at once. They have a random smattering of gappy teeth like jack-o-lanterns, crossed eyes, and a variety of tops. They’re like The Three Stooges in vegetable form, only more intimidating. Brown also makes the rather interesting decision to give much of this book a cutout feel. His style consists of drawing in pencil on paper and then digitally composing and coloring his images. The result is that he can give his scenes some real depth. That first shot of Jasper sitting merrily amongst the carrots really makes it look as if he’s cut out from the scene, nearer the audience, much like the tufts of the trees behind him. And finally there’s Jasper himself. You’d think the book would just feature the regular emotions like happy and frightened, but Brown does a lot more than that. The scene where Jasper laughs at himself for being so ridiculous to think that the carrots were following him is a triumph of mixed emotions. Worried eyes, smiling mouth, uncertain eyebrows, and hubris-filled ears. Beautiful stuff.

Though it has absolutely nothing to do with Halloween, thanks to its black, white, and orange palette (to say nothing of its subject matter) expect to see this book read aloud in many a Halloween storytime for years and years to come. There are worse fates. I would simply remind everybody that scary books aren’t seasonal. That kid who requested them of me asked me for them month after month, never tiring of what I put before him. Kids love to be scared within the safety of their parents’ arms. Happy endings and gorgeous art are just a nice plus at that point. More fun than it deserves to be and thrilling to the core, expect to be asked to read this one over and over again and to willingly acquiesce so that you can pick out more details on a second, third, fortieth reading. A masterpiece of the scary/funny balance.

On shelves now.

Like This? Then Try:

• The Spider and the Fly by Mary Howitt, illustrated by Tony DiTerlizzi

• Substitute Creacher by Chris Gall

• Annie Was Warned by Jarrett Krosoczka

Other Blog Reviews: Seven Impossible Things Before Breakfast

Professional Reviews: A star from Kirkus

Videos:

Don’t believe me when I say Peter Brown was influenced by certain noirish folks?  Then get it straight from the horse’s mouth:

Cat Tale
By Michael Hall
Greenwillow (an imprint of Harper Collins)
$16.99
ISBN: 978-0-06-191516-1
Ages 6-10
On shelves August 28th

When we are old and gray and the stars gleam a little less brightly in the wide firmament above our heads, I have no doubt that there will STILL be children’s librarians out there debating the merits (or lack thereof) of picture books designed with older child readers in mind. To bring this subject up is akin to throwing a lit match on diesel soaked tinder, but what the heck. You see, walk into any decent library and you’ll find a picture book section teaming with fantastic 32-48 page titles that simply do not circulate. And why? Because of the standard belief, sometimes by children, sometimes by adults, that when you reach a certain age you “outgrow” picture books. As if they were a pair of shoes liable to give you blisters if you kept them around too long. This is, naturally, bupkis. Picture books are appropriate for all ages, really (and if you don’t believe me why don’t I just introduce you to a little number I know called The Woolvs in the Sitee). So the fact that a book like Michael Hall’s Cat Tale exists pleases on both the 6-year-old level as well as the 10-year-old level should surprise few. Wielding homonyms like weapons, Hall brings his artistic sensibilities (to say nothing of his love of controlled chaos) to the wordplay realm and the end result is that everyone’s a winner for it.

Meet Lillian, Tilly and William J. Three little cats that are out for a day. In rhyming verse we watch as at first their adventures are small. “They pack some books and kitty chews. They chose a spot. They spot some ewes.” As the book continues they cats become more adventuresome. “They train a duck to duck a shoe. They shoo a truly naughty gnu.” Yet the words begin to get tangled and the cats are in a state. Should they use a rock to squash a berry or use a squash to bury a rock or (after a pause) use their paws to rock a squashberry? Finally everything gets too crazy and the cats find their way out thanks to their tails/tales.

Like many people, when I think of homonyms in works of children’s literature my mind instantly leaps to good old Amelia Bedelia. She continues to reign as the homonym queen to this day. After all, without them she wouldn’t get confused in the slightest. Hall could have done a storyline very much like Amelia’s. The cats could have just wandered about and gotten confused about the difference between boarding a plane and getting to plane a board. Ho and also hum. Instead, Hall takes a risk. He actually connects the sentences and uses his illustrations to make seemingly disparate phrases relate to one another. Now the text reads, “They flee a steer. They steer a plane. They plane a board. They board a train.” All this makes sense in the book since we see the progression from place to place. Note too that just to ratchet up the challenge a little, Hall is making this book rhyme on top of everything else. That’s sort of explained on the title page (Hall wastes no time) where it reads, “From word to word they find their way, Lillian, Tilly, and William J.” Interesting that Hall went with “Lillian” rather than “Lily” since “Lily and Tilly and William J.” has its own nice rhythm. There’s no denying how satisfying it is to begin with a Lillian and end with a William, though. Even if they don’t rhyme precisely.

When Hall wrote his previous book The Perfect Square there was wit on display but it seemed to be mostly of the visual variety. Cat Tale doles out the wit a little more on the verbal end of the spectrum, but there’s no denying that the art is also just great. As with the aforementioned Perfect Square Hall’s art consists of acrylic painted textures and paper cutouts that were combined digitally. Not that you can tell where the computer came in or how it was used. The colors in this book don’t have that faux clip-art coloring so often found in slapdash computer art. Instead it looks like Hall took out his sponge and his brightest hues and created something truly lovely. From the vibrant orange of the train to the deep and satisfying blue of the steer, there’s a method to Hall’s madness. A beautiful sumptuous method.

There is admittedly one moment in the book where I got seriously confused, so I wonder how it’ll fly with the pre-adolescent set. To be fair, that’s sort of the whole point of the spread. As the cats go along the homonyms gets crazier and crazier until there’s a virtual explosion of cats, steer, gnus, ducks, cars, shoes, ewes, you name it. The trouble is that I couldn’t make the mental leap from that image to the next one involving the cats’ tails. I know it makes sense on a practical level, but I felt like the transition was a bit too rough. Something a bit slower, a bit more staid, could have suited the storyline a little better.

I know a librarian who uses older picture books for her 2-3rd grade parent/child bookclub. It’s as good a solution as any I know to get those book circulating, that’s for sure. Of course, my dearest hope is that teachers discover this book as well. With the rise of interest in the Core Curriculum, folks need to remember that teaching homonyms doesn’t have to be rote and dull as dishwater. It can involve naughty gnus and rocked squashberries! A visual feast and too clever by half, Hall’s latest begs to be read aloud and pored over. A little book that deserves all the attention it can receive. Teachers, parents, librarians, and booksellers, take note.

On shelves August 28th.

Source: Galley sent from publisher for review.

Like This? Then Try:

• Amelia Bedelia by Peggy Parish

• Dear Deer by Gene Barretta

• Aunt Ant Leaves Through the Leaves by Nancy Coffelt

• Did You Say Pears? by Arlene Alda

Other Blog Reviews:

• Seven Impossible Things Before Breakfast
• There’s a Book

Professional Reviews:

• A star from Publishers Weekly
• A star from Kirkus

Misc:

• Browse inside the book here.