Posts tagged Picture book

Mr. Tiger Goes Wild by Peter Brown: An instant classic.

Mr. Tiger Goes WildMr.TigerCover

Picture Book

Ages 2-8

By Peter Brown

44 pages

Little, Brown

2013

 

This is Peter Brown’s ninth picture book and I’ve grown to love him more and more with each one. With scenes that unfold in playfully designed locations, and supremely likeable, quirky characters, readers can’t help but be lured into the world of Mr. Tiger. Brown was awarded a 2013 Caldecott Honor for Creepy Carrots and, truth be told, I was a little disappointed that Mr. Tiger Goes Wild was not among this year’s Caldecott recipients.

 

Brown’s art is evocative of Ezra Jack Keats, Margaret Bloy Graham and Miroslav Sasek, yet despite displaying shades of all these masters, Brown’s pleasing and idiosyncratic artistic style stands out as uniquely his own. Certain spreads reminded me of the animated Disney film, The Jungle Book and I later read in an interview that Brown watched a lot of old animated Disney films, including The Jungle Book, while working on Mr. Tiger.

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The opening spreads of Mr. Tiger Goes Wild introduce Mr. Tiger’s world, replete with upright quadrupeds adorned in stiff Victorian attire. The perfectly ordered art is created with a muted palette of grays and browns.

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As the story progresses, the art grows more feral and verdant; the final spreads strike a satisfying balance between conformity and frenzy.

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The consistent palette of greens, grays and browns is broken only by Mr. Tiger’s delightful flare of orange.

 

Brown’s skillfully efficient story telling allows for sparse text; there are several spreads with no words at all. His cheeky narrative breathes humor and energy into the already astounding artwork.

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As the story opens, Mr. Tiger is a dapper, city-dwelling cat with an undeviating expression of displeasure. He lives among respectable animals in a proper society. Everyone around him seems perfectly content but Mr. Tiger is bored.

 

At this early stage of the story almost all of the characters are going about their lives with closed eyes. Mr. Tiger (who is on the verge of acting wild) and the children (who are being scolded for acting wild) are the only ones with open eyes. As soon as Mr. Tiger carries out his first wild idea, everyone’s eyes are open.

 

“And then one day Mr. Tiger had a very wild idea.”

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Mr. Tiger immediately felt better and grew a little bit wilder each day; before long, he’d pushed it too far.

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His friends, outraged, suggested that Mr. Tiger take his behaviors elsewhere, and into the wilderness he ran.

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“…where he went completely wild!”

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As time passed, Mr. Tiger grew lonely; he missed his home and his friends. He decided to return to the city.

Upon returning, Mr. Tiger found that a wonderful thing had happened. His friends and neighbors were no longer perfectly genteel—though still sporting Victorian attire, some had taken to all fours.

“Now Mr. Tiger felt free to be himself. And so did everyone else.”

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Mr. Tiger Goes Wild is all about balance—wild behavior can be beneficial, in appropriate contexts, civilized behavior is necessary if you want to exist in a society—and this book strikes a perfect balance on every level.

 

Certainly there are plenty of books that enjoy long lives as classics without any medals adorning their covers. Conversely, some medal-winning books fade into oblivion not long after their initial time in the spotlight. Though I believe this book deserved the recognition of the Caldecott committee, I also believe it will live a long life in print just like some other non-medal winning, perennially adored classics. Mr. Tiger Goes Wild will be in good company with Corduroy, Harry the Dirty Dog and Mike Mulligan and his Steam Shovel.

 

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If I Had a Dragon by Tom and Amanda Ellery: Who’s more fun, a baby brother or a dragon?

If I Had a DragonDSC02072

Picture Book

Ages 2-6

By Tom Ellery

Illustrated by Amanda Ellery

40 pages

Simon & Schuster

2006

 

 

The opening page in If I Had a Dragon features a command:

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The urgency and exasperation in the voice of the speaker are palpable but the recipient of the command is unmoved.

“I don’t want to play with my brother. He’s too little.”

This common objection among children with younger siblings will be familiar to many parents and readers. Morton wishes his lump of a baby brother would change into something fun like a bulldozer or—even better—a dragon!

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Comic scenes play out between the hulking, bright green dragon and the small boy, whose shock of red hair is a wonderful complement to the emerald reptile. The massive creature is stretched over the spreads against a sparse, smoky background.

The boy imagines going for walks with his new giant friend.

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But a dragon would rather fly.

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Perhaps a game of hide and seek would be fun…

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But there are not many places such a humongous being could hide.

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Maybe the boy could teach his massive playmate to whistle?

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The succinct text is intermixed with wordless spreads and the simply drawn, cartoonish art is lively and expressive. The combination of the two makes for a hilarious picture book. As Morton imagines all the wonderful things he could do with a dragon, he quickly realizes how a dragon’s size and abilities could actually get in the way of all the fun.

Content in the knowledge that a dragon might not be the best playmate, the boy sends the imaginary beast home and happily joins his little brother for some fun in the sandbox.

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The Monsters’ Monster and Frankenstein: Two wickedly fun picture books for Halloween.

Monster's Monster

The Monsters’ Monster

Picture Book

Ages 2-7

By Patrick McDonnell

32 pages

Little, Brown

2012

 

Patrick McDonnell’s picture book, Me…Jane, was a 2012 Caldecott Honor book. Taking anecdotes from Jane Goodall’s autobiography, he tells the story of Goodall’s childhood, her beloved toy chimpanzee and her early fascination with the natural world. It is a splendid and captivating book and one I highly recommend.  The Monsters’ Monster is charmingly sweet and another must have from this creator. His art is luscious, and his storytelling is pitch perfect.

Three (rather small) monsters—Grouch, Grump and Gloom ‘n’ Doom—lived together in a dark castle high atop a monster-y mountain. Every day the three brutish beasts would argue over which of them was the loudest complainer, or the most miserable.

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They decided the best way to settle their argument was to build the biggest, baddest monster ever. The three fiends gathered tape and staples, gunk and goo, bolts and wires and assembled a monster Monster and brought him to life with a great bolt of lightening. (The diminutive size of the comic and adorable monsters is spotlighted by the humongous size of their Frankenstein-y creation.)

The three giddy monsters could barely contain their excitement as the growling giant stumbled toward them.

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“And then in a deep, booming voice, he said his first words . . . ‘Dank you!’”

The monster’s Monster, built to be a big, bad menace, was anything but. He was so happy to be alive he threw open a window and giggled. Next he greeted every bat, rat, spider and snake in the castle. When he crashed straight through the castle wall and went down to the village below, Monster’s architects followed in amazement.

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Anticipating the monster’s first terrible act, the trio watched as Monster lumbered into the bakery, and awaited the screams and howls that would certainly follow. But after some silence, all they heard was, “Dank you!”

Then Monster clomped out carrying a paper bag and headed toward the beach; Grouch, Grump and Gloom ‘n’ Doom followed after him. When Monster arrived at the beach he sat down in the cool sand. Shortly after, the three perplexed and tired monsters collapsed around him. Then Monster gently patted them on their heads and gave them each a warm, powdered jelly doughnut from his bag.

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At first the three brutes were stunned into silence but then they repeated what they’d learned from Monster. “Thank you!” they said, and the four friends sat and quietly watched the sunrise and none of them thought about how monstrous they could be.

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Frankenstein: A Monstrous ParodyFrankenstein

Based on Madeline by Ludwig Bemelmans

Picture Book

Ages 3-8

By Ludworst Bemonster

(By Rick Walton & Nathan Hale)

48 pages

Feiwel and Friends

2012

 

For readers not familiar with the picture book Madeline, by Ludwig Bemelmans—which was published in 1939 and received a Caldecott Honor—it features a fearless young girl that lives under the tutelage of Miss Clavel, a concerned and doting nun, with eleven other girls. “The smallest one was Madeline.”

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One night Miss Clavel senses a disturbance in the house and soon discovers Madeline in distress. The wee girl is rushed to the hospital and promptly has her appendix removed.

Some days later, Miss Clavel and the girls go to visit Madeline in the hospital. The girls covet the toys and candy that fill Madeline’s room but when they see her scar from the surgery they are beside themselves with envy.

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That night after Miss Clavel turned out the light, she, once again, knew something was not right. As she entered the room all the little girls cried, “Boohoo, we want to have our appendix out, too!”

In this delightful parody, the completely adorable main character lives in a creepy old castle with eleven other equally cute monsters. “The ugliest one was Frankenstein.” In the spirit of all things Halloween, the artist uses a variety of orange hues (the illustrations in Madeline were awash in yellow).

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“One bleak and dark and dismal night, Miss Devel turned on her light and whispered, ‘Something is not right.’”

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She soon discovers that Frankenstein has lost his head! He’s quickly taken to the laboratory. Upon awakening, the formerly decapitated monster finds he’s been given a brand new head, bolted on with two shiny, metal screws. Without delay Frankenstein eats most of the hospital staff, the ceiling fan and a pizza man.

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Days later, Miss Devel and her motley pack of monsters visit Frankenstein at the lab. Though they’re jealous of all of his yucky treats, it’s the neck bolts that prompt them to beg to stay. “But Miss Devel replied, ‘No way!’”

Later that night, back at the castle, Miss Devel knows something is amiss once more. Rushing to the monsters’ room she hopes for no more disasters. She opens the gate to discover that all of the monsters have lost their heads!

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“Good night, monsters! Now you cannot whine and yell! I’m going back to sleep.”

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Most parody picture books don’t deliver on their promise to entertain. They either fall flat or are entertaining for one reading only—but Frankenstein is a wonderful exception to that rule. Fans of Madeline, monsters or Halloween will giggle with glee at this hysterical and thorough parody.

 

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The Ant and the Elephant by Bill Peet: There’s strength in numbers.

Ant&Elephant

The Ant and the Elephant

Picture Book

Ages 4-10

By Bill Peet

48 pages

Houghton Mifflin

1972

 

 

Bill Peet (1915 – 2002) wrote and illustrated 36 books (most of which remain in print) and I truly love them all. His books are sublime. Full of humor, compassion, and warmth, his stories often focus on friendship, kindness and respect for the environment. Yet Peet was never condescending or didactic, he held his audience in high esteem. That his lengthy, complex books still hold the attention of today’s easily distracted children is a testament to his connection to young minds.

Peet’s lavish, enchanting art was created with colored pencils, pastels and India ink. His illustrations are colorful, detailed, expressive and whimsical. His wholly satisfying books are fantastical journeys into strange yet familiar lands featuring lovable, sympathetic characters (usually animals).

Prior to publishing his first book, Hubert’s Hair-Raising Adventure (1959), Peet worked for Disney Studios (he was there from 1937 to 1964). He worked on several of Disney’s most famous films, including Pinocchio, Fantasia, Dumbo, Cinderella, Sleeping Beauty and Jungle Book (though his work on that film went uncredited due to a dispute with Walt Disney).

Peet also created the first Disney film to come from a single storywriter, 101 Dalmatians—based on the book by Dodie Smith. He wrote the script, created the storyboards and designed the characters. It was Bill Peet who created the iconic Disney villain that so many people (myself included) love to hate, Cruella de Vil.

Cruella Deville

Isn’t she just perfectly evil?

Because of Peet’s work with Disney there’s a familiarity to his art; once readers begin to recognize his style, it becomes easy to spot his creations in the films he worked on.

 

The Ant and The Elephant is a twist on Aesop’s The Lion and the Mouse, in which a meek, small character is remarkably able to help a large, strong character.

While climbing a long blade of grass for a better view of the river, a small ant finds himself in a predicament after being blown by the wind. The minute creature lands on a stick in the middle of the river. He would surely drown if he tried to get to the shore himself, so he asks a nearby turtle for assistance; the grumpy turtle cannot be bothered to help.

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Soon enough the turtle finds himself in a bit of a bind, having tipped onto his back while trying to climb onto a rock.

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He asks a nearby hornbill for a hand and receives a response quite similar to the one he gave the ant.

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And so it goes down the line through several unhelpful—and perhaps shortsighted—African animals, until readers are introduced to the noble elephant. He hears so much with his large ears, “the faint rustle of a leaf, the least snap of a twig, or even the tiny voice of an ant calling.”

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The accommodating elephant, having heard all the events of the day, makes his way to the river to assist the miniscule creature. He offers the trapped ant his trunk; the grateful ant crawls on and is deposited safely on the shore of the river.

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The elephant continues on, helping each of the helpless—and shockingly ungrateful—creatures along the way.

Soon it is the elephant that finds himself in a disabled position; he’s fallen into a ravine.

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He calls for help and waits and waits. As the sun sets, the elephant hears the sound of tiny footsteps. Soon, ninety-five thousand ants arrive to help him!

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They successfully lift the giant beast and carry him up the wall and onto flat ground. And in return all of the ants climb aboard their new, grateful friend for their first ever elephant ride!

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A Home for Bird by Philip C. Stead: A touching story of friendship, kindness and determination.

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Picture Book

Ages 3-7

By Philip C. Stead

32 pages

Roaring Brook Press

2012

Watch the trailer!

 

 

Philip C. Stead is the author of several books, some of which he illustrated himself and some that are illustrated by his wife, Erin E. Stead. Their book, A Sick Day for Amos McGee, won the 2011 Caldecott Medal, which is awarded annually to the artist of the most distinguished American picture book for children.

Philip C. Stead, the writer, possesses the rare ability to convey a world of thoughts with a minimal amount of text. His stories are perfectly paced and wholly satisfying. Philip C. Stead, the illustrator, creates images that invoke warm, pleasing feelings.

His art in A Home for Bird was created with crayons and gouache (an opaque watercolor paint) producing a whimsical, child-like feel. Each illustration contains its own radiant world of genial animals surrounded by curious items such as yo-yo’s, old cans, bottle caps and teacups.

The opening illustration of A Home for Bird features an old pick-up truck; “Careful Moving Company” is stenciled on its door. A small cuckoo bird has sprung from its clock and tumbled off the back of the overstuffed truck bed into the wide, unknown world. In the next spread, Vernon, a curious frog who loves to collect interesting items, discovers the newly homeless bird.

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Concerned, Vernon addresses the stoic bird but receives no response.

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The kind-hearted frog introduces Bird to Skunk and Porcupine but still, Bird says nothing. Vernon’s friends wonder if their silent new friend is lost, or missing his home. Ever helpful, Vernon prepares for a journey to help his new friend find his home.

The unlikely pair visits multiple dwellings: a discarded birdcage, a mailbox surrounded by flamingos, a nest full of eggs. Bird continues to be silent; Vernon is hopeful that Bird will speak up when they find the right home.

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After much travel and no luck, Vernon is sad for his new friend and the intrepid travelers are growing tired. Vernon decides to ask for help.

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The helpful stranger directs Vernon and Bird to a farmhouse. Inside the cozy house, Vernon introduces himself and his mute friend to some new friends. Spotting a lovely little house hanging on the wall, Vernon makes the climb up with Bird in his arms and deposits him safely behind a small door; Vernon goes to sleep behind another door—sporting a clock-face—directly beneath Bird. Vernon falls asleep to the rhythmic sounds of a clock.

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Vernon awoke in the bright house with its lovely sounds and wondered if Bird liked this home as much as he did. “And Bird said…”

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“And Vernon was happy.”

 

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Marc Simont, 1915-2013

I read today of the passing of children’s book illustrator Marc Simont, who died on Saturday, July 13, 2013 at the age of 97. Mr. Simont was a gifted artist, an adept story teller and a kind and gentle man; I was fortunate enough to have met him during my time at Books of Wonder.

So far, he is the most reviewed person on TurtleAndRobot.com with four full reviews. Additionaly, his book The Happy Day was mentioned in both 15 Favorite Picture Books about Spring and Top 20 (plus one) Books About Snow. I adore his work. The worldof art, of children’s books, as a wholeis a better place for having had him in it.

 

The Philharmonic Gets Dressed: reviewed October 16, 2012

My Brother Ant: reviewed December 19, 2012

A Tree is Nice: reviewed March 12, 2013

Nate the Great: reviewed June 4, 2013

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Bark, George by Jules Feiffer: A perfect picture book.

Bark, GeorgeDSC01778

Picture Book

Ages 2-6

By Jules Feiffer

32 pages

HarperCollins

1999

 

 

Bark, George is one of my favorite picture books ever. It’s funny, clever, simple and satisfying. In short, it’s perfect.

Jules Feiffer is an author (he’s written several books for children and adults), an artist (in addition to illustrating Norton Juster’s The Phantom Tollbooth, he also illustrates all of his own writing), a screenwriter (most notably, Robert Altman’s Popeye) and a cartoonist (he had his own strip in The Village Voice for forty-two years).

Feiffer’s simple line drawings are tight but also fluid.  There’s a perceived action in his precise style. Unwavering black lines contain lavish hues; the comically endearing characters are set against solid, pastel backgrounds. The no-frills text says only exactly what is necessary and moves quickly. It all comes together to produce a flawless and hilarious story.

 

George, a puppy, is instructed by his mother to bark but her commands are met with unexpected results.

‘“Bark, George.” George went: “Meow.”’

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George’s mother calmly explains that cats meow and dogs bark. Once again, she directs George to bark. George quacks.

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Following her various pleas for George to bark, he emits a new and different animal sound, but never a bark.

Clearly frustrated, George’s mother brings him to the vet. The vet’s appeals for George to bark are met with the same results.

“Please bark, George.” George went: “Meow.”’

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So the vet dons a glove, reaches deep inside of George, and pulls out a cat.

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Each request is met with a misplaced animal sound and each time the doctor reaches inside George and retrieves the relevant animal. There’s a cat, a duck, a pig, and a cow. Then finally, after George has been unburdened of all these creatures, he barks!

Both the vet and George’s mother are ecstatic.

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George’s mother is so pleased that she decides to show off his newly learned skill on the way home.

“So she said, “Bark, George.” And George went:

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Children find great humor in attributing incorrect characteristics to, well, most anything. For children who have mastered proper animal sounds there’s a seemingly endless amount of laughter to be achieved by mixing and matching their noises. Bark, George is the reverse of The Old Lady Who Swallowed a Fly and a guaranteed “read it again.”

 

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