Picture Books for Children
Page 18
Fleischman, Paul 4–10 years
GLASS SLIPPER, GOLD SANDAL: A WORLDWIDE CINDERELLA
Illustrated by Julie Paschkis
New York: Henry Holt, 2007 | 978-0-8050-7953-1
A beautiful rendering of Cinderella stories from a variety of countries, this book delivers a pleasing story and an appreciation of cultural differences. Just as the title refers to the different styles of footwear for Cinderella, other differences pop up in how she came to wear a beautiful dress and how she was helped when she was hungry. The folk art style, rendered in gouache, is a perfect match for this version of the tale. Each page or section includes a label with the name of the country from which that element of the story comes. Traditional symbols of the country in two-tone color surround bordered squares or rectangles of art and bordered text; these complement but do not distract from the main illustration. Endpapers consist of a world map with labeled countries that inspired the story. This collection of Cinderella tales testifies to their far-reaching appeal and origins.
Griffin, Kitty 4–8 years
THE RIDE: THE LEGEND OF BETSY DOWDY
Illustrated by Marjorie Priceman
New York: Atheneum/Simon & Schuster, 2010 | 978-1-4169-2816-4
Set in American colonial times, this story introduces young Betsy, who wants to help the colonists fight King George. Although she knows she cannot be a soldier, her skills as a horsewoman come in handy as she rides to warn General Skinner about the approaching British Army. The emotionally and physically difficult journey receives fine treatment in the exciting text and active illustrations. Rendered in gouache and ink, the artwork features bold line and color, with much of it in dark purples, blues, and black during her nighttime ride. Was there a real Betsy Dowdy? No one knows, but her story is legend, as explained in an author’s note at the end. Don’t miss the endpapers, which depict a map delineating the route Betsy took from her home to General Skinner’s camp.
Grimm, Jacob and Wilhelm 6–9 years
HANSEL AND GRETEL
Retold by Rachel Isadora
Illustrated by Rachel Isadora
New York: G.P. Putnam’s Sons, 2009978-0-399-25028-6
In this version of the familiar tale, Africa becomes the setting, reflecting Isadora’s ten-year residency there. The oil paint, printed paper, and palette paper illustrations burst with color and texture in their portrayal of clothing, houses, and natural elements. Readers will enjoy searching for African animals in many of the scenes. As befits the tale, the stepmother is sufficiently mean, the witch is very wicked, and the children are beautiful and resourceful. The illustrations cover each two-page spread and even appear to go beyond the edges of the page, affirming the vastness of each scene of the jungle or the night. Note the details in this visual feast, such as the witch’s torn-paper hair, the edges of which are rendered a matted, sickly-white color, or the blue and white clouds floating in the sky of pure white. See Isadora’s other fairy tales with African influence, including The Ugly Duckling (2009), Rapunzel (2008), The Fisherman and His Wife (2008), The Twelve Dancing Princesses (2007), and The Princess and the Pea (2007). For another variant of this tale, read Cynthia Rylant’s Hansel and Gretel (Hyperion/Disney, 2008).
Hamilton, Martha, and Mitch Weiss 4–9 years
THE GHOST CATCHER: A BENGALI FOLKTALE
Illustrated by Kristen Balouch
Atlanta: August House LittleFolk, 2008 | 978-0-87483-835-0
Although ghosts do inhabit this story, readers should not expect scary specters; rather, the ghosts reveal themselves as silly creatures easily fooled by a young man. He is a barber, a soft touch for a hard-luck story, but, under orders from his wife to increase their income, he finds a way to make money by fooling two ghosts with a mirror. Soon he has tricked them into bringing him money, building sheds, and filling them with rice. The bright, uncluttered illustrations, colorful and smooth on a textured background, depict the clothes and buildings of India. (See figure 6.2.) Although uncomplicated, the illustrations reveal the characters in all their emotions and reactions. The endpapers contain miniature portraits of the main characters and others who appear in minor roles. An author’s note at the end provides information about barbers in India, tales in Bengal, and the original texts of this folktale.
Figure 6.2. The Ghost Catcher
Hawes, Louise 4–10 years
MUTI’S NECKLACE: THE OLDEST STORY IN THE WORLD
Illustrated by Rebecca Guay
Boston: Houghton Mifflin, 2006 | 978-0-618-53583-5
With the gift of a necklace from her father, a young girl grows up in ancient Egypt secure in the love of family. She goes to work for the Pharaoh and loses the necklace in the river, then defies Pharaoh until the court magician can retrieve the necklace. Based on an old tale that concentrated much more on the magician’s role, this retelling bestows a name and backstory on the girl. Sumptuous full-page illustrations in watercolor and acryla gouache capture the beauty of Muti, the grandeur of the Pharaoh, and the majesty of the river scenes. Facing pages containing text are set on a lightly colored, textured background that resembles papyrus. The family scenes make this story relatable to twenty-first century children; the setting and elements of magic give it a sense of otherness essential to the tale.
Heller, Janet Ruth 4–8 years
HOW THE MOON REGAINED HER SHAPE
Illustrated by Ben Hodson
Mt. Pleasant, SC: Sylvan Dell, 2006 | 978-0-9764943-4-8
The moon, personified by a Native American woman, changes from large to small when confronted by the sun. Guided by a comet embodied by a warrior, Moon travels to the home of a woman who shows her how people and animals rely on the moon. Rendered in acrylic paints, handmade papers, wallpaper, pencil crayons, gesso, ink, and glue, the stunning illustrations feature stylized landscapes and skyscapes. Each page contains a border design with the moon in the upper and lower corner in a different phase, so that flipping through the book quickly shows the moon go from full to waning to waxing to full once more. End material includes facts and projects related to the moon, including Native American names for the full moon by month. Heller’s book is ideal for teachers covering Native American themes or even science. It is a good example of a pourquoi tale.
Hodges, Margaret, reteller 4–8 years
DICK WHITTINGTON AND HIS CAT
Illustrated by Mélisande Potter
New York: Holiday House, 2006 | 978-0-8234-1987-6
The old story of Dick, who goes from poor boy to lord mayor of London, receives a vigorous retelling. The text is replete with folktale conventions, including stylized language, good and evil characters, a recurring motif (bells), and a happy ending, making it perfect for storytelling. The illustrations of inks and gouache combine fine lines and muted colors to portray old London, a medieval house, and the sea, with several scenes of the Barbary Coast and royal palace in richer reds, blues, and greens. (See figure 6.3.) All will cheer for Dick as he overcomes his past, becomes a rich man, and uses his wealth to help others. The book concludes with an author’s note about Dick Whittington, chapbooks, and the bells of London.
Figure 6.3. Dick Whittington and His Cat
Hopkins, Jackie Mims 4–8 years
THE GOLD MINER’S DAUGHTER: A MELODRAMATIC FAIRY TALE
Illustrated by Jon Goodell
Atlanta: Peachtree, 2006 | 978-1-56145-362-7
From the cover and first few pages, the reader enters the story as if walking into a theater and joining animal characters who sit watching the screen. The show begins in muted black and white but then quickly turns to color. Oil illustrations depict the daughter, her father, the villain, and various fairy tale characters, all after gold. Gracie plays the strong title character who defends her father and her honor and who eventually comes across a bigger treasure appropriate to the western setting—oil. Specifically designed for reading aloud, the book includes symbols throughout the story for audience participation. The framing device of setting the movie within a
theater allows listeners to feel as if they are in the story. The inclusion of familiar characters such as Goldilocks, the Three Pigs, and Rapunzel adds a clever touch.
Isaacs, Anne 4–9 years
DUST DEVIL
Illustrated by Paul O. Zelinsky
New York: Schwartz & Wade, 2010 | 978-0-375-86722-4
For a tall tale with enough vibrant energy to fill the whole state of Montana, this story about Angelica Longrider, a.k.a. Swamp Angel, takes readers to that western state in the 1830s. Combining the outsized deeds of a giant woman, much like the Paul Bunyan tales, with the western adventure of Backward Bart and his band of desperadoes, this tale swaggers with exaggeration and humor. The illustrations—oils painted on wood veneers—are bordered as rectangles or ovals, letting much of the wood show in the margins and lending a rustic look to this story, much of which takes place in the wide-open spaces of the West. Backward Bart and his gang provide lots of comic action, while Angel shines through as the heroine, along with her horse. And how she found her horse—that’s a rip-roaring episode in this exuberant tale! Isaacs and Zelinsky collaborated on the original Swamp Angel (Dutton, 1994).
Javaherbin, Mina 4–10 years
THE SECRET MESSAGE
Illustrated by Bruce Whatley
New York: Hyperion/Disney, 2010 | 978-1-4231-1044-6
Inspired by a poem by Rumi (Persian, thirteenth century), Javaherbin and Whatley create the world of a Persian merchant and his family. In his shop he keeps a parrot from India. Bright colors infuse the large illustrations, which on most page spreads take up one and a half pages. Text on the side, framed by a thin black line, focuses attention on the large illustration and the fabrics, foods, containers, and birds therein. When the merchant prepares for a trip to India, he asks everyone in his household, including his parrot, what they would like. The parrot asks only that the story of his life in a cage be told to his family in India. The merchant is shocked by the birds’ reactions; he receives a second shock when he comes back to Persia and tells his parrot what happened. The illustrations reinforce the atmosphere of sumptuous luxury of the merchant and his family, while bringing home the message of freedom.
Kajikawa, Kimiko 4–10 years
TSUNAMI!
Illustrated by Ed Young
New York: Philomel, 2009 | 978-0-399-25006-4
An old tale takes on new life in this story of Ojiisan, a wise old man who senses a change and soon knows that something beyond an earthquake is coming. He makes a supreme sacrifice—burning his extensive rice fields—in order to save the villagers who are on the beach. By the time the tsunami strikes, the people have come running to help save the fields and so are spared. The illustrations of gouache, pastel, and collage take center stage, as they occupy nearly ten inches of each vertical page spread, with the text in less than two inches at the bottom. Identifying the materials used in various scenes, such as woven baskets, straw, and tissue paper, could be used as an introduction to an art lesson for all ages and grade levels. Contrasts and textures—the flat blue sea versus the rough gray mountains—enhance the visual experience. Taking on huge concepts such as the power of nature and the destruction of fire and water, artist and author together have created a large and awesome story.
Karas, G. Brian 4–8 years
YOUNG ZEUS
Illustrated by G. Brian Karas
New York: Scholastic, 2010 | 978-0-439-72806-5
How can ancient Greek myths be told in a way that appeals to young children? Young Zeus accomplishes this, with an energetic story that imagines the childhood of the Greek god. As told by Amaltheia, an enchanted goat, the story begins with Zeus as a baby and follows him through his boyhood on Crete. As soon as his plan to rescue his brothers and sisters succeeds, arguments ensue over who will be the boss. All this is faithful to the original story, told with suspense and emotion, helped greatly by the gouache-and-pencil illustrations, which contain touches of humor. Note the size of Zeus in many illustrations, especially those that show him with his father and mother and with the netherworld creatures, where he appears as very small. Young listeners will revel in the energy and action of the illustrations, full of battles and monsters, impossible deeds and fantastic characters. Karas vividly portrays the supreme Greek god plus a supreme case of sibling rivalry.
Kellogg, Steven 4–8 years
THE PIED PIPER’S MAGIC
Illustrated by Steven Kellogg
New York: Dial, 2009 | 978-0-8037-2818-9
With Steven Kellogg’s wonderfully detailed illustrations, this story offers a retelling of the Pied Piper tale and how he rids a city of rats. The twists: parents who are forced by the evil grand duke to work in a factory and the magic of backwards words, which bring love and peace to the city. The gorgeous artwork will encourage young listeners to study the pictures, rendered in ink, pencil, watercolor, and acrylic. Even scenes depicting crowds of children and parents feature distinctive faces and bodies. Magic music issuing from the piper’s pipe comes out colorfully, full of flowers and butterflies and words. The book has a happy ending for everyone, including the grand duke, who falls in love. For a very different slant to the Pied Piper story, see Colin Bootman’s The Steel Pan Man of Harlem.
Kimmel, Eric A. 5–9 years
CACTUS SOUP
Illustrated by Phil Huling
Tarrytown, NY: Marshall Cavendish, 2004 | 978-0-7614-5155-6
Taking the old tale of Stone Soup to Mexico and the time of the revolution, this story follows the familiar plot, but substitutes a cactus thorn for the stone. Watercolor-and-ink illustrations, rich in tans, oranges, and pale greens, are large and filling (much like the soup), taking over whole pages and sometimes two-page spreads. In keeping with the setting, Spanish words, especially for food items, appear in italics throughout the text. A glossary of these words concludes the book. An author’s note provides a short explanation of the Mexican Revolution and drawings of Pancho Villa and Emiliano Zapata. Compare with other variations, such as Stone Soup by Jon J. Muth (Scholastic, 2003), set in China, and Kallaloo! A Caribbean Tale by David and Phillis Gershator (Marshall Cavendish, 2005).
Kimmelman, Leslie 4–8 years
THE LITTLE RED HEN AND THE PASSOVER MATZAH
Illustrated by Paul Meisel
New York: Holiday House, 2010 | 978-0-8234-1952-4
This fractured fairy tale takes the story of the Little Red Hen who wanted to make some bread and transposes it to a Little Red Hen who needs some matzah for the Jewish Passover holiday. As she plants the grain, cuts the wheat, carries the wheat to the mill, and prepares the matzah, she asks for help from her friends Sheep, Horse, and Dog, who all refuse. The lively text contains some Yiddish words, explained in a glossary at the back of the book. The barnyard and countryside scenes, illustrated in ink, watercolor, and pastel, tend toward the comical. And the little red hen? We should all have such a friend! She follows the words of the Passover Haggadah and invites the other animals to share her meal. Information about Passover and a recipe for matzah conclude the story. For a more traditional telling of the story see Jerry Pinkney’s The Little Red Hen (Dial/Penguin, 2006).
Knutson, Barbara 4–8 years
LOVE AND ROAST CHICKEN: A TRICKSTER TALE FROM THE ANDES MOUNTAINS
Illustrated by Barbara Knutson
Minneapolis: Carolrhoda, 2004 | 978-1-57505-657-9 | library binding
Appealing illustrations and a delightful story combine in this South American tale. A guinea pig tricks a fox several times with his cunning and quick thinking, always finding a way to turn bad situations to his favor. The artwork of mountains and alfalfa fields, and the costumes worn by the main character, Cuy, and the humans in the story, reflect the Andean setting. Note how the illustrations make use of distance and closeness to provide contrast and perspective. The text takes on a storytelling mode, which makes it a natural for read-alouds. A glossary of Spanish words with pronunciations appears at the back of the book. An author’s note provides further informatio
n on South America, trickster tales, and guinea pigs. Complement with Virginia Hamilton’s Bruh Rabbit and the Tar Baby Girl (Scholastic, 2003), a similar story in the African American tradition.
Langton, Jane 4–9 years
SAINT FRANCIS AND THE WOLF
Illustrated by Ilse Plume
Boston: David R. Godine, 2007 | 978-1-56792-320-9
The legend of the wolf of Gubbio arose from the gentle ways of the real Saint Francis of Assisi, who was known for his kindness and generosity to all living things. In this story, a wolf terrorizes the people of Gubbio until they are prisoners in their homes. Francis promises to speak to the wolf, who listens to him and then changes his ways. The detailed illustrations, each set on its own page across from the text, feature fine lines and jewel colors. Each piece is framed, most as rectangles, but with diamond, circular, oval, and other more complicated shapes, too. The effect is one of viewing a fine painting on a wall, with the accompanying text to the side. The same legend told in a very different style is Richard Egielski’s Saint Francis and the Wolf (Laura Geringer/HarperCollins, 2005).
Lunge-Larsen, Lise 4–8 years
NOAH’S MITTENS: THE STORY OF FELT
Illustrated by Matthew Trueman
Boston: Houghton Mifflin, 2006 | 978-0-618-32950-2
Who knew that Noah discovered how to make felt while aboard the ark? Concentrating on the sheep and what happens to their matted fleece with heat and friction, this lively rendering of the familiar Bible story entertains as it teaches a few facts about this fabric. The comical illustrations of pencil, gouache, acrylics, and collage portray Noah, the animals, and his family members as appealing characters. Scenes in the ark feature wood-bordered illustrations set against greenish blue water, playing up the enclosed feeling of life cooped up with creatures. Notice the beautiful texture of the animals, especially the sheep, both their fleece and their felt. A note on the origins of felt concludes the book.