Sign Up

Get the latest ipsum dolor sit amet, consectetur adipiscing elit.

All Children's Coverage

Interview by

I first interviewed you back in 1996, with the publication of Lilly’s Purple Plastic Purse. I began by saying—a statement that certainly still holds true—“Kevin Henkes’ picture books and novels are a celebration of the ordinary, written and illustrated with extraordinary aplomb.” At that time, you had a 14-month-old son. How has life changed in those decades, and how has it stayed the same, especially in terms of your writing and illustrating?
My 14-month-old son is now 29 and on his own. Life is no longer filled with all the things that go along with kids at home. I do remember periods when it seemed difficult to find long stretches of time to really concentrate on book work. But one finds a way to do it. Now, finding time is not an issue, and the actual work is very much the same. When our kids were little, I always wanted to have a book to be working on and thinking about. It was an anchor in my life. That feeling, that need to be writing, has not changed.

Still Sal’s dedication reads: “For Peg, Mel, Abby, and Margaret, with much love and thanks for answering oh-so-many questions about teachers and teaching.” Who are Peg, Mel, Abby and Margaret, and what did you ask them?
They are my sister, my sister-in-law, our kids’ former babysitter and a dear friend—all elementary school teachers. Over the years I’ve asked them so many questions about curriculum, class size and classroom layout. I’ve asked them how they might deal with certain behaviors. I’ve gotten suggestions for names from them, too. I’m reminded when I’ve talked to them how open, generous, thoughtful and patient they are—not a surprise, but traits to be admired. Over the years, I’ve read to their classes and helped decorate some of their classrooms. I’ve sketched in some of their classrooms too (after hours when no students were around). Some rug and floor patterns and wall decorations have shown up in several of my illustrations.

What has been your proudest publishing moment over the years, more than 50 books after starting your career? Has your confidence grown, and do you sometimes face struggles as you create?
I can’t say I have a proudest publishing moment, although I am amazed when I look back and think that I went alone to New York City at age 19 to look for a publisher. I don’t think I’d have the confidence to do that now at age 63. And yes, I always face struggles as I create. I constantly ask myself questions such as: Why is this so difficult? Will I ever have another idea? Why can’t I get onto the page what I so clearly hear or see in my head?

“I am amazed when I look back and think that I went alone to New York City at age 19 to look for a publisher.”

Sal’s dad is a sculptor who works from his studio in the family garage. He’s a wonderfully involved and emotionally attuned parent who loves to make fun shaped pancakes and is nostalgic as he watches his three children change and grow. Did you channel any of your own emotions or experiences into Papa?
Like Papa, I was a stay-at-home artist parent along with my wife, Laura Dronzek. Like Papa, I often made fun shaped pancakes—although it’s harder to do than you’d think, and Papa is much better at it than I was. And now, since my kids are grown and on their own, I’m terribly out of practice. All of my characters probably have a bit of me in them, but Papa more than others.

Which children’s writers and illustrators have been the most influential for you?
Among the picture book creators who have meant the most to me are Crockett Johnson, Ruth Krauss, M.B. Goffstein, Maurice Sendak, James Marshall, Jean Charlot, Garth Williams and Margaret Wise Brown. As far as novels for children are concerned, my favorite writers include Paula Fox, Beverly Cleary, Eleanor Estes and Lynne Rae Perkins.

Sal has lots of very big feelings about what adults might consider to be small, fleeting problems. And yet, as readers, we care deeply about her struggles and feel her pain, as well as her triumphs and joy. How do you make her inner life so authentic, sometimes funny, and always riveting?
I’ve always been drawn to the ordinary, to small domestic stories. And I love exploring the inner lives of my characters. I’m more interested in the ripple than the wave. “Big, bad, things” don’t tend to be my focus. But what qualifies as a “big, bad thing” is subjective. It may be as simple or complicated as worrying that you got the wrong teacher or that you have to share your room or any of the hundreds of concerns and shortcomings that children everywhere work through every day. Precision and clarity bring the characters’ feelings to life.

“I’ve always been drawn to the ordinary, to small domestic stories.”

You write so seamlessly, and yet I imagine that getting the plot and timing exactly right was an intricate process. Could you discuss your writing and editing process?
I still write my manuscripts by hand in a spiral notebook. And I write slowly—sentence by sentence, word by word—in one draft without an outline. Writing this way requires a huge leap of faith. It is an act of trust—trust that somehow I will know my characters long enough and get to know them well enough that things will come together and fall into place beautifully.

E.L. Doctorow once observed that writing was “like driving alone at night: you could only see as far as your headlights. But you could go the whole way like that.”

Eventually, I will get to the point where there really is only one way for the story to go. It is inevitable. So far, anyway, I’ve always found my way home.

Art is such a big part of Sal’s and her father’s lives, and it’s one of the things that “draws” them together. Could you talk about the role that art plays in elementary students’ lives, as well as its role in your novels?
I’ve always thought of myself as an artist so that’s always been an important part of who I am. Because of that, I love writing about characters who are artists. Several of the characters in my novels—both adults and children—are artists.

I think art is important in the life of a child. I wish that there was more support for the arts in school, and that art in general was treated with greater respect in society.

As an illustrator, do you visualize your novels as you write? Would you ever consider trying a graphic novel?
Writing a novel is very different from writing and illustrating a picture book. But because I am an illustrator, I do visualize my novels as I work. I love creating and describing the spaces in which my characters live. It’s one of my favorite things about writing. I have thought about trying a graphic novel. Who knows? I do think of my picture book Egg as a graphic novel for preschoolers.

I love Sal and her friend Griff’s mini golf course creation with spoons and marbles. Have you made your own?
I have not made my own mini golf course, although my kids built many things like that. I remember very elaborate villages constructed from twigs, leaves, stones, shells, etc.

Also, Sal’s Papa makes a memorable macaroni and cheese recipe. Are you a mac and cheese chef?
Laura is the cook in our house and makes great macaroni and cheese. I’m very good at eating it!

Your Miller Family Stories, including Still Sal, remind me of Beverly Cleary’s books. Might Poppy Miller get her own book someday?
I never intended to write a second book about Billy Miller and his family. But I couldn’t get him out of my mind, and so it felt right to reenter that world. Now, after four books about the Miller family, I would have thought I’d be finished, but I’m getting little signals that there might be another. Maybe someday Poppy will get her own book.

Read our starred review of ‘Still Sal’ by Kevin Henkes.

Still Sal once again brings back the memorable characters of the Miller Family Stories.
Review by

Allan Say has had a long, storied career as a children’s author and illustrator. He won the 1994 Caldecott for Grandfather’s Journey, about his grandfather’s voyages from Japan to America and back, and wrote about his own childhood in The Ink-Keeper’s Apprentice. Say was born in Japan in 1937, came to the United States at age 16, and eventually settled in Portland, Oregon, in 1999. Tonbo is a contemplative, creative look back on his own life, accompanied by his beautifully luminous oil paintings. 

Tonbo follows an old man with a cane taking a morning stroll through the park. A large white bird startles him, reminding him of a toy airplane he once had as a child, which he called “Tonbo,” the Japanese word for dragonfly. Suddenly engulfed in his memories, he chases after the elusive toy, finding himself mysteriously transported to a number of places from his youth, and each person he encounters treats him as if he is getting younger. “What are you looking for, young man?” one woman asks. When a captain calls him “son,” the man laughs, saying, “Excuse me, but I may be older than your father.” 

At first, readers see everything from the old man’s perspective. We see the people he encounters and sometimes his shadow. Say’s use of color is magnificent, using mostly muted, dreamlike tones highlighted by intense blocks of color—an orange chimney and mint green roof set against a dark blue ocean; the teal blue of the sky; the green awning and pink outer wall of an ice cream shop. It is at the ice cream shop where the protagonist realizes that the young man he sees in the window is his own reflection. It’s a sophisticated, nuanced progression that may take a few readings for some children to understand, but once they do, it will seem like magic. 

Eventually, the protagonist becomes his kindergartener self, back in a garden in Japan, where he finally finds his beloved airplane. Moments later, he’s an old man once more, back with his “old friends—aching hands and knees.” He encounters a group of children on a field trip and leaves them a special gift, in a lovely gesture that brings to mind the circle of life.

Tonbo is a remarkable ode to the interplay between aging and memory, and how the distant past can suddenly come to life again in the blink of an eye. It’s also a wonderful multigenerational conversation starter about how certain memories can live inside us forever. 

 

Tonbo is a remarkable ode to the interplay between aging and memory, and how the distant past can suddenly come to life again in the blink of an eye.

Umami, a little brown-and-white penguin, lives with lots of other penguins in a snow-blanketed village by the sea. It’s a lovely place, with one unfortunate exception: “Breakfast, lunch, and dinner, the penguin village ate cold fish. For dessert? Cold fish. Your birthday? More cold fish.”

The budding gastronome and eponymous star of Jacob Grant’s Umami has had enough. While the other penguins seem content with their limited menu, Umami craves variety and she’s determined to find it, even if she has to take a solo journey across the sea.

When she lands in a new place bustling with a variety of food stands patronized by all sorts of animal customers, tantalizing aromas convince Umami to dive right in. “Oh, my sweet little beak!” she thinks, “Nothing ever smelled so spectacular.” A whirlwind of gastronomic delirium ensues as the plucky penguin samples everything she’s been missing: Salty or sour, bitter or sweet, spicy or her namesake umami, Umami tries it all, her taste buds tingling as her gustatory horizons open wide. She must share these wondrous new foods with the village!

Back home, Umami nervously presents her neighbors with a surprise feast. It’s a sweet gesture—and the backdrop for hilarious tableaux in which her guests’ widened eyes and sidelong glances crescendo into glorious milk-glugging, fire-breathing, table-flopping chaos. Dramatics aside, though, they finish every bite. Perhaps Umami has a future as chef for her newly hungry village?

Grant’s art for Umami won the 2024 Bologna Children’s Book Fair Illustration Exhibition, and it’s easy to see why: It’s expressive, adorable, visually witty and the perfect accompaniment to his inspiring, amusing story about the joys of living life with flavor and gusto. Umami will prompt readers to have fun identifying dishes they recognize or choosing new ones to try, as well as spotting loads of amusing details throughout (the squirrel who’s shocked at the size of Umami’s pasta order is not to be missed). Umami is a festive treat of a book sure to make storytimes and mealtimes even more delicious.

Umami is a festive treat of a book sure to make storytimes and mealtimes even more delicious.
Review by

Somewhere in the Pacific Ocean, a blue whale dies peacefully while making her 90th annual migration to northern waters. Through Emmy Award-winner (for Bill Nye the Science Guy) Lynn Brunelle’s poetic writing and Caldecott Medalist Jason Chin’s splendid illustrations, Life After Whale explores how the death of the largest animal on Earth leads to a sublime explosion of new life. As a blue whale’s body—which measures up to 110 feet long, with a heart that alone weighs 400 pounds—descends to the sea floor, “a whole new world will arise,” with millions of organisms congregating to find sustenance and shelter from what scientists call a whale fall.

Death isn’t an easy topic to tackle in a picture book, but Brunelle’s gorgeous prose successfully frames the whale’s passing not as a tragedy, but as a tranquil and essential part of nature. Both old and young readers will be captivated by the strange, sublime process of the whale fall, as this magnificent creature becomes a vast forest that provides for countless fascinating inhabitants of the deep sea: hagfish, crabs, mussels, sea cucumbers and more. 

As Brunelle describes in clear, vivid language what amounts to over a hundred years’ worth of complex food chains and species interactions, Chin includes spot diagrams of processes and specific sea life that show readers what to look for in the book’s larger illustrations, which often stretch across the majority of a spread. Chin’s elegant watercolor and gouache art is crucial to the majestic atmosphere that makes Life After Whale an exemplary science book for children: With his careful details and grand compositions, the processes of decomposition and scavenging—such as a “larva of a bone-eating zombie worm” attaching itself to one of the whale’s rib bones—become beautiful and otherworldly instead of grotesque. Life After Whale is the perfect book to encourage young potential scientists to see the cycles of nature as intriguing rather than scary. Reading it ignites the kind of extravagant wonder that you might feel while exploring the moon. 

Life After Whale is the perfect book to encourage young potential scientists to see the cycles of nature as intriguing rather than scary. Reading it ignites the kind of extravagant wonder that you might feel while exploring the moon.
Review by

Miss Leoparda, a delightful fable written and illustrated by Natalia Shaloshvili, opens with the titular character secure in the embrace of her treetop bed, surrounded by quiet rolling hills, which she traverses every day in her work as a bus driver. Miss Leoparda reliably shuttles a variety of animals—many of whom wear fetching hats and other winsome accessories—to do “their animal business.” It’s an idyllic image of communal life: Every seat on the bus is taken, and rabbits, zebras, cats, bears, elephants and even a rather suspicious-looking wolf peacefully share space with one another.

One day, a gas-guzzling, exhaust-spewing car zips past the slow-moving bus, drawing the animals’ attention: “That was amazing!” they exclaim. The novelty of new technology lures the animals, one by one, away from the bus and behind the wheels of their own individual cars. But soon the streets are clogged with traffic, the skies are choked with smog, and the animals are increasingly irritable. Even Miss Leoparda’s beloved tree is targeted when it’s time to expand the roadways to make room for what some might call progress.

Miss Leoparda refuses to give in to this hollow enticement, however, and she eventually finds a creative, sustainable solution to restore her community and the environment at the same time. The message feels organic rather than heavy-handed, reinforced by the pleasantly hazy illustrations created in acrylic paint and watercolor crayons. Shaloshvili’s artwork is as expressive in its landscapes—the greenery of Miss Leoparda’s original habitat contrasting with the dour gray of the traffic jam—and on a more intimate scale, as the animals’ expressions, somewhat reminiscent of Jon Klassen’s illustrations, manage to be both deadpan and surprisingly expressive. This one’s sure to get budding environmentalists eager to enact change in their own communities. 

A delightful fable, Miss Leoparda feels organic rather than heavy-handed, its message reinforced by Natalia Shaloshvili’s pleasantly hazy illustrations created in acrylic paint and watercolor crayons.

Fans of Kathryn Ormsbee’s first graphic novel, Growing Pangs, will be delighted by heroine Katie’s return in Turning Twelve, an immersive, probing coming-of-age story that brings to mind the adolescent angst of Judy Blume’s Are You There, God? It’s Me, Margaret. Ormsbee effectively mines her own childhood for material. 

Katie is growing up in a Baptist household in Kentucky in 2004. She’s a homeschooler who struggles with anxiety and OCD, as well as everything else that happens at that age, both mental and physical. 

“Being twelve isn’t turning out like I’d planned at all. I kinda wished I’d stayed eleven,” Katie admits. Her two best friends are moving away, leaving her lonely and isolated in her church youth group. At the children’s theater, she dreams of getting the role of Annie, but instead, is cast as an orphan side character. One of Katie’s biggest alarms is her growing attraction to Grace, a pretty, funny new friend she meets in the Annie production. “I didn’t know I could get crushes on girls,” Katie says. Her feelings grow even more complicated at church and in youth group, where she is told that anything besides love between a man and a woman “breaks God’s heart. It makes him cry.”  

Molly Brooks’ illustrations draw readers right into Katie’s dilemmas, and the structure and pacing of the story creates a meaningful interplay between the actual events and Katie’s roiling emotions. Katie’s red-headed, braces-filled expressions are relatable and help readers identify with her highs and lows, adding drama to each page, while Brooks’ use of red, purple and orange are striking, serving as a dynamic anchor for the graphic novel’s energy and flow. 

Katie’s struggle with her emerging sexual feelings and her relationship with religion are particularly well done. Several figures provide helpful, empowering examples, including Katie’s older sister, Ashley; her therapist, Dr. Clara; and a woman whom Katie babysits for, a successful lawyer who shows her that careers can be exciting and fulfilling. As she observes people at a more progressive church and hears news about progress in gay rights legislation, Katie starts to realize, “Maybe theatre isn’t the only place in the world where I can be myself.” 

Katie is just the sort of lively, inquisitive friend that a 12-year-old might yearn for. With its exhilarating combination of prose and illustrations, Turning Twelve will make readers clamor for more of Katie’s adventures. 

 

With its exhilarating combination of prose and illustrations, Turning Twelve will make readers clamor for more of Katie’s adventures.
Review by

A tiny figure stands on the prow of a dark ship, against a backdrop of blues and grays. The moon and stars dot the sky and shimmer in reflections upon the surface of the water. This is the very first—and perhaps the most captivating—image we see in Thea Lu’s Dive, Dive into the Night Sea, which takes readers on an adventure to a place most of us will never visit.

Lu’s first-person narration makes the reader part of the story, sharing the inner thoughts of its unnamed diver protagonist.The writing is very simple and straightforward, with only one detailed inset with facts about plankton. While this makes the book linguistically accessible to even very early readers, it may leave readers who are looking for more factual information about the ocean wanting. 

The standout of Dive, Dive into the Night Sea is Lu’s artwork, which uses unique perspectives to bring us under the water. We look up at the boat floating on the surface, we peek into a reef, get very cozy with a parrotfish and feel tiny swimming beside enormous whales. The story is told in blue-gray and muted shadowy tones, with a few colors revealed by the diver’s flashlight beam, highlighting the vibrant life in the depths. But even outside the light, manta rays feed, octopuses hide behind rocks and a pod of whales rests. Lu’s art is calm and detailed, making the dive feel safe and interesting, rather than full of adrenaline. That said, keep your eyes peeled for the very last image, which features an extremely large, lurking creature, leaving the story on a bit of a cliffhanger. 

While some of Lu’s fish are bizarre or toothy, nobody is overly scary or dangerous (minus potentially the lurking creature—readers will have to decide). Tranquil colors, relaxed narration and an unhurried feel give Dive, Dive into the Night Sea—as well as the ocean itself—an inviting and dreamlike quality.

Tranquil colors, relaxed narration and an unhurried feel give Dive, Dive into the Night Sea—as well as the ocean itself—an inviting and dreamlike quality.
Review by

Sal Miller has “been ready for first grade for years.” The big day has finally arrived in Still Sal, Kevin Henkes’ latest chapter book about the Miller Family. Just as Beverly Cleary explored the Quimby family with beloved books about sisters Beezus and Ramona, Henkes has written with extraordinary perception and depth about the lives of 6-year-old Sal (Oh, Sal) and her older brother, Billy (Billy Miller Makes a Wish and Newbery Honoree The Year of Billy Miller). Still Sal is yet another book that demonstrates the myriad reasons this multitalented author and illustrator received the Children’s Literature Legacy Award in 2020. 

“First grade isn’t as good as I thought it would be,” Sal soon discovers, especially when her best friend and neighbor, Griff, gets the lively, young, hip Ms. Flowers as a teacher, while Sal is assigned to dowdy Ms. McCormick, who wears shoes that “looked like loaves of underbaked bread,” has “streaky oatmeal-colored hair,” and seems to be all business and no fun. As Ms. Flowers becomes Sal’s new idol, she tries to do everything she can to be just like Ms. Flowers and be invited into her class. 

Like Ramona, Sal is a force of nature, a little girl with big feelings. For example, when passing her neighbor’s house—who has been dead for two years—Sal muses “that Mr. Tooley’s ghost was in the house. It wasn’t scary—just a presence she sensed, but couldn’t explain, and kept to herself.” Henkes’ exquisite prose plunges readers right into every corner of Sal’s mind and world as she deals with Billy, Griff and her sometimes annoying sister, Poppy, who is 2 and now sharing her room—yet another surprising assault on Sal’s psyche. She is gently guided by Mama, a high school English teacher, and Papa, a sculptor who works out of the garage. 

This chapter book is suitable for young listeners as a read-aloud or early readers as independent reading, while also being filled with emotionally complex characters and riveting, poignant moments—along with plenty of humor. Still Sal is not to be missed, and will leave readers eagerly awaiting the next Miller family installment. 

Filled with emotionally complex characters and riveting, poignant moments, along with plenty of humor, Still Sal is not to be missed.

Griso the unicorn is the last of his kind. Unhappy with his lonely life, he goes in search of another like him. As he travels across the plains, he encounters many animals in his search: antelope, buffalo and even “sea-unicorns.” But no matter where he goes, he finds “not a single unicorn—apart from Griso.” Suddenly, a person appears—a knight with a lance! But as Griso comes closer, the knight lifts his weapon to try and make a trophy out of the unicorn! Griso flees to safety and disappears into the fog. As it clears, Griso sees a shadow following him. Could it be a friend? 

Each spread in Roger Mello’s Griso: The One and Only takes inspiration from a different period of art. From prehistoric cave drawings to ancient Grecian vase paintings to 20th century surrealism, the artwork takes a journey as compelling as that taken by the majestic unicorn himself. Back matter includes a list of all the styles represented, as well as a heartwarming note from Claudia de Moraes (with whom Mello has often talked about unicorns) imploring readers to seek out unicorns themselves “in books, in paintings, in quotations.”

Originally published in Portuguese and translated into English by award-winning writer and translator Daniel Hahn, Griso is a perfect introduction for children to the diversity to be found within art history. Readers will enjoy exploring the different styles and the colors, shapes and patterns of each unique illustration. It’s a delightful reminder that all art tells a story. 

Lovers of unicorns and other mythical creatures will certainly enjoy this picture book, as well as art appreciators of all ages. For anyone who has felt like an outsider, Griso reminds us that some of the best friendships bloom from our differences. Griso will leave readers feeling hopeful and optimistic, looking for unicorns in their own lives.

From prehistoric cave drawings to ancient Grecian vase paintings to 20th century surrealism, the artwork in Griso takes a journey as compelling as that taken by the titular unicorn himself.
List by


STARRED REVIEW
October 8, 2024

Six spooky reads

The ghoulish beings—some of whom are more adorable than creepy—that haunt these books will delight young readers any day of the year.

Share this Article:
Review by

Sid Sharp’s picture book Bog Myrtle starts as an intriguing fairy tale about two very different sisters: eternally optimistic Beatrice and forever grumpy Magnolia, who live “alone in a hideous, drafty old house” and “are so poor that they ate rats for breakfast and cockroaches for lunch.”

The action starts when Beatrice decides to make a sweater for Magnolia, who gripes about being cold. Since they have no money, Beatrice, who loves nature and crafts, heads to the forest to look for helpful treasures, and eventually encounters a monster named Bog Myrtle. Surprising things happen every step of the way, and Sharp’s sense of humor shines through—for instance, with a knitting store called “Knot in My Back Yarn.” 

Bog Myrtle offers Beatrice magic silk, which allows her to knit a truly splendid gift for Magnolia—who immediately sees potential for profit. As Magnolia launches a magic sweater business that becomes increasingly exploitative, Sharp transforms the tale into a sophisticated, humorous fable about sustainability, corporate greed and workers’ rights. Sharp manages to integrate these themes so seamlessly that they never feel strident; readers will simply find themselves cheering when the good guys beat the villain. 

Bold, contrasting colors imbue Sharp’s eye-catching illustrations with a modern, energetic vibe. Bog Myrtle offers a fun-filled yet serious look at sustainability and corporate accountability. Who would have even thought that possible? Sharp’s wizardry makes it happen. 

 

Who would have thought it possible to create an entertaining children's story about sustainability and corporate accountability? Sid Sharp's fun-filled fable, Bog Myrtle, is just that.
Review by

 

John the Skeleton is a wonderfully quirky story about a life-size model skeleton who “retires” from his schoolroom job as an anatomy model to live with an elderly couple on their farm in Estonia. He quickly becomes a part of the family, which includes two young grandchildren who frequently visit. There’s nothing scary or ghoulish here; instead, John’s presence allows Gramps and Grams to begin coming to terms with their eventual deaths. With 64 pages, plenty of illustrations and very short chapters, the book works equally well as a read-aloud for sophisticated younger readers or as a chapter book for solo readers.

The understated humor in Estonian writer Triinu Laan’s prose—as well as Adam Cullen’s translation—is ever present. Gramps makes wooden phalanges for John’s missing finger bones, and gives John his old musty coat “with two medals still pinned to it: one for donating blood and the other for being a good tractor driver.” The family includes John in all of their adventures. They help John make snow angels, and John even takes a bath with the grandkids.

Marja-Liisa Plats’ black-and-white illustrations, often accentuated by well-placed shades of fuchsia (a blushing face, a sled amid the snow), are full of whimsy. Her linework is perfect for this scruffy, lovable couple and their farmhouse world, including their outdoor summer kitchen. One of the book’s many delights is that John never reacts in any way; his entire “personality” is simply what this family imagines it to be. Nonetheless, he comforts them greatly, especially when Gramps and Grams begin to show signs of confusion. 

There are particularly touching scenes at the end, when the book confronts death. John the Skeleton is an endearing story that helps normalize death while highlighting the enduring power of love. 

John the Skeleton is an endearing book that helps normalize death while highlighting the enduring power of love.
Review by

With Vikki VanSickle’s compelling rhyming couplets and Jensine Eckwall’s lush, moody illustrations, Into the Goblin Market has all the makings of a modern classic, while giving a delightful nod to European fairy tales. The book is a tribute to Christina Rosetti’s 1859 poem, “Goblin Market,” about sisters Laura and Lizzie. VanSickle has used the original to create a similar tale about two young sisters who seem to live alone in a fairy tale-like world “on a farm, not far from here.” Millie is quiet and bookish, while Mina, with a head full of wild, curly hair, is daring and always ready for adventure. One night, Mina sneaks away to the Goblin Market, even though Millie has warned her, “The Goblin Market isn’t safe. / It’s a tricky, wicked place.”

When Millie awakes and sees that Mina has disappeared, she consults her library and takes several items that end up providing invaluable protection. Eckwall’s intricate, woodcut-inspired art vividly conveys the magic and danger that awaits. Occasional red accents in these black-and-white ink drawings highlight objects such as the hooded cape Millie wears as she sets off, looking just like Red Riding Hood—and, indeed, a shaggy black wolf is the first thing she encounters. 

Once she enters the market, “Everywhere that Millie looked / was like a nightmare from her books.” There are strange sights galore, including a multitude of goblins and an evil-looking witch, but there’s no sign of Mina, whom Millie knows is in trouble. The pages are definitely a feast for the imagination (although the very young may find them frightening). 

Both sisters use their wits admirably to escape the many dangers, and there’s a wonderful surprise at the end, just when all seems to be lost. Into the Goblin Market is a delicious treat for those yearning for a bit of frightful adventure. 

 

A tribute to the work of Victorian poet Christina Rosetti, Into the Goblin Market is a delicious treat for those yearning for a bit of frightful adventure.
Review by

Be careful what you wish for. That’s definitely true for Hannah, the seventh grader whose journal constitutes Remy Lai’s Read at Your Own Risk. Hannah and her friends search for a diversion while “some boring author” comes to their school assembly to “talk about his spooky books, which I bet aren’t even spooky.” Instead of attending, they decide to venture into the school attic and play a Ouija board-style game they call “Spirit of the Coin.” After their session, however, Hannah quickly discovers that she is haunted by an evil spirit, who continues to terrify her, and even writes in her journal in red ink. 

The journal format will definitely appeal to middle grade readers, making the story all the more intimate and seemingly real. Nonetheless, be forewarned: As the cover filled with skulls and dripping with blood would suggest, this book is not for the squeamish. While many readers will revel in its thrills and chills, others may be completely terrified, especially by the frequent blood splatters, horrific dental details and the hospitalization of the narrator’s young brother. 

Those whom those details don’t scare off may easily find themselves reading it more than once, looking for clues about the evil spirit. Read at Your Own Risk is a dynamic display of scary storytelling and compelling, haunting graphics that challenges readers to create their own journals. Lai leans into the mysterious as she wields her craft, noting, “Telling a story is like piecing together a jigsaw puzzle. Only the storyteller has the box and knows what the whole picture looks like.”

Read at Your Own Risk is a dynamic display of scary storytelling and compelling, haunting graphics that challenges readers to create their own journals.
Review by

Nadia Ahmed’s The Ghost Who Was Afraid of Everything is not only a charming Halloween tale, but also an excellent year-round story about facing one’s fears. Young Finn is scared of many things, including tree branches, butterflies, the color orange and flying. On Halloween, he stays home in his attic—noisy humans also make him anxious—while his older brother and sister have a grand time careening through the air. However, when they fail to bring back Finn his favorite Halloween treat (chocolate bats), he swears that he will fly to get his own next year. 

Ahmed’s prose perfectly captures Finn’s trepidation in just a handful of words that will resonate with young readers: “When Finn is afraid, his stomach swoops, his hands sweat, and he can’t move.” Happily, Finn’s gradual self-regulated program of exposure therapy works! He starts out small, simply touching a leafless branch “for one whole minute.” 

Ahmed’s whimsical illustrations are mostly in black and white at the start, except for flashes of that dreaded orange. Despite this limited palette, the pages are wonderfully appealing, never scary or dull. Finn is a simply drawn ghost, but somehow his spirit—pardon the pun—and resolution shine through on every page. As he tackles his fears one by one, color gradually enters his world. The final spread is a glorious ode to Halloween orange, as well as other small splashes of the rainbow. Ghoulishly great, The Ghost Who Was Afraid of Everything will inspire readers sidelined by their own jitters. 

 

The Ghost Who Was Afraid of Everything is a ghoulishly great Halloween story as well as an inspirational guide for readers sidelined by their own jitters.
Review by

Godfather Death is a lively retelling of a Grimm fairy tale about a poor fisherman looking for a godfather for his newborn son. The fisherman rejects God’s offer because he doesn’t feel God treats people fairly, especially since the fisherman and his family live in such poverty. He is smart enough to also reject the devil’s offer—but when Death comes along, he believes he has finally found an honest man. After the christening, Death lets the fisherman in on a scheme that makes him a rich man, but ultimately backfires in a tragic way.

As the fisherman’s captivating quest unfolds, Sally Nicholls weaves in plenty of humor: Christening guests stare at Death—a skeleton with his silver scythe and long black cloak—as “everyone tried very hard to be polite to the baby’s godfather.” When this skeleton figure eats food, “everyone wondered where it went.” 

Julia Sarda illustrates the tale in a limited palette of orange, mustard yellow, dark green and black, imbuing the book with an intriguing, stylized vibe reminiscent of old fairy tales. Her eye-catching illustrations will help readers understand that this is a tale meant to impart wisdom. Note that, like the original, the ending is abrupt and not at all happy. Nonetheless, Godfather Death is a memorable story that’s bound to encourage interesting discussions about life, death and honesty. 

 

Based on a Grimm fairy tale, Godfather Death is a memorable story that’s bound to encourage interesting discussions about life, death and honesty.

Get BookPage in your inbox

Sign up to receive reading recommendations in your favorite genres every Tuesday. 

Recent Features

The ghoulish beings—some of whom are more adorable than creepy—that haunt these books will delight young readers any day of the year.

After reluctantly turning the final page of the beautifully illustrated Up, Up, Ever Up! Junko Tabei: A Life in the Mountains, readers will want to run outside and start hiking, pausing only to spread the word about the impressive woman at the heart of Anita Yasuda’s inspiring and poetic biography for young readers.

As a young child, Junko Tabei was enchanted by the natural world, especially the peaks that provided a dramatic backdrop to her home in Japan. As Yasuda writes, “Stories of mountains drifted all around her until silvery domes and icy peaks unfurled as far as she could see.” 

Tabei took the first step of her big mountain dreams at age 10 by climbing Mount Chausu (elevation: 4,643 feet) with friends. As she grew, so did her desire to ascend ever higher: She set her sights on becoming the first woman to summit Mount Everest (elevation: 29,032 feet). Naysayers emerged all around, from mountaineering clubs that excluded women, to sponsors who said mothers should stay home with their children. But Tabei found kindred spirits in her climbing aficionado husband and two children, as well as other adventurous women who shared her determination. Together, they felt unstoppable. 

Despite dizzying heights, gear that fit badly  because it was made for men, and even an avalanche, Tabei and her compatriots persisted. This exciting story of scaling great heights and blazing trails captures their trials and triumphs for those who will come after. Yuko Shimizu’s gorgeous, often fantastical illustrations—finely detailed via Japanese calligraphy brush, vibrantly colored, and rife with movement and texture—combine with Yasuda’s compelling, uplifting words to vividly convey Tabei’s indomitable spirit.

In the book’s back matter, Yasuda notes the numerous high points of Tabei’s life and expands on her environmental advocacy, a pursuit she engaged in until her death in 2016 at age 77. Readers of Up, Up, Ever Up! will surely agree that “Junko’s remarkable life inspires others to pursue their dreams, step by step, up, up, and ever up!”

Yuko Shimizu’s gorgeous, fantastical illustrations combine with Anita Yasuda’s compelling, uplifting words to vividly convey the indomitable spirit of trailblazing mountaineer Junko Tabei in Up, Up, Ever Up!
Review by

For most of us, it is easy to take education for granted: Slogging our way from kindergarten to graduation is something we just have to do. They Call Me Teach: Lessons in Freedom, written by Lesa Cline-Ransome and illustrated by James E. Ransome, takes us back to a time before the Civil War, when education was denied to many. As Cline-Ransome explains in her author’s note, They Call Me Teach is just one representation of what happened all over the South as enslaved Black Americans defied anti-literacy laws—an act that was both rebellion in itself and a part of their larger quest for freedom.

Cline-Ransome’s story focuses on Teach, an enslaved man given this whispered name by those he has taught to read. Written as if Teach is just matter-of-factly telling you about his day, the first-person narration is effortless and beautifully descriptive. Phrases like “a kitchen hotter than August” place you squarely in Teach’s world. There’s an easy storytelling cadence to this book that nearly—just nearly—hides its literary complexity, with lines that are simple yet weighed down with underlying meaning. 

Coretta Scott King Award-winner Ransome, the other half of this married duo, floods the page with deep, antique-feeling watercolors that instantly transport you back in time. Intricate details like a collection of wooden spoons, the shadows of folded clothes on a shelf and the frayed collar of Teach’s shirt pull you so far into the story, you could be standing in the back of the room. Impressive and engaging, They Call Me Teach is also somber—but not without rays of light and hope. Ransome’s art references that of the late illustrator Jerry Pinkney, whom he mentions in the dedication. Clearly, Ransome shares Pinkney’s gift for visual storytelling. 

They Call Me Teach is rich with information and opens a door to conversations about United States history, equality and the struggle for freedom and education. And while They Call Me Teach is geared toward children, older readers will find it just as powerful and moving. After all, when it comes to stories about perseverance, resistance and the power of reading, there is no age limit.

Impressive and engaging, They Call Me Teach opens a door to conversations about United States history and the fight for equal access to education.
Review by

An ibex stands on a mountain, peacefully grazing, until they are challenged for “the top spot.” In response, the ibex asks, “But what are we even fighting for?” When the ibex receives an attack instead of an answer, they flee from the challenge. Fleeing does not solve problems, however—and it certainly doesn’t get them the top spot. 

A scraggly goat might hold the answers as to how to claim the strange prize. Can the ibex take the goat’s advice, return to the ibex herd and outwit the others? And even if they do, what does winning the top spot really mean?

Frank Weber’s new picture book The Top Spot offers wry commentary on exceptionalism: Why claim the top spot at all? 

Perfect for fans of We Are Definitely Human, The Top Spot explores the strength to be found in cunning over size, as well as how the things we fight over may, ultimately, be pointless. Sparse text lets the artwork shine, leading its unconventional jokes to hit all the harder, with unexpected payoffs as the book progresses. 

Existentialist humor combined with expressive illustrations and a muted, earthy palette makes this picture book one that readers of Jon Klassen will particularly enjoy. Children will be encouraged to examine why they might be competitive with their friends and what, in the end, it actually gets them. The answer might surprise.

Frank Weber’s new picture book The Top Spot offers wry commentary on exceptionalism: Why claim the top spot at all?

Sign Up

Stay on top of new releases: Sign up for our newsletter to receive reading recommendations in your favorite genres.

Recent Reviews

Author Interviews

Recent Features