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KATIE’S WISH

The Irish potato famine of the 1840s, as seen through a little girl’s eyes. Young Katie misses her Da, who left Ireland to go to Boston more than two Christmases ago. Most of what she eats at Grand Da’s is potatoes, not with milk and onion and butter, as Mam used to make, but plain boiled. Katie wishes the potatoes away, and is horrified when they begin to turn black and mushy. Katie believes it is her fault, and guilt gnaws at her like the hunger, especially when Grannie takes sick and they have to sell Pig. But Da sends money for Katie to come to America, and she and her cousin Brian take that cramped and tumultuous voyage. When she arrives and Da takes her to her aunt’s home, her fear and guilt come tumbling out at the sight of Aunt Meg’s potatoes, made like Mam’s. Her father soothes her and assures her it isn’t her fault; words cannot make bad things happen. While the resolution is a bit pat, the famine is put in terms that small children can understand, and they will recognize Katie’s fear. Her grandparents’ cottage, the verdant and stricken land, the miserable trip to Galway and then across the ocean, and finally her reunion with her Da are rendered by Caldecott-winner McCully (Mirette on the High Wire, 1991) in fine soft pictures, a misty-moisty, gray-and-green palette, brightened by Katie’s—and her father’s—red hair. (author’s note) (Picture book/historical fiction. 5-8)

Pub Date: Sept. 1, 2002

ISBN: 0-8037-2478-0

Page Count: 32

Publisher: Dial Books

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 2002

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BERRY MAGIC

Sloat collaborates with Huffman, a Yu’pik storyteller, to infuse a traditional “origins” tale with the joy of creating. Hearing the old women of her village grumble that they have only tasteless crowberries for the fall feast’s akutaq—described as “Eskimo ice cream,” though the recipe at the end includes mixing in shredded fish and lard—young Anana carefully fashions three dolls, then sings and dances them to life. Away they bound, to cover the hills with cranberries, blueberries, and salmonberries. Sloat dresses her smiling figures in mixes of furs and brightly patterned garb, and sends them tumbling exuberantly through grassy tundra scenes as wildlife large and small gathers to look on. Despite obtrusively inserted pronunciations for Yu’pik words in the text, young readers will be captivated by the action, and by Anana’s infectious delight. (Picture book/folktale. 6-8)

Pub Date: June 1, 2004

ISBN: 0-88240-575-6

Page Count: 32

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 2004

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RAPUNZEL

Rapunzel, Rapunzel, let down your dreads! Isadora once again plies her hand using colorful, textured collages to depict her fourth fairy tale relocated to Africa. The narrative follows the basic story line: Taken by an evil sorceress at birth, Rapunzel is imprisoned in a tower; Rapunzel and the prince “get married” in the tower and she gets pregnant. The sorceress cuts off Rapunzel’s hair and tricks the prince, who throws himself from the tower and is blinded by thorns. The terse ending states: “The prince led Rapunzel and their twins to his kingdom, where they were received with great joy and lived happily every after.” Facial features, clothing, dreadlocks, vultures and the prince riding a zebra convey a generic African setting, but at times, the mixture of patterns and textures obfuscates the scenes. The textile and grain characteristic of the hewn art lacks the elegant romance of Zelinksy’s Caldecott version. Not a first purchase, but useful in comparing renditions to incorporate a multicultural aspect. (Picture book/fairy tale. 6-8)

Pub Date: Oct. 1, 2008

ISBN: 978-0-399-24772-9

Page Count: 32

Publisher: Putnam

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Sept. 1, 2008

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