Both the text and the illustrations of this book highlight shared humanity, no matter what country we are in or what language we speak. Pink/red and blue/purple are the emphasized colors in this book, starting right at the cover and end pages. This is an important choice because although those colors are different – warm vs. cool – they are NOT opposites on the color wheel. The color scheme fits with the book’s description of the main character’s experiences in the United States and Mexico, and how the child sees that the two countries are not opposites and in fact have a lot in common, such as food and family. The two towns that the boy shows us are full of friendly-looking people and many different shops, giving a sense of plenty for the citizens of both countries. The Spanish language is emphasized on signs and in the text, showing that this language is important in both places.
Many illustrations give a sense of open space, like the streets in the Mexican town that branch out in every direction or the pages showing the pinks and purples of land and river stretching outward while a stark white road links the U.S. and Mexico. This contrasts with the border camp where the waiting refugees look cramped and squished into a small space as they try to work, play, sleep, and converse just as the citizens of the U.S. and Mexico were doing.
The illustrations of people are not homogenous. Many different hair colors, ages, clothing styles, body types, and facial expressions are shown. Interestingly, what comes across is the humanity of all the people in the book and, by extension, all the people in the world, wherever they might live. At the end of the book, this theme is extended to the plight of the refugees, who have the same needs for food and shelter and are waiting for a home. The bright colors, long lines, and sincere expressions create a simplicity that matches the child’s perspective in the book: it is obvious to him that all his friends should have a safe place to live. This can be shared with all children grades PreK-3. Some children may have a very personal connection to the content in this story and some may not, but all can benefit from the themes of sharing what we have and supporting human rights.
Woodson, Jacqueline. The Year We Learned to Fly. Illustrated by Rafael López. Nancy Paulsen Books, 2022. 32 pages. $18.99 9780399545535. Gr. K-3.
This book beautifully uses repetition, both in words and images, to express a message of hope and strength. Both sets of end pages contain a simple image of a tree against the sky. The front endpapers are grayscale, and the tree is almost bare; however, the back endpapers are calming shades of green, buds are appearing on the tree, and a bright pink butterfly is flying in the sky. These changes indicate the transformation that the characters in the book experience. The buildings in the illustrations have static, vertical lines, but the people and nature elements in the book are drawn with rounder edges and go in many directions, often diagonally and with an upward sense of movement. For instance, the children’s faces are often tilted up to the sky. These choices support the text’s idea of mindset providing freedom and positivity.
Through each problem or emotion the children face, their grandmother reminds them that “Somebody somewhere at some point” felt the same way, using that phrase each time. As the children’s mindset changes through their empathy and imagination, the artist depicts beautiful nature images like bright flowers, birds, and butterflies, accompanying the children as they run, play, and even fly. The vibrant colors of leaves, flowers, and animals make these objects stand out on the page, reflecting the happiness the children feel when they “Lift [their]arms, close [their] eyes, take a deep breath” and use their imagination to change their moods. Many pages emphasize a big, open sky, usually depicted in peaceful, bright colors. This focus fits with the title’s suggestion of learning to “fly.” In one especially poignant image, ancestors who experienced slavery are shown in green leaves, and their upturned faces mirror the direction of the main character being joyfully lifted up by her grandmother.
One of the most textured pieces in the illustration is the main character’s beautiful curly hair, which stands out on many pages and often has a bright headband around it. Her hair is not only beautiful, but also a link to her ancestry, as on one page when her face is downturned and images of boats sailing the Middle Passage are overlaid onto her hair. Although that illustration is somber, many other images are celebratory, with a repetition of colorful flowers, birds, and butterflies surrounding the main character’s excited or happy face. The illustrations depict a Black family with three children and two grandparents, with the most focus on the two oldest children. Although the characters may be homogeneous, they are family members, so similarities don’t come across as stereotyping. The children’s identity is celebrated through the repetition of joyful colors and upward motion in lines, faces, and objects. These illustrations match perfectly with the text’s celebration of imagination and hope, as the children realize they, like their relatives before them, can be “free as [their] own beautiful and brilliant minds.” This book can be shared with all children grades K-3.
Forsythe, Matthew. Pokko and the Drum. Illustrated by the author. Simon & Schuster/Paula Wiseman Books, 2019. 64 pages. $18.99 9781481480390. Gr. PreK-3.
This book is an example of illustrations enhancing the text. A wide range of earth-tones are used, as fits the setting of the frogs’ mushroom home and the forest full of animals. Visual interest and contrast appears in geometric patterns on trees, leaves, and clothing, drawn in dark lines. At certain points, bright orange shades are repeatedly emphasized, sometimes even taking up most of the page, in “zoom-in” moments of importance or intensity, such as when Pokko receives her drum and when she confronts the naughty wolf. The use of blurred colors and stark silhouettes creates a sense of surrealism, and the eyes of some animals lack pupils, making them less lifelike. But Pokko the frog and her parents are drawn with a mixture of physical realism – they look like frogs, especially their faces – and anthropomorphism – they are wearing clothes and have a cozy little home with lamps and teacups.
The illustrator makes consistent choices with expressions, space, and sizing. Pokko’s expression stays humorously static through dangers such as slingshots, llamas, and wolves, as well as continual drum-playing. This contrasts effectively with a two-page spread where the left page merely says, “Too quiet” and the right-hand page shows Pokko’s zoomed-in face with her eye slightly narrowed. The reader knows immediately that Pokko is going to take action. Another effective choice is the use of white space. When Pokko begins playing her drum in the forest, there is lots of white space, but as more and more animals join her and fill up the page, the white space is relegated to the bottom of the page. Except in “zoom-in” moments, Pokko is drawn the same size on every page. She looks small compared to her parents, the vast forest, and the multitude of animals who join her. Her strong stance of banging her drum gives her visual power and makes her the center of attention despite her small stature.
This book depicts animals of an indeterminate culture. While the animals may look homogenous, this most likely won’t be considered offensive and can be shared with all children grades PreK-3.
Hu, Ying-Hwa. Ten Blocks to the Big Wok: A Chinatown Counting Book. Illustrated by the author. Children’s Book Press (CA), 2022. 40 pages. $20.95 9781643790688. Gr. PreK-2.
A strong sense of place is emphasized in this counting book. Each number in the counting process is linked to a place in Chinatown. The illustrations match the text; often the settings and objects are huge in size compared to the small stature of Mia and the kitten who follows her on her journey. For instance, the community center and the lion statues outside it are huge and take up most of their two-page spread, as do the fruits at the grocery stand and the dim sum items at the restaurant. Mia and the kitten are often looking up at all the sights, emphasizing their youth. Throughout the pages, the people depicted are smiling and looking up or outward, giving a sense of a shared joy in their setting and culture. The lines are soft and almost smudged. This, along with the bright colors, present a friendly and welcoming environment.
The book is a celebration of Chinatown and Chinese culture. The whole book is bilingual, with each number and each body of text shown in English and in Chinese characters on every page. An author’s note at the end shares more information about the different references. The characters do look slightly homogenous, but all ages are shown. On the page where people are practicing Tai Chi Chiuan, each person has a different age and ability level, even while they share similar motions. Children of Chinese descent may appreciate the representation of their culture, and children not of Chinese descent can enjoy learning new things. Likewise, all children can enjoy counting in two languages, looking at the bright pictures, and following the journey of the cute kitten.
Kusel, Susan. The Passover Guest. Illustrated by Sean Rubin. Neal Porter Books, 2021. 40 pages. $18.99 9780823445622. Gr. PreK-3.
A contrast between darkness and light, which is a theme of Passover and of the Depression-era setting, is clearly expressed in the illustrations. The drabness of people’s coats, worried faces, and ramshackle homes will remind adult readers of Depression-era photographs and will reflect a somber mood even to children who don’t know a lot about the Great Depression. This darkness contrasts with Muriel’s reddish-orange hat, the bright yellow page where we see the magician transform, the feast that the stranger produces at Muriel’s house, and the final image of Elijah’s empty cup and the gold coin Muriel gave to the magician. Even when a page is full of dark color or darker shades of blue, there are tiny lights coming from the sun or windows or even people’s faces. In his note, the illustrator mentions that he was inspired by Chagall. His similar emphasis on blue, imperfect lines, and glimpses of light gives an overall moody, surreal sense to the story.
Judaism is depicted in a matter-of-fact way, with the innocence of a child and the focus on the rituals of the Passover meal that would stand out to a child. For instance, one of the most textured elements in the book is the matzah on the table. The people in the book look somewhat homogeneous, but there isn't much focus on their characteristics, physical or otherwise, other than the red beard of the magician when he transforms. Throughout the book there are variations in skin tone. This book would be a way for Jewish children to celebrate their religion and folklore, but all children can appreciate the fairy-tale quality to the story of the magician and the feast, even if they are new to learning about Passover.
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