Ingrid Chabbert tells a sweet story of a boy who falls in love with a girl called Sylvia, a girl who loves birds. ‘The Day I Became A Bird’ captures the simple purity of unabashed puppy love. The story is so charming and innocent, that it is almost uncomfortable to sully it with an adult’s point of view.
“When I look at her, I forget everything else.” Raúl Nieto Guridi’s minimalist sketches evocatively focus on the two young ‘uns, while the out-lying blankness allows for endless stories and fantasies to be imagined in. The detailed sketches of Sylvia’s birds, as well as the science of building a bird costume add layers to fuel a young reader’s imagination.
The arrangement of the text and the illustrations isn’t parallel. Almost like a film, on a single page, two different segments of the narrative are offered, until the inherent suspense of a love-story is dismantled piece by puzzle piece.
Love, friendship and acceptance is often a difficult prospect in school (okay, okay, and otherwise too). This book considers the hurdles but moves sweetly beyond to the things that are important.
Do you have a fun story of childhood love? Share in the comments below.
My emotional response to this book: Hug the book! Hug the beeg feesh!
Klassen tackles the much-disdained children’s book genre of horror with minimalism, grace and humour. This is a tale of caution that is told in the illustrations rather than the words, when a little fish finds a perfectly-sized blue bowler hat on the head of a big fish, and makes an awkward choice.
As an adult, I definitely enjoy the parallel protagonists, but am curious as to whether children ‘get it’. When it comes to any discussions on morality, there are always counterpoints. Is the book too (invisibly) violent? Do children absorb the skewed message, not of the black-and-white ‘stealing is bad’, but ‘stealing is bad if you can’t get away with it’? But are these just the worried moralistic musings of adult readers that are certain they know EXACTLY what children think when they’re reading.
Moving on to a fast-becoming peeve: why don’t the Children’s Illustrated Books share information about the illustrative style? With so many artist videos floating around, I seem to find the beauty in their process as much as their works. Well, Klassen’s wonderful colours and textures are handmade with water-colours and then digitally combined into the simple, yet dramatic visual narrative. (Thank you, dear Google!)
THIS IS NOT MY HAT
Is this my hat? No.
Have you read the book? How would you deal with the concept of stealing? Start a conversation in the comments section below.
Okay. We’ll admit it. We love books about crayons.
(mostly because they’re so colourful and fun)
Well, this is a story about a little bundle boy called Harold.
Our hero Harold has a purple crayon. And with that crayon, he draws the world!
This Papa’s palm-sized purple paperback is rich in imagination and its applications. Johnson’s illustrations explore the flexibility of a simple line as Harold makes his purple journey. Purposefully minimal, the pages of Crockett Johnson’s‘Harold and the Purple Crayon’ allow the imaginative reader to fill in the colours.
The next time you’re in bed, but can’t quite sleep, grab hold of a purple crayon and see where it will take you.
Fresh off the Art1st Library Shelves, self-acceptance has never looked more colourful!
In Michael Hall’s ‘Red’, our beloved narrator takes the form of a classic Yellow Pencil as he takes us on ‘Red’ the crayon’s journey of self-discovery.
The story throws out the age-old art teacher’s motto of ‘practice make perfect’ and replaces it with the more current educational focus of exploration.
The narrative spills out of the words into the simple but clever visuals and is enhanced through the little details, like how the older and more experienced crayons are smaller than the newer ones like Red and Berry.
What do you do, if you’re trying to be Red, but you’re always Blue?
Why, you draw Blue Strawberries of course!
“Maurice Sendak’s books were shaped by his own childhood: one marked by the Lindbergh baby kidnapping, the concentration camp deaths of most of his extended family, and parents consumed by depression and anger. When Sendak started illustrating and writing for children, he vowed that he wouldn’t write stories of sunshine and rainbows, because that’s not real life” says Stacy Conradt
Maurice believed that it is unnatural to think that there is such a thing as a blue-sky, happy-clouded childhood for anybody. “I’m totally crazy, I know that. I don’t say that to be a smartass, but I know that that’s the very essence of what makes my work good. And I know my work is good. Not everybody likes it, that’s fine. I don’t do it for everybody. Or anybody. I do it because I can’t not do it.”