Aleph by Janik Coat

Aleph

Aleph by Janik Coat

My rating: 4 of 5 stars


A quirky twist on the ‘first words’ format for babies and toddlers and where others may stray toward the traditional and expected, Aleph embraces the deliciously surreal. The images are big, often falling off the page, with more than a hint of those thick felt-tip pens about them, and cover everything from a circle through to a toucan. Every now and then named characters- Popov, Romi, Cyrus and Aleph – appear for their own little moment, before disappearing again. It’s a weird lovely and kind of spectacular mixture of modernism, with a distinct hint of the old masters about it. There’s more than a touch of Matisse in Coat’s handling of line and colour for example.

What I loved about this is that there’s some sort of narrative coherency – a big thing to ask of a book of this nature – but there is. Chick goes to cat goes to car and then toucan. Words echo each other aurally or thematically or sequentially. It’s not consistent – bunny / cupcake / wolf – but then, in those sequences, shape or colour picks up the narrative bat. There’s a lot of care under the surface of this, and it shows. There’s also a lot of opportunity to extend the images in diverse directions – there’s a lovely page with a baby’s dummy on it, for example – which the list of words names as ‘shhh’ rather than ‘dummy’ or something along that line.

Aleph would be a literally perfect gift to a young reader, but it’s also got a substantial appeal to those interested in the power of illustration for this age-group. It uses a rather unusual neon tone throughout, giving the whole book this quality of being barely contained within the page. I loved it. It’s distinct, it’s unusual and it’s fun.

My thanks to the publisher for a review copy.

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Mary And Frankenstein by Linda Bailey and Júlia Sardà

Mary, Who Wrote FrankensteinMary and Frankenstein by Linda Bailey

My rating: 5 of 5 stars

It has been a long time since I have read something so perfect as this, and if it doesn’t win the Kate Greenaway Medal this year, or at the very least make the shortlist, then I’ll hand in my badge. I’m not sure that I have an actual badge, so to speak, but I’m trying to work on a metaphor that tells you how great this book is and how blindingly, utterly, brilliant it does what it does, and so I’ll hope you’ll forgive me my delirium and go out and buy it straight away. Because it’s good. Honestly, it’s more than that. It’s perfect, and I’m delirious over it and I feel like I want to write a love letter to Andersen to say thank you for letting me take look at it (their edition is out in October 2018, it has the slightly different – and better – title of ‘Mary And Frankenstein’, and have I mentioned you should buy it?). This is a gift, this book, and here’s the part where I tell you why.

Written by Linda Bailey, Mary and Frankenstein explores the story of Mary Shelley. The daughter of Mary Wollstonecraft, the creator of modern science fiction, the girl who loved Percy Bysshe Shelley, the girl who lived, Mary Shelley is a fascinating and complex figure. And in the hands of somebody lesser, her story might have suffered. It might have been reduced to one of those hagiographies we see so often at the moment in children’s literature, and it might have been sidelined for the stories of those people she lived and loved with. But Bailey doesn’t. I knew we were in good hands when I read her author’s note and saw that she’d thanked an academic for critiquing the manuscript. This is everything, my friends, because it shows somebody who takes this seriously. It is a privilege to write these sorts of books, and it is a skill to write them well. Bailey does that. She does that so well. She has a clean, simple, and deeply restrained style that delivers such calmly beautiful lines as:

“Mary’s mother was a great thinker. She wrote books to say that women should have the same rights as men. She died when Mary was only eleven days old.

Can you miss someone you’ve never known?

Mary does”

Just, let that sink in a little. The great grace of that, the restraint of that. The way it gives you everything and manages to hold itself back from giving you too much. It’s brilliantly done. And it’s smartly done. It gives children a chance to find something else out on their own, to fill in the absence with their facts and stories, to look up into the sky and tell their own story. After all, “Writers dream stories, awake and asleep.”

It’s beautiful. And it’s even more beautiful when it’s paired with the incomparable artwork of Júlia Sardà. I’d encourage you to have a look at her website and this review about the process of illustrating this little gothic masterpiece, as her artwork here is almost incomparably done. It’s immense, it’s ferociously unique and particular, and it makes me breathless. Her use of line and colour is so wonderfully done, and she has this great gift of being able to centre her images and find the humanity of them (an apt skill when we consider the topic!). There’s a lot going in in this amazing book and yet, even as the wind whips the trees or as owls fly through the sky, your eye’s drawn to Mary. Her red hair, her white face, her story. She will be heard, she will be seen, she will be told.

Oh this book, I could write for days about it…

I will teach it in my classes, and I will hand it to those who tell me that children’s books are the easy options, and I will nominate it for the Kate Greenaway and I shall will it to win every award on the planet, because it’s outstanding. It’s one of the best picture books I’ve ever read.

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What Does An Anteater Eat? : Ross Collins

what does an anteater eatWhat Does An Anteater Eat? by Ross Collins

My rating: 4 of 5 stars

Picture books are a performative thing. Every book is, in a sense, but picture books are perhaps more performative than others. They are made to be shared and talked about and enjoyed by multitudes of readers. They are made to be read aloud, to inspire funny voices, and to have their corners chewed on by babies who are figuring out this wide, wide world that they live in. I always think that it’s a good thing when you can feel this edge of performance to a picture book, where you can sense the parts you’d emphasise or the parts where you’d tease out the tension to that almost unbearable point, and I always think that it’s a good thing when you read a picture book and can hear the reaction that it would get.

What Does An Anteater Eat? is a book that’s full of that third space, that performative edge, that raw, hysterical laughter that really only little children can do and when they do it, the world laughs with them. And I felt that when I read this book, and that’s something quite remarkable. This is a relatively slender story; an anteater wakes up from a nap, is hungry, and tries to remember what he eats. He asks several other animals who provide both useful and useless answers, before happening upon an ants nest and – well, let’s just say that anteaters don’t actually eat what you think. There’s a nice little note in this about not judging on appearances, and Collins’ art is full of a vibrant, thick sense of colour. He’s an artist doing good things, and his characters sing with this sense of lovely honesty. This is lived art, primal and potent. I also do love a cover that sets itself apart from many of those on the shelves at the moment.

I’d have welcome a little more work being done with the lettering, as I always feel that simply shifting from text into italics is a relatively easy default to choose in a picture book and one which shies away from the added quality good lettering can provide, but that’s a small note for a book as potently performative as this.

My thanks to the publisher for a review copy.

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Wave : Suzy Lee

WaveWave by Suzy Lee

My rating: 4 of 5 stars

This is a remarkable and show-stopping thing, let down only by the printing format itself. Lee’s art is a delicious joy, telling the story of a girl on a visit to the beach. It’s wordless throughout and delivered in a simple, clean palette of blacks and whites and blues, and it’s beautiful. You can see some pictures in this tweet and really, it’s the moments of this book that make it what it is. That sheer, wild pleasure of stamping in water; of teasing the edge with your toes before jumping fully into it; of being soaked, suddenly, beyond your imagination, before you can quite realise what’s happening. It is lovely and it’s very, deliciously primal. Wave is a book that speaks to that child that we all have inside of us, and I would pay quite happily to have prints of it on my wall. The vibrancy, the sheer truth of Lee’s art is inescapable.

As I said however, the book is let down by the printing and the relationship between the artwork and the gutter. The gutter is a pivotal space within picture books, providing as it does a space for innovative acts of storytelling but also for training children to understand the shape of books, and the pattern of reading itself.

In Wave, the gutter is too tightly bound or the dimensions of the artwork are off or something, because certain parts of the image get caught up in the gutter and lost or cut-off. The girl, for example, loses part of a limb at one point, whilst the delicious edge of the wave, with its kaleidoscopic edge of fragmented blue, is stopped bluntly by the gutter. I can see some point for that in some spreads, to emphasise the barrier between the girl and the wave – the distance – but in others, the gutter forms a heavy handed truncation of what might be a perfect, endless book.

Wave thus becomes a bit of an oddity, where the raw, distinct beauty of the book and its utterly perfect grasp of the ‘moment’ becomes tied back by this gutter problem, becomes bound by something heavy and solid and blunt. It is an undeniable recommendation nonetheless because Lee’s artwork is beautiful. Utterly, utterly beautiful.

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The Weaver : Qian Shi

The WeaverThe Weaver by Qian Shi

My rating: 4 of 5 stars

There’s a lot to love in this debut picture book from Qian Shi, not in the least her fine and delicate artwork that sings of heart and love. The titular weaver is Stanley the spider who collects things and keeps them in his web. One day, his collection is washed away…

Where this book shines is in the artwork. There’s a sort of animated edge to Shi’s work, that roundness of line and that vibrancy of colour that makes many of these pages into something quite special. I’m always partial to a book that does something with endpapers, and even more partial with a book that does something good with endpapers, and these are subtle and wonderfully handled here. I’m also very fond of the balance here between double page spreads and multiple beats on the same page: this is a book which is almost filmic in its structure, with the storyboard of images and text working together so very nicely.

The story itself is simple, teaching children that they can hold onto the memory of something even when the thing itself is not there. There’s an obvious applicability towards grief and loss towards such a narrative, but this is also maybe a book to trot out when the favourite toy goes missing or when a big life change is about to occur. Shi’s text is sensitive, gently paced and restrained, knowing when to step back and let that fine and heartfelt artwork shine through. A charming, rather beautiful and rather evocative book.

My thanks to the publishers for a review copy.

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Poo Bum : Stephanie Blake

Poo BumPoo Bum by Stephanie Blake

My rating: 5 of 5 stars

I get books recommended to me a lot. Poo Bum has been on my ‘to read’ list for a while; but when a lovely librarian friend of mine told me that it got the “best reaction she’d ever had” at story time, it slid right to the top. Story time is one of those very specific tests for picture books and not all of them manage to pass it. Not all of them should pass it, in a way, because some picture books are made for very close and confidential shared reading, but those that do pass it are very special beasts. They’re books which translate to a very wide audience in a very short period of time. And they’re books which, when handled by a good librarian, help to make reading an event, a moment which burns very precisely and potently in the brain, and helps to pull young readers on a journey that’s going to last them a lifetime.

Poo Bum is outstanding. It’s wicked and naughty and just far enough past that edge of inappropriate to feel naughty, but not to far so that people get alienated. I’m loathe to give you too much details because really, the twists in this story are everything so I’ll settle with the blurb that simply says: “Once there was a little rabbit who could only say one thing…” As you’ll remember the title of this book is ‘Poo Bum’, you might imagine what that thing is…

The copy I’ve got from the library aches with being read a thousand times, and I love that so much that I can hardly deal with it. That’s another test for a picture book; the audience is still learning to figure out the idea of the book itself, and books that can survive that wear and tear whilst keeping the essence of themselves together, are very important things. Poo Bum is rendered in such potent artwork, and punchy text, that I suspect it would survive the apocalypse. The colours are bold, often primary, and often still have the tangible mark of creation on them; those lines and scratches that show you exactly where the pauses and edges were.

And oh, this is funny. It’s funny and it’s smart, and I can see exactly why it hit home. Turns out librarians know exactly what they’re on about. Who’d have thought?

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Moon : Britta Teckentrup

Moon: A Peek-Through Picture BookMoon: A Peek-Through Picture Book by Britta Teckentrup

My rating: 5 of 5 stars

Have you ever wondered why the moon shines in the night-time sky?

There’s something to be said about the idea of grace in picture books. It’s an airy idea to grasp, particularly when rendered in the flatness of paper and print, but it’s something that, in the best picture boos, is most definitely present. Moon is very much that; it’s a delight. Airy, magical, and graceful , it moves around the world, tracing a series of night time scenes set under a silvery waxing, waning and full moon.

And it is graceful, because it’s such a restrained book. The palette is one of shadows, of muted and restricted colours, greens and blues and blacks, a landscape lit up under the light of the moon, and then a sudden flare of colour. There’s a scene that I love, amongst many, where the moon looks down at penguins, and there’s so much life on the page, that even though the palette is carefully, beautifully, modulated, the spread sings. Do you see what I mean about that idea of grace? The balance here between the pattern of the penguins, that downward shift of the land, and the remote, precise, glory of that slender moon. It’s an eloquent spread precisely because of that balance; so genuine, so gently done.

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One of the other notable elements of this book is the use of cut outs. The moon itself  is a cut out space in the page which varies as you read through the book, ultimately moving through a full lunar cycle. It’s subtle work, and manages to move the book into something where you don’t just turn the pages, you go back and forth, loooking at the moon that was and the moon that shall be. I get fulsome about books like this (I know, surprise!) but that’s because they do what they do so well and picture books build readers, and this book burns to be read under the light of a full moon at bedtime.

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This edition is due out on September 7th, and I’m telling you about it now because I think it’s one to get on pre-order, and into your budgetary / lesson / teaching plans. I also think it would be an utter delight for anyone going on a camping holiday, or anybody who’s a little bit afraid of the dark. Where Moon shines (badumtish) is in how it creates this sense of connection; the moon itself may appear slightly differently to everyone but it is the same moon. We’re all on the same planet and oh, isn’t it beautiful.

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My thanks to Little Tiger for the review copy. Yes, I screamed a little over-excitedly when I got it.

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