Category: Picture Book Reviews

Picture Book Review: We Are (Not) Friends by Anna Kang

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We Are (Not) Friends
Author: Anna Kang
Illustrator: Christopher Weyant
Two Lions
1 April 2019
40 pages

This month’s PB review is by Ryan G. Van Cleave (#1 Friend at Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB superfriend) John Herzog.

–Ryan’s Review of the Writing–

We Are (Not) Friends is the fourth book in the You Are (Not) Small series, and the same fuzzy pals we’ve come to know from the other titles are here again with a new problem. The two of them are engaged in a terrific playdate with a cool trunk of fun stuff, and suddenly a new (blue) pal arrives, asking: “Can I play with you?”

Big brown fuzzy pal: “Yes!”

Little purple fuzzy pal: “Well…”

See where this is going? Welcome to the world of playdate–and friendship–politics. So many of the fun things this new trio of “friends” wants to try are best suited for two, such as a dancing duet. What’s the left-​out fellow to do when the other two are having fun without them? Whether it’s playing at being dinosaur hunters or pretending to build a car, someone is on the outs each time.

The sparse text doesn’t get in the way of telling an important, vital story that showcases how friends–old and new–can get along if the idea of what friendship means is re-​examined and re-​imagined. Part of the fun, as well, is the delightful sound effects such as WHUMP, ERGG, OOPH, and BONK that dovetail with Weyant’s comedic visuals.

While I’m still a bit more taken by You Are (Not) Small, this latest book is a worthy addition to the series and will likely please many readers, big AND small alike. Adult readers, in particular, will appreciate the lesson on friendship and inclusion.

4.25 out of 5 pencils

 

–John’s Review of the Illustrations–

Friendship and empathy are at the heart of Anna Kang and Christopher Weyant’s endearing We Are (Not) Friends, which tells the story of three friends who each feel left out at some point or another during their playdate.

The story is simple, and the illustrations complement that simplicity well. Like the previous books in the series, this is very much a character study with minimal backgrounds and as-​needed props. Instead of showing the characters against grand vistas and views, the illustrations are hyper-​focused on these “fuzzy friends” trying to navigate the perils that can come with new friends.

An aspect of the characters that really stands out to me is their expressions. As an illustrator who admires and strives for simplicity, Weyant has achieved moments of humor, sadness, and depth with a mere handful of brush strokes. For me, looking at the effectiveness of these expressions is like watching Usain Bolt run the 100-​meter dash or watching Gene Kelly dance while wearing roller skates. Weyant makes it look so darn easy when, in reality, nothing could be further from the truth. Simple is hard, and anyone who says differently is selling something.

My one nit-​pick with the illustrations might be viewed as charming to others, but not to me. It doesn’t detract from the overall experience of the book, but I have to say… It drives me nuts that I don’t exactly know the species of these “fuzzy friends.” One looks like a bear, another looks like a kangaroo, and another looks like a gopher. But it’s never exactly clear WHAT these animals are supposed to be. That’s something I appreciate about the Elephant and Piggie books by Mo Willems. He’s very clear about the characters’ species. I’m willing to admit that I might be wrong on this, though. Maybe it actually is cute and charming that it’s left up to us what exactly the characters are in We Are (Not) Friends. Right now, however, I find myself craving some clarity.

I’ve gotta be honest here: I have a deep admiration for the talents of Anna Kang and Christopher Weyant. From a superficial standpoint, their books are fairly simple and straightforward–great for children. But, if you dig deeper (or you’re a parent who ends up reading these books three or four million times to your children at night), you can find an incredible amount of subtext that speaks volumes about the human condition–which is both amazing and amusing since their books have yet to feature a human character.

4 out of 5 crayons

John Herzog is an illustrator and educator. His clients include Hasbro, Dreamworks TV, Houghton Mifflin Harcourt, and Highlights for Children. He also teaches illustration classes at Ringling College of Art and Design. John is a member of the Society of Illustrators and SCBWI, and received the 2018 SCBWI Magazine Merit Award for his Highlights High Five cover illustration. He lives in Florida with his wife, two kids, a tarantula, a bearded dragon, and a fish.

He is represented by Shannon Associates.

Picture Book Review: The Panda Problem by Deborah Underwood

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The Panda Problem
Author: Deborah Underwood
Illustrator: Hannah Marks
Dial Books
2 April 2019
48 pages

This month’s PB review is by Ryan G. Van Cleave (Biggest Panda Fan at Only Picture Books) and OPB review newcomer, Florida author-​illustrator Loreen Leedy.

–Ryan’s Review of the Writing–

One thing that we’ve come to expect from Underwood’s books is how stories themselves are often part of the story. In her latest picture book, The Panda Problem, that’s exactly what’s happening. A Narrator (yes, that’s with a capital N since this one’s quite the active character here) is trying to set up a story about Panda in a “beautiful bamboo grove,” but despite the Narrator’s insistence that a main character has to have a problem, Panda claims to not have one. “Looks like you’re the one with a problem, buddy,” Panda explains to the Narrator.

The story gets fairly chaotic from there in a fun way that will delight readers, especially once the setting moves far from the bamboo grove. Thankfully, the art clearly showcases the two distinct voices. Panda’s words are always in cartoon-​style speech bubbles, and those by the Narrator look like regular text on the page, which gives the words an adult, authorial seriousness to them. Together, they create a fast-​paced dialogue that roars along as Panda tries to help make the story, well, a story. Sort of.

A bonus is that Underwood includes plenty of kid-​pleasing sound effects, as well (witness a spider who says “BRAAAAP!” and the GLUG GLUG SLOSH of Panda’s paper boat wipeout).

While other picture book authors have had characters who wrest control of the story from a narrator/​author, Underwood’s adorable Panda does it in a fun, memorable way that doesn’t get overly meta and also introduces readers to storytelling techniques (such as dialogue and the escalation of stakes).

Even though I’m an admitted panda bear fan, this is a highly entertaining, witty read regardless.

4.25 out of 5 pencils

– Loreen’s Review of the Illustrations–

The premise of this cheeky picture book can be found on the book jacket as Panda disputes the title The Panda Problem right on the front cover by asking, “What problem?” Mysterious round purple characters hint at mysteries to unfold. On the back cover, Panda is smirking after drawing a line through the floating headline NO PROBLEM, NO STORY and rewriting it as NO STORY, NO PROBLEM!

Continuing the theme, the front flap copy originally stated that the author “…puts readers in control of this story.” However, our main character has revised it to read “…puts readers PANDA in control of this story.” The back flap copy has likewise been extensively revised by the irrepressible bear.

The color scheme is at first limited to black, white, olive greens, and purple only. The digitally painted illustrations include bamboo stalks with a subtle cloth texture and energetic dry brushed leaves, while Panda has loosely drawn line work enclosing the white parts of the body. Backgrounds are primarily white space in the beginning of the book, keeping the focus on Panda and the argument with the Narrator about whether or not Panda needs a story problem to be solved. The empty white space can also be an indication of the (seemingly) unfinished state the story is in.

As the debate continues, one spread is filled with possible problems proposed by the Narrator such as “Are you afraid of spiders?” or “Is your paw sore?” and Panda’s repeated answers, “Nope.” Once they’re mentioned, comical spiders appear in the artwork. The Narrator’s words are in a clean sans serif font while Panda speaks with lively handwritten words inside expressive speech balloons with oval, undulating, or spiky shapes. When the Narrator gets especially frustrated, her words are set in ALL CAPS.

Rich photographic textures add interest and additional colors to the illustrations, such as woven fibers in a hammock, wood grain in a banjo, and crumpled paper in a sailboat. As Panda induces a multi-​hued torrent of jelly beans by merely mentioning the possibility, the Narrator loses control of events. At this point the aliens arrive, portrayed as happy purple fuzzballs who accompany Panda to Antarctica.

The scenes become increasingly chaotic as spiders, penguins, aliens, and (suddenly) twin pandas sail across the icy waters then are shipwrecked. Panda’s worried face is seen in extreme close-​up while finally giving in and admitting there’s a problem. After wailing about their hunger and the complete lack of bamboo in Antarctica, the two pandas make a deal for the Narrator to take over again, sort of. The last page is blank except for the Narrator’s final, satisfying word.

Self-​taught illustrator and designer Hannah Marks lives and works in England; The Panda Problem is her first picture book released in the United States. The design of the type and illustrations perfectly complement and extend the concepts within about the power of words, creativity, writing, characters, illustration, and of course, story problems.

4 out of 5 crayons

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Loreen Leedy is the author-​illustrator of more than 40 popular picture books that have received many rave reviews and honors. Her titles such as Measuring Penny, Amazing Plant Powers, and Crazy Like a Fox: A Simile Story often include math, science, and language arts content. Her most recent book, Step by Step, features footprints made by baby animals including a puppy, duckling, and fawn in a page-​turning question and answer format. It makes an appealing nonfiction choice for preschool, kindergarten, and first grade age levels.

To see Loreen’s work and download free book activity printables, please visit www.LoreenLeedy.com.

Picture Book Review: Soar High, Dragonfly! by Sheri Mabry Bestor

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Soar High, Dragonfly!
Author: Sheri Mabry Bestor
Illustrator: Jonny Lambert
Sleeping Bear Press
14 March 2019
32 pages

This month’s PB review is by Ryan G. Van Cleave (Top Science Buff at Only Picture Books) and OPB review newcomer, freelance artist Austin McKinley.

–Ryan’s Review of the Writing–

Soar High, Dragonfly!, the new picture book by Sheri Mabry Bestor (author of Good Trick Walking Stick), gives readers insight into the world of dragonflies with just enough science to work into STEM curricula.

The text works in two ways–the large-​font words at the top of each page make up the lyrical story of a dragonfly’s life cycle. That’s where we find techniques such as onomatopoeia where we hear the POP POP POP of a dragonfly laying eggs onto the water surface. It’s there that readers encounter strong words (squirts, thrusts, captures, gulp!) that make the moments come alive.

But the differently-​colored words–generally found at the bottom of many of the pages–work like a sidebar. The supplementary text there is informative and very straightforward, such as “Dragonfly eggs are very small and have no way to protect themselves. Many are eaten by fish, frogs, and other insects before they have a chance to hatch.” Science-​reluctant readers could potentially skip those parts and still find much to enjoy from this book, though without a doubt, this information adds to the overall experience.

While the sidebar-​style parts give this book depth, a robust backmatter section might’ve given this book a little extra oomph that so many nonfiction titles have today. Regardless, it’s a compelling title made even more so by the vibrant art that makes the “insect hero” of this story come alive.

4 out of 5 pencils

– Austin’s Review of the Illustrations–

Prolific UK illustrator Jonny Lambert graces the book with lustrous, intricately cut and collage-​textured compositions. A comparison to Eric Carle’s 1969 classic The Very Hungry Caterpillar would be apt, because of the saturated palette and rich patterns, but also a disservice because Lambert brings his own expert and playful animator’s draftsmanship to bear, creating a warmly familiar but entirely distinct sensibility—and an order of magnitude more detail.

In a career spanning over 300 titles, Lambert has interpreted almost every member of the animal kingdom.  Although only the second collaboration with the author of Soar High Dragonfly, this is a rare example of Lambert’s insect renderings which he nevertheless approaches with adroit sensitivity. Even a brown, molting nymph seems friendly and endearing, while maintaining the book’s blend of elementary simplification and scientific accuracy.

Amazingly in the digital age, the technique is a traditional one, involving—as the artist says—layers of gouache “tickled” through individual stencils derived from hand-​drawn designs, and finished with colored pencil. His artistic attention seems to be lavished on every aspect of the process, from playful character creation to painstaking execution.

The book’s broad cast of predators and prey play out their primal drama amid a sumptuous environment of swirling shallow water and lush aquatic plant life, and Lambert’s spacious layouts and text interactions underscore the joy of flight embraced by a jewel-​toned master of his medium.

4 out of 5 crayons

Austin McKinley’s work crosses many different forms of media, from comic books and cartooning to short film directing, video production, video games, screenplays, novels and novellas. Most recently he produced, shot and appeared in the award-​winning feature documentary “The New 8‑Bit Heroes” alongside director Joe Granato, and created “By The Numbers,” a feature-​length abstract animation representing cinematic structure. He is the author of several works and collections through his company, Flying Car. His comic illustrations have also been published by Image Shadowline, Devil’s Due/​1st Comics, Alias/​Blue Water Press, Avatar, Boom!, Blue King Studios, and FC9. He wrote and illustrated “Squareasota,” a weekly cartoon in the Sarasota Herald-​Tribune for seven years. He lives and works in Sarasota.
Learn more about Austin and his work:

Picture Book Review: It’s Not Hansel and Gretel by Josh Funk

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It’s Not Hansel and Gretel (It’s Not a Fairy Tale)
Author: Josh Funk
Illustrator: Edwardian Taylor
Two Lions
1 March 2019
40 pages

This month’s PB review is by Ryan G. Van Cleave (#1 fairy tale fan at Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB mega-​fan) David C. Gardner.

–Ryan’s Review of the Writing–

It’s Not Hansel and Gretel is the newest Josh Funk book, and if you’ve read any of his picture books before (such as Lady Pancake & Sir French Toast, How to Code a Sandcastle, and Lost the Library: A Story of Patience & Fortitude), you know to expect:

  • an unexpected take on subject matter
  • a kid-​friendly sense of whimsy
  • witty wordplay

It’s official–It’s Not Hansel and Gretel delivers on all counts.

There’s a narrator here trying their best to keep this story under control, but the rapscallion duo of Hansel and Gretel keep yanking this fairy tale in different directions. The art clues us in when this happens by using speech bubbles that work against the words the narrator uses, which are in cast in a fancy, Old Timey font that seems straight out of the days of illuminated manuscripts written by monks beneath candlelight.

To offer just one example of how these kids push the story off the rails, the poor narrator tells the reader how the pair “left a trail of bread crumbs leading back home” to which the kids respond with:

Gretel: What type of person SAVES bread crumbs?

Hansel: It’s a time of great famine. If there are bread crumbs left, we eat them!

Gretel: Now I’m hungry! Why’d you have to bring up bread crumbs?

Things get worse from there for the narrator who wants to stick with the traditional story, with my favorite moment being when Gretel asks, “Why isn’t it ever Gretel and Hansel?” She even points out that alphabetically speaking, G comes before H, and while a giggling kid reader likely doesn’t stop to think about the problem of legacy thinking–doing something because it’s always been done that way, or perhaps subconsciously privileging males more than females–those topics are there for adults who want to dive into that end of the pool.

One clear instance of Funk’s wordplay happens when the witch begins to cast a spell, intoning “Double, double toil and trouble.” And Gretel says, “I can’t hear you over that noisy oven. Did you say TOILET trouble?”

That’s a burst-​out-​loud kid pleasing moment, to be sure. It’s entirely possible a member of the OPB staff had chocolate milk come out of their nose thanks to laughter here, as well. 

I’m also quite taken with how the kids are practical and have a positivity about them that helps save the day. Those are two good lessons beyond the legacy thinking idea and issues of gender and power that are lightly touched upon during the course of this story.

The ending, too, is full of cameos from other fairy tale friends, and it’s a surprising yet satisfying conclusion to this irreverent take on an old, old tale. Highly recommended. For those who get a real kick out of this kind of fun, check out the first book in Funk’s It’s Not a Fairy Tale series–It’s Not Jack and the Beanstalk.

4.75 out of 5 pencils

– David’s Review of the Illustrations–

In the 1800s, children’s books were meant for moral education. But in the last century, some argued that it was enough to aim to entertain a child.

There’s no deep message in It’s Not Hansel and Gretel, but it’s a heap of entertaining fun.

Flipping through the illustrations by Edwardian Taylor is like watching a cartoon on TV, one of those vintage Fractured Fairytales, or Powerpuff Girls. This no accident; Taylor also designs for animation. I’ll confess, I’m not a big fan of the trend of children’s books mimicking slick Cartoon Network shows, but Taylor knows his stuff, and he takes full advantage of the picture book form, packing each spread with funny visual asides for kids (and adults). Look closely and you’ll discover treats on every page: Thumbelina in a corner chatting with a bird twice her size, the Seven Dwarves marching to work in the forest background, cute recurring elves in just about every spread. The clever, ebullient pictures establish from the start that we are in a world populated by fairy tale characters (a device that pays off wittily in the end–but I won’t give anything away.…)

Another note on the visuals: The great art direction makes it a breeze to tell who is talking on each page; every voice has its own font, a trick Walt Kelly pioneered in his classic comic strip Pogo.

Taylor’s character designs are fluid and manic in a way that perfectly fits the story’s tone, and his color palette is fabulous, too–muted greens and browns in the opening pages make way for the explosion of candy colors when the kids discover the gingerbread house. Close-​ups pull us into the center of the action, sometimes making an image hard to read at first glance. But in a picture book, where the child has plenty of time to peruse a picture, that’s not a problem. Add the bright, but controlled, colors–as sweet as the witch’s house–and you’ve got a book that’s an immersive experience, a cool hybrid of children’s book and animated cartoon, a perfect confection for our time.

5 out of 5 crayons

David C. Gardner is an award-​winning illustrator and visual development artist. A former artist for Walt Disney Animation Studios, he has illustrated numerous picture books, including his latest from Sleeping Bear Press, Write On, Irving Berlin! by Leslie Kimmelman (which appeared on OPB not so long ago). It tells the true story of little Izzy Baline, who immigrated to New York City in 1893 and grew up to become Irving Berlin, one of the most well-​known composers of popular music in America. David teaches illustration at Ringling College of Art and Design.
 
To learn more about David’s own work, please visit FlyingDogStudio.com.

Picture Book Review: Henry the Boy by Molly Felder

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Henry the Boy
Author: Molly Felder
Illustrator: Nate Christopherson & Tara Sweeney
Penny Candy Books
2 March 2019
36 pages

This month’s PB review is by Ryan G. Van Cleave (#1 Sticker Enthusiast at Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB superfan) John Herzog.

–Ryan’s Review of the Writing–

The back cover text clues us in:“This is a story not about a heron or a robot or a chicken, but about me: Henry the boy.” Henry the Boy is indeed about Henry, told from his own perspective of being a kid who click-​click-​clicks around using forearm crutches decorated with animal stickers.

The sense of frustration Henry feels thanks to his physical challenge is apparent when he heads into the bathroom.

I looked into the mirror and
tried to stand straighter.

But I stood like me.

One of my crutches
slipped away.

And
Smack!
I fell.

But Henry has a friend–Joel–who accepts him for who he is and helps support him, whether it’s physically helping Henry up when he falls, or offering Henry a sponge dinosaur that Joel said was supposed to grow when submerged in water, but it didn’t. Henry loved the gift regardless of whether it did was it was supposed to do or not. Perhaps he loved it more for that fact.

Through all the challenges that one might expect the only kid at school with a mobility aid to face, Henry perseveres. And that’s what this book is about. It’s one kid’s story of perseverance, self-​reliance, and the power of the imagination.

Henry the Boy is a compelling book about a type of character we don’t often see in picture books. It doesn’t surprise me in the least to learn that author Molly Felder has cerebral palsy, and has a physical assistance dog, Patterson, that helps her by opening doors, turning lights on and off, “and much more.” It’s no wonder that this book resonates with an authenticity that gives the emotional texture readers want, but it also offers some welcome optimism, too, and not just because the pictures in the final few pages pop with brightness.

4.5 out of 5 pencils

 

–John’s Review of the Illustrations–

The term I would use to best describe the illustrations in Henry the Boy is an oxymoronic one: Precise sloppiness. Or, if you prefer, sloppy precision. To be clear, in no way do I mean that as a negative. On the contrary, the illustrations in Henry the Boy complement the story and subject matter extraordinarily well.

From the beginning when we’re introduced to Henry, we get a very strong sense of the eclectic and endearing style of the book. Backgrounds are rendered in bright, unwieldy watercolors while the characters are outlined in ink and filled in with light pencil and even lighter watercolor wash. This stark contrast not only helps bring focus to the characters, but it also makes the neon colors surrounding the characters that much brighter. There’s such a tangible feeling to this book because of the use of traditional media, and it helps to connect us to Henry. It almost feels as if Henry himself is illustrating his story, helping us get a glimpse of how he views the world.

The illustrations here are messy but they’re not a mess. Everything that’s happening visually feels deliberate, in spite of the random stains and splotches that adorn most pages. This book is very much a commentary on what it can be like to have a disability, and how it feels to have no control over the world around you. It certainly makes Henry more sympathetic to the reader because of all the colorful chaos around him that he is unable to control.

My only criticism of the book–and it’s a minor issue–is the design of the characters/​animals. While they do provide contrast to the watercolor backgrounds, I think the execution could have been a little more precise. Henry is charming with his cowlick and the wave of thin hair draped over his forehead, but I feel all of the characters could have been cleaner and more appealing from a design standpoint.

But that’s a minor criticism of an otherwise wonderful marriage of words and images that is Henry the Boy. I’m excited to see what mother-​and-​son illustration team Tara Sweeney and Nate Christopherson do next.

4.5 out of 5 crayons

John Herzog is an illustrator and educator. His clients include Hasbro, Dreamworks TV, Houghton Mifflin Harcourt, and Highlights for Children. He also teaches illustration classes at Ringling College of Art and Design.

 John is a member of the Society of Illustrators and SCBWI, and received the 2018 SCBWI Magazine Merit Award for his Highlights High Five cover illustration. He lives in Florida with his wife, two kids, a pair of tarantulas, a bearded dragon, and a fish.

 He is represented by Shannon Associates.

Picture Book Review: Hedy & Her Amazing Invention by Jan Wahl

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Author: Jan Wahl
Illustrator: Morgana Wallace
5 February 2019
36 pages
This month’s PB review is by Ryan G. Van Cleave (#1 Invention User at Only Picture Books) and and Florida-​based author/​illustrator Linda Shute.

–Ryan’s Review of the Writing–

This grade school level picture book biography tells the story of Hollywood actress and inventor, Hedy Keisler, who later became Hedy Lamarr.

While this book is longer than most picture books I run across at OPB–not just the 36 vs. 32 pages, but also because it has chapters!–it never feels like it’s too much. Partially that’s due to the simple sentence structure and a straightforward style.

But almost everybody could go to the movies. A ticket only cost a few coins.

The story flows chronologically, beginning in Hedy’s childhood years of poverty in Austria, then moving ahead to her work as an actress, her initial attempts at creating inventions, and then her failed marriage to an older man that led to her decision to help the Allies in World War II. And all of this happened while growing her career as a Hollywood star.

Though most didn’t know that Hedy harbored a deep interest in inventions, she continued to research and create new things throughout her life. A new Kleenex box. A dog collar that lights up in the dark (so lost pets can be found more easily). A better traffic light.

But her most famous invention emerged after she learned how Nazi submarines were sinking British ships in World War II, and then jamming the radio signals so the British couldn’t return fire with their radio-​controlled torpedoes. In response, Hedy came up with the idea for frequency-​hopping (also called “spectrum spread”), a technique that’s still used widely today in a variety of items, including fax machines, cell phones, and wireless technologies. It’s no surprise that her birthday–November 9th–is now known as Inventor’s Day!

While there’s a sense that the challenges in Hedy’s personal and professional life stemmed from society’s now-​antiquated views on women, that avenue isn’t explored in as much depth as some of today’s readers might choose. Yet without a doubt, Hedy is an intriguing character with spunk, wit, and a profound commitment to helping others.

A brief Author’s Note in the back of the book shares the author’s three memorable personal anecdotes about Hedy.

4 out of 5 pencils

OPB Sidenote: Readers who want a picture book biography on Hedy that’s targeted at a younger audience might try Hedy Lamarr’s Double Life: Hollywood Legend and Brilliant Inventor, which is releasing on the same day as this Penny Candy Books title.

 

–Linda’s Review of the Illustrations–

When the reader cracks open the pages of Hedy, she will discover sophisticated, rich, secondary colors–notes that fall between the bright primary tones of books for younger audiences. The content is clearly defined, yet couched in the mystery of deep hues set against dark backdrops.

Illustrator Morgana Wallace’s medium is cut paper. She paints the pieces engagingly, modeling faces, costumes, and other details. The paper elements cast a soft drop shadow, giving a subtle 3‑D vibe.

An Art Deco san serif font is used for titles and chapter heads. Pages of text face single spread pictures. Occasionally, humorous vignettes break the type page.

Starting with Lamarr’s Viennese childhood, clothing reflects the times. Just so they grasp the glamour and glitter of her primary career, readers are given one full-​length image of Hedy in a lavish Hollywood costume. Her figure is reminiscent of 1940s and 50s fashion drawings–clean edged and dramatically posed with pensive expressions. Hedy’s profile is all 1940s starlet–pouty lips, arched brow, disengaged gaze.

The young reader should close the book with a feeling of having visited an exciting past era, yet one that is relatable and connects with ours.

5 out of 5 crayons


Linda Shute is an author/​illustrator who earned a degree in art and art history at Florida State University and taught children’s book illustration at Ringling College of Art and Design.
She loves peanuts and beach sunsets.