Book Review: Rumpelstiltskin, retold and illustrated by Paul O. Zelinsky

BIBLIOGRAPHY
Title: Rumpelstiltskin
Retold and illustrated by: Paul O. Zelinsky
Publisher: Dutton Children's Books
Publication Date: October 16, 1986
ISBN: 978-0525442653

PLOT SUMMARY
In this version of the traditional tale, a poor miller lies to the king that his daughter can spin straw into gold. The greedy king locks her in a room and orders her to spend the night spinning straw into gold. If she fails, she will be executed. As she weeps, the girl is approached by a tiny man, who will spin the straw into gold if the girl gives him her necklace. The second night, the girl offers her ring to the tiny man to spin the straw into gold. On the third night, the king says he will marry the girl if she completes her tasks again. Not having anything else to offer, she agrees to give her future firstborn to the tiny man, A year later, the girl, who is now the queen, begs to keep her child, and the tiny man says he will only let her do so if she can guess his name within three days. The queen sends her most faithful servant to follow the man into the woods, discovering that his name is Rumpelstiltskin. The queen correctly states the Rumpelstiltskin's names, and in a fury, he jumps on his cooking spoon and flies out the window.

The back of the book includes the history of Rumpelstiltskin and the differences between the major editions of the story. Zelinsky explains that his version of the tale combines text and dialogue from various versions, as well as new elements that he deemed best suitable for a picture book.

CRITICAL ANALYSIS
The miller's daughter, who is nameless like all the other characters in the story, is an archetype of good. There is a gray area with both Rumpelstiltskin and the king, though. While Rumpelstiltskin is the villain of the story, since he threatens to take the queen's child, he did serve as the daughter's savior. The king is not good, either; he is greedy and threatens to execute the girl if she cannot spin straw into gold, even though it was her father who lied to the king.

The plot follows a simple formula, where for three nights the girl makes a deal with Rumpelstiltskin to spin the straw into gold. The third night diverges when she has no material possessions to offer and agrees to give her future firstborn child to Rumpelstiltskin. The story also follows the typical themes of traditional tales, where good triumphs over evil, and the queen and her baby live happily ever after.

Zelinsky's illustrations are works of art. His illustrations reflect the style of oil painting in the late Renaissance, similar to artists like Giorgione and Titian (History.com, 2019). Zelinsky even incorporates the Reinassance oil painting technique of applying oil glazes over black and white tempera paint (Zelinsky, n.d.). The art is purely European, but what area of Europe is not immediately discernible to those who are not experts on the subject.

The lush art does not overwhelm the story, though. At first impression, this book may seem too sophisticated for children, but such is not the case. Zelinsky seamlessly uses dialogue that works perfectly for reading aloud for children: "He pulled three times-whir! whir! whir!—and the spool was wound full of gold thread. He fitted another spool on, and—whir! whir! whir! whir!—three pulls and that one too was full." The almost cartoonish design of Rumpelstiltskin will make children giggle, especially the demented and hilarious illustration of him riding on a cooking spoon and singing. This is another moment perfect for reading aloud to children.

AWARDS
1987 Caldecott Medal Honor Book

REVIEW EXCERPTS
"One of the most exquisite picture books of the season, Zelinsky's Rumpelstiltskin will have strong appeal for children and for adult picture-book collectors alike." - Publishers Weekly

"Zelinsky's smooth retelling and glowing pictures cast the story in a new and beautiful light." - School Library Journal

"A distinguished edition of one of Grimm's favorite tales." - Kirkus Reviews

CONNECTIONS
Enrichment activities: There are a plethora of gorgeously illustrated picture book versions of traditional tales for children. In the list below are several of those books. Take the opportunity to introduce children to art concepts, and lessons on famous artists from major artistic movements, such as the Renaissance.

Related books:
Lesser, R., & Zelinsky, P.O. (1999). Hansel and Gretel. New York, NY: Dutton Children's Books.
ISBN: 978-0525461524

Zelinsky, P. O. (1997). Rapunzel. New York, NY: Dutton Children's Books.
ISBN: 978-0525456070

Craft, M.F., & Craft, K.Y. (2016). Beauty and the Beast. New York, NY: HarperCollins.
ISBN: 978-0060539191

Craft, C., & Craft, K.Y. (2003). King Midas and the Golden Touch. New York, NY: HarperCollins.
ISBN: 978-0060540630

Craft, M. F., & Craft, K.Y. (2002). Sleeping Beauty. San Francisco, CA: Chronicle Books.
ISBN: 978-1587171208

Craft, M.F., & Craft, K.Y. (2000). Cinderella. San Francisco, CA: Chronicle Books.
ISBN: 978-1587170041

Mayer, M., & Craft, K.Y. (1989). The Twelve Dancing Princesses. New York, NY: HarperCollins.
ISBN: 978-0688080518

REFERENCES
History.com. (2019, September 20). Renaissance art. Retrieved from https://www.history.com/topics/renaissance/renaissance-art

Zelinsky, P.O. (n.d.). Rumpelstiltskin. Retrieved from http://www.paulozelinsky.com/rumpelstiltskin.html

Book Review: The Three Little Wolves and the Big Bad Pig by Eugene Trivizas and Helen Oxenbury

BIBLIOGRAPHY
Title: The Three Little Wolves and the Big Bad Pig
Author: Eugene Trivizas
Illustrator: Helen Oxenbury
Publisher: Margaret K. McElderry Books
Publication Date: September 30, 1993
ISBN: 978-0689505690

PLOT SUMMARY
In this inverted version of the fable The Three Little Pigs, three little wolves are pursued by the Big Bad Pig. With the help of various animal friends, the wolves build a house out of brick, a house out of concrete, and a house out of barbed wire, iron bars, and armor plates. Each house is destroyed by the Big Bad Pig, who cannot huff and puff these houses down, so instead resorts to a sledgehammer, a pneumatic drill, and even dynamite. The three little wolves decide that their building materials must be the problem, and build themselves a beautiful house of flowers. When the Big Bad Pig huffs and puffs the flowers, the fragrant scent softens his heart and he realizes the error of his ways. The three little wolves invite the Big Bad Pig to play and live with them.

CRITICAL ANALYSIS
Like the traditional fable, the characters of The Three Little Wolves and the Big Bad Pig represent the archetypes of good and evil. A major change in the story is the lack of violence, which delineates the difference between good and evil more in this version. In the traditional version, the two of the pigs are devoured by the wolf. The third pig in the house of brick boils the wolf alive and then cooks and eats him. The only harm to the wolves in this version is that their "fluffy tails are scorched." Rather than tricking the pig by violent means, they find a peaceful way to stop his destruction and even form a lifelong friendship.

Oxenbury's illustration adds to these archetypes, drawing the wolves as adorable. These character designs supplemented by the description "three cuddly little wolves with soft fur and fluffy tails." Meanwhile, the Big Bad Pig is illustrated as a menacing villain, grimacing throughout the book.

The plot follows the formula of the traditional tale, but with the stakes increased. Rather than a house made of straw and a house of sticks, the story uses building materials that may be more familiar to children - bricks, concrete, and metal. Since these materials are so sturdy, the Big Bad Pig humorously is not able to huff and puff these houses down and instead destroys the houses in wild spectacles.

The story and illustrations are humorous from the first page, starting with the illustration of the mother wolf in bed wearing curlers in her hair. Children will be tickled by the wolves playing human games including croquet and battledore and shuttlecock. Even the cover is humorous, showing the three little wolves sitting on a scaffold eating lunch like construction workers. Oxenbury deftly handles color and their illustration medium to create exciting pages, including a two-page spread of an explosion, while also creating beautiful and soft moments, such as the wolves building their house made of flowers.

AWARDS
1994 ALSC Notable Children's Books

REVIEW EXCERPTS
"In his English-language debut, Trivizas laces the text with funny, clever touches, from an ensemble of animals who obligingly donate whatever building materials the wolves require, to the wolves' penultimate, armor-plated residence replete with a "video entrance phone" over which the pig can relay his formulaic threats. Oxenbury's watercolors capture the story's broad humor and add a wealth of supplementary details, with exquisite renderings of the wolves' comic temerity and the pig's bellicose stances. Among the wittiest fractured fairytales around." - Publishers Weekly

"Oxenbury's pastel watercolor illustrations combine the coziness of a nursery tale with tongue-in-cheek humor. They are animated and full of personality. Children familiar with The Three Little Pigs will enjoy the turnabout, the narrow escapes, and the harmonious ending. This may also be used to inspire them to develop their own adaptations of classic tales." - School Library Journal

"Never mind the other incarnations of this tale--classic, fractured, rapped; this inversion will have children giggling from the outset." - Kirkus Reviews

CONNECTIONS
Enrichment activities: There are several variants of The Three Little Pigs. Teachers and librarians can engage children in studying this fable and comparing and contrasting variants.

Related books:
Scieszka, J., & Smith, L. (1989). The True Story of the 3 Little Pigs! New York, NY: Viking Kestrel Picture Books.
ISBN: 978-0670827596

Teague, M. (2018). The Three Little Pigs and the Somewhat Bad Wolf. New York, NY: Cartwheel Books.
ISBN: 978-1338157741

Gunderson, J., & Bernardini, C. L. (2016). No Lie, Pigs (and Their Houses) Can Fly!: The Story of the Three Little Pigs as Told by the Wolf. North Mankato, MN: Picture Window Books.
ISBN: 978-1479586257

Schwartz, C. R., & Santat, D. (2012). The Three Ninja Pigs. New York, NY: G.P. Putnam's Sons Books for Young Readers.
ISBN: 978-0399255144

Disney, R. H. (2004). The Three Little Pigs. New York, NY: Golden/Disney.
ISBN: 978-0736423120

Wiesner, D. (2001). The Three Pigs. Boston, MA: Clarion Books.
ISBN: 978-0618007011

Marshall, J. (2000). The Three Little Pigs. New York, NY: Grosset & Dunlap.
ISBN: 978-0448422886

Lowell, S., & Harris, J. (1992). The Three Little Javelinas. Lanham, MD: Cooper Square Publishing.
ISBN: 978-0873585422

Book Review: Just A Minute: A Trickster Tale and Counting Book by Yuyi Morales

BIBLIOGRAPHY
Title: Just A Minute: A Trickster Tale and Counting Book
Author and Illustrator: Yuyi Morales
Publisher: Chronicle Books
Publication Date: September 1, 2003
ISBN: 978-0811837583

PLOT SUMMARY
Grandma Beetle is visited by Señor Calavera, a living and speaking skeleton man. He tells Grandma Beetle that "it is time for her to come along with him," but Grandma Beetle continuously delays her departure by requesting that Señor Calavera let her finish household chores. She counts her chores in English and Spanish, gradually exasperating Señor Calavera with her numerous chores, to the point where he joins in to help her finish her chores faster. Finally, it is revealed that Grandma Beetle has been preparing to celebrate her birthday with her nine beautiful grandchildren, and invites Señor Calavera to share their meal. After hugging and kissing her grandchildren goodbye, she is ready to leave, only to find that Señor Calavera had so much fun at the birthday party and looks forward to attending her next one.

CRITICAL ANALYSIS
Just A Minute: A Trickster Tale and Counting Book is an original trickster folktale that is steeped in Mexican culture, from the various storytelling devices to the art of the picture book.

Grandma Beetle is the eponymous trickster of the story, who uses her wiles to trick the patient Señor Calavera into delaying her departure. The name for "Señor Calavera" has many meanings. The word "calavera" means "skull," and is often referred to the brightly colorful sugar skulls used in Día de los Muertos celebrations. The word was also used in the late 18th century and early 19th century to describe short, humorous poems, which were often sarcastic tombstone epitaphs (Ward, 2017). This short and humorous picture book nods to the literary calaveras of Día de los Muertos.

As a counting book, each page has a predictable pattern. Using numbers in English and Spanish, Grandma Beetle stresses that she has another chore to complete: "uno house to sweep," "dos pots of tea to boil," "tres pounds of corn to make into tortillas," "cuatro fruits to slice," "cinco cheeses to melt," " seis pots of food to cook," siete piñatas to fill with candy," and "ocho platters of food to arrange on the table." The last two numbers divert from this pattern, introducing the "nueve beautiful granchildren." When Grandma Beetle announces that all ten guests have arrived, her grandchildren ask who is the tenth guest. "Diez, of course, is Señor Calavera.

Morales' illustration style reflects the Mexican muralism movement of the 1920s. It is ironic that this is a style used in a book to teach children how to count in English and Spanish, since the Mexican government commissioned muralists to educate the illiterate population about Mexico's history (The Museum of Modern Art, n.d.). The color palette is bright and colorful, and the illustrations include textures that imitate the look of painted murals.

This book also subtly introduces children to the concept of death. It is not explicitly stated that Señor Calavera represents death, so younger children might not grasp this concept. However, older children might infer this, as he tells Grandma Beetle on the first page "it was time for her to come along with him," but to where he never says. When her nine grandchildren appear, it seems that Grandma Beetle has been preparing to spend her last birthday with her loved ones, and Señor Calavera looks at them in terror. What kind of monster would take away this loving grandmother in front of her grandchildren? In a touching illustration, Grandma Beetle happily hugs and kisses them goodbye, literally surrounded by love as she is embraced by her grandchildren. When the reader reads the letter left behind by Señor Calavera, Grandma Beetle winks at the reader. It seems that Grandma Beetle knew what she was doing, and emotionally buttered up Señor Calavera by inviting him to her birthday party and introducing him to all of her grandchildren. Thanks to her wits, she will live another year.

AWARDS
2004 Pura Belpré Award for Illustrator
2004 Golden Kite Honor Book
2003 Texas State University's Tómas Rivera Mexican American Children's Book Award
2003 Consortium of Latin American Studies Programs (CLASP) Americas Award for Children's and Young Adult Literature

REVIEW EXCERPTS
"Like the text, the rich, lively artwork draws strongly upon Mexican culture, with hints of Diego Rivera in Grandma's robust form, and the skeleton resembling the whimsical figurines often seen in Day of the Dead folk art. The splendid paintings and spirited storytelling--along with useful math and multicultural elements--augur a long, full life for this original folktale." - Booklist, starred review
"Lit with dancing lines and warm colors, Morales' illustrations enhance the appeal of this winning story even further." - Kirkus Reviews, starred review

"This story is a delight. Morales's personification of death is never forbidding or scary, but rather a simple matter of fact. This deceptively simple read-aloud treat has as many layers as an onion, and is every bit as savory." - School Library Journal

"Like the best folktales, the darker motivation for the skeleton's visit remains elusive for youngest readers, and the sly interplay between hostess and visitor makes light of his role. Morales (Harvesting Hope) whips up a visually striking book, and funny to boot. Her deep, glowing pastels and stylized human characterizations beautifully conjure the traditions of Latin American muralists, while Señor Calavera's ghoulish, goofy gallantry would make him the comic lead of any Day of the Dead festivity." - Publishers Weekly

CONNECTIONS
Enrichment activities: The publisher offers a website where librarians and teachers can download and print paper masks and puppets of Señor Calavera (http://www.yuyimorales.com/just_aminute.htm). While the book is not explicitly about Día de los Muertos, children can be introduced to the calavera used in celebrations. This can segue into more lessons and activities about Mexican culture. Be mindful not to appropriate the culture, and to teach in a sensitive manner. Death can be a scary topic for children, but we must also strive to make sure that children can understand and discuss the topic without fear.

Related books:
Morales, Y. (2008). Just In Case: A Trickster Tale and Spanish Alphabet Book. New York, NY: Roaring Brook Press.

ISBN:  978-1596433298

Morales, Y. (2018). Dreamers. New York, NY: Neal Porter Books.
ISBN: 978-0823440559

Morales, Y. (2016). Little Night/Nochecita. New York, NY: Square Fish Books.
ISBN: 978-1250073242

Morales, Y. (2015). Niño Wrestles the World! New York, NY: Square Fish Books.
ISBN: 978-1250062703

Tafolla, C., & Morales, M. (2009). What Can You Do With A Paleta? / ¿Qué puedes hacer con una paleta? New York, NY: Tricycle Press.

ISBN: 978-1582462219

Montes, M, & Morales, Y. (2006). Los Gatos Black on Halloween. New York, NY: Henry Holt and Company.

ISBN: 978-0805074291

REFERENCES

The Museum of Modern Art (MoMA). (n.d.). Mexican muralism. Retrieved from https://www.moma.org/collection/terms/183

Ward, L. (2017). Top 10 things to know about the Day of the Dead. National Geographic. Retrieved from https://www.nationalgeographic.com/travel/destinations/north-america/mexico/top-ten-day-of-dead-mexico/

Book Review: Sylvester and the Magic Pebble by William Steig

BIBLIOGRAPHY
Title: Sylvester and the Magic Pebble
Author and Illustrator: William Steig
Publisher: Windmill Books (1969), Simon & Schuster Books for Young Readers (1997), Little Simon (2012)
Publication Date: September 24, 1969
ISBN: 978-1442435605

PLOT SUMMARY
Sylvester Duncan is a young donkey who enjoys collecting pebbles of unusual shape and color. One day he finds an extraordinary pebble that is red, shiny, and perfectly round like a marble, and learns that it can grant wishes. Before returning home, he sees a lion, and in a panic wishes that he was a rock, making him unable to wish himself back to a donkey. A year later, his parents' picnic at the rock, unaware that it is their son. They see the pebble and, reminiscing how much their son loved unusual pebbles, place it on top of the rock, allowing Sylvester to wish himself back into a donkey.

CRITICAL ANALYSIS
The story presents Sylvester's childlike panic realistically; Steig lists all the things Sylvester could have wished for, had he not panicked and thought carefully. This moment serves as the conflict and central drama, as opposed to a moral. While not an explicitly stated moral of the story, children reading this might infer a lesson about not letting their emotions rule their choices in high-stress situations. Of course, though, that is a lesson that is easier said than done, even for adults.

The story seems to be longer than what is usually seen in picture books. While some pages have few one or two short sentences, others include long paragraphs. One of the pages alone has 93 words on it. The edition that was reviewed, the 1997 reprint, includes Steig's Caldecott Award acceptance speech for Sylvester and the Magic Pebble. In his speech, he jokes that his speech will not be as long as the book.

Steig's art style reflects the painterly styles often seen in children's picture books before the advent of computer graphic software. The art is illustrated in bright watercolors, with several details and embellishments, such as the flower patterns on Mrs. Duncan's china on the first page, and the patterns on her dresses throughout the book.

The endpapers of this edition states that the artwork is color corrected to accurately mirror Steig's watercolor originals. While the original 1969 edition was unavailable for review, a brief internet search provided a few pages from the original, allowing comparison between the two. The 1997 reprint is a vast improvement; the colors are bright, rather than mute, and being able to compare the two allows one to appreciate Steig's mastery of watercolors. A notably unforgiving and unpredictable medium, watercolors are not like acrylics or oils; if a mistake is made with the latter, the artist can paint over it, but such is not the case with watercolors. It is astounding that Steig managed such precise details when watercolors are so difficult to control.

Young children may not recognize how sad the plot is from the perspective of Sylvester's parents, but parents reading to their children will recognize that sadness. If this is not a classic picture book the parent grew up with, they might struggle to consider keeping this book for their child's own collection. What could be more tragic and horrible than losing a child and not knowing what happened to them?

AWARDS
1978 Lewis Carroll Shelf Award
1970 Caldecott Medal
1970 National Book Award for Young People's Literature finalist

REVIEW EXCERPTS
"...if you're not moved by Sylvester's predicament, by the lion's bewilderment, by the mood forlorn and joyous, if you don't take to the logical, easy stance of the animal friends... if you don't appreciate the fair beauty of Steig's landscapes, well, then one will know for sure who's the donkey." - The New York Times

CONNECTIONS

Enrichment activities: This book could be a way to introduce calming techniques to help children manage fear and anxiety in stressful situations.

Related books:
Steig, W. (2008.) Shrek! New York, NY: Square Fish Books.
ISBN: 978-0312384494

Steig, W. (2009). Amor & Boris. Boston, MA: Houghton Mifflin Harcourt.
ISBN: 978-0312535667

Steig, W. (2010). Doctor De Soto. New York, NY: Square Fish Books.
ISBN: 978-0312611897

Steig, W. (2011). Brave Irene. New York, NY: Square Fish Books.
ISBN: 978-0312564223

Steig, W. (2011). The Amazing Bone. New York, NY: Square Fish Books.
ISBN: 978-0312564216

Book Review: Because by Mo Willems and Amber Ren

BIBLIOGRAPHY
Title: Because
Author: Mo Willems
Illustrator: Amber Ren
Publisher: Hyperion Books for Children
Publication Date: March 5, 2019
ISBN: 978-1368019019

PLOT SUMMARY
Because depicts how one piece of music can change the lives of several people. The story starts with Franz Schubert, who is inspired by composer Ludwig van Beethoven to create his own symphony. From there, the story shows how each person involved creates a domino effect of inspiration and aspirations, from the orchestra to the individual musicians, the graphic artist who created a poster advertising the symphony, the train conductor who got everyone there on time, and the lighting technicians and janitors who prepared the hall. Because an uncle was sick, an aunt had an extra ticket to take her niece to the symphony, inspiring her to become a composer.

CRITICAL ANALYSIS
This story provides a look at all the people that make a symphony happen, giving children an idea of how many people it takes to do anything. In the case of the symphony, the composer is not the only person who makes it happen; it takes the orchestra, the individual musicians, the graphic artists who create the advertising for the symphony, the public transit that makes sure the conductor gets to the orchestra rehearsal, the orchestra librarian who has copies of the score for the orchestra rehearsal, the hall staff that clean the hall and check the lighting, the users to open the doors, and more. To create requires the time, passion, and energy of a team, not just one person.

Illustrator Amber Ren's style is detailed and beautiful, creating immersive settings that draw in readers to the story. Several pages are connected by a magical flow of yellow glowing musical notes, culminating in a large burst of color when the orchestra performs. The music notes gradually change to green to represent the young girl's inspiration from Franz's music transforming into the music she creates on her own. After a similar burst of green color when performing her symphony, the music notes gradually transform to blue to signal someone else being inspired, as stated by the closing line "And that night, someone else was changed. That is how it happens."
The story also includes an ethnically and racially diverse range of characters, presenting a believable range of demographics seen in a major metropolitan city like the one depicted in the book. These cultural markers are not explicitly expressed, but provide visual indicators of diversity, such as the women wearing hijabs and the man in the audience wearing a kippah.

AWARDS
None

REVIEW EXCERPTS
Willems’s story celebrates making music while acknowledging those whom celebrations of high culture sometimes ignore... Debut illustrator Ren takes the sprightly energy of The Philharmonic Gets Dressed and adds depth, with distinctive expressions for each diverse face and a wonderful vision of the powerful emotions that music evokes—building on the idea that it takes multiple players to create something wonderful." - Publishers Weekly, starred review

"While many books celebrate the arts and creativity, this one stands out for recognizing the importance of community support; from the orchestra librarian to the music lovers who purchase tickets, everyone contributes to the culture of creativity." - Kirkus Reviews

"An iconic book not only for musicians and music lovers but also for anyone wishing to celebrate those who came before them and those who come after." - School Library Journal

CONNECTIONS
Enrichment activities: At the end of the book, the author and illustrator biographies explain their "because", i.e. why they have the jobs they have. Discuss with children what they want to be when they grew up, and what their inspirations for doing so are.

Book Review: Last Stop on Market Street by Matthew de la Peña and Christian Robinson

BIBLIOGRAPHY
Title: Last Stop on Market Street
Author: Matthew de la Peña
Illustrator: Christian Robinson
Publisher: G. P. Putnam's Sons
Publication Date: January 8, 2015
ISBN: 978-0399257742

PLOT SUMMARY
A young boy and his grandmother ride the bus together, and the boy laments the things he does not have. His grandmother helps him realize that he has plenty to be thankful for and seeing beauty in unconventional places.

CRITICAL ANALYSIS
The central conflict comes from the questions that CJ asks his grandmother. These questions are the kind that many children ask their guardians: "Why don't we have the things that the other kids and their families have?" He asks why they do not have a car. During the bus ride, he longingly watches other boys riding bikes and boys who board the bus listening to music on their headphones.

CJ also asks questions about things he finds negative. When asking his grandmother why they have to wait in the rain for the bus, she tells him the trees need water to drink, too. When he asks why they have to volunteer at the soup kitchen after church, his grandmother tells him she feels bad for the kids who do not get a chance to make friends with the people there. When CJ asks why a blind man cannot see, his grandmother replies that he can see the world with his ears. When he asks why the area around the soup kitchen is so dirty and broken down, his grandmother replies that it can help him witness what is truly beautiful. For each response, CJ seems to consider what his grandmother tells him, and even wonders how she can always find "beautiful where he never even thought to look."

It is not a preachy lesson; the story's plot is seamless and does not stop the flow to explicitly point out what the moral of the story is. Rather, CJ's questions reflect what the children reading or listening to this book have probably thought before themselves. Rather than giving explicit answers to CJ's questions, the grandmother's responses allow children and CJ to interpret an answer for themselves.

Illustrator Christian Robinson's childlike style complements the story, adding to the illusion that this book is from the perspective of a child. The shapes of characters and the setting look like they're cut out of construction paper, with details scribbled in with crayon and marker. Even collage is used, such as one page when a man's newspaper is an actual cutout of a page from a newspaper article.

While a specific culture is not mentioned, it is interesting to note that CJ and his grandmother are people of color, whereas the friend he notices in a car is white. Research has proven that people of color rely on public transit more than white people (Anderson, 2016). When CJ and his grandmother reach the soup kitchen, the characters inside are portrayed diversely, and even two characters in wheelchairs are depicted.

AWARDS
2016 Newbery Medal
2016 Caldecott Honor Book
2016 Coretta Scott King Illustrator Honor Book

REVIEW EXCERPTS
“This celebration of cross-generational bonding is a textual and artistic tour de force.”  - Kirkus, starred review

“Like still waters, de la Peña and Robinson’s story runs deep. It finds beauty in unexpected places, explores the difference between what’s fleeting and what lasts, acknowledges inequality, and testifies to the love shared by an African-American boy and his grandmother.” - Publishers Weekly, starred review

“De la Peña and Robinson here are carrying on for Ezra Jack Keats in spirit and visual style. This quietly remarkable book will likely inspire questions of a sort less practical-minded than CJ’s; it will also have some adult readers reaching for a tissue.” - The Horn Book, starred review

“The urban setting is truly reflective, showing people with different skin colors, body types, abilities, ages, and classes in a natural and authentic manner.” - School Library Journal

“With the precision of a poet, Matt de la Peña chronicles a boy's heartwarming Sunday morning routine with his nana. Christian Robinson's uplifting palette and culturally diverse cast brightens the rainy-day backdrop.” - Shelf Awareness, starred review

CONNECTIONS
Enrichment activities: This book can be used to introduce affluent children to public transportation and the lives of people who depend on services like public transit and soup kitchens. The book can also serve representation for children who live the same lifestyle as the protagonist, CJ. The book can be used to start a discussion with children about the have and have-nots in their lives, and how to find positivity in their lifestyles.

Related books:
de la Peña, M., & Robinson, C. (2018). Carmela Full of Wishes. New York, NY: G.P. Putnam's Sons.
ISBN: 978-0399549045

Thank You, Omu! by Oge Mora
Mora, O. (2018). Thank You, Omu! New York, NY: Little, Brown Books for Young Readers.
ISBN: 978-0316431248
A book about sharing and kindness. A 2019 Caldecott Honor Book and winner of the Coretta Scott King Illustrator Award.

Boelts, M., & Jones, N.Z. (2009). Those Shoes. Somerville, MA: Candlewick Press.
ISBN: 978-0763642846
A young boy's grandmother explains "wants" and "needs" when he asks for a pair of shoes that everyone at school is wearing.

Boelts, M., & Jones, N.Z. (2018). A Bike Like Sergio's. Somerville, MA: Candlewick Press.
ISBN: 978-1536202953
Ruben feels like the only kid without a bike. His family does not have as much money as his friend Sergio's family.

REFERENCES
Anderson, M. (2016). Who relies on public transit in the US. Pew Research Center. Retrieved from https://www.pewresearch.org/fact-tank/2016/04/07/who-relies-on-public-transit-in-the-u-s/