Rainstorm, by Barbara Lehman (2007)

Rainstorm is one of the many delicious fruits of yesterday's trip to our public library.  It is also one of five beautifully crafted wordless picture books by Barbara Lehman, a 2005 Caldecott honoree for The Red Book.  Like her other books (and like many of David Wiesner's wordless books), Rainstorm elicits wonderment by moving seamlessly between fantasy and reality in ways that evoke surprise and delight, that feel magical. 

The story opens with a "poor little rich boy" trying unsuccessfully to entertain himself in his large, empty house when a rainstorm keeps him indoors.  He accidentally stumbles upon a key, which opens a trunk, which leads to a secret passage and, eventually, a parallel world.  Lehman's paintings are seemingly simple and cartoonish (in contrast to, say, Wiesner's detailed realism).  But they are intensely evocative, revealing the emotional journey of a protagonist whose eyes are simple dots and whose mouth is a merely small curved line.  She also uses border, perspective, and other picture book conventions to bring her readers fully into the scene; we are most definitely along for the ride.  as with other well-designed wordless picture books, Rainstorm welcomes "readers" at all levels of language proficiency and offers them a truly interactive and creative "reading" experience; teachers might find it effective as a creative writing prompt for older children and/or in working with English Language Learners.

Like so many classic children's books, Rainstorm registers our desire to turn boredom into adventure---a desire that young people may express more explicitly but from which their elders, no matter how busy, are not immune.  It invites readers of all ages to revel in the possibility of finding something extraordinary beneath the veneer of our ordinary lives.  In the process, it promises, our loneliness will give way to companionship and connection as surely as the rainstorm gives way to sunshine.

Ivy + Bean (Book One), written by Annie Barrows and illustrated by Sophie Blackall (2006)

To date, Miss E hasn't been very interested in chapter books (which is perfectly fine with me, BTW).  But so far, she loves the Ivy and Bean books so much that she's been willing to forgo our usual 3-book nightly ritual in order to fit in as many chapters as we can before Light's Out.  She seriously can't get enough.

This series (8 books so far) by Annie Barrows and Sophie Blackall really does give young readers/listeners the best of both worlds: the textual detail of a chapter book and the high quality illustrations of a picture book.  Since each volume is around 120 pages, Barrows has ample time to fully develop both of her protagonists and meaningfully introduce a fairly large supporting cast.  Blackall's playful and expressive ink sketches adorn just about every two-page spread, sometimes occupying a whole page (and occasionally two), other times inhabiting strategic margins and corners.  Indeed they are substantial enough to offer a full visual telling of the story and perfectly matched with the tone and energy of the text.

Second-graders Ivy and Bean are yet another incarnation of the classic "unlikely BFFs" formula so central to children's literature, but they (and their adventures) still feel fresh and original.  Though Bean initially seems the typical "bold tomboy" and Ivy the demure "good girl," they are delighted to accidentally discover how much they actually have in common, above all, a love of adventures that marry physical and imaginative prowess.  In this first volume, this involves casting a spell on Bean's mean tween sister, Nancy.  Secret passageways, theatrical makeup, lots of fence climbing, an outgrown play house, and a whole mess of worms add to the fun.

Certainly, not all parents will love these books; Ivy and especially Bean revel in their own irreverence, rule-breaking, duping of unsympathetic elders, etc.  But I found them almost as charming and hilarious as my daughter.  And I'm not above admitting that their adventures were a satisfying fantasy---and vicarious delight---for both of us.

Oh yeah...and so far, we haven't run into any princesses, tutus, or assorted pink fluffiness.  And that's kind of refreshing.

Miss E's Read:  Did I mention that there is a "big, muddy worm pit"???  And two little girls with rather good aim??  Or that Bean wiggles her tush and sticks out her tongue when she is angry?

Worth Noting:  Scholarly types might enjoy my friend Jenny Miskec's essay on this series in the Children's Literature Assn. Quarterly.  You do need Project Muse to access it.

Yes Day!! Written by Amy Krouse Rosenthal and illustrated by Tom Lichtenheld (2009)

Yes Day! is another incredibly clever collaboration by Amy Krouse Rosenthal and Tom Lichtenheld, the pair who are also responsible for Duck! Rabbit! (among others).  The premise is simple but irresistible:  Imagine that for one whole day each year, you are the boss, and your parents have to honor your every request!!  The kid appeal is obvious; this may be the most blatant wish-fulfillment fantasy I've ever seen.  But adults will appreciate how smartly this book is crafted, enjoy its rich humor and its gentle warmth, and be reminded of how powerful simple pleasures can be.

On each pair of pages, the image on the right conveys the child's request, as well as its context; readers must flip the page to see the wish fulfilled, heightening our feeling of anticipation.  These wish-fulfillment scenes dominate the book, each one rendered far more boldly than the scene of request, typically as full-bleed images that often extend onto the facing page or take up two pages (the play of borders and white-space is, not coincidentally, reminiscent of Where the Wild Things Are).  Lichtenheld's cartoonish artwork enriches the book's natural humor and strikes exactly the right note.  The illustrations often contain details (subtle and not-so-subtle) of event and context that are barely hinted at in the understated text, catching us by surprise and deepening the comedic effects.  For example, while we know that "Can I Use Your Hair Gel" will not end well, we don't know until we turn the page that "Yes Day" also happens to be Formal Family Portrait Day and that a goofy beret-wearing box-camera aficionado will capture Junior's bow tie and a spiky mohawk combo for posterity.  Deceptively simple but profoundly expressive, the visual text effectively conveys the protagonist's high energy and great delight as well as the intimacy and joy of the parent-child relationship. 

Miss E's Read:  She absolutely adores the concept behind this book---what's not to love??? (assuming that you're a kid, that is).  Her favorite part, though, may be the endpapers, which depict a calendar full of "no" days---"You Gotta Be Kidding Me Day," "Over My Dead Body Day," When Pigs Fly Day"---that are genuinely funny to adults and laugh-out-loud hilarious to small children.  Adults should be warned, however, that this is a "can and will be used against you" page.

Why Did the Chicken Cross the Road? (2006)

In this unique volume from Dial Press, fourteen all-star illustrators offer delightful visual answers to an age-old question.  The collection showcases "signature style" pieces by such heavy hitters as Mo Willems (Knuffle Bunny), David Shannon (No, David!), Jerry Pinkney (The Lion and the Mouse), Tedd Arnold (Fly Guy), Mary Grandpre (Harry Potter), and others.  But what is most remarkable about it are the broad range---in terms of subject, tone, and medium---and the sheer inventiveness of the artists' responses to the World's Most Cliched Prompt.

Willems, for example, brings in his trademark Pigeon for a police interrogation, while Harry Bliss draws on a cast of mutated zombie chickens (who seem poised to begin the "Thriller" dance).  David Shannon imagines a cartoonish chicken chauffeuring around sundry other barnyard animals, while Jerry Pinkey's delicate and more realistic watercolor animals spread a tablecloth on the ground for a tea party.   Yet while all of the illustrations strike different notes, humor and whimsy dominate.  There are many pages that make my daughter laugh out loud---and without stopping---even though she is a little too young to fully appreciate the book's premise.  Moreover, many of the images are incredibly detailed, and some include rather sophisticated visual puns and allusions that appeal to adults without excluding or alienating children.

Miss E's Read:  This book was in heavy rotation in our house for several weeks.  She thinks it's hysterical.  Marla Frazee's contribution is one of her favorites, as is Bliss's zombie page.   Judy Schahner's (Skippyjon Jones) free-range/de-ranged chicken also makes her fall out of her seat.

Bink and Gollie, written by Kate DiCamillo and Alison McGhee and illustrated by Tony Fucile (2010)

This 2011 Geisel Medal winner doesn't quite fit the traditional parameters of the early reader.  Like Grace Lin's Ling and Ting, it's divided into multiple chapters (in this case three), but unlike Lin's book, it doesn't play by the "rules" of the early reader with respect to vocabulary and sentence structure.  But it is a delightful read aloud and---even more importantly---a memorable and emotionally rich story.

Bink and Gollie is the brainchild of two authors who normally don't write collaboratively with anyone.  Kate Di Camillo has been a Newbery honoree for her middle-grade novels Because of Winn Dixie and The Tale of Despereux (and has previously been recognized by the Geisel folks for one of her Mercy Watson early chapter books).  Alison McGhee is less well-known in the world of children's books but is a prolifc, award-winning author in her own right.  And illustrator Tony Fucile is a veteran Disney/Pixar animator as well as the author/illustrator of the picture book Let's Do Nothing.

Like Frog and Toad, Elephant and Piggie, and so many other classic characters in children's literature, Bink and Gollie join a long line of unlikely BFFs whose loyal friendships and embrace of difference---along with their charming eccentricities---endear them to readers young and old.  The two girls live next door to each other---gloriously sans adults---in dwellings that tell us a great deal about who they are.  Older, taller, elegant Gollie lives in a postmodern treehouse whose decor can best be described as "mod" and whose kitchen produces perfect pancakes.  Younger, brasher Bink, with her wild, uncombed hair, garish rainbow socks, and relative disregard for public opinion, inhabits a scaled-down cottage at the foot of the tree, lined with shelves full of peanut butter, on which she largely subsists.  And in each of the three chapters, their differences temporarily---and most comically---drive them apart, leading them in each case to a deeper understanding of the other and then to a joyful (and equally comic) reunion.

Fucile's cartoonish illustrations reflect his background in animation.  Using largely a black and white palette (bold pen and ink paired with softer greys), he uses touches of color very sparingly but effectively through powerful visual contrast.  His expressive drawings perfectly capture the energy, personalities and the emotional journeys of both girls. They vividly bring the girls' whimsical homes to life on the page, leading us eagerly into the fantasy.  And they add a whole other layer of humor, both to the girls' actions and interactions and to his lively, witty streetscapes.

Notes:  You can preview the first 10 pages of the book here.  I've also included a link to Betsy Bird's exuberant and detailed School Library Journal review.

Miss E's Read:  She says she most loves "that there's an older one and a younger one," and thus resonates with many of her (and, I imagine, other children's) pretend play fantasies.  The pet-fish-roller-skating-oopsie incident in the last story hit a little too close to home (even though it turns out far better than any of our own fish crises have), and we do have to skip those pages ;)

Benny and Penny in The Big No-No, by Geoffrey Hayes (2009)

This 2010 Geisel medal winner (ALA award for early readers) is one of three Benny and Penny books published by TOON books.  And like the other Geisels I've looked at, it does not disappoint, despite the fact that early readers are such a tricky category, with many restrictions on vocabulary and sentence length.

TOON Books publishes high-quality comics at the standard three early-reading levels.  If you are a fan of graphic literature, you'll be hooked; if you're not, these books could change your mind.  The series editorial director is Francoise Mouly, and its advisor is her husband, New Yorker cartoonist Art Spiegelman.  Spiegelman wrote the Pulitzer-winning Maus books (yes, the comic books about the Holocaust), which were among the first to give graphic literature mainstream---and literary---respectability; he also produced one of TOON's early offerings, Jack and the Box. 

Benny and Penny are a brother and sister pair rendered in charming, dynamic colored pencil illustrations.  In this volume, they sneak into the new neighbors' yard to retrieve a pail, and both mystery and rather muddy adventures ensue when they meet the child who now lives there.  Part of the appeal of this story lies in the relationship between the siblings, who are eminently realistic both in their rivalries and in their loyalty.  They are also very energetic and fun-loving, and it's hard not to revel along with them in the glorious messes of children's outdoor exploration.  A gentle, playfully presented warning about making hasty assumptions lies beneath the more explicit lesson, and the children's mistakes are handled lightly and without judgment, reminding us these they are a natural part of a child's social education.  The story ends with some not-so-subtly physical comedy that will have young readers laughing aloud---and perhaps adults as well. 

Worth Noting:  Toon's online resources are wonderful; find them here.  Teachers will especially appreciate the file of thoughtful lesson plans.  The site also features a CarTOON maker that looks super fun.  Readers can also  access eleven TOON books online for free, with audio, through the TOON Book Reader---in five different languages (and intended partly to support ELL kids).  In fact, you can read The Big No-No for yourself here.

Miss E's Read:  She most loved the mud.  And it's abundant!!!

Pilobolus: The Human Alphabet, with photographs by John Kane (2005)

This was an accidental find during our last trip to the library.  It is also, hands down, the most original and stunning alphabet book I've come across yet.

Remember the old-school episodes of Sesame Street where several kids lay on the ground and used their bodies to form the "Letter of the Day"?  That's the basic concept here, except that the letters are executed by highly skilled professional dancers, exquisitely balanced upright and gracefully intertwined.  And that's just the beginning.  Each page of the book not only features a small "human alphabet" letter in one of its corners but is dominated by a second image (also formed by the dancers' bodies) signifying a word beginning with that letter.  This interactive dimension challenges the reader to guess the word being represented.  And many of these are somewhat abstract---at least at first---inviting us to think and see differently---and to look again and again.  Thus this book calls us---adults and children equally---into an experience of genuine wonder as we marvel at the wit and genius behind each creation, the beauty and skill of human bodies pushed to the limits of strength and flexibility, and the profound intimacy and collaboration such work requires.

Note: The Pilobolus Dance Company has been around for 40 years.  You can see samples of their work on their website or by searching for them on YouTube. 

Miss E's Read:  She loved guessing the images and later spent several evenings poring over its details in her darkened room, long after she was supposed to go to sleep.  She also, naturally, wanted to re-enact her favorite pages, which didn't exactly work so well... ;)