Archive for March, 2014

When I was preparing for Flora’s arrival, there was very little shopping that needed to be done. We had five years worth of girls’ clothes and all the baby essentials. Our car seat was about to expire and we decided to upgrade to a video monitor (singing its praises), but other than that, it was pretty much diapers and baby shampoo.

Oh, and did I forget to mention? A little bit of book shopping, too, of course.

It was just so plainly obvious that our board book collection was lacking, and I’ll use any excuse.

As attractive as their near-indestructible format is, I have always been a reluctant consumer of board books. Primarily because too many great picture books have been inappropriately repackaged into board book format.

Click Clack Moo CoverTake “Click, Clack, Moo: Cows That Type,” for example. It was one of the founding editions of my children’s book collection, purchased long before any of my girls were even conceived. This incredibly witty, amazingly illustrated story is intended for children ages 3 to 7, and appropriately so.

Would I have ever considered this book in board book format? No!

Why not? For several good reasons:

1: Its sharp humor, creative plot and detailed illustrations would go completely over the head of a baby or toddler.

2: The complexity of the text would likely test the patience and interest of these young readers.

3: All of the aforementioned elements that make this an exceptional picture book would be diminished in the board book’s small-scale format.

But most importantly, by the time your baby is 7 years old and capable of fully appreciating this story, how enthusiastic do you think she’ll be about pulling out a board book at story time? Not very.

The best board books are written and constructed with babies and toddlers in mind —hence the thick sturdy pages, with wipeable, glossy surfaces designed to withstand little ones’ not-so-gentle hands. School Library Journal offers a good summary of what constitutes a truly successful board book:

“The best ones tell a simple story with few or no words, allowing readers to invent their own. Ideally, illustrations are crisp and clear, with limited images on each page, offering plenty of contrast between the background and the pictures. Occasionally, a picture book makes the successful transition to a board format, but be warned that not all picture books are equally engaging as board books. Too much text on the page is distracting and crowded, and the smaller trim size can make illustrations appear crammed on the page, losing detail and focus. The absolute best board books are the ones that withstand the test of time: not only in being indestructible, but also in holding young children’s interest as they explore and point to pictures, exclaiming, ‘again, again!’ when reaching the last page.”

Stumped by the ill-suited board book release of “Cloudy with a Chance of Meatballs,” Horn Book contributing editor Cynthia Ritter suggested that publishers are catering to “parents who want smaller, sturdier, and cheaper versions of picture books.” She suggests that money-smart parents seek out paperback editions of books before succumbing to the allure of board books. They’re “lighter and, while less durable, similar in cost to the board book and in size to the original,” she writes.

Here’s how I see it, if a book is available as a picture book, I choose that format almost without exception. Even if I incur double the cost of a board book, I gain three times the life. Inevitably, all children consider themselves “too big” for board books, usually by the time they’re two. If a picture book can survive those first two years, it will be read many more times in the years that follow, both to your first child and as well as any that may follow.

Conversely, if I’m going to buy a board book, it’s going to be specifically suited for children under two and it had better be pretty outstanding. Keeping my prejudices in mind, I’ve sought new baby-friendly titles to complement tried-and-true board book favorites like “Brown Bear, Brown Bear,” “Moo, Baa, La, La, La,” and “Goodnight Moon.”

In the process, I’ve noticed an interesting trend in my preferences: I now have a significantly larger collection of books derived from folk songs. It’s a trend that isn’t completely surprising. Many nursery rhymes and folk songs are so engrained in our memory that they’re easy to fall back on as you rock your baby to sleep in the middle of the night or attempt to distract a toddler causing a raucous at a restaurant. “This Little Piggy” and “The Itsy Bitsy Spider” never grow old and rarely cease to elicit a baby’s adorable chuckles. The lyrical verses are just what you need to hold an on-the-go toddler’s attention.



One of my favorite board book discoveries in this genre has been Marla Frazee’s “Hush, Little Baby.” As a child, this was the song my parents would sing to us at bedtime, and it was the first thing that popped into my head when I was a new mom attempting to console a colicky infant.

Hush Little Baby Cover


Frazee’s rich watercolor illustrations make her one of my all-time favorites. I adored her work in “The Seven Silly Eaters” and “Everywhere Babies.” Her humor is wonderfully evident in “Boss Baby,” which she authored and illustrated. She’s also responsible for bringing “Clementine” to life in Sara Pennypacker’s popular chapter book series.

In “Hush, Little Baby,” Frazee’s beautifully detailed images lend a clever backstory to this traditional American folk-song. The opening pages of the book depict a frontier family returning home at sunset, the eldest daughter envious of the attention the new baby gets as her parents tuck the baby into bed. Turn the page and the reader spies big sister shoving her baby sister’s cradle, waking the baby and setting the song in motion.

Hush Little Baby 1

Hush Little Baby 2

Hush Little Baby 3

While Mama attempts to console the baby, Papa and Big Sister visit a peddler on the road to see if they can find something to “hush the baby.” We all know how the story goes, though, and despite their many desperate attempts, Baby howls all night long. Just as the sunrise is tingeing the sky pink, the family tumbles out of a horse drawn cart and the baby finally decides she’s tired out.

Hush Little Baby Ending

I love how Frazee has captured the siblings’ reconciliation and the parents’ utter exhaustion. Best yet, I love the sweet and innocent look on the baby’s face, in sharp contrast with earlier images of a seemingly possessed child. Isn’t that just how babies are? Utterly exhausting and maddeningly frustrating during sometimes endless fussy periods, but angelically loveable the very moment it passes.

Angry Baby

As an added bonus, the last page of the book offers the accompanying lines of music, which will be helpful for those readers who can’t exactly remember how the tune goes.



I discovered Tomie de Paola’s petite gem “Mary Had a Little Lamb” at The Pumpkin Patch, our local, independent children’s book and toy store. It always astonishes me how poorly big box bookstores stock some of the children’s book greats like de Paola, Eric Carle and even some of Dr. Suess. I’ll never forget when our BAM bookstore failed to turn up either a copy of “The Cat in the Hat” or Mem Fox’s “Ten Little Fingers, Ten Little Toes.” And they wonder why I have absolutely zero interest in their ridiculous membership program!

Conversely, it was a pleasant, but not completely unexpected treat to discover a de Paola with which I was previously unfamiliar while browsing about The Pumpkin Patch. The proprietor, like most indie sellers, knows her children’s book authors and is a particularly ardent de Paola fan.

Mary Had a Little Lamb Cover

Originally published as a picture book in 1984, de Paola’s “Mary Had a Little Lamb” is a rare example of a book that’s been appropriately repackaged as a board book. The song’s succinct verses, paired with de Paola’s vibrant artwork make it perfectly suited for toddlers and babies. Of course, there are other board book incarnations of “Mary Had a Little Lamb,” but there’s none better than de Paola’s. His illustrations, in themselves, are masterpieces of contemporary American folk art and are ideal for bringing to life one of the best-known American folk songs. He’s also done a masterful job of interspersing wordless pages between verses of the song, creating a pacing that’s ideal for impatient readers eager to turn the page.

For example, the page spread following the verse “And every where that Mary went / The lamb was sure to go” illustrates the little lamb following Mary while she washes the dishes in the kitchen, reads a book in the attic and then nods off to sleep.

Mary and Lamb

Mary Had a Little Lamb HousesIn addition, I appreciate the historical accuracy with which de Paola approached the project, incorporating the concluding verses of the song that few of us know and illustrating the pages with landscapes, buildings and dress that are true to the time and location in which the song was composed —1830, rural New Hampshire countryside.

De Paola also had an interest in the supposed controversy concerning the rhyme’s authorship, about which he writes in detail on his website. Traditionally, the writer Sarah Josepha Hale of Guild, New Hampshire, is credited with the creation of the original poem. However, a Mary Sawyer of Sterling, Massachussets, claimed she was THE Mary who took her pet lamb to the town’s one-room schoolhouse. She asserted that a visiting pastor-in-training witnessed the incident and composed the verses, which he gave to her.

De Paola read everything he could on the topic and concluded that he sided with Hale, especially in light of her deathbed oath that she was the sole author of the poem.

Mary Author

“I shared all of this information with Margery Cuyler, my editor at Holiday House. We agreed to produce a picture book of the poem and credit SJH (Sarah Josepha Hale) as the AUTHOR — what fun! I went to Newport and sketched actual buildings that would have been in Newport at the time of SJH. I even put a portrait of sorts on the title page of an 1850’s-1860’s lady writing at a desk with a toy lamb pull-toy near her. And guess what? I ADDED to the controversy. Letters poured in — well, OK, dribbled in — correcting me about the ‘TRUTH.’ I sent them to the Richards Free Library whose staff enjoyed answering them. I DON’T WANT ANY MORE LETTERS ABOUT WHO WROTE ‘MARY HAD A LITTLE LAMB.’”



Another treasure trove of song-based board books are those offered by Child’s Play, a British publishing company that’s employed nearly every nursery rhyme or folk song one could name, from “This Little Piggy” to “”If You’re Happy and You Know It” to “Head, Shoulders, Knees and Toes.” I’m particularly fond of their “Books with Holes” board book series. These books utilize unique die cuts in their pages to reveal images that enhance the story’s development. I’ll use our favorite, “The Farmer and Dell,” to illustrate the technique.

On the opening page spread, we meet “the farmer in the dell,” seen through the first hole holding a bunch of flowers. The accompanying second verse tells us “the farmer takes a wife,” and we’re shown a group of a dozen potential spouses — some scary, some frumpy, some quirky and some sweet. The reader gets the fun of guessing whom the farmer will choose.

Farmer and the Dell 1

The page spread that follows reveals the selected wife through a new hole. In addition, we’re shown a crowd of a dozen potential children, one of whom belongs to the couple. Will it be the girl in the flowered dress or the boy on the skateboard? Maybe the boy with the chickens? Turn the page to find out.

Farmer and the Dell 2

The bright, playful illustrations and lyrical, repetitive verses make this book enjoyable for our baby, but the guessing game has captured the interest of our 4- and 6-year-old girls. They almost always choose a “Book with Holes” when I encourage them to read to Flora; and because they know the songs so well, even our pre-reader Charlotte can “read” these books. They may have the most fun with “The Farmer and the Dell,” but they also love the inventive new verses in “Little Miss Muffet.”

Miss Muffet Parrot

Along came a parrot, who crunched on her carrot.

You’ll also meet a bear who gobbled her pear, mice who munched all her rice and a poodle who nibbled her noodles, among others.

Our collection also includes “One Elephant,” which brings back fond memories of Sharon, Lois and Braham, as well as “The Ants Go Marching.” We have “Old McDonald,” too, but this edition was a case in which Child’s Play’s traditional British verses didn’t quite match up with our familiar version of the song. For instance, their horses “whinny” rather than “neigh” and their pigs “grunt” rather than “oink.” Check out their full collection of books on their website.



Read Full Post »

When I write about a book, I like to spend time learning as much as I can about the author and illustrator, their artistic methods and their literary inspirations. I’m always curious about the story behind the story.

Optical IllusionHowever, there are some books that are so iconic and familiar that it can be difficult to see their treasured images and verses afresh, to separate the story from our long-engrained impressions. It’s a little like that old optical illusion in which one either sees a young lady or an old woman — your brain usually interprets the picture one way and it can be difficult to grasp hold of the alternate image.

Such was my experience when researching “Madeline” and its author/illustrator Ludwig Bemelmans for my post about the ultimate little girl’s library.

Madeline Cover

Despite evidence to the contrary, I was one of the many who assumed Madeline had no family. Indeed, many believe that “old house in Paris” was an orphanage. I also was under the impression that Madeline was French, as was her author — anyone who would attempt to rhyme “again” and “rain” simply couldn’t be American, could they? And I was certain that Miss Clavel was a nun.


I had to throw many of my preconceived notions out the window after coming across this NPR interview with Bemelmans’ grandson, John Bemelmans Marciano, who has revived the Madeline empire in recent years with new titles like “Madeline and the Cats of the Rome” and “Madeline and the White House.”

“It’s not an orphanage; she’s not a nun; and Madeline is not French,” Marciano told NPR. “I used to get almost indignant over it, but these things take on a life of their own and sometimes misperceptions are the stuff of legends.”

According to Marciano, although Madeline attends a French boarding school, she is an American with parents bearing the surname Fogg. This detail was apparently buried in a manuscript Bemelmans drafted in the early 1950s after a visit to Texas. Marciano discovered the text and accompanying sketches while researching his grandfather and published it posthumously as “Madeline in America and Other Holiday Tales.”

Of course, if you had been looking for it, you would have taken note of the dollhouse Madeline received from “Papa” during her hospital stay in the original book. In addition, Madeline flies home on a magic carpet in “Madeline’s Christmas” and is shown happily celebrating on her father’s lap with a mother and two younger siblings nearby.

Madeline Has Family

As for Miss Clavel, Marciano insists that her apparel is that of a nurse. However, Marciano was born eight years after the death of his grandfather, so even his assertions may be a little faulty at times.

Most revealing of Madeline’s genesis is the acceptance speech Ludwig Bemelmans gave after being awarded the 1954 Caldecott Medal for “Madeline’s Rescue” (he had previously received a Caldecott Honor for “Madeline” in 1939).

Bemelmans explains that he never had ambitions of writing a children’s book, that all he ever wanted to be was a painter. However, he said the methods necessary for becoming a successful artist did not appeal to him; he did not want to exhibit himself, he did not like “the kissing of hands,” and he did not want to see his work sold and taken away.

Madeline became Bemelmans’ solution; a method of painting what he loved and presenting those images to an appreciative audience without having to comprise himself:

“You will notice in ‘Madeline’ that there is very little text and there is a lot of picture,” Bemelmans said. “The text allows me the most varied type of illustration: there is the use of flowers, of the night, of all of Paris, and such varied detail as the cemetery at Père la Chaise and the restaurant of the Deux Magots. All this was there waiting to be used, but as yet Madeline herself hovered about as an unborn spirit.”

in rain or shine

So what brought about Madeline’s birth? Bemelmans traced the spark of creation to a mishap he experienced during a vacation by the sea in France. While bicycling home to his rented beach house with the catch of the day slung over his shoulder, Bemelmans was hit by the island’s only automobile.

Here’s cause to question Marciano’s familiarity with his grandfather’s legacy. Marciano asserts in an interview with the literacy website Reading Rockets that his grandfather was conveniently hit by an ambulance that subsequently delivered him to the hospital. But Bemelmans recalls to the finest detail “a four horsepower Super Rosengart belonging to the baker of Saint Sauveur, the capital village on the island. This car was a fragrant, flour-covered breadbasket on wheels.”

In fact, Bemelmans said he had to walk himself to the hospital, lobsters in tow. But this misfortune proved an important catalyst:

“I was put into a small, white, carbolicky bed, and it took a while for my arm to heal. Here were the stout sister that you see bringing the tray to Madeline, and the crank on the bed. In the room across the hall was a little girl who had had an appendix operation, and, standing up in the bed, with great pride she showed her scar to me. Over my bed was the crack in the ceiling ‘That had the habit, of sometimes looking like a rabbit.’ It all began to arrange itself. And after I got back to Paris I started to paint the scenery for the book. I looked up telephone numbers to rhyme with appendix.”

Madeline Hospital Inspiration

To flesh Madeline out more fully, Bemelmans drew inspiration from many of the women in his life. Her name is a more rhyme-friendly version of his wife’s Madeleine. Her appearances matches sketches Bemelmans made of his daughter, Barbara, enjoying her first trip to Paris, including a visit to the zoo.

The details of daily life in the old house in Paris are based on stories Bemelmans mother told him about her girlhood in a convent in Bavaria.

“I visited this convent with her and saw the little beds in straight rows, and the long table with the washbasins at which the girls had brushed their teeth,” he said.

Madeline Beds and Sinks

That convent school was, of course, overlooked by nuns, which most likely shaped Miss Clavel.

Even more interesting are the autobiographical components of Madeline’s character

“I myself, as a small boy, had been sent to a boarding school in Rothenburg,” Bemelmans said. “We walked through that ancient town in two straight lines. I was the smallest one.”

In Two Straight Lines

It’s no wonder Madeline has been so dear and familiar to three generations of children and adults. She is a masterful collage of very real and special people.

Finally, I was fascinated to learn more about Bemelmans’ international upbringing, which, in turn, provides explanation for the author’s unusual rhymes. He was born in an area of Austria-Hungary that is now part of Italy where he spoke French exclusively until the age of six. (“It was fashionable in Europe to bring up children who spoke nothing but French,” Bemelmans explained) At that time, Bemelmans’ father left the family for their governess and Bemelmans’ mothered moved the children to Germany, where he picked up his second language. He spent the remainder of his youth in Germany and then Austria, learning the hotel business. In 1914, he immigrated to the United States to further his apprenticeship in the hospitality industry. He joined the United States Army in 1917 and became a U.S. citizen in 1918.

Bemelmans’ former editor, May Massee, cites his 1953 memoir, “Father, Dear Father,” as one of the best sources of biographical information available on the author. Within its pages, Bemelmans has recorded the experiences and conversations of his trip to Europe with his daughter, Barbara. Barbara expresses somewhat exasperated curiousity about Bemelmans’ diverse cultural background and complex accent.

“Do you speak German with an accent too?’

‘Yes, of course.’

‘Do you speak any language correctly?’

‘Well, I have the least accent in French, or else the French are very polite, for they always say how very well I speak it for a foreigner.’

‘That’s all rather sad, Poppy.’

‘Well, it has its advantages. It’s like being a gypsy, belonging everywhere and nowhere.’”

As a result of his efforts to mimic his grandfather’s inventive prose, Marciano says he’s come to appreciate Bemelmans’ oddities:

“I think there’s something great about inconsistency,” he told NPR. “It keeps you on your toes as a reader.”

However, he sympathized with Bemelmans’ editors, citing his grandfather’s attempt to rhyme the words “Genevieve” and “beef” in “Madeline’s Rescue.”

Madeline's Rescue

“In German…the ‘v’ and the ‘f’ is the same,” he said. “I can just imagine (the editors) saying: ‘No. It does not rhyme in English.’”

For more captivating information about Ludwig Bemelmans, his writing process and the history of his books, read the entirety of his Caldecott Medal acceptance speechas well as the whole of his editor’s reflections on the author. In addition, Forbes offers an interesting look at the Madeline dynasty, past, present and future.

Read Full Post »

My dear friend is having her second child and HER FIRST GIRL!!! later this month. We showered her with baby bows and all things girly this past weekend, and I was tasked with putting together a bow-themed, children’s book trivia game for our party.

Can you name that bow?

(Find the answers at the bottom of this point)

(Find the answers at the bottom of this post)

This line-up of beribboned characters represents many of the classic heroines of children’s picture books (with a picture book newbie and a British import thrown in).

When I broke the news of my first pregnancy, my sisters presented me with a signed copy of Katherine Holabird’s “Angelina Ballerina.” Their inscription read:

Angelina Inscription

I hear baby boys are wonderful; I’ve met several that are irresistible; but as one of four sisters, I was set on having my own gaggle of girls. If I hadn’t been lying on a table during my 20-week ultrasound, I would have done a victory dance when the technician told me I was expecting a girl that first time around.

Now that our house holds three little girls, our collection of the great “girl” books has grown exponentially from that first edition of “Angelina.” While I’m a firm believer that all books can be, and should be, enjoyed equally by both genders, there is a collection of books I believe no little girl’s library should be without. Each has become a beloved classic, having proven its unique value through the test of time. These are the books I gifted as a right of passage for my friend as she prepares to become the mother of a daughter.

Eloise Cover

“Eloise,” written by Kay Thompson and illustrated by Hilary Knight
I’m a bit biased, as this is my firstborn’s namesake, but Eloise is a one-of-a-kind character. Inspired by the author’s goddaughter, Liza Minnelli, Eloise is the quirky and wonderfully self-assured 6-year-old who lives on the “tippy-top floor” of The Plaza Hotel and gets into all kinds of innocent mischief in that great establishment. I love her confidence, independence, sense of adventure and creative imagination. I love Knight’s frenetic pink, black and white drawings. And I’ve grown to love the author’s childlike, stream-of-consciousness writing style, peppered with inventive vocabulary like “skibble,“”sklank” and “sklonk.”

Madeline Cover

“Madeline,” written and illustrated by Ludwig Bemelmans
There are few children’s book characters more recognizable or more enduring than Bemelman’s Madeline. Brought to life 75 years ago, she is still the shining example of fearlessness: “She was not afraid of mice — She loved winter, snow, and ice. To the tiger in the zoo, Madeline just said, ‘Pooh-pooh.’” Not even an emergency appendectomy can shake this small girl’s bravery. Children are fascinated by Madeline’s daring and entertained by Bemelman’s irresistible rhyming text.

Henkes Book Cover

“Chrysanthemum” and “Lilly’s Purple Plastic Purse,” both written and illustrated by Kevin Henkes

“Chrysanthemum” is the perfect book for the current generation of children whose parents, like Chrysanthemum’s, are set on finding unique and “absolutely perfect” names. Chrysanthemum, much to her parents’ delight, loves her carefully selected name and has a healthy self-image….until she starts school. Poor Chrysanthemum is crushed when the “mean girls” make fun of her long, flowery name. And Chrysanthemum’s poor parents are devastated when their darling daughter returns home heartbroken after her first day of school. Despite their efforts to boost her spirits with favorite meals, board games and parenting books, Chrysanthemum’s plight worsens at school…until everyone’s favorite teacher affirms just how perfect Chrysanthemum’s name is.

Henkes writes children’s struggles, happinesses and thought processes better than any author I know, and his illustrations are just as exceptional. Which is why I also count “Lilly’s Purple Plastic Purse” as another great classic. Lilly is a mouse with immense enthusiasm for school and for her teacher. But when her enthusiasm for her new purple plastic purse, movie star sunglasses and three shiny quarters become a nuisance at school, she’s reprimanded by her beloved teacher and her once positive feelings quickly swing toward the other end of the spectrum. In her rage, Lilly draws an offensive picture of her teacher, which she comes to regret when her emotions cool off. In the end, amends are made and Lilly gets a chance to show off her new acquisitions at an appropriate time. It’s a great book for children with big personalities and big emotions.

Angelina Cover

“Angelina Ballerina,” written by Katharine Holabird and illustrated by Helen Craig

The author was the second eldest of four sisters who grew up and had two daughters of her own, so its no wonder she imagined a book that’s held such appeal for tutu-obsessed readers for three decades. “Angelina” is much more than a book about ballet, however. It’s a book about a child (a mouse child) that has a dream of becoming something great. What makes Angelina admirable is the discipline and focus with which she chases that dream in order to earn her “happily ever after.” And nothing beats Craig’s delightful illustrations; so many of her images remained clear in my memory despite the decades that lapsed between my childhood readings and the book’s reintroduction when I became a parent.

Miss Rumphius Cover

“Miss Rumphius,” written and illustrated by Barbara Cooney
Though not bow adorned, I will argue that Cooney’s “Miss Rumphius” is THE most inspiring of female picture book characters. The book, published in the year of my birth, long ago earned its spot as my all-time favorite children’s book, in large part because of the breathtaking beauty of the rich and detailed images with which Cooney illustrated this story. Equally moving is the protagonist, Miss Alice Rumphius, the little girl who grows up painting with her grandfather in his cigar shop by the harbor. She admires the exotic images her grandfather paints from the memories of his travels, and she vows that she, too, will travel to faraway places before returning to live by the sea. However, little Alice’s grandfather tells her there is a third, more difficult thing she must do in her life: find a way to make the world more beautiful.

As we turn the pages, we watch Alice grow into a young woman who does, indeed, travel to faraway places – mountains, deserts and lush islands. In her later years, she makes her home in a cottage by the sea and at last discovers how to accomplish the third task of her life. Miss Rumphius spends a spring and summer traversing nearly every inch of her seaside village, scattering lupine seeds in her wake and earning her strange looks from passerbys. But when the landscape explodes with the “blue and purple and rose-colored lupines” the next spring, she is lauded as the Lupine Lady, inspiring the generations that follow to seek their own ways of making the world more beautiful.
Miss Rumphius serves as a sterling role model of a person (regardless of gender) whose life is defined by neither love nor career but by the rich and varied adventures of her life. Her achievement of that “third, most difficult task” is a goal to which all people should aspire – to leave this world better than we found it.

Olivia Cover

“Olivia,” written and illustrated by Ian Falconer
“Olivia” is the most recent of the “classics” but well-deserving of her place on my girls’ must-have list. After the book’s debut in 2000, Falconer earned a Caldecott and praise putting him up there with the children’s book greats, including comparisons to the aforementioned “Eloise” illustrator, Hilary Knight. The story is simply an introduction to the book’s namesake, Olivia: what she likes, what her talents and interests are, who her family is, what her days are like. What makes Olivia special is her own fabulous opinion of herself, her seemingly endless energy, her unique style and her joie de vivre. Children would want Olivia as a friend, and adults will identify with the exasperating aspects of parenting such an independent and energetic kid/pig: when OIivia gets dressed, “she has to try on everything;” when it’s naptime, “Olivia’s not at all sleepy;” after seeing the Degas exhibit, Olivia decides to try her hand at the artist’s technique on the walls at home; and every night involves tough negotiations as to the duration of the evening’s story time. Flaconer’s illustrations are stunning and his writing is brilliantly humorous. He’s created a nearly flawless series of “Olivia” sequels and I can’t wait to see what he creates next.

New Girl Books Covers

“Fancy Nancy,” “Pinkalicious,” and “The Very Fairy Princess” are several other storybook girls who have arrived on the scene more recently and who offer a bit more frill. They’ve proven immensely popular with today’s little girls, but I would suggest that, like a red wine, they may need a little time to age before we determine if they have the legs to last.

Who else would you add to the list of great picture book girls?

Answers: 1. Angelina Ballerina, 2. Chrysanthemum, 3. Olivia, 4. Eloise, 5. Fancy Nancy, 6. Milly-Molly-Mandy, 7. Madeline

Read Full Post »