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In this cumulative picture book, debut author Anne Wynter and Caldecott Honor illustrator Oge Mora knock it out of . . . well, out of the red brick building. 

“WaaaAAH!” yells baby Izzie, popping up in her crib and waking her neighbor’s parrot in the apartment building where they both live. The baby’s squalling and the bird’s squawking then wake Benny, Cairo and Miles from their sleeping bags (chips, popcorn and books in this spread suggest a sleepover had been in progress). The “Pitter Patter STOMP” of the trio playing flashlight tag then wakes downstairs neighbor Natalia, who decides it’s a great time to launch her new toy rocket; it soars out of her bedroom window with a “PSSHEEW!” 

Wynter’s story is tightly constructed and carefully paced. Each spread builds upon the one before and recounts the growing list of sounds. By the time we reach the book’s midpoint, a car alarm, Natalia’s rocket, the children’s game, the parrot and baby Izzie have succeeded in awakening Everybody in the Red Brick Building

The adults quickly take charge, soothing screaming Izzie and the parrot, turning off car alarms and flashlights and securing flying rockets. The soft sounds that compose the book’s second half, which include a street sweeper, acorns falling from a tree and wind chimes, also build cumulatively, but this time to send the residents back to sleep. Baby Izzie, who’s been awake the longest, receives the full benefit of all the sounds, with the marvelous addition of the “pah-pum . . . pah-pum . . . pah-pum of her mother’s heart” as they nestle closely together in a cozy magenta armchair.  

Mora’s art is the ideal match for Wynter’s engaging text. Her illustrations incorporate the story’s sounds (such as the parrot’s “Rraak! WAKE UP!” and the car alarm’s “WEEYOOOWEEEEYOOOOO!!!!”), collaged in her distinctive style and sweeping across the book’s spreads. The book’s climax, in which all the sleep-disturbing sounds fly forth from the building, is expertly composed. Mora knows exactly how to use elements like simple shapes to keep a busy event from being too visually complex or overwhelming. As always, her textured, highly patterned artwork invites lingering looks and repeat reads.

This gentle sonic adventure is just right for sending children off to sleep. 

Debut author Anne Wynter and Caldecott Honor illustrator Oge Mora knock it out of the red brick building in this cumulative picture book.
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Just in time for the school season, Kevin Henkes introduces a sweet mouse-child about to face the first grade in Wemberly Worried. The master of memorable mice characters, Henkes also gave us the much-loved Lilly’s Purple Plastic Purse, a children’s classic that won an ABBY Award.

The opposite of the energetic, outgoing Lilly, Wemberly is Henkes’s creation of a delicate and sensitive young mouse who worries about everything. Nothing is too big or too small to escape Wemberly’s worry. Day and night she worries. In bed, on the playground, or in the car, Wemberly worries. But by far her biggest worry is starting school. With the momentous first day looming, a multitude of new worries fills Wemberly. And this time the list of “what if’s” is a mile long.

Broaching a serious topic, Henkes explains Wemberly’s fears in a way children can relate to; he finds the sensitive spots that traumatize most children and deftly relates them with a touch of humor in his text and illustrations. And it’s his humor and eye for detail that make this serious story fun, including a rollerblading Grandma who espouses, “Worry, worry, worry. Too much worry.” Finally, the big day arrives. A caring teacher introduces Wemberly to another young mouse, who also happens to be wearing stripes and holding a doll. Wemberly’s worries aren’t cured instantly, but she and her new friend can’t wait for the second day of school.

With his colorful illustrations, Henkes creates a sweet, fragile little girl in Wemberly. His artwork isn’t just pleasing to look at, it conveys just as much as the text. Henkes communicates a wealth of emotion with facial expressions in the sharp drawings. You can see the hesitation in Wemberly’s eyes and the distress in her tiny frame.

Until they create a first grader’s version of How to Stop Worrying and Start Living, stick with Wemberly to help your youngsters address their fears about starting school.

Just in time for the school season, Kevin Henkes introduces a sweet mouse-child about to face the first grade in Wemberly Worried. The master of memorable mice characters, Henkes also gave us the much-loved Lilly's Purple Plastic Purse, a children's classic that won an ABBY…

In author-illustrator David Biedrzycki’s hilarious new picture book, secret agent Bubble07 is an alien who happens to look like a plush unicorn and has been tasked with a challenging mission: to infiltrate a human Earthling family and determine if the unicorn army should invade Earth. 

Bubble07 is beamed down into a video arcade, where a lucky dad snags it in the claw machine. In a series of interplanetary dispatches, the absurdly adorable unicorn agent files reports on daily life with its new family—an existence made somewhat more difficult by the family’s very huge, very hairy dog, whom Bubble07 suspects “might be onto me.” As time passes, Bubble07 relays many Earthling customs and delicacies that could improve life on the home planet, such as celebrating birthdays, telling bedtime stories and, above all, eating peanut butter cookies. 

Bubble07’s primary Earth contact is the family’s daughter, who hosts tea parties, brings the unicorn to school for show and tell, takes swimming lessons (Alert to home planet: Unicorns don’t float.) and gives the agent lots of loving snuggles. After 100 days, Bubble07 has gathered enough clandestine intelligence to make a final recommendation to its “fearless leader” as to the suitability of Earth for unicorns.

Thanks to the book’s large-format design, inventive text and a final twist in the endpapers, Invasion of the Unicorns succeeds on every level. Biedrzycki has crafted a read-aloud that will delight children, and its wry humor means that adults won’t mind repeat reads. Bubble07 is an endearing protagonist who surveys our world with curiosity and occasional alarm that Biedrzycki always plays for a lighthearted laugh. His pencil and watercolor illustrations are soft and warm as they portray a loving family and their diverse community.

This agent can only conclude this report by declaring Invasion of the Unicorns a treat for unicorn lovers in every galaxy.

In this hilarious picture book, a cuddly plush unicorn is actually an interplanetary spy, and the result is a treat for unicorn lovers in every galaxy.
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Based on a “fantastically fun daladala ride” that author Naaz Khan once took in Zanzibar, Room for Everyone is an entertaining and bighearted joyride of a picture book that features fabulous illustrations by Mercè López. 

Musa and his sister climb aboard a daladala, a type of Tanzanian minibus, heading to the shore “to feast on fish at the Friday bazaar by the blue crystal waters of Zanzibar.” The bus and Khan’s pleasing prose bounce along rhythmically. The text is full of satisfying alliteration, flowing dialogue and rhyming couplets that are a delight to read aloud. 

The daladala has only a few passengers when the siblings board, but as they travel along, the driver spots people in need of a ride and yells, “It’s hotter than peppers out there in the sun! Come in, there’s room for everyone!” The additions include an older man with a bike that’s missing its seat; a herder and his two goats; three vendors carrying baskets of fruit; a farmer with four pails of milk; and so on. By the time the daladala finally reaches the shore, it’s packed with people, fish, chickens, large kitenge umbrellas, coconuts, a team of scuba divers and much more. 

Room for Everyone is an energetic counting book. Numbers on each spread stand out in a larger font and contrasting color. Key words and phrases also receive special attention with changes in size and color: For instance, in yellow and salmon lettering, “six stinky chickens” and “squawking” leap off a page’s jade background. 

The book’s palette is especially rich, featuring saturated yellows, sapphires and teals balanced against occasional warmer, softer hues. López’s delicate, fine-lined drawings are expressive and dynamic, filled with movement and momentum. 

Throughout the journey, Musa sustains a concern that the bus is overcrowded, but everyone manages to carve out space or wiggle their way in. After all, as the daladala’s passengers and driver alike shout, “There’s plenty of room for everyone!”

This entertaining joyride of a counting picture book features bouncy rhymes and expressive, dynamic illustrations.
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Tia loves music. But as a young African-American girl living in the deep South in the early 1900s, she has neither the opportunity nor the means to pursue her dream of creating it. One day, as she passes a house in the “white” part of town, she hears a lovely new kind of music, different from the blues guitar she’s grown up with the sweet notes of a piano. “It made Tia think of castles, mountains, and deep snow. The music took her away from the hot, dry town.” Tia so longs to hear more of it that she takes a job as a maid for the kind, elderly Miss Hartwell who lives in that music-filled house. William Miller’s wise and gentle words convey to the reader the power of music to soothe the human soul and transport us from our mundane lives to the land of our dreams. While listening to the piano’s melodies, Tia forgets her lot in life and escapes from her dreary, work-weary world. Music treats everyone the same and cannot distinguish between colors or ages. It treats everyone who embraces it like royalty.

Susan Keeter’s wonderful illustrations in mostly cool pastel colors seem to blend and soften the contrast between the “white world” and the “black world.” The most memorable image is that of Miss Hartwell’s white hands and Tia’s black ones resting together, in harmony, on the white and black piano keys. The illustrations truly bring this charming story to life.

Miller has given us a touching tale of how music transcends all social barriers and forms connections between very different people. Tia and Miss Hartwell have little else in common besides a love for music, yet somehow that’s enough to form a true friendship.

Carolyn Cates lives and writes in Nashville.

Tia loves music. But as a young African-American girl living in the deep South in the early 1900s, she has neither the opportunity nor the means to pursue her dream of creating it. One day, as she passes a house in the "white" part of…
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Pull up a chair and dig into a four-course feast of picture books! These books offer innovative depictions of what it means to express gratitude, to share a meal and to be both welcoming and welcomed.

Thankful

“Every year when the first snow falls, we make thankful chains to last us through December,” explains the narrator of Thankful. She is stretched out on her bedroom floor, surrounded by a halo of colorful construction paper, hard at work transforming it into a paper chain. As she lists the things for which she is thankful, readers glimpse scenes of her life with her parents, new sibling and pet dog, at her school and with her friends. 

Author Elaine Vickers’ text is wonderfully evocative. The girl’s list includes concrete and sensory observations, such as gratitude for “the spot under the covers where someone has just been sleeping” and “a cloth on my forehead when I feel sick.” In a humorous beach scene, the girl reflects that she is thankful “for wind and sand—but not at the same time.” 

Readers will be entranced by Samantha Cotterill’s outstanding and unique art. To create her illustrations, Cotterill creates miniature 3D interiors, populates them with cutout characters, then photographs each diorama. She includes charming details, including real lights in various rooms and shining car headlights, along with construction paper chains so realistic in appearance that you’ll feel you could almost touch them. Colorful and original, Thankful will spark young readers to create their own thankful chains—and may inspire them to try their hand at making diorama art, too.

Let Me Fix You a Plate

The excitement of family gatherings is at the heart of Let Me Fix You a Plate: A Tale of Two Kitchens, inspired by author-illustrator Elizabeth Lilly’s annual childhood trips to see her grandparents. The book follows a girl, her two sisters and their parents as they pile into a car and drive first to West Virginia to their Mamaw and Papaw, then continue to Florida to visit their Abuela and Abuelo, before they finally return to their own home.

Lilly’s energetic illustrations capture these comings and goings, as well as the abundant details the narrator observes in her grandparents’ homes. At Mamaw and Papaw’s house, she sees a shelf of decorative plates and coffee mugs with tractors on them, eats sausage and toast with blackberry jam and helps make banana pudding. Abuela and Abuelo’s house is filled with aunts, uncles and cousins and the sounds of Spanish and salsa music. The girl picks oranges from a tree in the yard and helps make arepas. 

Throughout, Lilly’s precise prose contributes to a strong sense of place. “Morning mountain fog wrinkles and rolls,” observes the girl on her first morning in West Virginia, while in Florida, “the hot sticky air hugs us close.” Lilly’s line drawings initially seem simple, almost sketchlike, but they expertly convey the actions and emotions of every character, whether it’s Mamaw bending down to offer her granddaughter a bite of breakfast or a roomful of aunts and uncles dancing while Abuelo plays guitar. Like a warm hug from a beloved family member, Let Me Fix You a Plate is a cozy squeeze that leaves you grinning and a little bit breathless. 

Saturday at the Food Pantry

“Everybody needs help sometimes” is the message at the heart of Saturday at the Food Pantry, which depicts a girl named Molly’s first trip to a food pantry with her mom. 

Molly and her mom have been eating chili for two weeks; when Molly’s mom opens the refrigerator, we see that it’s nearly empty. In bed that night, Molly’s stomach growls with hunger. Molly is excited to visit a food pantry for the first time, but she isn’t sure what to expect. As she and her mom wait in line, Molly is happy to see that Caitlin, a classmate, is also waiting with her grandmother. Molly greets her enthusiastically, but Caitlin ignores her. “I don’t want anyone to know Gran and I need help,” Caitlin explains later.

Molly’s cheerfulness saves the day, and the girls’ interactions contribute to a normalizing and destigmatizing representation of their experience. Molly asks her mom questions that reveal how the food pantry differs from a grocery store. Mom must check in before she begins shopping, for instance, and there are limits on how many items customers can have. “Take one bundle” reads a sign in the banana basket. 

Author Diane O’Neil captures her characters’ trepidations head-on. Mom smiles “just a little, not like when they played at the park” at the volunteer who signs her in, and Molly is confused and sad when her mom tells her to put a box of cookies back because “the people in charge … want us to take sensible stuff.” Gradually, however, the occasion transforms into a positive experience for all. 

Food insecurity can be a sensitive topic, and O’Neil—who went to a food pantry when she was a child—handles the issue in a reassuring, informative way. A helpful end note from the CEO of the Greater Chicago Food Depository explains that millions of people in the United States need help just like Molly and her mom, and provides readers resources to find it. 

Illustrator Brizida Magro is a wizard of texture, whether depicting Molly’s wavy hair or the wonderful array of patterns in coats, sweaters and pants. Her ability to capture facial expressions and convey complex emotions is also noteworthy; it adds to the book’s emotional depth and makes the eventual smiles all the more impactful. The pantry shoppers’ diversity of skin tone, age and ability underscores how food insecurity can affect anyone. Saturday at the Food Pantry brims with sincerity and a helpful and hopeful spirit.

A Hundred Thousand Welcomes

“In one place or another, at one time or another, in one way or another, every single one of us will find ourselves in search of acceptance, help, protection, welcome,” writes Mary Lee Donovan in her introduction to A Hundred Thousand Welcomes, illustrated by Lian Cho.

With poetic text that reads like an invocation, the book is a fascinating around-the-world tour that explores the concept of welcome. On each page, a household from a different culture entertains guests. Many pages include the corresponding word for “welcome” in that culture’s language, including words and phrases in Indonesian, Arabic, Mandarin Chinese and Lakota Sioux. Back matter from Cho and Donovan explains the inspiration that sparked their collaboration and offers more information about the many languages spoken throughout the world and a detailed pronunciation guide to all of the words in the book.

Cho’s art is a multicultural feast of families and friends enjoying each other’s company. There’s a German chalet where kids play in the snow, a Bengali family greeting visitors who arrive in a small, colorful vehicle and more. The disparate scenes culminate in two shining spreads. In the first, people of all ages and nationalities share a meal at a table that’s so long, it can only fit on the page thanks to a breathtaking gatefold. In the next, an equally long line of kids sit atop a brick wall, chatting with each other and gazing up at a night sky full of stars as one child turns around and waves at the reader.

Although many picture books celebrate the fellowship of friendship and the love that flows during family gatherings, A Hundred Thousand Welcomes encourages readers to go one step further, to ready their own welcome mats and invite neighbors and strangers alike into their homes and hearts.

Four picture books offer innovative depictions of what it means to express gratitude, to share a meal and to be both welcoming and welcomed.
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Some children’s books are written to entertain. Others are written to educate in an entertaining manner. Rainy Day falls in the latter category.

Written by a journalist who specializes in children’s books, Rainy Day has a simple theme: Children can have meaningful relationships with fathers who no longer live in the home. The book describes the experiences of a young boy visiting with his father on a rainy day. They romp together in the rain, explore a wooded park, then visit a seashore, where giant waves pound in all about them. Toward the end of their visit, the rain stops and the sun breaks through the clouds, allowing sea gulls to fill the air. The message is simple: Rainy days aren’t so bad. And they don’t last forever. Incredibly, the father and son depicted in the book bear a remarkable resemblance to Cuban Juan Miguel Gonzalez and his son Elian. That is a coincidence, of course, since the artwork was completed long before the Gonzalez family made news around the world as a symbol of paternal rights, but it does get your attention.

Illustrator Angelo Rinaldi does an excellent job with the artwork, although its grainy, soft-focus images seem to target adults more than children. Where Rinaldi truly excels is in his depictions of the physical interactions between father and son. There is lots of hugging and hand holding and playful roughhousing. Obviously, Rinaldi understands that young children are far better able to remember their parents’ physical gestures toward them than their spoken words. With children, a single loving gesture is worth a thousand words or any number of expensive toys. Children who read the book will probably pick up on this message faster than their parents.

Written for children ages five to eight, this book is highly recommended for households experiencing divorce or separation.

Before becoming an author of books for adults, James L. Dickerson worked for seven years as a social worker in a child protection agency. He is a divorced father of a son.

Some children's books are written to entertain. Others are written to educate in an entertaining manner. Rainy Day falls in the latter category.

Written by a journalist who specializes in children's books, Rainy Day has a simple theme: Children can have meaningful relationships…
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Hanukkah is the Jewish holiday most visible to non-Jews. Usually occurring near Christmas, it gets quite a lot of attention simply because of a coincidence of the calendar. One positive result of Hanukkah’s increasing commercialism is a feast of new books fiction and nonfiction for all ages. The publishing industry gives adults no excuse not to give at least one new book to children during the eight-day holiday.

Festival of Lights is a particularly valuable offering. It’s the story of Hanukkah, plain and simple its origins and significance told in concise, action-filled language. Colorful, detailed, and spirited pictures are balanced with just the right amount of text on each page, which sustains the interest of readers and listeners. The main story, of course, is the Maccabee victory over Greek oppressors, and the miracle of the cruse of oil that burned for eight days instead of one. Following this are explanations of the menorah and dreidel legends, simple instructions for making and playing with dreidels, and music for one of the traditional holiday songs: a Rock of Ages (Ma-oz Tzur).

Such merits make the book an ideal introduction to the holiday for non-readers and readers up to age eight. It can form the cornerstone of a family holiday library, re-focus a burgeoning Hanukkah collection, or serve as the festival’s literary representative for schools and churches. First published in 1987, the re-issue of Festival of Lights happily makes it available to new audiences. Making history and legend entertaining and memorable, it is a pleasant reminder of the real reason for the season.

Hanukkah is the Jewish holiday most visible to non-Jews. Usually occurring near Christmas, it gets quite a lot of attention simply because of a coincidence of the calendar. One positive result of Hanukkah's increasing commercialism is a feast of new books fiction and nonfiction for…
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ÊWhen you shop for fruits and vegetables for your Thanksgiving dinner, beware! As you carefully examine the produce in your favorite market, don’t be surprised to find the produce examining you. Is it possible that fruits and vegetables mirror feelings and moods we humans have? Should you doubt my warning, just leaf through How Are You Peeling? Whether happy, sad, bored, worried, grumpy, or shy, fruits and vegetables have their own special way of expressing these and many more feelings. Saxton Freymann and Joost Elffers, the creative minds and artistic hands behind such popular books as Play with Your Food and Play with Your Pumpkin, have captured the natural smiles, frowns, grimaces, and snarls found on fruits and vegetables to produce another delightful book for all ages. The produce sculptures are carved using an Exacto knife. Features are added to enhance natural contours, folds, and indentions by using natural materials such as black-eyed peas for eyes and beet juice coloring for mouths. Once the sculptures are complete, they are photographed against colored backgrounds to achieve the effect and mood of each model. The result is an amazing art form, chock full of humor. A variety of peppers, oranges, onions, apples, melons, tomatoes, strawberries, turnips, pears, lemons, kiwis, and radishes cleverly depict the many human feelings and emotions we experience each day.

The book is easy enough for young readers to enjoy independently. Younger children will identify with the feelings expressed in the clever produce sculptures. The text asks many questions; regardless of what the answers may be, readers of all ages (and picture-lookers, too) will chuckle while turning each page. This book is a very good choice to have on hand when children need help dealing with emotions. Placed on a coffee table, the book will become a humorous conversation piece. After reading How Are You Peeling? you will never again look at produce the same old way.

Cynthia Drennan is a retired university administrator and grandmother of four.

ÊWhen you shop for fruits and vegetables for your Thanksgiving dinner, beware! As you carefully examine the produce in your favorite market, don't be surprised to find the produce examining you. Is it possible that fruits and vegetables mirror feelings and moods we humans have?…
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The Sally of the title, a black Labrador retriever, is a real dog. As notes included with the book tell it, she was originally trained to be a Seeing Eye dog but didn’t find her niche in that role. Eventually the well-known artist Stephen Huneck and his wife Gwen adopted Sally. She is featured in a chapel that Huneck is building for dogs atop Dog Mountain, on his farm in Vermont. And now, with Sally Goes to the Beach, she has her own book. Any preschool age child will find the illustrations striking, beautiful woodcuts charming. So will adults. Sally was lucky in the choice of artist to portray her. Stephen Huneck’s sculptures, paintings, and woodcuts hang in a number of museum collections, including the Smithsonian’s. In the tradition of the graceful and evocative medium of woodcut, which dates back for many centuries, Huneck’s line is elegant and his colors vibrant in this lovely and warm-hearted picture book.

Sally narrates her own story. From her first sight of the suitcase that alerts her to an imminent journey, through the ride in a convertible (whose license plate reads SALLY), to the ferry ride and cab ride, Sally convincingly doggish gets as much fun out of going to the beach as she does in being at the beach.

But then there are the great joys of new smells, playing in the ocean, riding in a boat (named Friendship), and encountering the not always welcoming creatures of the beach. In the beachside hut that evening, Sally lies in bed with her master and ends her story with the motto of most children (and probably of most dogs): I cannot wait for tomorrow!

The Sally of the title, a black Labrador retriever, is a real dog. As notes included with the book tell it, she was originally trained to be a Seeing Eye dog but didn't find her niche in that role. Eventually the well-known artist Stephen Huneck…
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"Do you know what building this is?” I ask a gym full of third graders as I direct their attention to my next slide.

“Empire State Building!” several voices call out. (Good start. Sometimes kindergarteners think it’s the Eiffel Tower.)

“Exactly! Any idea how old it is?”

“A hundred years,” someone yells. “Ten years,” another guesses.

A boy in front raises his hand excitedly. Maybe he’s a kid who’s really into history, I think. Maybe he’ll nail it on the first try.

I call on him. “How many years old do you think it is?”

“Five thousand!”

Right. Well, therein lies one reason I like to write books that tie into historical anniversaries. Anniversaries help give kids a touchstone—a way to make sense of all that amorphous past that happened before they were born.

It’s a start if, after I visit a school, children can remember a few things: there are cars in the illustrations of Sky Boys, the Empire State Building book set in 1931, but none in Apples to Oregon, a pioneer tale set in 1847; or that not every black-and-white photograph of a man with a beard is a president. More importantly, I hope students continue to find ways to connect with and understand the lives of those who have lived before us.

In addition to Sky Boys, written for the 75th anniversary of the Empire State Building, I’ve published a book on Matthew Henson, co-discoverer of the North Pole in 1909 and Abe Lincoln Crosses a Creek, in honor of the Lincoln bicentennial in 2009.

And that brings me to my new book, The Humblebee Hunter, inspired by the life and experiments of Charles Darwin with his children at Down House.

All right. I know. All this talk of anniversaries and I’m a year late. Anyone who was paying attention to the Lincoln hoopla last year knows that Darwin and Lincoln were born on the same day—February 12, 1809.

Sometimes that’s just the way it goes.

Besides, Charles Darwin—as a transformative thinker and scientist, a lifelong naturalist and as a father and family man—is worth reading and writing about in any year.

I first began research on Darwin for a biography for young readers I published in 2005 entitled Who Was Charles Darwin? Among my valuable resources were biographer Janet Browne’s two volumes on Darwin, Voyaging and The Power of Place. (I recommend both, along with Darwin, Discovering the Tree of Life by Niles Eldridge, curator of the American Museum of Natural History.)

Actually, it was visiting the Darwin exhibit at the American Museum of Natural History in June 2006 that inspired me to write a picture book about Darwin’s family life. (It’s not the same as seeing a Galapagos turtle in person, but you can still access the exhibit online.)

As I turned a corner of the exhibit and came upon the recreation of Darwin’s study at Down House, I stopped short, transported into the epicenter of Darwin’s creative life.

This is where he wrote and worked, I thought. Here was a desk crowded with papers, pens and a microscope. And there was his comfy old armchair near the hearth, where he wrote using a cloth-covered board set across the arms. There were shelves crowded with notes for the Origin of Species. And, of course, a bed by the fire for his dog, Polly.

One could almost imagine Darwin here. But it wouldn’t have been Down House without something else—the clatter of children’s feet and the noisy, happy racket of young voices.

Charles and Emma Darwin had 10 children, seven of whom lived to adulthood. And while Darwin never traveled far after returning from his legendary voyage, biographer Janet Browne describes Down House itself as a kind of Beagle, “a self-contained, self-regulating scientific ship.”

While Emma ran things efficiently, Darwin could work in his “cabin”—his study. The children and Darwin’s numerous, far-flung correspondents became a kind of crew, ready to help with a wide variety of natural history experiments from flowers to pigeons, from worms to bees.

Bees were a favorite Darwin subject, and Darwin’s articles on bees are still cited today. In Voyaging, Browne writes that watching her husband bending over a flower, “Emma got the feeling that Darwin would have liked to be a bee above all other species.”

I was fortunate when working on The Humblebee Hunter to have the guidance of talented editor Tamson Weston at Hyperion, who paired the manuscript with gorgeous illustrations by artist Jen Corace that capture the love and warmth of the Darwin family at Down House. The story begins this way:

One summer afternoon, Mother and Cook tried to teach me to bake a honey cake.
But raspberries glistened in the sun, and birds brushed the air with song.
More than anything, I wanted to be outside.
Then, out the window, I saw Father, home from walking on his Thinking Path.
He stopped in the kitchen garden and bent over the beans. He wanted to study the bees.
Mother smiled and brushed a speck of flower from my cheek.
“Henrietta, I think your father would become a bee, if he could. Just like them, he’s always busy.”

While we have descriptions of at least one bee experiment Darwin did with his children, I can’t be sure the experiment described in the fictional The Humblebee Hunter—counting the number of flowers a humblebee visits in a minute—is one that Darwin and his children did together.

But in a letter written to the British horticultural periodical, “The Gardener’s Chronicle” on August 16, 1841, Darwin describes the number of flowers he saw a humblebee (bumblebee) suck in one minute.

Like Darwin, I did research, involving my family on summer days, bending over flowers to watch bees at work. (My results were pretty close to Darwin’s but not always exact.)

So, any idea as to the number of blossoms a bumblebee visits in one minute?

You may have to wait for summer to experiment yourself.

In the meantime, here’s a hint: it’s not 5,000.

Deborah Hopkinson gardens and writes near Portland, Oregon, where she serves as vice president for advancement at Pacific Northwest College of Art. Visit her on the web at www.deborahhopkinson.com. (And if you really want to know Darwin’s count, of course you should do research. The answer appears in Letter 607 in the Darwin Correspondence Project.)

"Do you know what building this is?” I ask a gym full of third graders as I direct their attention to my next slide.

“Empire State Building!” several voices call out. (Good start. Sometimes kindergarteners think it’s the Eiffel Tower.)

“Exactly! Any idea how old it is?”

“A…

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Contrary to what its title might suggest, A Big Cheese For The White House is not about any of our presidents’ rise to power. Candace Fleming once again takes a fascinating bit of historical trivia and renders it into a droll tale for young readers. In an introductory note, Fleming states that while the events are all true, the characters are not, and that she has taken some license, such as using the term White House rather than President’s House, as it was known until the early 1800s. In this humorous story, the people of Cheshire learn that President Thomas Jefferson was eating cheese made in the town of Norton, Connecticut. Led by the wise and optimistic Elder John Leland, the Cheshire villagers rise to the challenge to outdo their rivals and create a bigger, better cheddar for President Jefferson to eat. With nearly everyone lending a hand, they use the milk of 934 cows, creating a cheddar weighing 1,235 pounds and standing four feet highÐbig enough that the president will never again need to serve Norton’s cheese. Sure enough, by the time the cheese gets from Cheshire to Hudson, New York, to Washington, D.C., people are eagerly awaiting its arrival.

This book is brimming with colorful characters, like Goodwife Todgers, Humphrey Crock, and Farmer Fuzzlewit, who lend their time and talents to the effort. Only Phineas Dobbs, the resident naysayer and pessimist, repeatedly proclaims that It can’t be done. S.

D. Schindler’s illustrations perfectly mirror Fleming’s wry, understated text. The color-washed pen and ink drawings create cartoon-like characters that are both realistic and humorously distinctive. Their unusual features and facial expressions match the quirky names Fleming has given them. Our country’s archives are filled with examples of entrepreneurial spirit and stick-to-it-iveness, but this story is light, witty, and above all educational. Two themes emerge. One is that with enough hard work and cooperation anything is possible, and the other is that the whole is truly greater than the sum of its parts.

This book is so entertaining that children won’t believe it is based on a real event. As parents will attest, any story that leads to an interest in history is a refreshing and welcome addition to the bookshelves. A Big Cheese For The White House is a delectable triumph for Fleming.

Lisa Horak is a freelance writer.

Contrary to what its title might suggest, A Big Cheese For The White House is not about any of our presidents' rise to power. Candace Fleming once again takes a fascinating bit of historical trivia and renders it into a droll tale for young readers.…
Behind the Book by

How’s this for an intimate detail: Friends who visit our downstairs bathroom sometimes stay in there a while. Not because of digestive problems, but because the room is. . .very interesting. The walls are lined with joke books, as well as books about bodily functions. Hundreds of books, collected by us on our travels, and also by some bathroom visitors who now scout for us.

Jokes are big in our house. My husband, Paul Brewer, writes and illustrates best-selling collections like You Must Be Joking and You Must Be Joking, Too (Cricket). Being the audience for Paul’s jokes is part of my job. We collaborated on the writing of the funniest biography ever, Fartiste (Simon & Schuster), and are always on the lookout for funny ideas.

I discovered Lincoln’s sense of humor years ago, while researching Lives of the Presidents (Harcourt). His way with words—one reason he’s considered one of our best presidents—is famous, but his way with humor isn’t. His life was so very serious. How bizarre that people called him “so funny he could make a cat laugh” and started collecting his jokes into books. Paul and I eventually hit upon this tidbit as a possible picture book, a way to make Lincoln human, an approach to pull in kids who fear, “Oh, not another boring history book about a dead guy.”

Paul made trips to the library and scoured books—some of them over 100 years old—to find the best jokes. We worried that the jokes wouldn’t be funny all these years later, and of course not all of them were, or else were too wordy or required too much explanation. So we were relieved to discover enough material to work with, and from different periods in Lincoln’s life so we could structure this as a biography.

Lincoln Tells a Joke tells the president’s life story through his love of jokes and witty remarks, from the joke books he adored as a child to the ones he kept in his desk drawer at the White House. To him a sense of humor was more than just entertainment. Jokes helped him to win people over, give orders, get along with difficult people, get out of answering questions he didn’t want to answer and fight his own depression. Finally, they helped him keep his balance as he navigated the country through its worst crisis, the Civil War, when the country threatened to split apart.

As many thousands of Lincoln books there are, few focus on his humor (the last book to do so was in 1965, long out of print). Most scholars may have found this approach too trivial, whereas we show how it was just the opposite; humor helped in the development of Lincoln’s famous writing skills, and it also helped him survive and go on to protect the country.

He’s a seriously important president, but also one of America’s first stand-up comics—controversially so. One of the things John Wilkes Booth (and many others) couldn’t stand about him was his way with jokes, which they found unseemly in a president.

Lincoln himself believed that humor should be taught in schools, that jokes were just as valuable as the 3 R’s. We hope Lincoln Tells a Joke will pull in students of presidential history as well as kids who simply like jokes.

Not to mention friends who visit our bathroom.

Kathleen Krull is well known for her innovative approach to biographies for young readers. Her recent books include Lives of the Pirates: Swashbucklers, Scoundrels (Neighbors Beware!) (Harcourt); The Brothers Kennedy: John, Robert, Edward (Simon & Schuster); The Boy Who Invented TV: The Story of Philo Farnsworth (Knopf); and more as featured at www.kathleenkrull.com. Kathleen lives in San Diego, California, with her husband, children's book writer and illustrator Paul Brewer.

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How’s this for an intimate detail: Friends who visit our downstairs bathroom sometimes stay in there a while. Not because of digestive problems, but because the room is. . .very interesting. The walls are lined with joke books, as well as books about bodily functions.…

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