Monday, Wednesday, and Every Other Weekend

Monday, Wednesday, and Every Other Weekendwritten and illustrated by Karen Stanton

published 2014 by Feiwel and Friends, an imprint of Macmillan

When I first saw the art for this book, a teeny jolt of whoa hit me right in the heart. I mean, look at the endpapers! The calendars sprinkled throughout! The swirls of smells and thoughts and words!Monday, Wednesday, and Every Other Weekend by Karen StantonMonday, Wednesday, and Every Other Weekend by Karen StantonThen I read the story and the teeny turned into titanic. This is a tender tale of love and home and broken families.

Henry Cooper lives in two houses. So does Pomegranate, his dog. Mama and Papa are two and a half blocks and worlds away. At Mama’s they dance, and at Papa’s they sing. In both, there is love and warmth and safety.Monday, Wednesday, and Every Other Weekend by Karen StantonMonday, Wednesday, and Every Other Weekend by Karen StantonWhen Pomegranate goes missing, Henry Cooper knows exactly where he is – right at the big yellow house where the family once lived together. Home.

And then Henry becomes the hero, leading Pomegranate back to where the love lives. There’s a lovely ambiguity of which house it is. Because really, does it matter?Monday, Wednesday, and Every Other Weekend by Karen StantonKaren Stanton’s art is layered, rich, and colorful. And is there a better art choice for brokenness than collage? I doubt it. Thank you, Karen, for sharing these spreads with us! Click any image to enlarge. Enjoy!

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line135cover

Line 135

by Germano Zullo and Albertine

{published 2013, by Chronicle Books}I’m in that bleary-eyed, inspired, and terrified post-SCBWI haze. Are you?

That’s why this book is perfect for this time. And isn’t that always why picture books are perfect? There’s something magical about those moments that are captured, when the polaroid’s positive sheet has just pulled away from the negative. That moment, exposed. That’s the one I mean.

The creators of Line 135 also collaborated on Little Bird, which has dinged around in my skull for a long time, but I still have no coherent thoughts on it. It’s that enchanting. And of course, my beloved Sky High, which, just – wow.

The line on which this whole story is hinged? My mother and my grandmother say that I am too small to know the entire world.

So how to fit the entire world in this book? It’s a long rectangle. Intentionally and beautifully so, because unfolding the pages reveals more and more train track. The sense of distance is heightened, much like in Sky High, but along the horizon line this time. We travel with this narrator.The endpapers are bright neon green to match the train, and a wordless spread before the journey shows our narrator with her mother. After the trip? a wordless spread with her grandmother. The journey is bound.Albertine’s line drawings include whimsical details like the poofs of exhaust plumes on a highway maze of cars, or weeds growing straight up through the hole in a discarded tire. Always, always speeding forward? That sleek and vibrant train, holding that also vibrant little girl and her wisdom. I love that her capsule is holding all of the color. The black and whites are striking, but her trip (and her truth) stands out.And as the train moves forward, as the narrator grows in confidence and gumption, the illustrations get more fantastic. Gone are the looming skyscrapers of the city, welcome are the sandcastles with turrets and spiral staircases. Isn’t that beautiful? As she becomes more dogged in her determination, her surroundings are less real, less sad, and less intimidating.

Go get this one. Ride a train. Read an adventure. Get swept up in the trip.

chMoreToReadI wrote a thing about my favorite middle grade novels over at Design Mom this week. Did I get your favorites?

Won Ton: A Cat Tale Told In Haiku

Written by Lee Wardlaw {winner of the SCBWI Crystal Kite Award for California/Hawaii!} and illustrated by Eugene Yelchin {winner of a 2012 Newbery Honor Award for Breaking Stalin’s Nose}

In other words, the people who created this book are no joke.

Lee Wardlaw tells a full and sweet tale of an adopted cat entirely in haiku. The language is sparse, yet rich. Each word of each haiku is perfectly placed which yields an expertly paced read, despite its unconventional storytelling.

In design, contrast highlights the differences in two items. Varying color, shape, or size, can call your attention to any one visual element due to its difference from another.

In Won-Ton: A Cat Tale Told In Haiku, most of the illustrated spreads contrast colors on either side of the gutter.

With so few words peppering each page, it would be easy to breeze through each page, not giving the words the attention they deserve. {Although this may not be true for every reader, but I confess this is a huge flaw in my reading: too fast, too furious.}

However, the contrasting colors cause your eye to slow down a bit, to hop from one side of the gutter to the other, and to really savor the book slowly. Contrast here helps to create a very strong and symmetrical sense of balance to each illustrated spread.

And of course, it just looks so much prettier that way. {That’s some serious art criticism right there, I know.} Haikus have so few words, but because each one packs such a tight little punch, it only makes sense that the illustrations carry on the same sense of oomph. {Again with the fancy art critic words…}

Read this haiku out loud. Seriously. Lee Wardlaw really knows how to whip her words into shape! Just as she says ‘mice snap‘ I love the way the sounds snap, the and the syllables sing. {And I seriously love the bright yellow cover that wraps around just a bit to abruptly meet the red dust jacket. Contrast. So cool.}

Stuck

It’s IMPOSSIBLE to not love Oliver Jeffers. Remember his mustache?!

Well, listen to him read Stuck, and prepare to be enchanted:

I can’t follow an act like that, but let me tell you a few things I love about this book.

1: The endpapers. What a great grid of all of those THINGS that Floyd flings up into the tree.

2: The type.

The handwritten text is an excellent choice for the pictures. The scribbled words have a tactile, lifelike quality that matches the vibrancy of the art so perfectly.

3: The easter egg.

I’m not one to linger on copyright pages since my librarian days are behind me, but check out this little gem straight from the mouth of Oliver Jeffers:

{The art for Stuck was created by compositing various scribbles and blotches of paint, made on small pieces of paper,  all together inside of my computer. This is because I needed to move studios in the middle of making the art, and using this approach seemed like a good idea.}

4: This line.

5: This fakeout mess-up.

6: This spread, that texture, those clouds.

7: That it’s FOR SOMEONE NICE.

Someone like you! I have two copies of Stuck, which is certainly due to having no self-control around picture books and many looming stacks. I’d love to send it to you, and I promise not to throw it in a tree first.

I’ll assume the mailman got down out of that tree in order to deliver it to you.

Just comment on this post by Tuesday, June 12 at midnight PST. I’ll draw a winner with the help of my trusty buddy, random.org, and you can add this to your own looming stack of picture books. It will be a great addition, promise.

Me Want Pet

Me love Tammi Sauer.

Me love Bob Shea.

You love book now.

Cave Boy had lots of things.

Rocks.

Sticks.

A club.

But no pet.

“Me sad,” said Cave Boy. “Want pet.”

Me love colors. Desaturated. Dusty. Me feel like part of family.

Me love lines. Animated. Anxious. Me love boldness.

Me love endpapers. Me draw bad. Bob Shea draw like caveman.

Me want read again. Again. Again. OOGA!