Pat the Picasso – The ‘Touch the Art’ Board Books for Young Children

I haven’t written about board books for a while, in part because the good ones seem to be getting rarer: More and more, these books for babies and toddlers rip-off bestsellers for older children instead of doing what they alone can do. But in today’s Wall Street Journal Megan Cox Gurdon writes about a series that suggests the unique potential of the medium: Julie Appel and Amy Guglielmo’s “Touch the Art” line, which began with Brush Mona Lisa’s Hair. “Each book features well-known images adorned with appealing, touchable gimmicks,” Gurdon writes. The latest is Catch Picasso’s Rooster (Sterling, 21 pp., $12.95), which invites children to stroke things such as a red-feather comb and the cat in Henri Rousseau’s The Tabby. You can read Gurdon’s review here. The publisher’s site has more on other books in the series, including Count Monet’s Lilies.

Arthur Yorinks and Richard Egielski Hand in Their ‘Homework’

A pencil and other objects come to life to help a boy write a story for school

Homework. By Arthur Yorinks. Illustrated by Richard Egielski. Walker, 32 pp., $16.99. Ages 4 and up.

By Janice Harayda

Household objects that come to life have been inspiring brilliant picture books since the Victorian era, when Randolph Caldecott drew a dish running away with a spoon for Hey Diddle Diddle. And few creative teams might have seemed better qualified to preserve the tradition than Richard Egielski, who won the 1987 Caldecott Medal for his pictures for Hey, Al, and Arthur Yorinks, who wrote the story for that book.

The plot of their latest collaboration certainly had promise: One night while he sleeps, a boy named Tony gets help with his homework from four objects on his desktop – a pencil, an eraser, a ballpoint pen and a fountain pen. The four decide to write a story for him about outer space. And the quartet’s bickering and attempts to improve one another’s work tell children something important about writing – that revision is a vital part of the process.

But the text of Homework begins with back-to-back clunky and ungrammatical sentences and moves on to worse. The eraser calls a pen “a jerk.” The pencil calls the eraser and a pen “nincompoops.” And in the interplanetary tale they concoct, the white captain of a spaceship gets attacked by a giant purple splotch and cries out for help to a black crew member – who runs away as his leader is being eaten and, apparently, killed. What message are children supposed to take away from this? That it’s okay to desert your friends in a crisis as long as you help them with small things like homework? And what will children make of a black character running away as a white one is devoured?

Yes, the tale is a fantasy and the objects return to inanimation after Tony awakens and finds inspiration in their work (suggesting that perhaps he dreamed what they wrote). But the lapses all the more lamentable because Richard Egielski – though his art is flatter than usual – uses a remarkable technique in Homework. Midway through the book, Egielski changes the look of the white Tony so that in his darkened bedroom he appears black and later Asian before he is white again when the lights come on again. He also does this so subtly that you might read the book several times before you even noticed it. This is near-genius not just because it allows boys of varied races to see themselves in the hero but because it reflects a truth: fantasy has an appeal that transcends race. For all the imperfections of Homework, a similar technique could enrich many other picture books.

Best line / picture: The first picture in which the white Tony appears black.

Worst line / picture: The opening sentences, “One night, like almost every night, Tony’s mom yelled, ‘Tony! Do your homework!’ And like almost every night, Tony didn’t do his homework.”

Published: July 2009

Furthermore: Yorinks lives in Brooklyn, NY, and Egielski in Milford, NJ. They have collaborated on nine books. Egielski also illustrated the recent The Fabulous Feud of Gilbert & Sullivan.

© 2009 Janice Harayda. All rights reserved.
www.janiceharayda.com and www.twitter.com/janiceharayda

Caldecott Medalist Richard Egielski Returns in a Picture Book About a Famous Musical Rift – Jonah Winter’s ‘The Fabulous Feud of Gilbert & Sullivan’

A  dual biography focuses on the creation of The Mikado

The Fabulous Feud of Gilbert & Sullivan. By Jonah Winter. Pictures by Richard Egielski. Scholastic/Arthur A. Levine, 40 pp., $16.99. Ages 4–6.

By Janice Harayda

Why do publishers bombard us with book-and-CD editions of books that don’t need them and fail to issue them when they might do some good? Does anybody really need that book-and-CD edition of Curious George Goes Camping? C’mon.

But a disk could have added a lot this slightly fictionalized dual biography of the librettist W.S. Gilbert and the composer Arthur Sullivan, which focuses the storied feud between the two men that ended when they reconciled to create their most popular light opera, The Mikado. Nobody can argue that the music involved – The flowers that bloom in the spring, / Tra la! – is too adult for children. So the omission of a CD seems mainly intended to avoid copyright fees or pander to the library market, where the book might sell fewer copies if it included a disk likely to disappear quickly from a pocket.

As it is, Jonah Winter plays Gilbert to Richard Egielski’s Sullivan in The Fabulous Feud of Gilbert & Sullivan. Winter tells a story that, if lively, gets much of its energy from hyper-italicizing and the use of capital letters and exclamation points. “I refuse to write any more music for Mr. Gilbert’s ridiculous operas,” Sullivan says. “It’s always the same ridiculous story, over and over over again!” Winter also invests his tale with a whiff of didacticism as he pursues two goals — telling the story of the rift and making a point:  “Sometimes even the best friends fight.”

But Egielski supplies the missing music with bold paintings that, like Maurice Sendak’s, evoke a mood not through intensely detailed facial expressions or body language but the imaginative use of such elements as tone, color, whimsy and framing. Winter’s opening lines suggest the appeal of Gilbert and Sullivan’s operettas in their day:

“There was a time when jolly old England was not so jolly. Children worked in factories. Queen Victoria frowned. Everything was grim. Everything was dark – except … in the make-believe kingdom of Topsy-Turvydom.”

Egielski illustrates this passage with a wonderfully balanced two-page spread that evokes the setting through cutaway images of multistory buildings in the rain. On the left-hand page, children work in a sweatshop as a coronet-topped Victoria rides in a carriage on cobblestones below them. On the right-hand page, just across the street, an actress puts on makeup as theatergoers approach the Savoy with umbrellas raised against oversized raindrops. This is late-Victorian London, rendered in terms a preschooler can grasp. And on it goes in the book, which reaches its climax with a wordless spread showing a scene from a The Mikado that blazes with sunny colors thrown into high relief by the dank weather on the first pages.

The Fabulous Feud of Gilbert & Sullivan may have its strongest appeal for Savoyards who want to inspire in a love of Gilbert and Sullivan in children. But unlike many books driven by similar motives, this one has enough drama that it isn’t mainly an appeal to parental vanity and pretense. And an author’s note at the end includes a link to a fantastic Gilbert & Sullivan Web site that has the full text and lets you listen to all the music of the operettas by the pair. (To hear any song from The Mikado music, click on “Mikado,” “MIDI Files,” the title of a song, and the speaker icon.) So even if there’s no CD, you can punctuate readings by singing merrily: “The flowers that bloom in the spring, / Tra la / Have nothing to do with the case.” For some adults, the link to so much beloved music might in itself be worth the cost of the book.

Best line/picture: An example of Eglielski’s imaginative use of frames: On one two-page spread he places his images in two circles against a black background, as though you were looking at them through opera glasses.

Worst line/picture: Winter uses British English inconsistently. He writes “dreamt” instead of “dreamed” but “Savoy Theater” instead of “Savoy Theatre.”

Published: April 2009

Furthermore: Egielski won the 1987 Caldecott Medal for his art for Arthur Yorinks’s Hey, Al. He and Yorinks also collaborated on the new picture book, Homework. Winter lives in Brooklyn, NY. Egielski lives in Milford, NJ. Contact the authors c/o Author Mail, Scholastic Books, 557 Broadway, New York, NY 10012.

Reviews of children’s books appear every Saturday on One-Minute Book Reviews, a site for people who like to read but dislike hype and review inflation.

© 2009 Janice Harayda. All rights reserved.
www.twitter.com/janiceharayda

Wanda Gág’s ‘Millions of Cats’ — An American Classic for Children

Millions of Cats. By Wanda Gág. Putnam, 32 pp., varied prices. Ages 6 and under.

By Janice Harayda

Thirty years ago, an editor asked Maurice Sendak if he thought picture books were better in the past. Yes, he said, “there was Wanda Gág.” More recently, I asked the children’s author Jan Brett which artists had influenced her work, and she gave a similar answer: “Of course, there was Wanda Gág.”

Gág (rhymes with blog) was to picture books what Julia Child was to French cooking – the first American star in a field that has exploded in her wake. And just as Mastering the Art of French Cooking remains a standard-bearer for a generation, so does Gág’s Millions of Cats, first published in 1928.

Gág’s masterpiece is so unassuming by today’s measures that if you came across it on a library shelf, you might overlook it. Except for the cover, all of the illustrations are black-and-white. The book is relatively small, just over half the size of a typical book by Chris Van Allsburg, with a horizontal format. It has only two human characters — an old man and woman with no children – who might have stepped out of the story of Abraham and Sarah.

But Millions of Cats combines tenderness with powerful themes, including the human longing for companionship and the struggle to survive in the natural world, and it does so in a story 3- and 4-year-olds can understand. The old woman believes a cat would ease the couple’s loneliness, and her husband sets out to find one. But each cat he sees is so pretty, he goes home followed by what looks like a feline peace march. The horde inspires the refrain:

Cats here, cats there,

Cats and kittens everywhere,

Hundreds of cats,

Thousands of cats,

Millions and billions and trillions of cats.

The old man and woman can’t keep them all, so the cats compete for survival, except for a frightened and “very homely little cat” that others see as no threat and ignore. That is the cat that the couple come to see as the “the most beautiful cat in the world.”

Gág’s beautiful pen-and-ink drawing flow across gutters and move her story forward in waves instead of boxes that can make a book look flat or inert. Many of her details recall both folktales and her Bohemian ancestry – a kerchief, a tunic, a tidy fieldstone cottage encircled by flowers. And her humor comes not from visual gags but believable emotions, such as the old man’s astonishment on seeing the “millions of cats” for the first time. All of it makes for a book that a child can read again and again with delight. Millions of Cats was the first American picture book that had both popular and literary success, and it’s still one of the worthiest of its honors.

Best line: “Millions and billions and trillions of cats.”

Worst line: Some critics say it’s illogical that the text suggests that the cats “have eaten each other all up” at the end of their fight while the pictures offer no evidence that they have done this. I think that this view is too literal and the fight is a metaphor for the Darwinian struggle for survival. How “logical” was it for all those millions of cats to follow the old man home in the first place?

Published: 1928 (first edition), 1996 (Putnam reprint)

This is a re-post of a reviews that first appeared in 2007.

© 2009 Janice Harayda. All rights reserved.

Lisa Brown’s ‘How to Be’ — Fun With Animals for Very Young Children

A witty picture book shows children how to imitate a bear, monkey, turtle, snake, spider, and dog

How to Be. By Lisa Brown. HarperCollins, 32 pp., $16.89. Ages 6 months and up.

By Janice Harayda

Is there a toddler or preschooler who doesn’t love to make animal sounds? San Francisco artist Lisa Brown urges very young children to take their copycat instincts a step further in this witty picture book about a brother and sister who imitate the behavior of six animals — a bear, monkey, turtle, snake, spider, and dog.

Each spread gives simple directions for acting like one of those creatures, illustrated by amusing line drawings that show how the siblings interpret the instructions. And I defy you to keep a straight face when you see how the two respond to last command on the “How to Be a Dog” pages: “Lick someone.” Oh, are parents and grandparents going to have fun watching children follow the instructions in this book! You might have almost as much fun as they’re going to have licking your elbow.

Best line/picture: Apart from the picture of the brother trying to lick his sister? A command on the “How to Be a Monkey” pages: “Eat with your toes.”

Worst line/picture: None unless you’re so heartless that you believe that children should never – not even once – be allowed to eat with their toes.

Recommendation? A good gift for ages newborn to 2 or 3. How to Be might especially appeal to children who like the imitative aspects of We’re Going on a Bear Hunt. And it has an intergenerational appeal, because it will allow children to show off for their grandparents their impressive ability to slither on their bellies like a snake.

Furthermore: The bold line drawings and minimalist color palette give this book an unusually fresh look. How to Be would fit in well at Museum of Modern Art gift shop. Yet it’s not one of those pretentious books that please adults more than children. Both groups are likely to enjoy it.

Published: May 2006

This is a repost of a review that appeared on this site on June 30, 2007.

© 2009 Janice Harayda. All rights reserved.

www.twitter.com/janiceharayda

‘The Poky Little Puppy’ — ‘The All-Time Bestselling Children’s Hardcover Book in English’ Is Still Scampering Along in Its Original Golden Books Format

The latest in a series of occasional posts on classic picture books for young children

The Poky Little Puppy: A Little Golden Book Classic. By Janette Sebring Lowrey. Illustrated by Gustaf Tenggren. Random House/Golden Books, 24 pp., $2.99. Ages 5 and under.

By Janice Harayda

The Poky Little Puppy is the all-time bestselling children’s hardcover book in English, the trade journal Publishers Weekly reported in 2001. Whether that report is accurate is debatable — others have made a similar claim for The Tale of Peter Rabbit — but the longevity of the book is remarkable by any measure.

First published in 1942, The Poky Little Puppy was one of the original 12 Little Golden Books that sold for 25 cents. And like other Golden Books that remain in print, this one retains the distinctive design elements of the series: the nearly square format; the patterned golden spine; and the space on the inside front cover for children to write their names after the words: “This Little Golden Book belongs to …” The book also has paper so lightweight that an Amazon reader complained of its flimsiness but that, in fact, has important benefits: It makes the book easy for children to carry and helps to keep the cost to a remarkably low $2.99 in hardcover.

A puppy goes bed "without a single bite of shortcake" in a classic picture book.

If they remember nothing else about The Poky Little Puppy, countless baby boomers recall it as the story of a dawdling puppy who had to go to bed without strawberry shortcake. But this book is also about the joy of exploring the natural world and its bounty: “a fuzzy caterpillar,” “a quick green lizard,” and other creatures.

Five puppies dig a hole under a fence around their yard and set out to enjoy “the wide, wide world.” But a poky little brown-and-white puppy dawdles while his siblings race ahead. And for two days, this works to his advantage: His swifter siblings get home first and are punished for digging the hole under the fence by their mother, who sends them to bed without dessert, so he gets to eat their rice pudding and chocolate custard. On the third day, the poky little puppy pays for his dallying: His quicker siblings get home first again and after finding their mother upset about another hole they have dug under the fence, fill it in. She rewards them with strawberry shortcake, and they leave none for him.

The Poky Little Puppy might have trouble finding a publisher today. Some of its themes conflict with the orthodoxies of child-rearing of 21st century, when psychologists instruct adults not to label children “poky” or “shy” or to withhold food as punishment (or even to use the word “punishment” instead of “discipline”). But this book has endured in part because it is not bibliotherapy but a good story. The talking animals tell children right away that this is a fantasy, not a slice of life.

No doubt many parents have used The Poky Little Puppy to teach the consequences of dallying or ignoring boundaries. But the book works as a straight adventure story. Gustave Tenggren’s gentle pictures soften the blow of the loss of the shortcake. And the puppy radiates such sweetness that no one could think him intentionally wayward – which is just what many children want their parents to think when they miss the school bus.

Best line: The first line: “Five little puppies dug a hole under the fence and went for a walk in the wide, wide world.” And the next-to-last: “So the poky little puppy had to go to bed without a single bite of shortcake, and he felt very sorry for himself.” And it’s great that a child can claim the book emotionally by writing his or her name in the space provided on the inside cover. Many recent picture books are so pretty they discourage children from writing their names in them, and that’s part of the problem with them.

Worst line: None. But see the caution below.

Caveat lector: Avoid gussied-up editions of this book — such as the one Random House describes as “upscale” – that cost more than $2.99. Part of the appeal of the Golden Books has always lay in their small, predictable format.

Read 20 early Golden Books free online at the Antique Book Library.

Published: 1942 (first edition) and many subsequent reprints.

Other classic picture books reviewed on One-Minute Book Reviews include Horton Hatches the Egg, Millions of Cats, Madeline, Mike Mulligan and His Steam Shovel, Where the Wild Things Are, The Backward Day, The Story of Ferdinand and Flat Stanley.

One-Minute Book Reviews will announce the winners of the Delete Key Awards for the year’s worst writing in books for children or adults on Monday, March 16, 2009. A list of the finalists appeared on Feb. 27 and passages from books on the list on Feb. 26.

© 2009 Janice Harayda. All rights reserved.
www.janiceharayda.com and www.twitter.com/janiceharayda

‘Lyle, Lyle Crocodile’ – A Picture Book That Celebrates the Joys of City Life

An upbeat crocodile savors pleasures such as ice-skating at Rockefeller Center and having a picnic in Central Park

Lyle, Lyle, Crocodile. By Bernard Waber. Houghton Mifflin, 48 pp., $6.95, paperback. Ages 3 and up.

By Janice Harayda

It’s not easy being green and living in a bathtub in New York City. Just ask any young fan of Lyle, an anthropomorphic crocodile who made his picture-book debut in 1962 in The House on East 88th Street and has reappeared in more than a half-dozen sequels that celebrate the joys of urban life.

Lyle lives with Mr. and Mrs. Primm and their son, Joshua, in a New York City brownstone that has a high stoop, fanlight window, and claw-foot bathtub in which he relaxes. He revels in urban life even as he startles shoppers and irritates a neighbor whose cat he has frightened.

One of Lyle’s endearing traits is an almost pathological optimism. In Lyle, Lyle Crocodile, he is exiled to a zoo after he follows Mrs. Primm to a department store and creates a commotion by putting on an exuberant show with Signor Hector P. Valenti, his former partner in a traveling stage act, who now sells pajamas. Lyle weeps during his first night in a cage but rebounds when visitors arrive and he becomes the biggest star in the zoo. Still, he misses the Primms until a heroic deed enables him to go home and, at last, win over the testy neighbor whose cat he had upset.

Bernard Waber combines strong black lines and blend of bold and subtle watercolors to suggest the depth and variety of New York City. And he brings Lyle’s personality to the fore by alternating full-color pages with black, white and green spreads. Partly because he draws better than he writes, his work ranks several notches below that of Chris Van Allsburg and David Macaulay and others who also have been nurtured by his editor, the esteemed Walter Lorraine of Houghton Mifflin.

But few fictional characters can match Lyle’s infectious enthusiasm for joys of city life – riding taxis, feeding pigeons, ice-skating at Rockefeller Center. Many good children’s books deal with the urban experiences of a specific group – blacks, Hispanics, white girls rich enough to live at the Plaza. And we need those books. We also need books that say: Great cities like New York abound with joys that transcend your race, ethnicity or bank balance. Lyle, Lyle Crocodile does that, and nearly two generations of children have been grateful for it.

Best line/picture: “Lyle could spend hours watching building construction.” The focus on free or low-cost pleasures in this book is all the more appealing when a good seat for a Broadway show costs $100 and even a one-way subway ride will set you back $2.

Worst line/picture: A sign at an information desk says: “On parle francais” and “Aqui se habla español.” Using the tilde on español but not the cedilla on français is sloppy. And the some of the characters’ names are cute rather than witty or apt.

Published: 1965 (first edition) www.houghtonmifflinbooks.com/authors/waber/

Caveat lector: Some reviews suggest that the quality of this series falls off with later books, which I haven’t read. I welcome comments from teachers, librarians and others who can speak to this issue. And contrary to what you might expect from its title, Waber has written Lyle, Lyle Crocodile in prose, not poetry.

Reviews of books for children or teenagers appear every Saturday on One-Minute Book Reviews.

© 2008 Janice Harayda. All rights reserved.
www.janiceharayda.com

A Captivating Picture Book About a Boy Who Loves Words

[I'm on vacation today. This review of one of my favorite recent picture books appeared on this site in late 2006, a few weeks after the launch of One-Minute Book Reviews.]

An inspired partnership results in an ideal gift for preschoolers

Max’s Words. By Kate Banks. Pictures by Boris Kulikov. Farrar, Straus & Giroux / Frances Foster Books. New York, 32 pp., $16. Ages 4–6 (younger for reading aloud).

By Janice Harayda

Sometimes an author comes up with such a wonderful concept for a picture book that the idea might soar even with inferior art. If the illustrator is equal to the task, the result can be magical, as with Max’s Words, the story of a boy who collects words.

Max decides to collect words, cutting them out of newspapers and magazines, when his brothers won’t share their stamps and coins with him. This premise is rich in possibilities, and Kate Banks and Boris Kulikov make more of them in 32 pages than you might imagine possible. Max discovers that when he puts his words together, he can make a story. This leads to a story-within-a-story, about “a big mean green crocodile” that wants to eat a small brown worm. Without becoming preachy, Banks’s text makes a case for the unique power of words: “When Benjamin put his stamps together, he had just a bunch of stamps. When Karl put his coins together, he had just a pile of money. But when Max put his words together, he had a thought.”

Like all good picture-book images, Kulikov’s whimsical illustrations at once reflect the story and send it into another realm. When Max snips the words “alligator” and “crocodile” out a newspaper, we see his scattered cut-outs forming the upper and lower jaws of a reptile. And his story offers a fine antidote to gifts that require plugs, consoles or batteries. Without saying so directly, Max’s Words reminds children that sometimes you have the most fun with activities that cost nothing.

Best line: Quoted above: “But when Max put his words together …”

Worst line: None. But a small picture shows Benjamin assuming an anatomically impossible position while rearranging his stamp collection. This might not matter if such positions were intrinsic to the story or if other characters also assumed them. Neither of these is true, so this image is slightly jarring.

Editor: Frances Foster

Published: August 2006 us.macmillan.com/maxswords

A new a book or group of books for children or teenagers appears every Saturday in the Children’s Corner on One-Minute Book Reviews. To avoid missing these reviews, please bookmark this site and check back or subscribe to the RSS feed. Children’s Corner reviews may be posted on Friday night.

© 2008 Janice Harayda. All rights reserved.

‘Owl Babies’ — A Picture Book That Sets the Stage for Bedtime

Two words for parents looking for a bedtime story for very young children: Owl Babies (Candlewick, 32 pp., $5.99, paperback, ages 1–3). In this popular picture book, Martin Waddell tells a lackluster story about the separation anxiety that strikes three fluffy white owlets that are left alone one night when their mother flies off to hunt for food. But Patrick Benson illustrates the tale with captivating ink-and-watercolor pictures that help to make up for the weaknesses of a text that is at times cutesy and overelaborated. Benson also sets the white owls against a very dark background that, more strongly than most picture books, immerses you in a nighttime world and sets the stage for bedtime.

© 2008 Janice Harayda. All rights reserved.

www.janiceharayda.com

William Steig’s ‘Spinky Sulks’ – A Tale of One Boy’s Grand Funk

The author of Shrek! also wrote picture book about a boy who can sulk even in a hammock on a beautiful summer day

Spinky Sulks. By William Steig. Sunburst, 32 pp., $4.99, paperback. Ages 3 and up.

By Janice Harayda

Not long ago, I mentioned the “Classic Picture Books Every Child Should Read” series on this site to an English professor and mother of two, who asked immediately if I had written about the late William Steig’s priceless Spinky Sulks. I said I hadn’t, partly because the book wasn’t quite old enough: Spinky Sulks came out in 1988, and the “Classics” series typically covers books published at least 25 years ago. And Steig wrote and illustrated so many good picture books that if I had to pick just one, I might choose Brave Irene, the story of an intrepid girl who doesn’t let a blizzard stop her from keeping her promise to her seamstress mother to deliver a dress to a duchess.

But if Spinky Sulks hasn’t been around quite long enough to qualify as a classic and doesn’t involve the high drama of Brave Irene, it is the hilarious story of an epic bad mood. Spinky is a boy who can — and does — sulk in a hammock on a beautiful summer day: His bad mood is so extreme, it borders on a parody of a sulking. That’s partly what makes his story so funny: Steig exaggerates enough so that children can see the humor in Spinky’s mood but not so much that he ridicules their feelings.

Spinky resists efforts to cheer him up — including his brother’s, “You were positively right! . . . Philadelphia is the capital of Belgium” — until he finds a way to lift his gloom on his own. In that sense, the book is a bit subversive. Steig doesn’t say so directly, but Spinky figures out how to do something that all parents want their children to learn to do: to tame their emotions in ways that suit their temperaments — even if you won’t find their methods recommended by Penelope Leach.

Published: 1988 www.williamsteig.com/spinky.htm

Furthermore: Steig, a cartoonist for The New Yorker, also wrote Shrek!. Spinky Sulks has won honors that include New York Times Outstanding Book and American Library Association Notable Book designations. Steig won a Caldecott Medal for Sylvester and the Magic Pebble, a Caldecott Honor award for The Amazing Bone and Newbery Honors for Abel’s Island and Dr. De Soto. The site www.williamsteig.com/guides.htm has reading guides to Brave Irene, The Amazing Bone, Doctor De Soto, and Amos & Boris.

Your public library has this book or can get it for you on an interlibrary loan for free or a nominal charge. Most libraries with children’s departments also have other good books by William Steig.

© 2008 Janice Harayda. All rights reserved.
www.janiceharayda.com