(2) PS Illustrated by Satoshi Kitamura. Creature-of-No-Words is content being "furry. And never in a hurry." The large, ungainly fellow enjoys his life, and although he doesn't "know how to say HAPPY" or "YUMMY" or "SAD" (having no words), he expresses himself through body language. Creature-of-Words, on the other hand, loves to use words; when she sees Creature-of-No-Words looking sad, she reaches toward him with outstretched arms and teaches him the word "HUG!" Creature-of-No-Words has a big red nose, his orange body is filled in with squiggly lines, and he's accompanied by eleven white birds. Creature-of-Words is smaller and redder, with a group of critter companions, including a fox, a cat, a squirrel, and two birds. Part of the book's fun is noticing the ways all of the animals interact in the illustrations. The text is written in triplets with occasional rhymes and includes such whimsical thoughts as the wish that pebbles would "burst like bubbles." Kitamura's paintings use intense color to show the pair living in a varied and beguiling landscape as they find joy together, sometimes sharing words and sometimes cuddled up "just listening to sweet silence." This tender tale illustrates the ways in which creatures, and humans, are alike and different from one another, especially in communication styles.

Reviewer: Susan Dove Lempke | Horn Book Magazine Issue: March, 2024

(2) 4-6 When contemporary twelve-year-olds Henry, Frances, and Lukas dig up an old radio in one of their backyards, they find themselves speaking with children of the same age, and at the same location, in 1944. Alice, Lawrence, and Artie do not know the outcome of World War II, and they certainly do not understand the consequences of interfering with a timeline. Soon enough, small, seemingly heroic actions, such as stopping a fire at a beloved candy shop, start to mess with history in very serious ways. The U.S., in 2023, changes overnight to a nightmarish new reality in which the Nazis won WWII and now control the country, renamed Westfallen. The kids from the present and the past must team up to undo the colossal damage that has been done, stopping a spy and thus righting their mistakes, before Westfallen becomes a permanent reality. But that escapade is only the beginning of an adventure that will challenge readers to consider the past, the future, and the nature of history itself. Fascinating time-travel theories collide with historical fiction to set the scene for a story that is suspenseful, complex, and at times humorous. Rapid shifts between past and present might be confusing at first, but as the plot picks up, the details coalesce to form one seamless narrative. The cliffhanger ending will leave readers eager for the next installment in a projected series.

Reviewer: Sarah Berman | Horn Book Magazine Issue: November, 2024

(1) K-3 This overview of ants combines cleverly designed graphics and a funny text to convey major concepts about the familiar insects. Expressive-eyed ants march across the pages, first in a show of their large numbers and then to illustrate key ant behaviors. These are succinctly introduced as "Ants love: Family. Micronaps. Recycling. Helping others. Being caught on camera carrying stuff way bigger than they are." Descriptions of ant colonies, cooperation, communication, and ants' role in creating soil follow. The page design is thoughtful and effective; one especially impressive double-page spread describing how ants communicate through pheromones features a sequenced scenario in which doughnut sprinkles are encountered by a single ant, who then leaves a pheromone trail to communicate the food location to the colony. Humorous yet still scientifically spot-on phrases pop up throughout ("Drone. Male. Does no housework. Takes to sky. Reproduces. Drops dead"). The final pages connect ant behaviors to another social species -- humans -- so that readers can be like ants and "leave the Earth in better shape than it was when you got here."

Reviewer: Danielle J. Ford | Horn Book Magazine Issue: March, 2024

(2) K-3 Illustrated by Olivia Lomenech Gill. Butterworth begins this overview of the crow family by informing readers of crows' ubiquity: "Wherever you are right now, there's sure to be a crow or two nearby." And although there are approximately one hundred subspecies, ranging from jays to ravens, she concentrates on physical and behavioral commonalities. Crows' big brains allow them to be clever, crafty, and playful. They are adept at solving problems, such as using tools (i.e., sticks) to pry food from tight places. They show their craftiness by pretending to hide food where others might spot it, before storing it in a more concealed area. And they show their playfulness by engaging in games, such as sliding off a snowy roof. (Butterworth tells readers that such play allows them to learn skills but does not elaborate on the specific skills they are learning.) A hint of anthropomorphism creeps in on the final pages as she declares that with these characteristics, crows are "just like you!" Still, the fact that crows are amazing in and of themselves should not be lost on young listeners and readers. The mixed-media illustrations combine realistic-looking crows against soft backgrounds with a watercolor wash that hints at avian majesty. Additional information, printed on most pages in a small font, provides scientific detail. The book concludes with advice for observing crows and drawing conclusions about their actions, and a simple index.

Reviewer: Betty Carter | Horn Book Magazine Issue: July, 2024

(2) YA In a graphic memoir set in 1993, thirteen-year-old Chinese Canadian Ruth is apprehensive about her family's upcoming move from Toronto to Hong Kong. While her parents are thrilled (her mother is returning home after thirty years), Ruth loves her life in Toronto and doesn't want to leave. Her father tries to reassure her, telling her that "it's okay to be nervous about change and the unknown. Just remember that you'll be okay. The unknown is simply a part of life." But adjusting to the move is difficult. Ruth feels alienated from her extended family, struggling to communicate in Cantonese and often breaching Chinese etiquette. When a new friend begins ignoring her and her father's job takes him away from the family during the week, Ruth's emotions erupt over a double-page panel. She finds understanding when her mother shares her immigration story and when her father acknowledges her difficulties. Showing the courage, perseverance, and patience of her ancestors, Ruth gains confidence in herself and learns to thrive in her new home. Ruth's emotional world is active and relatable, and she is depicted with a range of facial expressions. Panels set in 1993 are shown in a soft, neutral color palette and reflect the bustle of her modern-day life in Hong Kong; flashbacks to her parents' stories are sepia-toned, evoking nostalgia about villages and farms. Sincere and engaging, Chen's memoir explores themes of cross-cultural family dynamics and finding a place to belong through human connection.

Reviewer: Kristine Techavanich | Horn Book Magazine Issue: November, 2024

(2) 4-6 Chimpanzees were "America's first astronauts," but what did their missions entail, and how did their voyages help NASA send humans into space? Cusick's well-researched look at the primates' training and flights provides details for an area of the space race typically relegated to a footnote. The account covers the rigorous and extensive training that dozens of chimps underwent to prepare for the Mercury program, introducing individual animals along with their dedicated human trainers and veterinarians (and touching on the ethics of animal testing). Cusick zeroes in on the high-stress and difficult flights of two astrochimps: Ham, whose suborbital flight preceded Alan Shepard's historic one, and Enos, whose two orbits around Earth paved the way for John Glenn. The propulsively page-turning narrative accessibly explains scientific details while showcasing the vital importance of the chimp program to NASA's moonshot goal. We learn that the chimps were not merely passengers but instead highly skilled astronauts performing difficult mental challenges throughout their flights to give scientists evidence that brains could function normally in zero-gravity situations as well as during the intense pressures of ascent and descent. Back matter that includes extensive endnotes, a glossary, an index, and additional resources rounds out this compelling aspect of astronautic history.

Reviewer: Eric Carpenter | Horn Book Magazine Issue: May, 2024

(2) 4-6 Translated by Shelley Tanaka. Mélie lives alone with her mother, Sofia, until one day they receive a phone call informing them that Sami (Mélie's father) will be released from prison. This is the first Mélie has ever heard about her father (she assumed she didn't have one). While it's never revealed where the family is from, it's clear Sami was a political prisoner; he was imprisoned for not keeping quiet. Mélie's excitement about her father is crushed once she realizes he doesn't speak her language and is a frail, odd man who seems uninterested in her. It also becomes evident that he suffers from post-traumatic stress disorder: he has frequent nightmares and refuses to leave the apartment. "He's come out of prison, but the prison has not come out of him." When Mélie takes in a stray kitten, it has a soothing effect on her father's jangled nerves and acts as a bridge between them. Mélie tries to teach him her language, while using the kitten to "tame" her papa into being a more engaged parent. This compact novel excels in its portrayal of a young girl's complicated feelings toward her father, as best portrayed in a series of moving vignettes that expertly shows, rather than tells, the reader what trauma does to a family system.

Reviewer: Julie Hakim Azzam | Horn Book Magazine Issue: May, 2024

(1) K-3 Illustrated by Dion MBD. After reading several bedtime stories, Milo makes the mistake of reading a book about a monster under the bed. Oh, no! In his fearful dilemma, he turns to his friend Mel, who is looking out her window from across the street. Mel has many ideas about how to scare a monster away, and with American Sign Language (ASL) and his flashlight, Milo manages to sign-shout and shadow-play that monster into oblivion. At heart, this is a straightforward story of friendly help and brave problem-solving. Appropriately, given that it is expressed partly in ASL, what makes it energetic and dramatic are its visual qualities. Blues and purples create a shadowy, twilight atmosphere, out of which the imaginary monster gleams like a chortling jack-o'-lantern. The warm yellow light of Milo's flashlight gives full play to the shadows his hands cast as he signs, "Roar! Chomp! Mwuh-ha-ha!" -- a bold, visual shout that banishes the monster. Clever use of panels and framing make the children's signing particularly viewer-friendly, and illustrator MBD depicts clearly and expressively ASL's dynamism: these hands and shadows are making words, not just scary shadow pictures. Unlike so many stories that make an issue of the use of ASL, this one naturally and easily shows it as the language these children use -- allowing the drama of the story to take center stage.

Reviewer: Deirdre F. Baker | Horn Book Magazine Issue: May, 2024

(2) 4-6 Having written several works of historical fiction with d/Deaf characters, LeZotte (Show Me a Sign, rev. 9/20, and sequels) now turns to a setting in which the issues that compromise the mental and physical well-being of d/Deaf children are contemporary and immediate. This first-person, present-tense verse novel accelerates suspensefully in a series of vignettes, events, and reflections. Effie lives with her older sister and alcoholic father, having been cast out of her mother and stepfather's house. None of her family has learned American Sign Language, the only language fully accessible for her; it's left to her school interpreter, Miss Kathy, to provide deep refreshment to Effie's love and communication-thirsty soul. In brief, spare entries, Effie conveys her fears and isolation, enjoys a new friendship with a classmate with cerebral palsy, and finally finds a way to tell Miss Kathy about her stepfather's sexual predation. Miss Kathy applies for custody, which is granted after a tense three-day hearing; Effie's father is found to be an unfit guardian because he refuses to learn ASL. (LeZotte reports in her author's note that she based her plot on a similar, historic case in the d/Deaf community, and that three out of four hearing parents do not learn to sign with their deaf children.) LeZotte packs a great deal into this very quick work, and while the complexity of anguish, isolation, language trauma, and sexual abuse Effie suffers could merit fuller expression, the story can pique interest and raise awareness of what it is like to grow up d/Deaf in a non-signing family, using ASL interpreters, or confronting false assumptions about disability.

Reviewer: Deirdre F. Baker | Horn Book Magazine Issue: November, 2024

(1) 4-6 In a first-person narrative, ten-year-old Ayla relates her special connection to her best friend, Kiri, beginning when they first reached out to each other as infants. Together they develop a keen interest in trees: caring for them, learning about them, and aspiring to be more tree-like. Their neighborhood plants trees to celebrate new babies, including a birch for Ayla and a pine for Kiri. With a hint of foreshadowing, Ayla notes that trees are also planted to remember those who have died. Her loose, dreamy narrative dances around current details, but she eventually confides she misses Kiri, insisting that her friend will be back soon. Meanwhile, an old telephone appears in her birch tree. Ayla finds it magical but refuses to attempt a call, though other people who have lost loved ones begin using it as a mechanism to talk to them. Ayla divulges small incidents and observations like a trail of breadcrumbs, allowing readers to piece together what she herself cannot admit: Kiri is not coming home. Ayla's voice as she comes to terms with what has happened, combined with the care and understanding of those supporting her while she grieves, create an intensely emotional reading experience. Interlaced throughout, the parallel world of the trees, with their mysterious methods of communicating and working together, provides a noble community model. An author's note pays tribute to Itaru Sasakai's phone booth in Japan, where people find comfort talking to those they have lost on an unconnected rotary phone.

Reviewer: Julie Roach | Horn Book Magazine Issue: July, 2024

(2) K-3 Illustrated by Rahele Jomepour Bell. Sumi's mother switches effortlessly between Malayalam, a regional language from Kerala, India, and English. She speaks Malayalam to Sumi's grandmother, a mix of English and Malayalam to Sumi, and English to others outside the family. Sumi reflects on how her mother's two languages are "woven together like a fine cloth." She knows her mother worked hard to develop proficiency in English, but when she moved to America, unfamiliar words and phrases made her "two tongues" feel like they "were twisted into pretzels." As Sumi travels between America and India, she too works hard to learn two languages and connect with those around her. In awe of this apparent "superpower," she hopes to learn many more languages in order to "speak with people who live in every part of the world." Menon's respectful story highlights the power of multilingualism and examines the link between accents and identity. Bell's tactile mixed-media illustrations incorporate an inventive representation of textiles, fonts, and images reflecting each locale, from a scene of boating in Kerala to a snowy day in America. A diverse cast of characters with a variety of skin tones underscores the focus on multilingualism and multiculturalism. A thought-provoking look at the connecting power of language.

Reviewer: Sadaf Siddique | Horn Book Magazine Issue: January, 2024

(2) K-3 Kayla and Mateo live on the top floors of separate buildings in a city, connected by an old, squeaky clothesline. They are bored and alone in their drab bedrooms watching "Dino World," while the outside world is bright with sunshine. One day they greet each other through their windows and begin to send drawings along the clothesline. Mateo draws with a purple crayon, Kayla with a green one, and together they create elaborate worlds that they inhabit -- shades of Harold and the Purple Crayon. Eventually, they trade various foods between them, which leads to fanciful new prehistoric creations (such as the "pastelito-saurus" and the "piragua-saurus"). When a worker takes the clothesline down temporarily, Mateo and Kayla come up with another way to continue their adventures. They go outside and draw on sidewalks, old building walls, and playgrounds in a colorful palette beyond purple and green. Morris's collaged tissue-paper spreads add to the childlike feel; the lively illustrations invite readers to create their own crayon worlds. This appealing story by a debut author-illustrator celebrates friendship and creativity in a satisfying way.

Reviewer: Yesica Hurd | Horn Book Magazine Issue: January, 2024

(2) YA Illustrated by Markia Jenai. In this graphic memoir, brilliant Jay Jay enjoys solving the puzzles and equations her incarcerated father, Antoine, sends her in handwritten letters -- though they take a long time to arrive. Jay Jay is elated when her father is released from prison, but the joy is short lived when she discovers the family will have to move from their beloved Buffalo, New York, to Florida. Life away from friends and extended family is rough, and Jay Jay is unsure how much she can trust her new classmates with information about her father. The adjustment to their new life brings new challenges for both Jay Jay and Antoine, but their shared love of mathematics allows them to find logical solutions to their relationship issues, and more. While in prison, Antoine earned a degree in computer programming; as he teaches her how to code, they work together to develop the Photo Patch app when Jay Jay is just twelve years old. The app will allow families to more easily communicate with their loved ones in prison. Now twenty, Patton recounts her journey with equal parts directness and humor. Panels vary in size and color to create movement, with some illustrations utilizing the entire page and breaking through margins. Interspersed boxes in a standout gold express the author's memories and thoughts. Back matter (some pages unseen) includes information regarding parents in the penal system and about Photo Patch.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: November, 2024

(2) K-3 Illustrated by Sara Ogilvie. Originally published in Great Britain, this book evades easy classification. Ogilvie's lively, vibrantly colored art -- with dramatic page-turns and a mix of immersive full-bleed illustrations, spot art, and vignettes -- caters to a picture-book audience. But despite the book's picture-book trim size, Rundell's lengthy three-part story acknowledges readers ready for something longer. The irreverent, zany tone starts right away on the first page, when Gabriel, a zebra searching for his kidnapped parents, gains the attention of human child Mink. When Gabriel licks "a little snot from the inside of Mink's nostril," it causes her to fall and bump her head, triggering her ability to communicate with Gabriel -- and with all creatures, as she soon discovers. Harnessing her inherent bravery and goodwill, Mink solicits help from a curmudgeonly, misunderstood dog, who summons a chain of animal helpers. They rescue a horde of animal captives, held by the villain, Mr. Spit, who intends to preserve them for his taxidermy collection. Once released, the vengeful animals bare "one thousand six hundred and eighty-four teeth," leaving Mr. Spit without any clothes, "his bottom wafting naked in the breeze." But it's not all snot, spit, and a naked bottom in service of cheekiness. This heartwarming, offbeat story celebrates silliness, empathy, and courage in equal measure.

Reviewer: | Horn Book Magazine Issue: September, 2024

(2) K-3 Illustrated by Anna Forlati. In this thought-provoking book (published in partnership with UNESCO), Santos presents an engaging version of the guessing game "What Am I?" Readers can infer from the book's title that the answer is the thing that makes us human, and the first-person text drops hints as to its identity ("I can show you love. But also hurt you") on every double-page spread, letting readers know that it is both old and new; that it is everywhere; that we can see, hear, and feel it; and that it defines a culture. What is this ubiquitous thing? It is language. This book's call for active engagement aptly celebrates the many ways of looking at a concept. Forlati's digital illustrations represent both literal and figurative interpretations of the text and beg to be re-examined by the reader. For example, the speaker -- language -- states: "When you were a baby, you hardly knew me. Over time you have gotten to know me better and better. But when you are old, you may start to forget me." The accompanying illustration depicts five stages of a child's growth -- during which time the child is knitting a sweater that grows larger, revealing a distinct pattern, one that fades as the sweater unravels and the child ages. Back matter discussing the growth, and loss, of languages and a note from UNESCO explaining the goals of the International Decade of Indigenous Languages (2022–2032) complete this fine book.

Reviewer: Betty Carter | Horn Book Magazine Issue: March, 2024

(1) K-3 Illustrated by Rodolfo Montalvo. Two children embark on a journey together when a girl lands her boat on an island where a boy is stranded. After their initial shock, they start to communicate, the boy in Spanish and the girl in English. They attempt to leave the island by boat, but their plan is foiled by a storm that leaves the girl stranded on the island and the boy lost at sea. She sounds a conch shell as her new friend taught her, which leads the boy back to the island. Spencer and Montalvo's story explores concepts of forming friendships, building connections, and overcoming the fear of differences. The simple, meaningful text alternates between Spanish and English, exposing readers to both languages, without translations. The die-cut cover features a symbolic overlay of the boy looking through binoculars from the island, while the girl is visible -- within his lenses -- looking at the island from her boat through her looking glass. Montalvo's crisp illustrations evoke the sights, scents, and sounds of a tropical island setting. The binoculars and looking glass are cleverly used throughout to indicate the pair's progression to friendship, and, after a warm culminating gatefold image, to indicate a hopeful ending.

Reviewer: Nicholas A. Brown | Horn Book Magazine Issue: July, 2024

(2) K-3 Illustrated by Leah Hong. In search of the Christmas spirit, young mouse Hugo sneaks downstairs on Christmas Eve to see the tree decorated by their house's human resident, William. But it hasn't been, because a snowstorm has left the elderly man alone for Christmas. William catches but releases Hugo, who enlists his own large family's help in secretly decorating William's tree, and then they all celebrate together. Underwood's traditional story requires extra suspension of disbelief regarding the human-mouse interactions, but its focus on simple acts of kindness is entirely fitting for the holiday. Hong's detailed gouache and colored-pencil illustrations on watercolor paper depict heartwarming scenes of clothed mice engaging in domestic activities.

Reviewer: Cynthia K. Ritter | Horn Book Magazine Issue: November, 2024

(2) K-3 This story (inspired by the Chinese myth of Nüwa, who crafted humankind) takes readers and listeners on a journey back to a time "when the world was still young," with Nüwa as the sole inhabitant yearning for a simple yet profound thing: someone to say "hello" to. After reaching out to the creatures around her with no response, she felt sad and "cried for three whole days," creating a gigantic puddle around her. She then molds a new friend from the mud, and they greet each other with a heartfelt "hello." Nüwa continues, creating more friends who spread across the world, building "homes and farms and cities" and raising their own families. This leads to a double-page spread with people saying "hello," each in a different language. The concise narrative beautifully conveys Nüwa's longing for companionship. The illustrations, rendered in bold neon colors, particularly a vibrant pink, bring this world playfully to life. This heartwarming and visually captivating book emphasizes the significance of reaching out and forging connections and underscores the enduring importance of communication and community.

Reviewer: Weileen Wang | Horn Book Magazine Issue: January, 2024

(2) 4-6 Show Me a Sign Trilogy series. Following the events of Show Me a Sign (rev. 9/20) and Set Me Free (rev. 11/21), it is now 1810 and Mary leaves Martha's Vineyard again, this time to travel with several hearing, non-signing missionary women to England and France. "The holy relics," as she thinks of them, want to use her to learn about deaf education to expand their missionary work. Although Mary feels at odds with their imperialistic religiosity and sourpuss personalities, she can't pass up the chance to connect with deaf educators and students in France, where she knows there is an exclusively signing school for the deaf. Her first-person, present-tense account is in part a history of deaf education in England and France (ultimately, fundamental to American Sign Language and American schools for the deaf). But LeZotte also conveys Mary's experience of exclusion by "the holy relics," who are convinced of her intellectual inferiority and disregard her in communication. Mary's stalwart nature stands her in good stead: stubborn and driven in her desire to bring greater access to sign language and education to the deaf at home, she dodges the missionaries' attempts to keep her captive. Through Mary's insights and opinions (which are rather twenty-first century in articulation), LeZotte shows that the heartfelt need for Deaf culture, solidarity, and belonging is something both historical and contemporary.

Reviewer: Deirdre F. Baker | Horn Book Magazine Issue: November, 2023

(2) K-3 Illustrated by Renato Alarcão. Seu Joao lives on an island off the coast of Brazil. When an oil-soaked Magellanic penguin washes ashore, Seu Joao takes him home, cleans him with dish soap, and names him Dindim (a grandson's attempt to pronounce the Portuguese word for penguin). As Dindim rehabilitates, the pair forms an attachment, though Seu Joao, respectful of the needs of wild animals, repeatedly tries to send Dindim back to the sea. Dindim does not leave--until one day, months later, he does. Earle's account of this true story is skillfully restrained, describing only the two characters' actions, and leaving readers to infer what human and animal feel for each other. "Seu Joao sat and drank his coffee. His lap was empty. But he remembered Dindim's silky feathers and the beat of his heart." Four months later, when Dindim amazingly returns, "the penguin waddled as fast as his little legs could carry him, right into Seu Joao's arms." Alarcao's pastel-colored illustrations capture the appeal of the people, animals, and beaches of Praia Proveta. In addition to a brief glossary, appended notes provide additional information about Seu Joao and Dindim, facts about penguins and threats to their survival, and steps that readers can take to help protect threatened species.

Reviewer: Danielle J. Ford | Horn Book Magazine Issue: January, 2023