(2) K-3 Illustrated by Evan Turk. On her eighth birthday, Maude buries a red tin box under a dogwood tree (only she knows what's inside), making a promise to herself. Decades pass. Maude, now an older woman, remembers the box but not its contents. One afternoon she is "seized with a feeling" and invites her granddaughter on a long drive to her old home. The granddaughter is filled with questions ("what's inside the box?"), and they both wonder if they'll be able to find it. They do indeed, and Maude is overcome with emotions as she explores the box's contents and then shares stories from her childhood on the drive back home. Burgess's (Drawing on Walls, rev. 1/21) detailed text is filled with evocative sensory descriptions: "At the foot of the flowering dogwood, in a soft spot where she once discovered a fallen nest, the earth seemed to whisper, 'Here.'" A vivid coppery-red and brilliant golds dominate Turk's (Hello, Moon, rev. 9/22) palette, and he fills the book with intriguing perspectives and distinctive textures. Burgess's warm intergenerational tale leaves Maude's specific memories, the meaning of each item in the red tin box, and Maude's promise to herself a mystery to readers, thereby inviting them to imagine the contours of her childhood and perhaps even consider what they'd put in their own red tin boxes.

Reviewer: Julie Danielson | Horn Book Magazine Issue: May, 2023

(2) K-3 Translated by Elisa Amado. Illustrated by Rafael Yockteng. Sometime in the Pleistocene era, "maybe as far back as forty thousand or more years ago," early humans began to paint on the walls of their caves. Buitrago and Yockteng (Cave Paintings, rev. 1/21) imagine how that first cave painting came about and how, from there, storytelling was born. Wordless double-page spreads show a band of spear-carrying humans in a world with erupting volcanoes, enormous mammoths and bison, and saber-toothed cats. This is not an easy existence. In each spread, a child observes the details of life around her, noticing the stars, measuring an enormous footprint. It is this child who, when left alone in the cave, takes a burnt stick and uses the charcoal to draw a mammoth on the cave wall. When the rest of the group returns, we see her gaining their attention by telling the story she has depicted on the walls. At the end of these wordless pages comes one full page of text. Buitrago writes, "The cave was different afterward" and describes the girl's feelings about creating her art. He concludes, "The marks she made were never erased. As time went by, she became the leader of the clan." Yockteng's graphite and ink illustrations, in shades of black and white, successfully imagine this early time period and, more importantly, tell a story about the emergence and significance of storytelling. An afterword presents the historical and scientific underpinnings of the tale.

Reviewer: Maeve Visser Knoth | Horn Book Magazine Issue: May, 2023

(1) YA In this inventive novel that includes elements of verse and script (including some prose in the form of stage directions), McCullough (We Are the Ashes, We Are the Fire, rev. 7/21) reimagines the fates of several of Shakespeare's famous female teen protagonists. In Part One, readers are introduced to Juliet, Ophelia, Cordelia, and Lavinia, who dwell as spectral embodiments in a purgatorial "trap room," the space "beneath all the stages, anywhere." Lavinia, whose tongue is cut out by attackers in one of Shakespeare's first plays, serves as a silent symbol of women who have lost the ability to control their own narratives. Each of the other girls recounts her original plot in verse, up to a pivotal point in the story, in a signature narrative style. Juliet's verse is free and ­passionate, Ophelia's dreamy and verdant, Cordelia's precise and pragmatic. In Part Two, the girls engage in lively dialogue in play form, anachronistically debating one another's motives, feelings, assumptions, and faults, finally coming to the ­question: "What if we dared to tell our versions?" In Part Three, each imagines what would have happened had one crucial aspect of her story been changed, with, for example, spirited Juliet claiming a full happy ending by remaining alive and marrying Romeo. This shifting, experimental format will surprise and challenge readers' ideas of ­storytelling and "classic" literature. By innovatively mining feminist themes of autonomy, exploitation, and patriarchy, McCullough boldly reconceptualizes ­Shakespeare's version of the female point of view for a new generation of Bard enthusiasts.

Reviewer: Jennifer Hubert Swan | Horn Book Magazine Issue: March, 2023

(2) 4-6 Stories and truths cross paths in Agyemang's debut graphic novel. After twelve-year-old Nana ("It's '­NAH-na,' not 'NAN'") makes up one too many tales, landing her in the principal's office again, her parents send her to Ghana to spend the summer with her extended family, including her grandmother, who is also a storyteller. While adjusting to life in her mother's childhood village, Nana stumbles upon an evil company that's stealing the village forest's magic and killing it in the process. She then finds herself negotiating with Ananse, trickster spider and bearer of the world's stories. Agyemang herself spins this tale by drawing upon stories of the past. Classic folktales come to life through energetic folk art–style illustrations capturing the vibrant setting and colorful Ghanaian attire. Most striking is Ananse's versatile human-spider form, which shifts around adroitly through the panels. Exploring themes of fitting in, honoring tradition, enacting social justice, and finding one's truth, the book takes readers on a voyage of self-discovery while demonstrating the magical power of stories and their ability to reach across cultures and generations.

Reviewer: Jerry Dear | Horn Book Magazine Issue: July, 2022

(1) YA Alexander's (The Crossover, rev. 5/14; The Undefeated, rev. 3/19) latest verse novel, the first in a projected trilogy, is historical fiction set in 1860, in the Asante Kingdom village of Upper Kwanta. Kofi Offin learns about the world through his storyteller grandfather Nana Mosi: how he came to be named after the river; the origin of the rivalry with neighboring Lower Kwanta; and the history of "the wonderfuls," the white colonials who have claimed dominion over their nation of Ghana. While Kofi's school teacher has an affinity for all things British (he's "on a mission to capsize our culture," Nana says), Kofi is content to learn from his grandfather, even as his own highly engaging story plays out through interactions with those around him. There's Ama, Kofi's childhood friend and the most beautiful girl he's ever seen; his best friend Ebo; and the cousin who torments Kofi. And there's his older brother Kwasi, the newest athlete to compete in the village games during the Annual Kings festival. When a wrestling contest results in tragedy, the tentative peace with Lower Kwanta is broken. As a result, Kofi is taken captive, and the book now becomes a searing chronicle of the terror that will carry him to "the door of no return" and far from home. A master storyteller himself, Alexander has taken great care to incorporate familiar West African sayings, folklore characters, and rituals. Themes of conflict within and between cultures, and of war and peace, hate and love, despair and hope are deeply embedded throughout this gripping tale that forefronts the humanity of those who were forced into slavery.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: September, 2022

(2) 4-6 Breda didn't believe her single mother would really send her from Chicago to Ireland's Dingle Peninsula for the summer if she got caught stealing again, but her theft of a classmate's gym shorts earns Breda a visit to the grandfather she's never met. Granda is the epitome of the elderly taciturn farmer, and although he at first seems as unenthused as Breda is about the arrangement, he slowly warms up to her. Breda settles in, exploring the village and finding friends on a Gaelic football team, and she wonders if she might also meet the father who's never been part of her life. When a health crisis waylays Granda, Breda is able to both take charge and rely on the community she's developed, putting her newfound confidence to work and expanding her definition of family. She also develops a new appreciation for her mother, an undocumented immigrant who has spent years working for others and is finally able to start her own business. Foley does an excellent job of building the Irish setting--with the help of Granda's role as a traditional storyteller. Foley's forthright approach to puberty and periods, which are among Breda's experiences, is refreshing. This is a quiet book, with an emotionally charged conflict that often simmers beneath the surface of the page, made possible by the authentic and fully realized characters.

Reviewer: Sarah Rettger | Horn Book Magazine Issue: July, 2022

(2) K-3 Illustrated by Erin K. Robinson. In this picture-book celebration of libraries and reading, poet Giovanni writes about the Carnegie Library, which she regularly visited as a child. Robinson's digital art resembles vibrant collages and features a young Black girl with jaunty pigtails tied with twirly yellow ribbons. Her puffy aqua dress with a Peter Pan collar helps set the time period in the 1950s. The little girl explains why she loves her library: it's "a place to be free / to be in space / to be a cook / to be a crook / to be in love / to be unhappy." She thinks about being "quick and smart" but also "contained and cautious"; she imagines herself playing jazz and sailing. Returning home with her stack of books, the girl carries out her chores before going back to reading, wrapped up in a brightly colored patchwork quilt, the patches echoing the covers of the volumes she's reading--so that in her daily life she is constantly surrounded by love and vibrancy. In a touching author's note Giovanni talks about her own childhood experience at the "colored" library, where a special librarian would get her poetry books from the main library.

Reviewer: Susan Dove Lempke | Horn Book Magazine Issue: September, 2022

(2) 4-6 Less extreme than the dramatic hurricanes, floods, and other natural disasters occurring around the globe, the weather crisis affecting this book's fictional place reveals a slower dismantling of land and its inhabitants. Jillian Robichaux lives in the Cajun community of Boutin in the wetlands of Louisiana. Gradually, coastal erosion is destroying the town: the bridge that connects Boutin to the mainland is unsafe; the school cannot be repaired; and businesses, homes, and even a cemetery are now underwater. The future is clear: families must leave. For Jillian, the inevitable exodus feels like an abandonment of her entire culture and her definition of who she is. Guillory's well-crafted setting includes a cuisine of jambalaya, gumbo, and turtle sauce piquant; a sprinkling of French phrases; and Cajun names. The biggest loss, and the one developed most artfully, is the sense of community created in Boutin over generations. The townspeople nurture that history through their stories, which Jillian and her friends capture in an ambitious oral history project that preserves those memories. Jillian's grief, and her trepidation about facing a now unmoored future, ring true and give the novel its heart, while the issues of preserving one's environment and heritage, although strong, never overtake the narrative but offer readers much to ponder.

Reviewer: Betty Carter | Horn Book Magazine Issue: January, 2023

(1) 1-3 In this moving, mostly wordless graphic novel, a young girl of Chinese descent visits her grandmother on her own; the bond between the two deepens through their shared joy in storytelling and in observing nature. Central to the story is a flamingo, a wild rescue bird that Lao Lao (the grandmother) had saved and raised years ago when she was little. Guojing's expressive digital, watercolor, and colored-pencil illustrations have a timeless, cinematic quality, switching back and forth between the grandmother's bright, tropical childhood awash in shades of yellow, pink, and blue and the gray-hued present. This contrast becomes even greater when the granddaughter flies home (via a flamingo-pink airplane) to her family's lonely apartment in an imposing skyscraper-filled metropolis. A fantastical appearance by the titular character toward the end brings this gentle tale of family love--spanning time, distance, and generations--to a satisfying, heartwarming close. With its unfussy art and few words, the story leaves room for viewers' interpretation; what's never in question is the love between Lao Lao and her granddaughter.

Reviewer: Michelle Lee | Horn Book Magazine Issue: November, 2022

(2) K-3 Illustrated by Anna Cunha. Johnson's "love song to the Sea Islands [and] my African friends" opens with a young Black girl running along the beach at "day-clean," the Gullah/Geechee phrase for dawn. Cunha's illustrations capture the oranges and blues of the early morning sky and the brilliant blue of the sea. The second spread shows another Black girl across the sea also greeting the morning. The two girls, while separated by an ocean, have much in common, as shown in Cunha's textured, colorful illustrations and Johnson's engaging text. Throughout the day, each plays with friends on the beach, listens to stories about Anansi the spider, and makes a basket out of sweetgrass. In an appended author's note, Johnson explains that the Gullah/Geechee people are descendants of enslaved Africans who have maintained many aspects of their African culture, and that the Sea Islands along the coast of South Carolina, Georgia, and Florida have been home to them. Through the story, young readers learn about the islands and some of their language and traditions while experiencing the beauty of connection. This story pairs well with Royce's middle-grade novel Root Magic (rev. 3/21), which is also set in the Sea Islands; as well as Hamilton's The People Could Fly, which retells many of the folktales told by Africans throughout the diaspora.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: September, 2022

(2) K-3 Translated by Lawrence Schimel. A typical day on the savanna inspires Kibo, a rhinoceros, to write a book. "He wrote about the red sky of the savanna, the silhouettes of the birds, the buzz of the bugs." Naki the crane reads over Kibo's shoulder and is so moved that she sews up his pages between yellow covers and then flies the bound copy over the sea and drops it in a faraway city. The book then travels from a lion to a rabbit to a hen, ultimately winding up with Nanuk, a North Pole polar bear. ­Johnson's folk-art style, in warm shades of blue, yellow, and orange, gives the illustrations a retro vibe that suits the DIY ethos of Kibo's creation and the way it moves through the world. The flora and fauna that surround Kibo when he's writing recur whenever his story finds a new reader, giving a visual sense of how books allow thoughts and ideas to travel from one mind to another. Satisfying in itself, this book will also find a happy home in classrooms and serve as a springboard for young bookmakers' creative endeavors.

Reviewer: Adrienne L. Pettinelli | Horn Book Magazine Issue: July, 2022

(2) K-3 Illustrated by Tomie dePaola. An imp, a goblin, and a scalawag attempt to outdo one another in the telling of scary stories. Each includes what they collectively believe to be the scariest creature of all--but when that creature actually does appear, it wins them all over by proving its own storytelling prowess. Previously published as Four Scary Stories (in 1978), this crative, metafictive, silly-not-spooky tale features lively, vivid-hued illustrations starring dePaola's recognizably round-faced characters with their easy-to-read thoughts and funny facial expressions.

Reviewer: Elissa Gershowitz | Horn Book Magazine Issue: September, 2022

(2) K-3 Shahrzad, a little girl with black corkscrew hair, beetling brows, and a trusty scooter, likes stories. She seeks them out and tucks them away. One day she hears about a king in a distant land whose personal sorrows have turned him into a tyrant. This is her moment. Piloting her own plane, she travels to a land of minarets and onion domes and finds this sad and angry king isolated in his palace, grieving and oppressing his people. Day after day she tells him stories until she senses that he is ready to hear his own tale reflected back to him with understanding, sympathy, and a nudge toward a change of heart. This wise and witty riff on the Scheherazade framing tale of The Arabian Nights merges everyday and fairy-tale worlds, with respect for the traditional job of folklore to encourage us to shape up and fly right. The pictures are energetic, with a wide-ranging cast of characters, cheeky humor (Shahrzad gets in some thinking time while sitting on the toilet), and Chagall-like warmth and exuberance. A dark undertone and contemporary political resonance are there for those who are ready for it, but for everyone it's an original contribution to picture books about smart girls who save the world.

Reviewer: Sarah Ellis | Horn Book Magazine Issue: January, 2022

(2) PS "Dad...? Tell me a story!" Part parent-child bonding tale, part collaborative storytelling exercise, part interactive Mad Libs–esque game, this picture book stars an enthusiastic, if particular, story-loving child and a flexibly imaginative father. When Dad begins with "Once upon a time," the child calls him out on it; that's been done. Instead, the kid wants "a NEW story," and one starring a lion. The father gamely starts again, but he doesn't get far. First his big cat is too big ("'His foot is bigger than this couch.' 'The lion doesn't have to be sooo big'"), then too small, then its name (Fred) is deemed unworthy. Dad's solution is for them to make up the story together, at which point Kramer incorporates fill-in-the-blank lines into the cleverly designed pages: "Right now, at this exact moment in time, there is a not-so-big, not-so-little lion named [blank]." Details of the creature's subsequent adventures are determined by readers, with imagery in the sunny-hued, mixed-media illustrations depicting an outer-space voyage, but with room for narrative variety. On the last page, father, child, and a now-PJ-clad lion crowd onto the couch, with the promise of more tales to come--or slightly different versions of this one.

Reviewer: Elissa Gershowitz | Horn Book Magazine Issue: July, 2022

(2) K-3 Illustrated by Tonya Engel. Zoe loves baking cinnamon-swirl bread with her grandmother. As Grandma kneads the dough with a "push and pull," she recalls how her own mother taught her to make bread. When Zoe tries kneading, however, the dough bunches up and sticks to her hands; Zoe wonders "if they will ever move" like her grandmother's. Standing behind her, Grandma places her hands on top of Zoe's and guides the kneading "until it's just right." Engel's (Your Legacy, rev. 1/22) highly textured illustrations, with deep, rich colors, capture the closeness of the intergenerational bond described by Lyons (Dream Builder, rev. 3/20). While the dough rises, grandmother and granddaughter "sit and talk. [Grandma's] hands tell a story if you listen." The following double-page spread shows Grandma's lined palms and fingers up-close, labeled with different identities, including "teacher," "planter," and, most prominently, "mother." As Grandma talks about her own life, Zoe wonders where her own hands will go and what stories they will tell. Baking and reminiscing with Grandma help Zoe see the power and potential she holds in her own hands. A fine companion to Bingham's Soul Food Sunday (rev. 11/21), this story spreads joy like a dusting of flour on a freshly baked loaf.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: May, 2022

(2) 4-6 In this novel set in 2001, Jade's family has recently moved to Atlanta thanks to her journalist mom's new job. Their new house is bigger (no more sharing a room!), and there is a nice backyard with a path into the forest. But Jade had to leave behind her best friends and her abuela in Chicago, and to make matters worse, Abuela soon suffers a stroke. Amid all these changes, Jade doesn't find it too strange when during a walk in the forest she meets Itztli, a mysterious old man who also appears in the shape of a jaguar, and who invites Jade to listen to his story, a story that connects him to her family and her Mexican ancestors. The third-person narration flows naturally, sticking closely to the authentic point of view of a middle-school girl as she faces the challenges of growing up during a turbulent time. The novel is deepened through Méndez's characterization of Jade's family as rich in cultural traditions and strong relationships and by the presence of magical elements and stories of the Mexica and other Indigenous cultures. "A Note on Research" provides further reading.

Reviewer: Alicia K. Long | Horn Book Magazine Issue: November, 2022

(2) K-3 Illustrated by James E. Ransome. This picture-book biography of writer Toni Morrison (born Chloe Ardelia Wofford), by the team behind Freedom Bird (rev. 1/20), pays homage to its renowned subject and the wondrous power of storytelling. In childhood, Morrison was a listener, relishing the stories and music shared by her parents and grandparents. She was also an avid reader and continued to read more and more, "feeding a hunger that would never end." After attending college and graduate school and a brief teaching career, she began working as an editor in New York, at which time she started to write, publishing many books and winning awards for her stories about the lives of Black people in America. Nolen emphasizes Morrison's uncanny gift for storytelling ("She could look beyond things as they were and see a greater vision") and celebrates her not only as a brilliant writer but also as an inspiration to others. The straightforward main narrative is appealingly accompanied by words floating at the tops of pages in a storyteller's voice ("I'm telling you, that girl was magic"). Ransome's expressive watercolor and collage illustrations, delivered as mostly double-page spreads, are perfectly matched to the text and especially compelling in conveying a sense of Morrison's profound legacy. Back matter includes an author's note, a bibliography, important quotes, and a list of select achievements.

Reviewer: Pauletta Brown Bracy | Horn Book Magazine Issue: September, 2022

(2) K-3 Translated by Antony Shugaar. Illustrated by Beatrice Alemagna. "Once upon a time, there was a girl who was called Little Yellow Riding Hood." "No, red!" "...Her mother said: Now go to Aunt Hildegard's house and take her this potato peel." "No, it's: Go to your grandmother's house and bring her this warm loaf of bread." Here is a humorous story of a grandfather retelling "Little Red Riding Hood" to his granddaughter, and telling it hilariously wrong. The child keeps correcting him, but it doesn't seem to get him back on track. And why bother? Anyone who reads this book will see that the heart of storytelling with children is not the accurate retelling of plot but rather the connection and creative interaction between adult and child. Alemagna's (Never, Not Ever!, rev. 9/21) well-composed and multilayered mixed-media illustrations cleverly support the transition between the two speakers, as the narrative is related solely through dialogue; thought bubbles amusingly show the very different stories unfolding in each of the character's heads. Young readers already familiar with "Little Red Riding Hood" may enjoy this story most, but it will be great fun for all, nonetheless.

Reviewer: | Horn Book Magazine Issue: May, 2022

(2) 4-6 After her mother dies in a tragic accident, twelve-year-old Kela Boxhill becomes a shell of her former self. She pushes away her father, her best friend, and her vibrant Caribbean community of St. Rita. She neglects her artistic ambitions because her creative activities remind her of the storyteller mother she's lost. One day, while searching for sea glass on the beach, Kela finds a magical comb belonging to the mermaid Ophidia. Desperate to retrieve the comb because its magical power keeps her young, Ophidia offers Kela a wish. But magic always comes at a price. Kela's wish to bring her mother back has unexpected consequences, and well-meaning adults prevent her from immediately returning the comb as promised, which incites the mermaid's wrath. As the island faces potential devastation from a hurricane caused by Ophidia's rage, Kela must figure out how to appease the vengeful mermaid while also protecting her loved ones, her community, and herself. The story is imbued with magic, but Stringfellow's powerful writing makes the fantastical feel like reality. Through narrative perspectives centering both Kela and Ophidia, the author recalls the call-and-response structure prevalent in Black storytelling traditions. Fans of Baptiste's The Jumbies and Rhodes's Bayou Magic will enjoy spending time with Kela as she navigates a journey filled with grief, love, loss, and discovery.

Reviewer: S. R. Toliver | Horn Book Magazine Issue: March, 2022

(2) K-3 Illustrated by Tiffany Rose. Gregarious Abdul loves to tell stories to his classmates--as long as he does not have to write them down. Letters are confusing, and figuring out how to spell words is frustrating. Not to mention that the books he reads at school do not feature people who look like him or the people in his neighborhood: "Some stories are for books, Abdul decided, but not his." Then an author named Mr. Muhammad comes to visit his class. By encouraging the boy to focus on his ideas instead of on mechanics, Mr. ­Muhammad helps Abdul to unleash the writer inside of him. Abdul, who is Black and Muslim, is a relatable character not typically represented in similar narratives, and Mr. Muhammad, who is also Black, Muslim, and neurodivergent, offers encouragement as the caring adult who has learned to manage his own writing challenges. This is a story within a story, not just about the tales Abdul wants to write but also about his journey as a learner; exploring the topic of learning disabilities can be challenging, especially the social-emotional fallout for children who are struggling, but Thompkins-Bigelow accomplishes the task. Rose's lively and colorful illustrations are eye-pleasing and showcase diversity. This is an engaging story that not only offers empowerment but also models understanding and acceptance of learning differences.

Reviewer: Monique Harris | Horn Book Magazine Issue: March, 2022