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From Organization / 国外机构评价: |
| Starred Review. PreSchool-Grade 1–The window in Nanna and Poppy's kitchen is no ordinary window–it is the place where love and magic happens. It's where the girl and her doting grandparents watch stars, play games, and, most importantly, say hello and goodbye. The first-person text is both simple and sophisticated, conjuring a perfectly child-centered world. Sentences such as "When I get tired I come in and take my nap and nothing happens until I get up" typify the girl's happy, imaginative world. While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand. Perfect for lap-sharing, this book will find favor with children and adults alike.–Angela J. Reynolds, Washington County Cooperative Library Services, Hillsboro, OR |
Foreign Customer Review / 国外客户评价: |
| The voice here sounds like a young girl's spontaneous speech, or perhaps the reminiscence of an adult looking at a foggy past. In either case, famed author Norman Juster ("The Phantom Tollbooth"), and multiple Caldecott honor winner Chris Raschka (who finally won the actual Award with this book) combine to form an impressionistic mélange of character study and memory.
While we don't get to know the unnamed heroine very well, Juster captures the most important facets of the toddler personality. The girl is amusingly egocentric, and has an active imagination. For example, through the "Hello-Goodbye" window she sees a dinosaur ("he doesn't come around much"), the "Queen of England" ("Nana is English you know, so the Queen likes to come for tea"), and the pizza boy (who, of course, knows her favorite flavor). There's really very little plot--just revealing snapshot scenes of her sometimes quirky grandmother and grandfather.
The Hello-Goodbye window itself in not central to the story, it's like a theatrical set piece that limns such concepts as inside/outside, arrival/departure, reality/fantasy, day/night, and open/secret. However, these "big" ideas lie just beneath the book's surface; overall, the story has the slightly random and spontaneous exuberance of a child who can't wait to get the words out. As mentioned above, illustrator Raschka won the Caldecott Medal for his illustrations: A childlike style full of jumbled color-forms with big circles and squiggles of color-on-color crayon, watercolor, and (perhaps) pastels. Although some pictures appear somewhat abstract, closer and repeated observation reveals recognizable objects, such as a harmonica, a teakettle, and oatmeal with raisins. "A shelf full of glass jars," has a single brown horizontal line, broad streaks of light blue for the bottles, and oranges and yellows for the colors and reflections. The pictures can be busy, but they're never garish or messy. There's a child-like pairing of soft colors with overworked crayons (as if Raschka is covering a mistake), and these both melt and collide with each other. Somehow, Raschka imparts uniformity and even precision within this cacophony, as when he shows the girl and her grandfather seeing their reflection in the Window at night.
The girl and her grandparents enjoy a very protective but fun relationship, and she delights in their ways. "Poppy chases me with the hose [a garden hose] and I yell, 'Stop it Poppy, stop it!! When he does I ask him to do it again." At the conclusion, the girl informs us that the Hello-Goodbye window is "right where you need it." To me, it represents a healthy combination of structure and discovery. This is a book that quietly honors the big and small things that go into a relationship, and does so in a near-perfect pitch of child-style. |
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