REVIEWERS IN THIS ISSUE BfK


Brian Alderson is founder of the Children’s Books History Society and a former Children’s Books Editor for The Times. Gwynneth Bailey is a freelance education and children’s book consultant. Clive Barnes, formerly Principal Children’s Librarian, Southampton City is a freelance researcher and writer. Jill Bennett is the author of Learning to Read with Picture Books and heads up a nursery unit. Rebecca Butler writes and lectures on children’s literature. Katie Clapham runs specialist children’s bookshop Storytellers, Inc. in Lancaster. Caroline Downie has been a Children’s Librarian for over 20 years, working in a variety of settings. Stuart Dyer is an Assistant Head Teacher in a Bristol primary school. Anne Faundez is a freelance education and children’s book consultant. Janet Fisher is a children’s literature consultant. Geoff Fox is former Co-Editor (UK) of Children’s Literature in Education, but continues to work on the board and as an occasional teller of traditional tales. Jake Hope is a reading development and children’s book consultant. Ferelith Hordon is a former children’s librarian and Chair Elect of the Youth Libraries Group, and editor of Books for Keeps


Hannah Love works in children’s publishing. Margaret Mallett is a team editor for the English Association’s journal English 4-11 and author of What Shall We Do Next?: A Creative Play and Story Guide Matthew Martin is a primary school teacher.


Sue McGonigle is a Lecturer in Primary Education. Jana Novotny Hunter is an author and editor. Margaret Pemberton is a school library consultant and blogs at margaretpemberton.edublogs.org. Val Randall is Head of English and Literacy Co-ordinator at a Pupil Referral Unit. Andrea Rayner is an editor and has an MA in children’s literature. Andrea Reece is a marketing consultant and Managing Editor of Books for Keeps Gill Robins is a Junior School Deputy Head and Editorial Chair of the English Association publication English 4-11. Sue Roe has been working as a Children’s Librarian in various public libraries for a number of years. Imogen Russell Williams is a journalist and editorial consultant, specialising in children’s literature and YA. Caroline Sanderson is a freelance writer, reviewer and editor. Elizabeth Schlenther is the compiler of www.healthybooks.org.uk Lynne Taylor works on The Reading Agency’s children’s programmes, the Summer Reading Challenge and Chatterbooks Nicholas Tucker is honorary senior lecturer in Cultural and Community Studies at  Sue Unstead is a writer and publishing consultant Ruth Williams is a children’s book editor and publishing consultant.


Under 5s Pre – School/Nursery/Infant New Talent


The Bear and the Piano 


David Litchfield, Frances Lincoln Children’s Books, 32pp, 978-1-8478-0717-5, £11.99 hbk


 a piano in the forest? He learns to play it, is discovered and whisked off to fame and fortune. But is this enough?


In this debut picture book, David  a resonance for even the youngest, growing up in a world where the cult of fame is very real. It is a gentle story with a strong message at the end: wherever your talent may take you, the friends and family you leave behind are important. It is a straightforward narrative that is presented without embellishment.


However, it is the illustrations that bring the words to life. Glowing colours, bold double spreads that obliterate the gutter creating a wide      the storyline, all combine with the charmingly naive bear to create


Elmer and the Flood 


David McKee, Andersen Press, 32pp, 978-1-7834-4204-1, £11.99 hbk


Just when you think there can’t possibly be another Elmer story, one comes along which picks up on another aspect of the patchwork pachyderm’s personality. Here he works together with his conventionally coloured colleagues to rescue Young     as well as his age) from being stranded  rescue means Elmer can secure a bit of peace and quiet for himself after being holed up in a cave with the other elephants for days, sheltering from the rain and enduring their bad jokes. There are the usual scenes of Elmer wandering through the technicolour jungle and meeting its inhabitants,       of ducks enjoying the weather; and, once more, Elmer demonstrates not only his unique ability to solve problems on behalf of the community but also to turn any trickery to his own advantage. But, at the end, in a scene that demonstrates his singularity in the jungle world, he chooses to remain in grateful solitude, instead of enjoying  so many of the books.


CB Super Magic Happy Forest 


Matty Long, OUP, 32pp, 978-0-1927-4294-0, 32pp, £11.99 hbk


All the creatures have a lovely time in the Super Happy Magic Forest enjoying picnics, fun and frolics. It’s all because of the Magic Crystals of Life. But then the crystals are stolen and everyone’s miserable. Wise Old Oak


20 Books for Keeps No.215 November 2015


animals are sneezing. But every time an animal sneezes, something strange happens. First comes blue bear. He wants to pick some spring                 likes blueberries, but he doesn’t get a chance to pick them because as he           mistaken for carrots. And so the book continues. Eventually, each animal sneezes their way to a completely new look which lasts ... until the lion sneezes. What look do they end up with this time? Well, that’s a question for the reader to answer.     


 gimmicks. We step into the forest the moment we open the book – a  At the end the bear and his friend stand facing a future of bright light and possibilities – but the forest world is still there.


Here is a new young illustrator with a distinctive style and talent; I look FH


says the goblins must have taken them       include a toadstool called Trevor and a unicorn called Blossom, are chosen to get them back. On their terrifying journey our heroes encounter, among other dangers, frozen tundra, armed penguins, a Super Creepy Haunted Forest and deep dungeons. When they  of goblins – having a tea party. They’re actually quite a friendly bunch and offer them cake, but they don’t have the  they’ve failed in their quest, Dennis  pages desperately trying to catch up, and just before he collapses from       that disaster has fallen on the Super Happy Magic Forest. Luckily our heroes return in time to defeat the root of evil. There’s plenty for both adults and children to enjoy in this hilariously         numerous labels and speech bubbles (coming from a wide assortment of creatures, so great for reading aloud in different voices). The bright, digital artwork also contains lots of details and jokes, and readers can follow the  endpapers. There’s a second book       what’s happened to poor Dennis, the true hero of the story.


RW Achoo! 


Virginie Morgand Tate Publishing, 36pp, 978-1-8497-6376-9, £9.99 hbk


In this deceptively naive book from French artist Virginie Morgand, it’s springtime in the forest and all the


to shapes and colours. The quality of the book is very high, colours are bold and clear and the layout is simple and uncluttered. The book epitomises the very best in graphic design, compelling the reader forward to search for missing ears and eyes in their new form and to discover what  innocent animal.   


     stories to be created from the shapes and colours in the world around them. This book is highly recommended for pre-readers to share or to read alone. It’s one that will be returned to time after time.


GR What’s Up Mumu? 


David Mackintosh, HarperCollins Children’s Books, 40pp, 978-0-0074-6309-1, £12.99 hbk


Mumu is a little big-lipped creature with rabbit ears and a blue skirt and she (?) has a bit of a mood on. You can tell that because here she is pictured at intervals from 8.00 a.m. to 9.00       the same prim, withdrawn stance with only the occasional sniff or cough to break the silence. However,


     like creature, wearing sun glasses and a jacket and he (?) thinks he knows how to cheer Mumu up. So here we go. Shopping: ‘They won’t       seen it.’ Oysters and French fries: ‘I had a late breakfast.’ And so on, through a trip to the country; hide and seek; a roller-coaster; salted peanuts; a rose garden, bicycling in the rain, and a visit to a skyscraper. All to no        cheesed off. Cue for Mumu to cheer him up.


    and his winningly bizarre protagonists and their world, suggests both New York and a kind of 1950s French chic – a touch of Breakfast at Tiffany’s  for anyone who has been in a mood and anyone who has ever tried to jolly someone out of one.


CB The book is full of laconic humour in here


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