Teo Degas' Books & Decks

There are graphic books that enchant because of the quality detailed artwork, others because they have one's favourite characters in them, and others because they are like an entertaining movie that one truly enjoys and cannot put down. However, sometimes one come across books that we love despite not having any of that, books that one loves because they are fresh and refreshing, funny and full of wisdom, all at the same time.

The alien in this graphic novel is like a small child with poor literacy skills to whom the world around has never been explained except for a few generic facts, and who discovers it on its own. Its clean eye notices the idiosyncrasy and contradictions of human nature without any judgement, just puzzlement at times. Sadness, happiness, personal identity, and the fear of the unknown are some of the themes posed to the reader throughout this comic. My favourite characters are the egg that wants to be a frog (an analogy for so many existential quests) and Nothing(ness) and its God-like wisdom. The texts are naive, witty, hilarious at time, sweet and wise; the book ends with the cute alien's travel log, which contains some philosophical witty tweets to ponder about. The drawing is simple, purposely child-like. I thought that the book feeds on some premises we can find in some of the stories in Lem's The Star Diaries.

The Kindle edition was not good, at least in my tablet. Images could not be zoomed in or out, and neither was the lettering. One can use double tapping for vignette individuation, but since there aren't vignettes in this comic, what one sees is the letters augmented a tiny bit. Despite that, some of the texts are very difficult to read without a magnifying glass.

I usually love children and teenagers' books as they are a way of escapism for me and a light read; besides, I truly enjoy magical and wondrous characters and stories. A priori, this book has it all.

A Dragon's Guide... is the story of a grumpy dragoness and her evolving relationship with Winnie --the grand-niece of her former human pet, the late Fluffy--, how the dragon gets progressively attached to her, and how they both bond when they have to catch some magic nasty creatures that Winnie inadvertently created and released to the real world.

The book has some similarities with Rowling's latest book on magic beasts, with the script of Goosebumps, and with many books of the genre, but it is more clearly addressed to small children. It is not original or especially imaginative, but the characters are lovely and well drawn, and there is an interesting unique reversion of roles, as the magic creature is the one doing the narration and her character the one leading. In addition, the language is quite polished, even formal at times, and will certainly help children to enlarge their vocabulary.

The narration by actress Susan Denaker is superb. She's able to play all the characters with charm and credibility, a task that is far from small or simple as she gives voice and personality to adult and children characters, creatures with different accents (Scottish, French, English, American), and uses her tone and skills as a performer to create a magic world for us. In addition, one has to praise Denaker's impeccable (mostly British) diction and pronunciation, perfect to be listened to by students learning English.

Perhaps the illustrated book has a charm that this audible version has not. However, despite the quality of the narration, I found it difficult to get engaged or excited. I found the book too wordy at times; too slow or perhaps with bad tempo, and not much action or excitement for adults. What I enjoyed the most about this book was not the story, but the narrator's performance. Small children might love the book, so I cannot speak for them. However, I won't be buying the follow-up book/s.

Overall, an OK children's book (if you are an adult), and a great performance.

This is a graphic adaptation of L'Engle's classic book, originally published in 1962. It tells the story of siblings Meg & Charles who, with their recently befriended Calvin, start an unintended time-travel adventure in search of the siblings long-time missing physicist father, Dr Murray.

If you grew up with this novel, you will certainly approach this graphic adaptation and the whole reading experience very differently from how I approached it, as I read this novel as an adult and have no childhood emotional attachment to it.

The first thing I noticed about this novel, unaware of the original publication date, was that the kids and society shown in the story don't know the Internet, don't have mobile phones, tablets or super-duper  gadgets, something that millennial kids might find odd. However, this novel is wonderfully imaginative, fun, and is embedded with values and lessons of which any pre-teen or early teen will benefit: 

> It is OK to be different, you have to accept yourself the way you are right now. 

> You should not care about what other people think of you, and don't give them power over your own inner voice to dictate your self-worth. 
> Having a family that is different from the norm is OK, as long as the family unit is filled with love and the right values.   

> You have to learn to accept your part of responsibility for your own actions.

> Part of growing up involves you loving your parents but also finding a voice that's distinct and separate from them.

> Sometimes you have to trust people who are more mature than you, and need to believe that they know better.
> When you grow up, risk-taking is unavoidable. 

> You have to learn to be an individual, still being part of a community without giving too much power to your individuality or the power of the community.
> There are things in life that cannot be explained, but are real.

The novel also captures things that are very important when  growing up and approaching adulthood: the power of mateship, the value of trust, the first love, the importance of having a father and/or authority figure in your life. One of the most interesting parts of the novel is the visit to Planet Camazotz, as it teaches young readers important lessons: the difference between individuality and selfishness, the difference between a society in which the individuals are equal and have the same rights, and a society in which everybody is demanded to be and behave the same without deviation from a standard imposed over them; there is also a nice reflection on what true happiness is.

This is a science-fiction fantasy novel, so if I had read this in the 1960s, I would have been thrilled. However, this is year 2017 and it is a bit dated, to me. Science-fiction has had an amazing development and revolution since the book was written, mostly due to the proliferation of amazing original films, of our gaining knowledge about what is possible and impossible in Science, and because of the unbelievable world changes derived from the digital revolution. Modern readers have a more-scientific accurate idea of what time-travel implies, what makes possible life on other planets, and of other scientific facts that were unknown or poorly known at the time L'Engle wrote this book. Having said that, I found the concept of a five-dimensional Universe really brilliant. In the end, this is a fantasy novel, so let our imagination go wild and imagine the impossible.

I enjoyed the graphic adaptation of the book. I cannot comment on whether this is a good adaptation or not as I haven't read the original. The graphics are rendered in black, white and sky blue, which is a pity, because I thought this would have been a wonderful book to have it full colour, as the characters' facial expressions would have benefited and be more powerful, and some of the landscapes depicted would have been awesome  in colour. However, Larson has captured the spirit of the novel, the characters' personality, and the 1960s flare. I especially loved Larson's rendering of Aunt Beast, the in-between time-travel transitions, and the depiction of events happening in the narrative past.

Overall, this is a lovely book for children approaching adulthood, as it is  both fun and wise. As an adult reader, however, I found this graphic book OK, not too exciting and a bit outdated. If your experience is different, well, good on you :).
 

A feature film based on the novel will be released in 2018.
 

The Twits is just a delightful story about a couple of disgusting but hilarious-to-watch married couple, the Twits. They have a malicious baleful irksome behaviour towards each other and other people, and towards animals in general and the family of monkeys they keep in their garden in particular. You will hate the Twits from the very beginning because they are true mongrels; however, you will also love them because they allow you to hate them fully (they deserve it!) but they also make you laugh.  And, of course, you will cheer for the monkeys, they are the only ones with common sense in the Twit household!

Unlike other books by Dahl, the Twits is less metaphorical and fable-ish and more fun. The main two lessons you will learn in the book are, firstly, that if you are ugly in your soul, that shows in your face; and, secondly, that if you treat other people and animals without respect, you will end badly. The language used is Dahl's usual mix of straightforward narration, play of words, and whimsical adjectives and interjections.

Quentin Blake's illustrations are an essential part of this book. Unlike his illustrations for other Dahl's novels, which are secondary to the novel, those for the Twits are intertwined with Dahl's narration; thus, this book is rightly both Dahl & Blake's. The way Dahl describes the Twits and the way Blake draws them in his usual sketchy nervous-like style really go together in my head. Some of Blake's images in this book are really hilarious, like the depiction of Mr Twit's beard, or the bird pie, just to mention two.

This is mostly a book for children, but adults will also enjoy it. .

 

If I had to describe Ghostopolis in a few words I would say "Fun and adventure cinematic story." This is a book for young teens and adults young at heart. Ghosthopolis tells the adventures of Garth Hale after he is accidentally sent to the world of the afterlife. Frank Gallows (the agent who sent Garth there) and his ex-girlfriend ghost Claire Voyant, both former members of the Supernatural Immigration Task Force, decide to go to his rescue and  get him back to earth. Garth's strong life force attracts the attention of Ghostopolis's ruler Vaugner, who tries to capture him to get Garth's energy and use it for evil purposes. Garth happens to find her grandpa Cecil right after landing, although in a form of a child of his age who keeps growing and becoming an adult during the story.

This is  an old-style comic book, one of those I grew up reading when I was a kid: entertaining, imaginative, good graphics, full colour, battles, adventure, the heroes and the badies, fun, lots of fun!, monsters, skulls, skeletons, castles, mummies. One of those books you cannot put down until you finish reading it in a seating.The book targets children, so the narrative has the common clichés of the genre, and of course is predictable, but that doesn't rest interest or fun to the reading. 

The adventures being mostly in the afterlife, one would expect macabre and very dark images, but the contrary is true. All the creatures in the afterworld are likeable, funny, naughty  and not scary at all.  There is a bit of Christian symbolism in the book but it is very subtle, not straightforward, and not preachy at all. The creator is called Joe the builder, a Tuskegee airman, an Afro-American pilot of the WW2.

One of the things I love the most about the book is how cinematic it feels, and how funny is. The character of Frank Gallows is really a cracker, cheeky and likeable. Some of the names are also very funny, like Claire Voyant, or Boogie Boogie Avenue. Vaughner, the bad-man, looks very much like a punk-rock Bylly Idol, although the mouth is very much Marilyn Mason, and he is wearing skinny jeans! Some of the dialogues are also light-hearted and full of pun:

"Assemble my fastest team of night mares, a company of royal skeleton guards, and a carriage for thet wo lovebirds" [the skeleton king says when ordering to prepare his horses] (p. 183)

"Well show them that you don't have to have organs to have guts!" [the skeleton says] (p. 194)

The novel immediately reminds one of Ghostbusters, and of some of Tim Burton's early movie, in which the extraordinary and the ordinary live in dysfunctional harmony. However, to be fair, we cannot reduce the plot or the novel to a Burton-alike story because darkness seems always more natural than the normal world or normal people in Burton's Universe, and that is not the case here.  Unlike Ghostbusters, the ghosts in this novel aren't on earth to scare anybody, they are there to enjoy the peaceful surroundings as the afterlife is a bit messy.  In that regard, Man in black seems more in tune with this story, especially having a group of police officers devoted to capture intruder ghosts and bring them back to their own world. 

I don't think the book has anything really that would bother parents to give their children, even if they are agnostics, lapse Christians, Buddhists or Hindus.
 

PLOT HOLES

> If Garth is dying, why is his energy in the afterworld so humongous? After all he has just a few weeks of life left. I think the fact that he was so sick was a reason why the accident happened; otherwise, the plasma device would have not been taken him. Just saying!

> The appearance of Garth's son is senseless and breaks the rules of believality. One understands that the afterlife has not time or space. Great, but for the sake of the story, please show old Cecil.

THE GRAPHIC ART

Dough TenNapel is not only the author of the story, is also the main illustrator, drawer and penciler/inker.  He has a great talent and can do anything: beautiful rural escapes, cityscapes or action-packed crazy scenes. The arrangement of the vignettes is very dynamic and never boring, and every few pages there is a B&W silhouetted vignette inserted between the others, a kind of wink to the reader. I think that TenNapel shines when he creates simpler images, less busy visually, which are among my favourites. I loved the graphic depiction and development of some of the characters: Claire, Frank, Vaughner, the skeleton king, and all the mumies. I didn't like the depiction of Garth, his mother, and I hesitate about Joe as much .   

I found the subdued and washed out colouring very good, similar to  that in old vintage comics. Not my favourite sort of colouring, but splendid nevertheless.There is a large group of colourists who have to be praised: The lead colourists are Katherine Gardner and Tom Rhodes, helped by assistants Matt Laskodi, Aaaron Crayne, Wes Scog, Rick Randolph, Kenny Hitt, Ethan Nicolle, Eric Barnscume, Dirk Erick Schulz, Sean McGowan and David Kowalyk.

The author of the lettering is not mentioned in the credits, but the lettering is one of the best things in this book. I absolutely loved the lettering fonts, sizing and colouring, even the accurate onomatopoeyic wording of it.  The wording felt like real sounds in my head, not like other times when I read the ambience noises in a comic and I don't hear anything in my head. The lettering perfectly suits the book overall look and style, and it is in harmony with it. 

MIND
More for mid-grade children than for proper teens, I think. I would say about 8-13y.o.a. Older children would be already reading adults stuff or complex books to feed their hunger for adulthood.

NOTE

A movie based on the novel is in development at the time of this review. TenNapel gave an interview about comic creation where he gives some details about the film. The interview is on YouTubbe (1h +).

The city of Ember is the first episode of a series of four novels narrating the adventures of Lina & Doon. They are two teenagers who live in a mysterious and isolated city-state called Ember just assigned their profession at the end of their school days. They start to question whether the life in the city is good for them and become unhappy when the power outages and food shortage become increasingly frequent and they discover that the mayor is involved in some serious activities. After finding and deciphering a broken note with instructions on how to exit the city, they decide to escape. 

THE STORY
 The novel has the format of a traditional serial novel, with a lot of slow pace that builds up to the end, when the real action commences and a cliff-hanger is provided for you to hold on until next episode. I have never heard of read the original Jeanne DuPrau's novels or seen the movie, so I cannot comment on Dallas Middaugh's adaptation. However, I expected, a priori, a bit of chopping off for having done for the graphic book. Although I enjoyed the graphic novel, I felt that the story was a bit hurried at times, a bit too slow others, and a bit superficial others, especially with regards to the relationship between the characters.

Although I enjoyed the novel, I felt that the story was a bit hurried at times, a bit too slow others, and a bit superficial others, especially with regards to the relationship between the characters.  Also, I found some of the "next morning" text unnecessary, as the story itself and the images tell you that without the need to write it all the time.

The City of Ember, nevertheless, is a delightful science fiction story that is not just what it looks like. 

EXPLORING THE BOOK 

Many themes are touched in this novel and you can use the book to start a conversation with your children or with your students on different subjects. Some of the questions that came to mind were:
~~ Is it OK  to question authority?
~~ If affirmative, in which circumstances?
~~ In which way/s can a Government keep its citizens in the dark? Any examples in your country, region or the world nowadays you think of?
~~ Do you think of any circumstances when keeping somebody in the dark about something could/would  benefit them? 
~~  If you are kept in the dark, how do see what is real and what is not?
~~ Which government system does build a better society and makes individuals happier?
~~ Why do we fear a future of doom instead of dreaming of  a future where society is better?
~~ Can individuals help change society?
~~ Which things would surprise you in your daily life if you didn't take them for granted?
~~ How would you describe the things that surround you if you saw them for the first time ever?
~~ What is needed for any person to *see* the world for what it really is?

~~ Would society be better if instead of choosing our professions, the Government randomly assigned those needed and available?
~~ Would your life be different if instead of following a profession of your interest you were assigned another for life? Could you still develop your talent and qualities in any circumstances and profession disregarding which one is?  Could you still be useful or more useful to society?  Could you be happy?
~~ Do the plot, themes or characters in this book remind you of any others you have previous read?
~~ In which way does this novel relate to the Platonic allegory of the cave?  
~~ In which way is the escape of the womb of a city similar to leaving the parental home when you become an adult?

Niklas Asker is the illustrator of this graphic novel. I love his artwork. He has created an expressive world and a visual narrative that doesn't need of much text to be understood. I never take that for granted. The book feels very cinematic, the composition and arrangement of the vignettes and visual frames is varied and interesting, with interior, exterior and landscape scenes that are always appropriate and feel right to me. I especially love the indoors images as they feel warm and cozy, like a real home. The characters are very expressive as well.

The colouring by Niklas Asker & Bo Ashi is wonderful. The shadow work is amazing and very detailed, and helps tremendously to create ambience and mood. Ember is an underground city so one expects the images to be dark and lighted at the same time. This sort of colouring and lighting is always my cup of tea.

Chris Dickey's lettering is quite classic and, mostly, non-invasive. Dialogues are included in classic balloons, and narrative references in square marquees at the top or bottom of the page; the start of a chapter has a lovely broken piece of paper that mirrors the broken instructions sheet in the story. On the contrary, I didn't like the noise and ambience lettering, which was invasive, too bold, too large, and too much of a fracture. Although it has a narrative value and captures well what is happening in the scene, it is out of tune with the rest of the book's imagery.
  
THE NEXT GRAPHIC EPISODES, ARE THEY COMING  OUT ANY SOON?
There is nothing that I find more frustrating and irritating that  realising that a book I'm reading is just the first part of something that we don't know if is ever to be continued. DuPrau published the other three books in the series a while ago, so I wonder why making a graphic novel just out of the first book and not out of the whole series, or why not publishing the other volumes at a reasonable pace? Is this an ongoing project and other volumes will see the light (pun!) soonish? Or is this just an isolated graphic book that will never been continued? 

RENDERING FOR KINDLE
I am quite happy on how this graphic novel works on Kindle, the quality of graphics and colours in my tablet, and the fact that the size of the downloadable file is reasonable. There is no index in the lateral bar, something that I don't see why not and that could be easily fixed in the electronic edition.  


MIND
This graphic book is just an abridged version on the first book of the series.  This book is mostly for mid-grade children and young teens. If you want to read the whole series you better grab the written books.

The Hen who Dreamed she Could Fly is a modern fable for mid-aged children and adults written by the Korean writer Hwang Sun mi.

This is a short and sweet novella, that you will devour in a seating. It has all the elements of successful classic tales for children but will captivate also adults. For a start, the story is Universal as there are no location names, no human names, so the story could be happening anywhere, Korea, USA, or Spain. The story also speaks to any culture, religion or social class. The settings and characters are those of a traditional fable: a barn, anthropomorphic domestic animals; good, bad and evil characters; a hero, a subversion of the animal order of some sort, and an embedded moral lesson. Unlike classic fables and folk tales, the moral lessons in this novella are very contemporary, very 21st century.  One of the main messages of the book is explicitly mentioned:

 Just because you’re the same kind doesn’t mean you’re all one happy family. The important thing is to understand each other. That’s love! (Kindle Locations 984-985).

The reading of the book is far from linear as there are different layers and themes touched at the same time, which will appeal to people of different conditions, even to people who see the world very differently. Two major themes are obvious to me:

1/  Nature simple "is"

2/ Our nature does not always equal Nature

> Does motherhood equal womanhood?
>  Does being of a different race or of the same gender make a difference in being a good parent? Said differently, can a mother from a race or gender that is not that somebody born with make a difference in your growing up?
> Is surrogacy OK?
> Does Nature define your nature?
> What is more cruel, the cruelty of Nature or subverting Nature for the sake of personal fulfilment and getting hurt because of it?

Eventually, what you will enjoy the most about the book is the sentimental part of it, the emotions that this foolish mother of a hen called Sprout brings in you. Interracial inter-religious and gay couple will find their struggle reflected in the fable. Any struggling single mother will cry at finding her harshness and devotion reflected. The book will also touch non-mothers because the story will remind them of the abnegation, love and willingness to overcome obstacles that some mothers have, perhaps their own. 

The characters in this novella  are well drawn. The weasel is my favourite, s/he know who s/he is, his place in Nature, and doesn't  apologise for whom s/he is, what other people think of his/her way of life or the hatred s/he attracts. Sprout the hen is foolish, yet we are immediately drawn to her compassion, selfless love, and the way she stands the harshness of life, even though she put herself in that position.  

The ending is great. A great lesson. Because there are things in life you cannot change or subvert, as simple as that, you like it or not. 

The translation by Kim Chi-Young really flows. The language used is very simple, but I guess that was also in the original as this is, after all, a book mainly  for  children. Yet, sometimes I found some wording that was a bit off to me, probably because English is not my first language. However, there is one occasion that the word of choice seemed not appropriate:

One of the sentences reads "She tried not to lose consciousness, wondering what was happening." (Loc. 64).  

I thought that a talking hen would have never used this expression because hens simply don't have consciousness, something one can easily put aside because this is a fable. However, talking of a hen  in the third person, I would have simply said  "not to faint." I thought, this would be easier to understand for children as well.  This is, of course, a very personal appreciation.

I love the black-and-white minimalist illustrations by Japanese artist Kazuko Nomoto's (aka Nomoco's), who is also the author of the paperback and hardcover's covers. There are very few illustrations in the book, just at the beginning of each chapter, and a flowery line at the end of the chapter. I thought there was room for more illustrations, and that the book would have benefited from more.

As happens with other Korean books that become popular in the West, senseless comparisons to English-speaking novels immediately sprout or are summoned: Animal Farm and Charlotte's Web. Really? Why the need to say something as senseless?! Those novels have nothing in common with this book except for the fact that they have animal characters in a farm. I have never read John Livingston Seagull, which is another book frequently mentioned, so I cannot comment on that. Personally, the only influences that came to mind when reading it were European, Aesop's fables and the Ugly Duckling by Hans Christian Andersen, although to be fair, the script of the movie Babe, which is Australian, also came to mind. Yet, this book is quite different in mood and message from all of those.    

NOTES

~o~ The book was first published in Korean in the year 2000, and it is a modern classic there. The novel was first published in English in 2010, this edition being of 2014, way behind the date when it was translated into other major languages.

~o~The story was brought to the big screen in 2011 in a Korean animated film titled in English Leafie, a Hen into the Wild and also Daisy a Hen into the Wild, and turned into the theatre stage in 2015. The book was also adapted to a comic book.

KINDLE RENDERING
Although you can easily individuate and zoom in the illustrations, the images are not very big, they don't fit the full page in my tablet. When you double-tap and individuate the image this is still a bit small, even if you zoom it by pinch it in, and it doesn't look neat enough. This could be easily solved in the Kindle edition, so the image can be zoomed without losing quality and zoomed in more.

A WARNING
This book is not for small children and needs of parental supervision as deals with themes that aren't easily understandable to children. I would not give it or read it to a small child, unless s/he is older than 6y.o.a.

I love Dr Seuss' books. I think they are not only good for children, but also for adults. They all teach important lessons, values, ethical behaviour, they are lay and universal, and they always ground me. Dr Seuss' books are about what life should be. Life is crazy (his crazy texts, unusual stories, and outrageous colours are just that), but it not just about what you see, it is about how you relate to people, how you see and relate to the world, and how you feel. 

"And to Think That I Saw It on Mulberry Street" is a book about the beauty of the ordinary and of savouring the small things in life. It is also a book about the importance of imagination and how imagination works. The story also captures how fables and legends were born centuries ago, how small things were put together to be turned into a unreal fantasy.

This story has aged well with regards to some points but not others, but it is more relevant than ever for modern kids. Originally written in 1937, it is obvious in 2016 that most small children in developed countries don't walk alone to/back school, not even with pals, they are driven to/from school by their  parents or accompanied by caretakers in school buses. Of course, there are countries where children walk Kms to go to school, so perhaps for those the story is as fresh as it was when it was written. On the other hand, the role of imagination in the education of children isn't as prominent  as it was 30-50 years ago -- nowadays there is an ubiquity of visual imagined worlds presented to kids  already masticated in TV programs and movies, too many kids aren't told or read stories before bed,  and too many are parked in front of TVs, tablets and smartphones numbing their imagination when they should be using it the most. 

Flotsam is a very short wordless graphic  book full of wondrous images and a great storyline. I love wordless picture books because they are more demanding on the artist, as the images have to carry the narrative on their own, and they are more open to interpretation (more a door to the imagination than a finished story) but also more Universal.

David Wiesner's drawing and illustration style are marvellous, crispy clean, detailed, almost hyper-real, delicate at times, flamboyant at others, with a great use of colour and wondrous imagery.

Flotsam is a message-in-a-bottle sort of story, the bottle being replaced by the images in an old camera that lands on a beach where our main character is spending his day.

Life is wondrous, you just have to look at it with a bit of attention. There is magic in the ordinary and we are all interconnected. Those are the main points in the message embedded in the story.

I consider that the story is fragmented unnecessarily. I truly loved the Magritte-like photographer-in-the-photographer photograph going from the present to  the past. That is fantastic, a great concept and well realised. The pictures about the sea world that the character sees in the photos are wondrous, but less original and with more artistic and illustration trites than the rest of the imagery. To me, the story about the photographer's photo of the photographer has so much potential for development that it is a pity that the author distracted himself with the underwater world and forgot to connect the first photo in the story with the photo of the first photographer who used the camera. That would had been way more interesting and would have rounded up the story more organically. The ending of the book is great.

Awarded the  best children book for 2006, devoted to children between 5-7y.o.a, the book is also good for adults and illustration lovers.

The "book" is not a book properly speaking, as it has 40 pages in paper and 26 or so in Kindle format. There must be a name for this sort of "books" that are not really books but are not novellas either. The Kindle format gave me so many problems in my tablet that I had to return it. I think this book is great to have in paperback.

Tales from Outer Suburbia is perhaps the most Australian of Tan's books, and definitely very Western Australian. Tan is native from the northern suburbs of Perth WA, and the landscapes, urban furniture and fauna he depicts are just part of Perth's visual idiosyncrasy.

This book is atypical, in two ways. Firstly, Tan, usually very concise in the wording of his books and in the use of words in them, writes a lot in here, and the text is as important as the images. This is so, because this is a semi-memoir of Tan's childhood, and the stories part of his emotional memory growing up in Perth. Secondly, visually speaking, this book is eclectic in styles, because he he uses very different illustration and painting techniques and styles to accompany the different stories, which remind the reader of the ones used in his previous books. In that regard, the book is less congruent visually than his previous ones.

What is still typical of Tan is his mastery at drawing, its ability to create magic realism from the quotidian, to create visually appealing almost-touchable images, absurd meaningful scenes, and quirky funny adorable characters. I love the way he uses his images to create mock newspapers news, mock Post envelopes, mock wall-collages, how he incorporate the credits and acknowledgements in a borrowing slip library card or an envelop, his mock postage stamps, the quirky funny magical sketches that cover the inner front and back covers of the book.  

Some of his usual themes are also here, especially the concepts of foreign (how foreigners see us, how we see foreigners, what  foreign is) and of how our childhood memories never fade out in our hearts, no matter how mundane they were, because the way we lived and perceived them. 

 

The stories or chapters in the book are:
>> The Water Buffalo.
>> Eric (this is one of my favourite in drawing style and message -very similar to the Arrival- and because Eric is just the bomb!)
>> Broken Toys.
>> Undertow.
>> Grandpa's Story (Another favourite because of the narrative, and how Tan turns a real story into something really magical).
>> The other country (Because it depicts his contact with the Mediterranean culture and the magic in it. The painting is also very Mediterranean!)
>> Stick Figures (I love the visuals of this one because it depicts Perth summer landscape very well).
>> The Nameless Holiday.
>> Alert but not alarmed
>> Wake.
>> Make your Own Pet.
>> Our Expedition.
>> Night of the Turtle Rescue

To be honest, every story is wonderful.

This is a melancholic book about Tan's emotional landscapes, so it has to be read as such.

The Cat in the Hat is one of those books that little children and adults enjoy reading because it is fun, it is naughty, it is educative, and the cat in the hat is just a quirky cat! Adults can see the value of the embedded message, and kids learn that behaving and being orderly will benefit them, not just their mothers. This is a classic of world children literature, and so enjoyable that you want to buy for yourself, to remember your childhood, or to make it part of your children's childhood. Like all Dr Seuss' book, this book is shrinkingly simple in its imagery, with a very 60s pop-culture sort of colouring and style, which gives the book a sense of surrealism that makes the whole acceptable for children. 

The application format works well with Dr Seuss' books and with this one, turn it in a sort of semi-animated mini-movie. You select the way you want to read the book, by yourself, by the narrator, or you just to leave it on auto-play and the pages and voice will move at their own pace. The app automatically rotates your screen, and uses the original illustrations of the book, closing up and down on them to match the action and speeches of the characters. Background noises have been added, but they are very cute and not invasive at all; still, you can mutate them if you want. You can browse the pages on your own by using your fingers and the pages flip as if they were those of a real book.

The narrator's interpretation and reading is great. The reading comes handy if you have children and want them to read and not to watch TV, but do not have the time to seat and read to them. Genius!

A few things that I would have liked to have available in this app are: 1/ Option of female and male voice. 2/ All the objects in the screen being interactive. Some of the main elements in each image show the name when you click on them, but some of them not, like the curtains or doors or walls, or the floor, or many of the secondary elements in the image. It would have costed nothing adding those extra words!

This is a perfect app not only for English speakers, but also for for foreign children learning English, as the interactivity of the app make learning new words fun and easy.

Dr Seuss are not just fun, are strikingly pop in their imagery, they are very educative and ridiculously funny. This is the case of Mr Brown Can Moo, which is addressed to very small children, those who are learning the name and sound of different things, that is onomatopoeia formation, This is is one of my least favourite stories by Dr Seuss, because there is no story. Although I recognise its pedagogic value.

The application is fantastic, as all of the Seuss stories that Oceanhouse has turned into electronic interactive format. The app is interactive if you choose the read yourself option; you can click on any image on the page and the word will pop up on your screen and will be pronounced. From the main menu, you select the way you want to read the book, on your own, using the narrator's voice, or auto-play. The app automatically uses the landscape setting and rotates your screen, and uses the original illustrations of the book, closing up and down to focus on the action and speeches of the characters. Background noises and musical notes have been added to enhance the experience, but it can be mutated if you want. You can browse the pages on your own using your fingers and the pages flip as if they were the ones in a real book.

In a world in which children are over-indulged, over-protected and driven like cattle anywhere, Meg McKinley's wonderful story comes to teach children that walking is wonderful, that life is full of magnificent small things that brighten up our days, and that discovering them is not only part of life, it is life itself. The book is also perfect for adults who need to be reminded that mediocrity and boredom are things that you build everyday when you detach yourself from the gazillion beautiful things that life has to offer, and that opening your eyes and moving your derrière are basic for brightening your time.

The text and the illustrations are like an odd happy marriage. This is not the typical book for children with colourful illustrations and childish cute characters. Hughes-Odgers' images and characters convey well the lack of brightness of the life of a group of apathetic-looking children, who could be early teens. By using a mix of matt subdued greens, ochres, beige, blues and blacks, he creates a world that is earthy and mysterious, a sort of urban forest that is scary but exciting to walk through. I always love his characters and magic world, so I was delighted at finding him as the illustrator. His illustrations were first painted on wood panels and will be exhibited at The Place (mezzanine floor in the State Library of Western Australia) for about two months.

If you have kids or nephews, go and grab it. If you like illustration, go and grab it. If you want to feed you inner child, well, go and grab it - no money? Libraries are full of free books ;O.

A beautiful tiny book that brightened up my evening.

Children are fussy eaters, anything green or healthy is sort of no-no, refusing to eat what they haven't tried for no reason. The story is very cleaver, because the character is made fun of, like he sounds so silly, but also the character carrying the green eggs and ham. The book will teach children that you might be surprised at trying new things that seem unappealing, and those very things can become your favourite ones.

This is book is perfect for very small children, but it might not be that enjoyable for adults as other Seuss' books.

Kudos to Oceans and Hay House for doing such a great job with Seuss' books. The app is a sort of animated mini-movie. From the main menu, you select the way you want to read the book, on your own, using the narrator's voice, or you just to leave it on auto-play. The app automatically uses the landscape setting and rotates the screen, using the original illustrations to close up or down while the book is narrated. Background noises and musical notes have been added, but they are very cute and not invasive at all. You can browse the pages on your own using your fingers and the pages flip as if they were the ones in a real book.

Moreover, the app is interactive if you choose the read yourself option; you can click on any image on the page and the word will pop up on your screen and will be pronounced. They are basic words, so the app is perfect for small children learning to read, no matter English is their first or second language.

The narrator's voice and interpretation are very nice, and he uses different voices and intonations for each character, so the whole book is really enjoyable.

A lonely girl is in search of herself, lost without hope, and has to deal with herself and her demons to find happiness.

The Red Tree is an Ode to hope, to expect always the best, even in our darkest moments. A visual song about self-acceptance and about accepting life with its lows and highs. A book with very few words that, however, conveys deep emotions: sadness, loneliness, doubt, struggle, isolation, hope, happiness and triumph. The reader connects immediately with the little girl character because any of us has had in the past some of those emotions or feelings. We get this sense of oneness with the little girl, and feel victory with her when she finds her red tree.

This is one of this books that I re-read and peruse when I feel sad, when I feel stuck, when I want to remember that there is always hope, and life is full of surprises around the corner.

Some children's books are forever, Universal, and full of unspoken poetry. This is one of them.

Horton Hears a who is a book about the importance of every living being on the planet, no matter how small it is. It is a book about the importance of the voice of any person to contribute to the good of the community. It is a book about the need to believe without seeing. It is a book about doing the right thing no matter what others think of us.

Living with a gadget is the reality of most Western Kids. Paper books are not so cool now, too bulky, too heavy, too environmentally unfriendly, too last century. Apps like this show how to keep a classic of the literature alive making it cool to the new generations of readers without losing the spirit of the original.

The application is a sort of animated mini-movie. You select the way you want to read the book, by yourself, or using the narrator's voice, or you just to leave it on auto-play. The app automatically uses the landscape setting and rotates the screen, and uses the original illustrations of the book, closing up and down to focus on the action and speeches of the characters. Background noises have been added, but they are very cute and not invasive at all. You can browse the pages on your own using your fingers and the pages flip as if they were ones in a real book.

The narrator's voice and interpretation is just fantastic, better than in the other books, and he plays all uses different voices and intonations for each character. I would have loved having the option of female and male voice narrator, though.

The Rabbits is a children's book fit for adults. First published in 1998, it is still as fresh as the day it came out.

The Rabbits is a metaphorical story on the colonisation of Australia as seen and perceived by the original inhabitants of the land. The rabbits represent the European arriving in Australia, and the Wallabies the Aborigines. Shaun Tan's illustrations are wondrous, as always, but also moody and dramatic, very beautiful and powerful in the portray of the beauty of this land, the mind of the newly arrived, and the way Nature was examined and transformed. Even the attitudes of the Europeans and the Aborigines are shown in the way they dress, look and move.

This is one of those books that should be compulsory in schools to teach Australian children the basics of the History of this country - that version that we miss from History books because those have been done from an Eurocentric point of view, not by those who were dominated. For the indigenous people colonisation is an euphemism of the destruction that they suffered. However, it is remarkable that the book is written by two non-indigenous people - it is daring today, so you can imagine how daring and controversial was 14 years ago.

Reconciliation is not just a flashy word used by politicians, it is a process of becoming acquainted with our past and giving voice to those who never had it despite being part of it. This book does just so in a very unpretentious beautiful way. The book also offers and environmental message of respect and understanding of the land as a basis to benefit from it.

This is also one of those books that needs parenting - you and you child side by side, the adult not only as reader, but also as inductor and teacher. A book that needs to be talked and discussed about, so your children grow to form a country that has a different mentality and attitude towards its History and towards Aborigines.

The Rabbits is one of my favourite Australian books of all times. So tiny, so simple and so profound. So daring in its few colourful pages.

This is he second instalment of the series Suee and the Shadow and the plot is getting more interesting by the minute. Our Suee is shining her true colours (or perhaps her true shadow) to herself and the world, and there is more action and mystery unfolding, things becoming darker and more intriguing.

The second part of the book starts on chapter five, but it barely has 90 pages, which you can easily devour in your lunch break. So that was a bit of a disappointment. On the other hand, the reader dives into the story, which has plenty more action, and is left at the edge of a cliff without handrail to hang onto.

I am falling, falling.... fallinnnnnnnng for the Suee Shadow Korean team. They are just awesome at creating an stylish comic with an intriguing plot, and lots of mystery and entertainment.

I love the pricing of the books, but I would like the third instalment to be a bit longer. To be honest, I would have loved the whole book done at once.

I think they should use they Korean names instead of the ones they use as plume names, because, well, they are making themselves a disservice. 

To be continued, when they continue...