Review by New York Times Review
This simple retelling of the Nativity opens fittingly with a moon-faced owl, whose hushed watchfulness sets the tone for the book, which doubles as a bedtime tale. Told largely through the gathering of the animals, as befits a Christmas story for very young readers, Thompson's rendition emphasizes mood and setting. Bean's atmospheric illustrations, in earthy tones of black, taupe and slate blue, give this quiet tale of maternal devotion a distinctive and appropriately lovely look. A CHRISTMAS GOODNIGHT By Nola Buck. Illustrated by Sarah Jane Wright. 24 pp. Katherine Tegen/HarperCollins. $12.99. (Picture book; ages 2 to 5) "Goodnight to the angel choir./Goodnight to the star above./Goodnight to the Holy Family./Goodnight to the ones we love," run the couplets of this pleasing bedtime book, which grounds the Nativity story in the young reader's own familial experience. (On a very good night.) A debut for Wright, the illustrator, "A Christmas Goodnight" features sweet-faced children and animals and an especially cozy-looking manger, which work well with Buck's graceful rhymes. THE BEST CHRISTMAS PAGEANT EVER By Barbara Robinson. Illustrated by Laura Cornell. 40 pp. Harper/HarperCollins. $16.99. (Picture book; ages 4 to 8) Their subject matter may be solemn, but Christmas pageants are opportune moments for comedy. This picture book adaptation of Robinson's popular 1972 novel of the same name features the Herdmans - "the worst kids in the history of the world" - and their takeover of the town's annual pageant. The frantic, comedic drawings by Cornell, who illustrates Jamie Lee Curtis's children's books, suit this tale of holiday misbehavior and unanticipated generosity, which she amplifies in scribbly, animated style. THE STORY OF CHRISTMAS From the King James Bible. Illustrated by Pamela Dalton. 32 pp. Handprint/Chronicle. $17.99. (Picture book; ages 4 to 8) Dalton's extraordinary illustrations for Katherine Paterson's retelling of "Brother Sun, Sister Moon" won rave reviews this past summer. Here, she uses the same intricate cut-paper artwork set against a dramatic black background, to great effect. Shimmering as in an illuminated text, the angel Gabriel, the Wise Men and the Virgin Mary reflect medieval iconography as well as the American folk art tradition. Children will enjoy contemplating the serene scenes to the cadence of the archaic language in the text. THE THIRD GIFT By Linda Sue Park. Illustrated by Bagram Ibatoulline. 32 pp. Clarion/Houghton Mifflin Harcourt. $16.99. (Picture book; ages 6 to 9) Park, a Newbery medalist, strikes a highly original note in this beautifully told and exquisitely illustrated story about a boy who learns from his father how to cultivate myrrh in the Arab desert. Myrrh, drops of which the father and son call tears, is drawn from tree sap, then used as medicine, flavoring, salve and funereal incense. "When you smell the tears at a funeral, you know that someone truly beloved has died," the boy explains. Today's collection is destined for three men in fine robes, who add it to their stock of gold and frankincense. "The gifts are for a baby," they tell him. PAMELA PAUL ONLINE A slide show of this week's illustrated books at nytimes.com/books.
Copyright (c) The New York Times Company [December 4, 2012]
Review by Booklist Review
Dalton, who beautifully illustrated Brother Sun, Sister Moon (2011), a St. Francis story by Katherine Paterson, here uses her distinctive cut-paper artwork to tell the Nativity story. Using text from the King James Bible (chapters and verse not specified), the text begins, In the days of Herod . . . there was a virgin espoused to a man named Joseph. What follows is the familiar story, with angels and inns, shepherds and wise men, ending with the flight to Egypt and, briefly, the Holy Family's return. Dalton's paper-cutting technique, a Pennsylvania German folk-art tradition called scherenschnitte, allows her to play with various motifs, particularly flowers, leaves, and angels' wings. Set upon an ink-black background, the flora and fauna seem three-dimensional. Slightly less successful are the people, whose faces, in particular, lack the sophistication of the rest of the art. That's a small blemish, however, in such a lovely treatment. Those wanting a classic version of the Christmas story will find it here.--Cooper, Ilene Copyright 2010 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Delicate paper-cut illustrations provide a lovely, solemn backdrop to the King James Bible's account of the Nativity story. Strongly influenced by Renaissance artwork, Dalton's illustrations are very much in keeping with her work in her first children's book (Katherine Paterson's Brother Sun, Sister Moon). As shepherds, wise men, and angels gather to honor the birth of Jesus, Dalton sets her tableaus against black backgrounds, which both focus attention on the story's major players and make logical sense given the nocturnal setting of much of the story's events. The iconic nature of Dalton's scenes is ideally suited to the traditional Biblical translation used. Ages 4-8. (Dec.) © Copyright PWxyz, LLC. All rights reserved.
Review by Kirkus Book Review
The Nativity story from the King James Bible serves as the text for this engaging interpretation done in exquisite cut-paperand-watercolor illustrations that stand out against dramatic, black backgrounds.Dalton's intricate illustrations are cut from paper and then hand-colored to fill in textures and details. Many of the illustrations employ mirror images at each side as in traditional paper-cutting art, with a single focal element showcased in the center. Other formats vary the perspective, including a dramatic overhead view of Baby Jesus in the manger full of hay and a complex procession of multiple characters in panels outlined in organic tree-limb shapes, illustrating the Flight into Egypt. Many of the compositions consciously echo medieval illuminations. Traditional symbols for Mary (roses, lilies and rose of Sharon) are worked into the illustrations, and roses decorate the endpapers as well. Though the overall look of the cut-paper illustrations is dramatic, the faces of the people tend to look sad or disengaged throughout the story, especially in the Christmas Eve scene in the stable. Another issue is the apparent advanced age of Joseph, who is bald and has a white beard, in comparison to the youthful Mary. Though this disparity has historical roots in apocryphal literature and early Christian art, it may feel odd to modern children.The downcast faces of the people and angels and the old-fashioned language of the traditional text serve to distance readers. The "good tidings of great joy" are missing from this otherwise visually stunning work. (Picture book/religion. 4-8)]] Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
