Makes sense: aren’t parents and other close family members children’s first teachers? This duality suggests that the book might be best shared one-on-one between a nostalgic adult and a child who’s developed some self-confidence, having learned a thing or two from a parent, grandparent, older relative, or classroom instructor.Ī sweet, soft conversation starter and a charming gift. Alternatively, readers won’t fail to note that this small book, illustrated with gentle soy-ink drawings and featuring an adult-child bear duo engaged in various sedentary and lively pursuits, could just as easily be about human parent- (or grandparent-) child pairs: some of the softly colored illustrations depict scenarios that are more likely to occur within a home and/or other family-oriented setting. However, the voice could equally be that of an adult, because who can’t look back upon teachers or other early mentors who gave of themselves and offered their pupils so much? Indeed, some of the self-aware, self-assured expressions herein seem perhaps more realistic as uttered from one who’s already grown.

This gentle ode to a teacher’s skill at inspiring, encouraging, and being a role model is spoken, presumably, from a child’s viewpoint. 4-7)Ī paean to teachers and their surrogates everywhere. Overall, however, an elegant addition to the cache of existing editions. One puzzling detail is a black shape on the people’s cheeks, almost like an earmuff with fringe but only on one side it’s clearly not hair, so what exactly is it? Children will ask. This story has two variations: Little Red rides on the wolf’s back to the path to Grandmother’s house, and her father, not the woodsman stranger, comes to her rescue. Strong, carved-like lines imbue the flora, fauna, fur and fabrics with texture, and the framed text is incorporated into the scenes. Wisnewski sets her retelling in 19th-century New England and used the costumes and interiors at Sturbridge Village (a living-history museum in Massachusetts) as models.

These handsome stylized illustrations look like woodcuts but are black-and-white prints made from intricate papercut designs and hand colored with watercolors. From Paul Galdone’s standard-setter to Trina Schart Hyman’s Caldecott winner to James Marshall’s comical depiction to Beni Montressor’s sensual version, the little girl in the red hood who escapes the wolf has had an array of faces. This favorite fairytale has enticed many an illustrator.

Little red riding hood trina hyman