EDITOR’S NOTE

Whether I’m compiling books about man-eating tigers or deciding on the best kid-lit bears of all time, I love making lists, though somehow I never have enough room for everything. Looking over the riches of books this season, it was hard to winnow it down to 30, but I’m nevertheless delighted with our Fall Preview picture books. Here are some I’m especially anticipating.

Rustic life has never looked as enchanting as it does in Sophie Blackall’s Farmhouse (Little, Brown, Sept. 13) and The Sun Is Late and So Is the Farmer by Philip C. Stead, illustrated by Erin E. Stead (Neal Porter/Holiday House, Nov. 8). Both are sumptuous, lyrical, and tender—just what we’ve come to expect from these acclaimed creators.

Two familiar avian faces make appearances this season. In the two decades since his debut, Mo Willems’ Pigeon has kept us in stitches, and his latest outing, The Pigeon Will Ride the Roller Coaster! (Union Square Kids, Sept. 6), is no exception. A decade after Salina Yoon’s Penguin and Pinecone, Penguin proves he still has a knack for cementing strong bonds; Penguin and Penelope (Bloomsbury, Sept. 6) finds him helping a lost elephant reunite with her herd.

More than two years into the pandemic, many are finding that their social skills are a bit rusty. Thao Lam’s The Line in the Sand (Owlkids Books, Sept. 13) and Sung Mi Kim’s Say Hello? (Berbay Publishing, Sept 6), translated from Korean by Clare Richards, are ideal for little ones needing a refresher course; both center on characters who butt heads but eventually learn to coexist. Forever Cousins by Laurel Goodluck, illustrated by Jonathan Nelson (Charlesbridge, Sept. 20), about two Native American relatives who are separated when one moves to the Rez, is a reminder that relationships can endure even over distance. Fantastic voyages are at the center of several upcoming books. Digestion! The Musical by Adam Rex, illustrated by Laura Park (Chronicle, Oct. 25), follows an intrepid piece of candy down the esophagus, into the stomach, and, well…beyond (as Rex puts it, “LET’S. GET. THIS. POTTY. STARTED”). Levi Pinfold’s strangely mesmerizing Paradise Sands: A Story of Enchantment (Candlewick Studio, Nov. 8) involves four siblings who, while traveling to visit their mother, are put to the test when they venture off the beaten path. Not everyone has had the freedom to journey where they like, however, as Going Places: Victor Hugo Green and His Glorious Book by Tonya Bolden, illustrated by Eric Velasquez (Quill Tree Books/HarperCollins, Oct. 4), makes clear. This compelling work centers on Green, whose guide helped Black motorists in the 1930s through the ’60s find safe lodging.

Many books on this season’s list are by authors well known to those outside the kid-lit sphere. With I Am Ruby Bridges, illustrated by Nikkolas Smith (Orchard/Scholastic, Sept. 6), the civil rights icon describes how, at 6, she integrated an all-White school. NBA legend Stephen Curry’s I Have a Superpower (Penguin Workshop, Sept. 6), illustrated by Geneva Bowers, offers words of wisdom to aspiring athletes and the sports averse alike. And actor Reese Witherspoon, whose book club picks have made her a favorite among bibliophiles, makes her picture-book debut. Illustrated by Xindi Yan, Busy Betty (Flamingo Books, Oct. 4) is the story of a child always on the go.

Finally, among my favorites are several soaring explorations of the natural world—Evan Turk’s Hello, Moon (Atheneum, Sept. 20), Carmen Agra Deedy’s Wombat Said Come In (Peachtree, Oct. 4), illustrated by Brian Lies, and Jason Chin’s The Universe in You: A Microscopic Journey (Neal Porter/Holiday House, Oct. 18) will have kids mulling the lunar cycle, the impact of Australian bushfires, and the infinitesimally tiny but crucial components that make up our world.

Mahnaz Dar is a young readers’ editor.

his knees. Bystanders turn away, “uninterested in hearing their own stories retold to them.” However, the protagonist’s mother hears the grumbles of the man’s stomach, and her kids watch horror-struck as she pulls out the special mooncake they were saving—the kind with the double-yolk center (“the best kind!”)—and asks the narrator to bring it to the hungry man. It takes two pages to slowly and sadly walk the treat over and only one gulp for the man to devour the entire cake. However, this single act of kindness unleashes a torrent of generosity from the nearby hawkers. Sepia and cool colors give this tale a historical feel, while delicate cartoon renderings of the bustling market street and crowds of people lighten the tone. In the backmatter, AuYeung notes that this story was based on an incident from her childhood, explains the historical significance of the refugee’s flight to Hong Kong, and shares family photos. (This book was reviewed digitally.)

A historically specific setting with an eternal lesson. (Picture book. 47)

Blackall, Sophie Little, Brown (48 pp.) $18.99 | Sept. 13, 2022 978-0-316-52894-8

A large white house situated in farm fields and gardens is home to a large, loving family.

Twelve active, light-skinned children play, do their chores, and occasionally make mischief. Their growth is measured with marks on a wall for all to see. They sleep, read, giggle, and share secrets and dreams in dormitorylike rooms. The children grow up and leave for school and jobs and families of their own. When the youngest child, now quite old, leaves for the last time, the farmhouse is abandoned and sinks into disrepair. But the tale doesn’t end there. Brief rhythmic lines and a bit of playful rhyme list the day-to-day events and describe the children’s imaginings and dreams. The text is set within light beige panels amid double-page spreads of bright, colorful, layered illustrations that add depth, detail, and emotional connection. In a delightful surprise twist, Blackall becomes part of the tale, addressing readers directly, telling how she discovered this derelict farmhouse, collected the bits and pieces left behind, and used them to create the illustrations for the book they are holding in the hope that not only will the family’s story live on, but so might the stories these young readers will tell someday. Information about the actual family, as well as photos of the house and further details regarding Blackall’s process, appears in an author’s note. (This picture book was reviewed digitally.)

and place. (Picture book. 49)

Bolden, Tonya Illus. by Eric Velasquez Quill Tree Books/HarperCollins (40 pp.) $17.99 | Oct. 4, 2022 978-0-06-296740-4

Enter the world of Victor Hugo Green and his famous Green Book for Black travelers.

Green delivered mail in Leonia, New Jersey, even after moving to Harlem with his wife, Alma. During the Great Depression, new highways and turnpikes and newly inexpensive car models were driving more families to own cars. Black travelers had extra stress and danger to worry about when traveling through unfamiliar, often hostile terrain. Black-owned newspapers and word of mouth kept them informed on how to stay safe. Green “got busy problem-solving,” gathering information from people and publications into one guide, the Green Book, which started in 1936 as a pamphlet covering New York City and neighboring towns and grew steadily to cover the entire nation. The story extends beyond Green’s death in 1960 to end on the hopeful note of the civil rights legislation Green had hoped for, when, with the passing of the Civil Rights Act of 1964, discrimination related to transportation services was outlawed. Bolden’s bold, strong, conversational prose sets the scene, representing courageous, talented Black people strategizing to keep their dignity in an unfair world. With his signature painterly art, Velasquez beautifully brings to life settings, families, and communities through varied compositions and scrapbook-style pages. Text and illustrations incorporate primary source documents—maps, advertisements, excerpts from newspapers— that add to the authentic feel. (This book was reviewed digitally.)

(Picturebook biography. 49)

Bridges, Ruby Illus. by Nikkolas Smith Orchard/Scholastic (48 pp.) $18.99 | Sept. 6, 2022 978-1-338-75388-2

The New Orleans school child who famously broke the color line in 1960 while surrounded by federal marshals describes the early days of her experience from a 6-year-old’s perspective.

Bridges told her tale to younger children in 2009’s Ruby Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes. “I didn’t find out what being ‘the first’ really meant until the day I arrived at this new

school,” she writes. Unfrightened by the crowd of “screaming white people” that greets her at the school’s door (she thinks it’s like Mardi Gras) but surprised to find herself the only child in her classroom, and even the entire building, she gradually realizes the significance of her act as (in Smith’s illustration) she compares a small personal photo to the all-White class photos posted on a bulletin board and sees the difference. As she reflects on her new understanding, symbolic scenes first depict other dark-skinned children marching into classes in her wake to friendly greetings from lighter-skinned classmates (“School is just school,” she sensibly concludes, “and kids are just kids”) and finally an image of the bright-eyed icon posed next to a soaring bridge of reconciliation. (This book was reviewed digitally.)

era. (author and illustrator notes, glossary) (Autobiographical picture book. 68)

Chin, Jason Neal Porter/Holiday House (40 pp.) $18.99 | Oct. 18, 2022 978-0-8234-5070-1

The author of the cosmic Your Place in the Universe (2020) takes a similarly expansive thought journey in the opposite direction.

Once again Chin goes in scale-changing stages. The 8-centimeter-long Calliope hummingbird that lights on the finger of a delighted brown-skinned child who uses a wheelchair seems tiny. It’s a giant, though, next to the Western Pygmy Blue butterfly (smaller than a penny), which towers over a less than 2-millimeter-long bee…which lands next to a vellus hair, less than 30 microns across, on the child’s skin, and so on down to and into cells, past DNA and its constituent molecules to quarks and gluons—which, Chin writes with some understatement, “aren’t like any objects we are familiar with.” But, he concludes, those same elementary particles make up all the physical matter in the universe, from galaxies to hummingbirds to humans. Particularly in the microbial realms but really throughout, the art’s evocative detailing and dynamic compositions create vivid impressions of realism and movement that will carry viewers down to the point where size and location lose their meanings and then back around to the wide-eyed young observer. Retracing part of his route in the backmatter, the author enriches a summary discussion of life’s building blocks with a chart of elementary particles and the periodic table of elements. (This book was reviewed digitally.)

(Informational picture book. 810)

Curry, Stephen Illus. by Geneva Bowers Penguin Workshop (40 pp.) $18.99 | Sept. 6, 2022 978-0-593-38604-0

NBA legend Curry draws from his own childhood experiences to tell the story of an aspiring basketball player

with a hidden ability.

Eight-year-old Hughes isn’t going to tell everyone what his superpower is—he’s going to show them, and he wants to teach readers how to use theirs, too. On his way to the basketball court, Hughes discusses how he discovered his power: First, his mom told him about it, and then his coach told him, too. Dressed in his tank top and shorts, Hughes arrives at the basketball court ready for action. He watches the tallest kids and the fastest kids get picked first for teams. But Hughes’ superpower isn’t one that he was born with, nor is it one that he picked up quickly—it took months of practice. His is a power that can be applied to any passion: his heart. Bowers’ energetic, cartoonlike illustrations work well with the comic-style narration: A Black television announcer on a screen appears on each page, prompting Hughes to share his story, which appears in speech bubbles. This dual narration makes for a dynamic presentation of the overt message, which many children need to hear. A diverse cast of characters surround Hughes, who is brown-skinned (one of his parents presents Black; the other is tan-skinned). Curry appears on the final spread, telling readers that he didn’t let discouraging comments stop him from playing the game that he loves. He invites readers to go back through the book and find a list of his favorite things hidden in the images throughout. (This book was reviewed digitally.)

A positive boost from a strong role model. (Picture book. 47)

Deedy, Carmen Agra Illus. by Brian Lies Peachtree (36 pp.) $18.99 | Oct. 4, 2022 978-1-68263-321-2

Wombat’s sense of hospitality is hard-pressed as other animal residents of the burning Australian bush seek refuge in his cool, safe, underground home.

From the start, the text seems made for a read-aloud: “Wombat was not worried. No, not a tittle. Fire had passed over his burrow before.” A delightful, full-bleed double-page spread depicts a cutaway of Wombat in his orange-toned burrow, while outside and above, readers see a pale sky and a drift of smoke. The mannerly marsupial—his patterned quilt wrapped over his collared, khaki shirt—settles in to have tea and wait out the fire. Immediately, he hears the first of many interruptions at his door. Wallaby is begging for shelter, and Wombat invites him in with a welcoming verse that becomes his standard reply each

time another refugee arrives (“Wombat said, ‘Come in!’ / Wombat said, ‘Come in!’ / From smoke and din / and howling wind / come in, my friend, come in!”). The charming, easily learned mantra changes only when the crisis ends. Each succeeding guest is more demanding, from Kookaburra, Platypus, and Koala to tiny Sugar Glider. The dry wit of the text is matched by art that is both detailed in illustrating each animal and hilarious in showing poor Wombat’s trials. One of many funny touches is the fact that only Wombat wears clothing. Beneath the fun, however, lies the grim reality of climate change, tempered by lessons in zoology and, especially, practical altruism. (This book was reviewed digitally.)

ronment and generosity with humor and heart. (Picture book. 48)

Foxell, Imogen Illus. by Anna Cunha Lantana (32 pp.) $17.99 | Oct. 4, 2022 978-1-913747-86-2

Think of what you might do! A brown-skinned child finds a seed. Imbued with conviction that maybe something can come of it, the child plants it in ostensibly hostile growing conditions, lovingly tends it, and then…the protagonist’s hope is realized, and the world flourishes. The child’s tender stewardship of the seed results in a tree that lays down roots and bears fruit to feed community residents and birds that now, with the promise of a renewed food source, return to the area. The seeds from these fruits are, in turn, planted and become new trees. In a very simple description of the water cycle, readers learn how, over time, abundant trees in an area can produce a river where once there was parched soil. Narrated in beautiful, uplifting, lyrical verse by the child, this lovely British import is about the glorious fulfillment of hope and supports the idea that one small person might change the world. The mixed-media illustrations are stunning and perfectly suit the text. The first spread is stark, featuring almost colorless depictions of the child’s nearly lifeless environs; even the color of the child’s dress resembles sand. Pages that follow, showing the seeds’ growth and the abundance of new vegetation and wildlife, explode with color. Vivid greens and blues predominate, befitting the theme of the world’s brilliant renewal. (This book was reviewed digitally.)

(Picture book. 48) (This review is printed here for the first time.)

Goodluck, Laurel Illus. by Jonathan Nelson Charlesbridge (32 pp.) $17.99 | Sept. 20, 2022 978-1-62354-292-4

Two Native American cousins find their friendship tested when one moves from the city to the Rez.

Amanda loves purple, while Kara’s favorite is pink, but “they agree that sunflowers are beautiful, powwow dancing is fun, and chokecherry jam on toast is the best.” When the time comes for Kara’s family to leave, both girls’ parents assure them that the family will be together again next summer at the reunion. A year passes, and the cousins miss each other very much but keep in touch by phone and through letters. When it’s time for the reunion on the reservation, the families make preparations: Amanda’s family packs and gets the GPS set for the two-day drive; Kara’s family makes welcoming signs, and her dad hangs a picture of the family tree. But the girls are nervous: Will they still be friends? In an author’s note, Goodluck explains that in the past, many Native families have faced separations; she cites the Indian Relocation Act of 1956 as one cause. Nevertheless, she emphasizes that they still maintain close relationships due to shared family and tribal values. This matter-of-fact yet poignant story brings that bond to vivid life as the girls realize that no matter what, they are “forever cousins.” The illustrations rely on a muted palette and feature appealing characters with large heads. Cultural references are scattered throughout, like the dolls made by the girls’ magúu (grandmother), powwow dancing, and a Hidatsa naming ceremony. Children facing separations of their own will find this reassuring. (This book was reviewed digitally.)

A sweet story of friendship, family, and community. (Picture book. 47) (This review is printed here for the first time.)

Grimes, Nikki Illus. by Elizabeth Zunon Sourcebooks Jabberwocky (32 pp.) $17.99 | Sept. 6, 2022 978-1-72823-893-7

It’s time to get to work having fun.

A brown-skinned child awakens to Mommy’s command to “get to work,” adding, “Your job is called play.” As narrator, Mommy tells this story in second person to the child—“You’d play all day / if I let you”—and talks as if this conversation about work is an oft-repeated ritual between herself and her child. In matter-of-fact text that exudes tenderness, Mommy recounts how her little one plays in the rain, in the sun, and in the snow, in the fall leaves, at the duck pond, and in many other places, indoors and out. Readers might recognize this mother-child pair from Grimes and Zunon’s Bedtime for Sweet Creatures (2020) and