Like the handle on a windup toy that moves clockwise until it stops and spins in reverse, the 2014 Hans Christian Anderson Award winner manipulates a chain of actions and consequences—and then imagines the momentum flowing backward with entirely different outcomes.
As a barefooted gardener keeps watch over a white rose, the reasons for and importance of his shoelessness are traced through the motivations of eccentric characters. They include a man who dies brokenhearted after a seamstress’s love letter is dropped by a letter carrier preoccupied with retrieving a ring and Rajah The Malodorous, whose sour-milk baths, prescribed by a charlatan, lead his betrothed to engineer her own kidnapping. Ultimately everything hinges on a map whose compass rose has been stolen, an unidentified someone claims, by the white rose. But wait—the narrator announces that the white rose couldn’t have stolen the compass rose, thereby altering everyone’s fates. Elegant linework mixes with torn paper and soft, textured colors as a parade of luminous, exotic caricatures and their accouterments unfold against a white backdrop; the effect is magical. The interactions probe issues around wealth, possession, and compassion. Mello’s plot is made all the more mind-boggling with framing and intermediary scenes that are either voiced by an unreliable narrator or require fresh listening and looking.
Complex and provocative, this Brazilian import will intrigue readers who like puzzles and frustrate those who don’t.
Unapologetically colorful, almost Carnaval-like, and filled with all sorts of wonderful people, creatures, and places.
For the past 20 years, Mello has colored his way into the imaginations of children across this outsize country, turning tropical plants and beasts into mythical idylls, while reviving forgotten folklore.
Mello's striking use of color and intricate design captivates his viewers and leaves them thinking about his images long after viewing them. It is impossible to glance briefly at Mello's art; each viewing of his intricate and colorful works brings to the surface different viewing experiences, and he has a knack for drawing his readers/viewers into his images. Mello is passionate about storytelling, and he does not underestimate the developing understandings of children. He avoids heavy didactic or moralizing overtones, and instead encourages his readers to draw their own conclusion based on the images and narrative at hand.
Complex and dizzying, You Can’t Be Too Careful! features a vast set of characters whose actions and inactions are all tightly knit together. The book is a dramatic lesson in logic and consequence. A love letter gets lost because of a man’s ridiculous mustache; a man who’s on the verge of death lives—because his monkey ran away from the circus, because the world fell on the floor. See what I mean?
Through wordplay, dreamlike images, and a playful lightness of touch, You Can't Be Too Careful! expresses serious questions about the importance of kindness and the dangers of greed.
Both remarkable books in very different ways, these young reader titles are a marvel of art, story, and imagination.
More than a dozen eccentric interconnected characters are introduced from there—an escaped circus monkey, an irate goldsmith, a “fake doctor” with bagpiping dreams, and more. It’s like a floral equivalent to the butterfly effect, all leading back to White Rose, who suddenly reappears to steal the compass rose off a map.