From Publishers Weekly
From the stunning cover painting to mesmerizing interior illustrations, Gaber's (previously paired with Martin for The Brave Little Parrot) art is the high point of this Russian fairytale. A merchant tells his two sons to prove themselves. The older, Vasilii, squanders his father's money and then lies about it; gentle Ivan, reporting that he has learned the language of birds, earns his father's scorn and fury. In the time-honored manner of such tales, boastful and dishonest Vasilii is saved from a bad end only through the intercession of Ivan, whose gift and kindness combine to win him the hand of the czar's wise daughter. Martin's text is full of drama and fairy tale cadences, but he also supplies homilies in place of transitions. It's jarring when the bellowing czar who has promised to marry his daughter to anyone who can rid his bedroom window of three noisy crows suddenly delivers a feminist riff about children learning things from both parents. Gaber's illustrations, on the other hand, are thoroughly splendid. Throughout, she quotes from medieval paintings. Faces stiff as wooden relics, ornamented floors and arched castle windows, a rearing stallion and medieval banners, are unexpectedly combined with intriguing, free-flowing designs that feature a swirl of crow wings or a sweep of gray cranes. A memorable presentation. Ages 5-up.
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
Grade 1-5-A strong text underscores this picture-book retelling of a traditional Russian folktale. Vasilii and Ivan are opposites in personality and temperament. When sent out into the world by their merchant father, Vasilii seeks riches and power while his brother strives to understand the language of birds. Ivan's skill at understanding what a trio of crows is saying eventually wins him the hand of a princess and half a czar's kingdom. Martin does an excellent job of creating a text that is both evocative and descriptive. He credits Russian Wonder Tales (Century Co., 1912) by Post Wheeler as his source for this folktale. The accompanying full- and double-page illustrations are accomplished but lack the consistency and strength of Martin's text. Using acrylic paints on a multi-ply paper, Gaber utilizes a fairly dark palette of blues and violets highlighted by various shades of red and orange. By using an extreme perspective and dramatic contrasts between near and far, the pictures are often quite powerful. Unfortunately, they lack a consistent artistic style; several are clearly influenced by traditional Russian painting, others by Japanese prints, and still others by the Italian Renaissance. The most satisfying aspects of the illustrations are the borders created from stylized bird tracks, profiles of birds, and feathers. With its positive depiction of humans working with nature, this title should have uses beyond most picture-book adaptations of Russian folklore.
Denise Anton Wright, Alliance Library System, Bloomington, IL Copyright 2000 Reed Business Information, Inc.
