Olivia would be Eloise
, if Eloise were a pig. She is good at singing 40 very loud songs and is very
good at wearing people out. And scaring the living daylights out of her little brother, Ian, particularly when he copies her every move. She is also quite skilled at reproducing Jackson Pollock's "Autumn Rhythm #30" on the walls at home. When her mother tucks her in at night and says, "You know, you really wear me out. But I love you anyway," Olivia precociously pronounces, "I love you anyway too."
The New Yorker artist Ian Falconer's endearing charcoal portraits of his porcine heroine are spotted with fire-engine red gouache in all the right places--perhaps a tribute to Hilary Knight's red, pink, white, and black celebrations of Olivia's human counterpart? When she dresses up, the bow on her ears, her red lipstick, and her high-heeled shoes are all red. (The only time her shades-of-gray body is pink is when she is sunburned and the area where her bathing suit was is white!) Falconer does a fine job of letting the spare text set up the jokes for the visual punch lines--a dryly humorous interplay that adults will appreciate as much as children.
Preschoolers (and their parents) will see themselves in Olivia--a typical high-energy, over-the-top kid who likes the beach and Degas paintings, but hates naps. On the other hand, she combs her ears and is unusually gifted at sandcastle building. While we are certainly reminded of Eloise, Falconer's portrait is simpler in scope, less demented, and, as a result, less adult. Bottom line: precocious is fun, and we're tickled pink to have Olivia join the parade of, let's just say, individualistic youngsters. (Ages 4 to 8) --Karin Snelson
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From Publishers Weekly
Come one, come all for this extraordinary debut for both Falconer and his unforgettable porcine heroine. The author/artist begins this day-in-the-life tale with a kind of behind-the-scenes peek at Olivia. Articles from her wardrobe are strewn across the endpapers-red tights, red sunglasses, a red T-shirt and red tank top-until the title page reveals her selection: a red sailor dress with black-and-white striped tights. "This is Olivia./ She is good at lots of things," the narrator begins, like an emcee introducing the star of the show. The genius of the volume is its economy: the brief text brilliantly plays off the artwork, rendered only in shades of red and black with an occasional background setting; a deceptively simple design unifies each spread. For one such spread, demonstrating "She is very good at wearing people out," Falconer shows Olivia engaged in a variety of activities in 13 black-and-white vignettes, using red sparingly-for a hammer handle, a yo-yo, a ball, a mixing bowl spatula and a jump rope-as she progresses from energetic to spent. Against a completely white background, these vignettes seem to bob on invisible undulating waves, with the intermittent splashes of red creating a sense of movement and urgency-until Olivia's collapse at the lower right-hand corner of the spread beneath a single line of text ("She even wears herself out"). The few full scenes amplify the deadpan humor: a beach setting allows for the full impact of Olivia's spectacular sandcastle model of the Empire State Building; a full-bleed black-and-white image of a tutu- and tiara-clad Olivia bowing to unseen fans answers the narrator's question "What could she be thinking?" as she stares at her favorite painting, featuring Degas's ballerinas, in a museum. Whether in full scenes or vignettes, Falconer keeps the focus on his inimitable protagonist. He clearly understands his audience: a standout spread shows Olivia getting dressed in her red-only wardrobe ("She has to try on everything") in 17 separate fashion poses. Falconer's choice to suggest Olivia with a minimum of details and a masterful black line allows readers to really identify with her-no doubt, they will. There's a little bit of Olivia in everyone. Ages 3-7. (Oct.)
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--This text refers to the