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Summary
Summary
"Once upon a time, there lived a little girl named Goldilocks, who was very, very good, except that sometimes she forgot to do things that her mother told her to do. Yes she did... "
But worse is when she forget's not to do what she is told not to do. For sometimes that can lead to much more serious trouble....like what happened the day of this story. McClintock's art, that is reminscent of 19th Century children's book art, perfectly compliments Aylesworth's playful, original, and very involving rendition of the classic Three Bears story.
Author Notes
Jim Aylesworth tells his stories with generous doses of "out loud" sounds, rhythms, and rhymes. His 25-year teaching career taught him exactly what children love best in a story. He lives in Chicago, IL with his wife.
Barbara McClintock has written and/or illustrated over forty distinguished books for children, including My Grandfather's Coat , retold by Jim Aylesworth, which received three starred reviews, and her own highly acclaimed Adele and Simon books. Her books have five times been named New York Times Best Illustrated Children's Books. She has received a Boston Globe -Horn Book Honor, as well as a myriad of other awards and honors. Barbara lives in Connecticut with her family and two very graceful cats.
Reviews (5)
Publisher's Weekly Review
The team behind The Gingerbread Man sinks their teeth into this traditional but never dull retelling of a classic. McClintock borrows from Tenniel and Caldecott in her intricate ink-and-watercolor illustrations. Goldilocks may have the thick blonde curls and voluminous rose-pink dress of a doll, but her untied shoelaces, fierce eyes and predatory smile suggest a certain willfulness. Aylesworth likewise sums up the young troublemaker, explaining that Goldilocks "was very, very good, except that sometimes she forgot to do things that her mother told her to do. Yes she did." One day, the girl politely asks permission to pick some flowers, then promptly skips into the forbidden woods. She arrives at the back door of a quaint, ivy-covered stone house just as the Three Bears, dressed for a country stroll, are sauntering out the front. As the girl explores the cottage, her expressions range from absolute disgust to pure joy. When she sinks into the deep cushions of the "medium-sized mama-bear chair" or crawls on the "great, huge papa-bear bed," she frowns like a guest at the Mad Hatter's Tea Party. But as she devours Baby Bear's porridge and flops into his "just right" bed, she relaxes with a contented grin. The poor bears, styled as an unsuspecting middle-class family, are shocked to discover the break-in and the guilty party. A conversational voice, delightfully fussy pictures and a recipe for "Mama Bear's Porridge Cookies" make for a satisfying nursery story. Ages 2-6. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
Horn Book Review
(Primary) What's to become of the original brazen Goldilocks? In Diane Stanley's winsome Goldie and the Three Bears (rev. 9/03), she is recast as a thoroughly modern miss, of strong likes and dislikes, who gets off the school bus at the wrong stop and walks into the bears' unoccupied cottage...where she soon finds, in baby bear, a new friend after her own warm heart. Here, on the other hand, she is a proper old-fashioned girl who simply forgets not to do what her mother tells her not to do -- like not going into the woods where a family of bears may live, not going into houses uninvited, not touching other people's food, etc., etc. The outcome? Routed by the returning bears as usual, Goldilocks runs home to her mother resolved ""never, ever [to forget] not to do what her mother [tells] her not to do."" Aylesworth turns the traditional, all-in-fun nursery tale into a coy lesson -- save for the pictures -- in doing as mother says. McClintock is ideally suited, of course, to illustrating the core of the story: her characterization of the Three Bears is on a par with the animal portrayals of Wallace Tripp, for one distinguished example, and her dramatic, humorous staging of familiar scenes gives new life to the Goldilocks/Three Bears face-off. Would that that were, indeed, the whole story. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
Booklist Review
Reviewed with Diane Stanley's Goldie and the Three Bears. PreS-Gr. 1. Is there room for two more versions of Goldilocks? Yes, if it's space for these two. Although as different from each other as peas and pies, both are delightful and will attract their own audience, with some children preferring the traditional story and others gravitating to the fresh and funny version. Although Aylesworth follows the standard telling, he adds decorative touches in the text. McClintock's art is also traditional. Executed in watercolor, sepia ink, and gouache, her pictures have a nodding acquaintance with Tenniel's artwork for Alice, but the Victorian sensibility is interrupted here and there with some humorous details, particularly the expressions on Goldilock's face. Stanley's Goldie is a modern-day kid. She has definite likes and dislikes about food, clothes, and even friends: Jenny is too boring; Alicia is too snobby. One day, Goldie gets off the school bus at the wrong stop and wanders into a strange house. Children may think they know the rest, but in the end, the little bear girl turns out to be just the friend Goldie has been looking for. Stanley's art, so sophisticated in her biographies, is delightfully childlike here, with lots of fun in every scene. --Ilene Cooper Copyright 2003 Booklist
School Library Journal Review
PreS-Gr 2-The creators of The Gingerbread Man (1998) and Aunt Pitty Patty's Piggy (1999, both Scholastic) have produced another excellent rendition of a favorite folktale. Like their earlier titles, Goldilocks has a 19th-century look and feel throughout, yet keeps the tale accessible to today's children. Aylesworth's text is faithful to the traditional elements of the original, juicing up the plot with folksy, conversational asides. Goldilocks, not the bear family, is the focus of this retelling, and both author and illustrator imbue her with plenty of spunky charm. Children will identify readily with this protagonist, who is not so much willfully naughty as she is "very, very good, except that sometimes she forgot to do things that her mother told her to do. Yes she did." Indeed, the old-fashioned language, combined with McClintock's flouncy, hair-ribboned envisioning of the girl, evokes another intrepid literary adventurer: Alice in Wonderland. The artist's watercolor, sepia ink, and gouache illustrations are pastel and dainty yet full of life and action, thanks to the hilariously exaggerated expressions the child makes while testing porridge, chairs, and beds. This is a handsomely designed book, with heavy ivory pages, delicate frame borders, and an Edwardian typeface that changes in size to serve the story. A recipe for "Mama Bear's Porridge Cookies" will help children make the porridge-is-oatmeal connection. At once antique and immediate, this Goldilocks will sassily invite herself onto library shelves everywhere.-Eve Ortega, Cypress Library, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus Review
Though not straying as far from standard versions as Diane Stanley's Goldie and the Three Bears (p. 1024), this new rendition gives the classic tale a fresh shot of charm. Sounding like a rather maternal storyteller--"Straight away, she saw those porridge bowls on the kitchen table. And mmm, yes! That porridge smelled so delicious that I'm afraid she forgot that her mother had told her not to touch other people's food . . ."--Aylesworth sends the good-but-impulsive Goldilocks through the back door of a "curious little house" as its ursine residents stroll out the front. Later, when they wake her from her nap, she remembers her mother's admonition never to talk to strangers, dashes away, and "never ever forgot not to do what her mother told her not to do ever, ever, ever again." Featuring a pretty, pinafore-clad child whose mobile features express exaggerated looks of disgust or delight, McClintock's finely detailed illustrations have a 19th-century feel, classic but not stiffly formal. A witty alternative to Paul Galdone's primal version (1972). (source note). (Picture book/folk tale. 7-9) Copyright ©Kirkus Reviews, used with permission.
