School Library Journal Review
PreS-Gr 5-Without musical notation, how does one convey the thematic phrases and unique rhythms associated with each character created by Sergei Prokofiev in his classic introduction to the instruments of the orchestra? The ever-experimental, sound-sensitive Raschka employs color, shape, line, and idiosyncratic language to distinguish each cast member in his utterly beguiling production. Characters appear one after the other on sequential versos to offer opening monologues. Peter enters on a strip of chartreuse, his large, oval face topped by a Russian cap, his lyrical style inspired by e. e. cummings: "See I/Spin around and twirl around and jump around/In this perfect, most perfect/Place I've been." The bluebird twitters a jazzy scat on a path of cheerful yellow. The menacing wolf-all jagged lines and primal grunts against a field of red-gobbles the oblivious duck, as has been destined. Rectos feature a stage framed in brown columns and constructed from four sheets of painted paper that have been glued together; the resulting shadows produce a convincing depth. The action occurs as the watercolor figures, outlined with Raschka's signature thick strokes, interpret their roles. The three hunters enter in a martial bluster, but ultimately the entire crew proceeds to the zoo. Gentle readers and purists alike will appreciate Raschka's solution to the duck's fate; he allows readers to choose either Prokofiev's finale (so labeled) or his one-page epilogue in which a veterinarian performs "emergency surgery." Make room for this inventive, spirited interpretation. A bravura performance from a musical maestro.-Wendy Lukehart, Washington DC Public Library (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publisher's Weekly Review
As in his interpretation of John Coltrane in Giant Steps, Raschka now turns Sergei Prokofiev's Peter and the Wolf into poetry and pictures. The illustrations present the story as a theatrical performance (action unfolds alternately in freestanding illustrations and on an elaborate stage), but without an orchestra. As Peter cavorts, calmly but boldly opening himself to the climactic encounter with the wolf, Raschka conveys the mounting suspense in lilting words, swerving zigzags and curves. Carefree Peter is supported by an animal chorus in sound poetry, including a blue bird who speaks in stutters and rhyme, and of course the predator, who swallows the duck with a panting, "Gimme, gimme, gimme, gimme... GULP!" Raschka's pictures--of characters venturing close to the wolf's bear-trap jaws, of the cat's enormous face looming over a tiny Peter--gain extra energy from geometrically shaped color blocks on the same spreads; each character is assigned a certain spectrum--e.g., red for the wolf--like the solo instruments in Prokofiev. His book best rewards patient readers capable of linking the continuous dialogue and amped-up visuals in the action spreads with scenes viewed within a complex, 3D cut-paper theater. One reading will not be enough to appreciate the artist's keen attention to detail. Ages 3-7. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
