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Fiction - African American, Fiction - General & Miscellaneous, Fiction - U. S. People, Places & Cultures, Fiction - Family Life
Sophie by Mem Fox β€” book cover

Sophie

by Mem Fox, Aminah Brenda Lynn Robinson
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Overview

Sophie loves her Grandpa--and her Grandpa, of course, loves Sophie. They are best friends. Then one day there is no Grandpa. . . . Family love and the natural cycle of birth, life, and death are tenderly portrayed in this moving story. Full color.

As Sophie grows bigger and her grandfather gets smaller, they continue to love each other very much.

Synopsis

Sophie loves her Grandpa. And her Grandpa loves Sophie. They are best friends. And then one day there is no Grandpa. . . . Family love and the natural cycle of birth, life, and death are tenderly portrayed in this moving story. “Fox’s spare text distills complex life passages into emotions so clear even a child can understand and perhaps draw comfort from them.”—Booklist

Publishers Weekly

In this cyclical tale, Grandpa welcomes infant Sophie into the world; much later, Sophie is saddened when ``there was no Grandpa.'' The birth of Sophie's own child completes the circle. Fox's (Time for Bed) rhythmic, sparsely worded text (``Grandpa grew older and slower and smaller'') captures the deep love between Sophie and Grandpa, a bond emphasized in the artwork by the presence of oversized hands clasped in friendship. Sophie's development (``Sophie grew and grew and grew'') is contrasted with Grandpa's decline into ``little Grandpa,'' and Sophie begins to care for him as he once looked after her. Robinson (Elijah's Angel) paints in an almost aggressively naive style, playing fast and loose with perspective and line. Occasionally her efforts fall flat, but more often her compositions offer up a wealth of verve and emotion. This engaging picture book is eloquent in its simplicity, and its raw, densely peopled artwork saves it from sentimentality. Ages 3-8. (Oct.)

About the Author, Mem Fox

MEM FOX is the author of many acclaimed books, including Possum Magic, Koala Lou, Time for Bed, and, for adults, Reading Magic: Why Reading Aloud to Our Children Will Change Their Lives Forever. She lives in Adelaide, Australia.

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Editorials

Publishers Weekly - Publisher's Weekly

In this cyclical tale, Grandpa welcomes infant Sophie into the world; much later, Sophie is saddened when ``there was no Grandpa.'' The birth of Sophie's own child completes the circle. Fox's (Time for Bed) rhythmic, sparsely worded text (``Grandpa grew older and slower and smaller'') captures the deep love between Sophie and Grandpa, a bond emphasized in the artwork by the presence of oversized hands clasped in friendship. Sophie's development (``Sophie grew and grew and grew'') is contrasted with Grandpa's decline into ``little Grandpa,'' and Sophie begins to care for him as he once looked after her. Robinson (Elijah's Angel) paints in an almost aggressively naive style, playing fast and loose with perspective and line. Occasionally her efforts fall flat, but more often her compositions offer up a wealth of verve and emotion. This engaging picture book is eloquent in its simplicity, and its raw, densely peopled artwork saves it from sentimentality. Ages 3-8. (Oct.)

School Library Journal

PreS-Gr 2-In a few very brief sentences, Fox charts the cycle of life within a family as Sophie is born and grows bigger while her beloved grandfather becomes older and slower. The cycle begins again after the elderly man's death with the birth of Sophie's own child. The words are kept to a bare minimum; the pictures fill in the emotional content, clarifying what is meant by ``Once there was no Sophie'' by showing her mother pregnant. The illustrations of a close-knit, extended African American family are highly stylized and Rouault-like in their thick application of paint, broad brush strokes, and black outlines. Despite the stylization, the faces are individualized. However, the pictures often lack the balance between artistic expression and the visual needs of young children as found in books such as Faith Ringgold's Tar Beach (Crown, 1991) or John Steptoe's Stevie (HarperCollins, 1969). Robinson makes hands the focus of many of the pictures; they are huge, distorted, seemingly boneless yet strong. For example, in the first picture, a group of adults form a semicircle around the pregnant woman and a mass of their outsized, intertwined hands dominates the center of the double-page spread. While this is an interesting and bold artistic approach, it is visually complex and may confuse the audience for whom the text seems intended.-Karen James, Louisville Free Public Library, KY

Book Details

Published
September 1, 1997
Publisher
Houghton Mifflin Harcourt
Pages
32
Format
Paperback
ISBN
9780152015985

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