Gr 3–6—Follow Follow is a companion to
Mirror Mirror (Dutton, 2010), Singer's first book of reverso poems in which she asks, "We read most poems down a page. But what if we read them up?" With just a few "changes allowed only in punctuation and capitalization," and reading the poem from bottom up, the adage "there are two sides to every story" is truly manifest. Masse's two-sided illustrations capture the changes in point of view, tone, and color. "No Bigger Than Your Thumb" presents a Thumbelina loath to consider marrying a mole since her dreams are "lofty and daring," far from "a sheltered life underground." She asks from the start, "Me/marry/ a mole?" The mole has the last word: "I am/a mole./Marry/ me." For the poem based on "The Little Mermaid," Masse makes the mermaid's conflict evident by presenting both of her selves, mermaid and young woman, entwined in the center of the page: her long hair is wrapped about the tail of her sea-self. The deep blues, greens, and tangerines dazzle. The poem begins: "For love,/give up your voice./Don't /think twice." And reverses: "Think twice!/Don't/give up your voice/for love." Singer's reversos present lyrical and evocative moments that will surprise and delight children and provide them with opportunities for critical discussion. With their shifts in diction and point of view, the poems and illustrations are ripe for visual and textual literacy exploration and performance.—
Teresa Pfeifer, The Springfield Renaissance School, Springfield, MA"It's not easy," warns Singer in a note about the "reverso," a verse form she created and first used in Mirror Mirror (rev. 3/10); and the first poem ("Fairy Tales") in this companion collection gently alludes to the craft involved, "how hard it was to write." The poems here again subvert traditional tales by offering two points of view on the story: what goes down on the left-hand of the page goes up on the right, with line breaks and punctuation revised for strategic effect. Thus the dilemma of the Little Mermaid: "For love, / give up your voice. / Don't / think twice" advises the first verse, while the second ends with a warning, "Think twice! / Don't / give up your voice / for love." The poems require (and reward) close attention; the twelve referenced tales also include "Puss in Boots," "The Emperor's New Clothes," and "The Twelve Dancing Princesses," with notes on each appended. Once again, the acrylic illustrations mirror the poems' structure. On the left, a princess sleeps on a gentle cloud-leafed bed; on the right, a sensible girl massages her back wrought achy by that pesky pea tucked far below. roger sutton
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