Leola and the Honeybears (hc),Used

From Library JournalPreSchoolGrade 2Leola lives with her grandmother near the Pine Hollow Woods, and when she '...got her way, she could be as sweet as brown sugar. But when she didn't, she could be as stubborn as Grandmama's old mule.' Readers will empathize with the mischievous, saucy little girl who is brought to life in the sumptuous oil illustrations. In this retelling, Leola has been scared by Ol' Mister Weasel when she takes shelter at the Honeybears' inn, and, although her Grandmama has told her 'Never to go into folks' houses...and never help yourself in folks' kitchens...and never, ever sit down and make yourself too comfortable until first being politely asked...' she rationalizes that no one will mind, just this once. Of course, the Honeybears do mind, but all is eventually forgiven, and Mama Honeybear sends Leola home with Miss Blackbird as a guide and a basket of goodies for her Grandmama. The format of this oversized book projects a countryfolk look, with fullpage illustrations bursting with color facing creamandyellow pinstriped pages of text with an occasional small oval scene. The story reads well and the whole endeavor radiates warmth and love. Leola is a memorable character and deserves to keep company with Mary Hoffman's Amazing Grace and Patricia McKissack's Mirandy on library shelves.Judith Constantinides, East Baton Rouge Parish Main Library, LACopyright 1999 Reed Business Information, Inc.Product DescriptionFrom Publishers WeeklyRosales's (A Strawbeater's Thanksgiving) update of a nursery staple features an adventurous AfricanAmerican girl and her doll. Leola wanders away from her Grandmama and into the Pine Hollow Woods, where she encounters wily Ol' Mister Weasel. Frightened by the meeting, she runs on, until she reaches the empty inn run by the three Honeybears. There Leola sets aside her Grandmama's teachings ('I know my Grandmama said, 'Never help yourself in folks' kitchens until first being politely asked,' but I don't think she'd mind this time') and samples all manner of chairs, snacks and beds before being discovered by a surprised but kindly ursine family. She's then led safely home by a friendly blackbird. Unfortunately, the writing is often hackneyed ('When Leola got her way, she could be sweet as brown sugar. But when she didn't, she could be as stubborn as Grandmama's old mule'), and the representational paintings overdo the facial expressions. Ages 38. (Oct.)Copyright 1999 Reed Business Information, Inc.From BooklistAlthough subtitled 'An AfricanAmerican retelling of Goldilocks,' this does not seem to come from any authentic lore. The most apparent thing Rosales does is to make the heroine a black child and change the toohot / toocool porridge to pastry. There are some other cosmetic changes, but the basic Goldilocks tale remains the same. The text is not remarkable, though the striking, oversize paintings are. Leola is an adorable child, full of life, and her presence is neatly juxtaposed against the three bears and other nattily dressed animals that populate the tale. The pictures' mix of realistic style and fairytale characters works well. Fun to look at. Ilene CooperFrom Kirkus ReviewsRosales spins the story of the three bears with AfricanAmerican elements; Leola, in the Goldilocks role, runs off to do what she wants, in spite of her grandmother's warning not to go astray. She gets lost in the woods, is frightened by a weasel, and comes across the inn that the three bears run; they've left the place while some baked goods cool, and so the story line joins the original. Leola misbehaves, eating what she's not supposed to, sits even though she hasn't been invited, and is found by the three bears upon their return. They ask after her manners, which she admits she's ignored; her tears show her for the child she is, and the mother bear loads a basket and sends a contrite Leola home with an escort. The artwork is a curious combination of the overly observed