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A Great Big Cuddle
nan
80 pages, Paperback
First published September 3, 2015
About the author
Michael Rosen
588 books557 followersMichael Rosen, a recent British Children’s Laureate, has written many acclaimed books for children, including WE'RE GOING ON A BEAR HUNT, illustrated by Helen Oxenbury, and I’M NUMBER ONE and THIS IS OUR HOUSE, both illustrated by Bob Graham. Michael Rosen lives in London.
Librarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information.
Librarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information.
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Displaying 1 - 30 of 59 reviews
December 16, 2015
Did you know that Europeans have absolutely no interest in the works of Dr. Seuss? It’s true. For years his works have been untranslatable (though great inroads have been made thanks to some recent Spanish editions) and those that remain in the original English have done very poorly in the United Kingdom. Americans by and large tend to be baffled by this. We look at the British lists of Best Picture Books and the like and find them Seuss-free zones. Abandon Seuss, all ye who enter here. I once asked an overseas friend if she’d ever heard of The Lorax. What she’d heard of was the abominable Danny DeVito movie. It doesn’t bear thinking about. Here in the States we rely heavily on Seuss because he was such a genius when it came to writing rhyming verse for the very youngest of readers. Now I hold in my hands a big, beautiful, thick collection of poetry for the very smallest of fry and I have to face an uncomfortable notion. If indeed the English are capable of producing books this good for kids this young, perhaps they don’t need any Seuss. With Rosen and Riddell pairing in this way, they seem perfectly capable of making remarkable, rhythmic, ridiculously catchy titles of their very own.
Thirty-five poems greet you. Thirty-five varying in complexity and content. Just to set the tone, the first rhyme is “Tippy-Tappy” and it contains such a catchy rhythm and happy beat that kids will be bouncing in tandem by the time it is done. Next is “The Button Bop”, limited in word count, high on bops. Accompanied by the vibrant watercolors of artist Chris Riddell, each poem aims to set itself apart from the pack. Some are short, and some slightly longer. Some are anxious or scared while others beat their chests and roar their loudest. It feels like there’s something for everyone in this collection, but the takeaway is how well it holds together. A treasure in a treasury.
Michael Rosen isn’t a household name in United States, but I’d say at least one of his books is. Anyone who has ever sought out or read We’re Going on a Bear Hunt, illustrated by Helen Oxenbury has read his words. We’re just nuts about that book, and we have him to thank for it. Despite that, he’s not an author to relegate himself to just one kind of story. Indeed, I haven’t seen him produce much of anything quite as young as “Bear Hunt” in years (or, at the very least, I haven’t seen works of his brought to U.S. shores this “young” in content). That’s why this book is such a surprise and a delight.
If you have a small child, you grow accustomed to the classic nursery rhymes. They have, after all, withstood the test of time. Still, roundabout the one hundred and fortieth time you’ve read “Bye, Baby Bunting” you long for something a little different. Imagine then the palpable sense of relief such a parent might feel when reading jaunty little poems like “What a Fandango!” starring (what else?) a mango. The thing about Rosen is that so many of his poems feel as if they’ve been in the canon of nursery rhymery for centuries. “Oh Dear” is very much in the same vein as “Hush, Little Baby” all thanks to its regular rhythm and repetition. “Party Time” counts down and brings to mind “This Old Man” in reverse. And should you be under the misbegotten understanding that writing poems of this sort is easy, go on. Write one yourself. Now fill a book with them. I’ll just wait right here and finish my sandwich.
It is also worth noting that without including any verbal instructions, even the dullest of parental readers will catch on pretty early that many of these poems are interactive. Consider “Finger Story” where your fingers are instructed to do everything from “wake up” and “stretch” to “climb” and “slide”. And just in case they’re still not getting it, Chris Riddell’s art is on hand, showing a pudgy youngster and an orangutan of uncommon sweetness walking their fingers together on the ground.
What is interesting to me here is that in terms of age of the reader, Rosen isn’t limiting himself solely to toddlers. There are a couple poems in here that preschoolers would probably appreciate more than their drooling, babbling brethren. “I Am Hungry”, for example, stars a hungry bear listing everything he could eat at this moment (both the usual fare and unusual selections like “A funny joke” or “The sound of yes”) ending with “Then I’ll eat me” which is just the right level of ridiculousness to amuse the canny four-year-old. And “Don’t Squash” is going to ramp up the silly levels pretty effectively when a splatter happy elephant is instructed not to squash her toes, nose, a bun, the sun, cars, stars, a fly, or the very sky.
Now just the slightest glance of a gander at the back bookflap of this book and you’ll get an eyeful of the sheer talent Rosen has been paired with over the years. His words have been brought to life by folks no less eminent than Helen Oxenbury, Quentin Blake, Bob Graham, and more. Truth be told, I don’t really know if this is his first book with Chris Riddell or not. I will say, though, that when I saw that Riddell was the artist on this title I was surprised. When last seen in the States, Riddell had illustrated that nobly intentioned but ultimately awful Russell Brand Pied Piper of Hamlin. Nothing against Riddell, of course, he did what he could with the material ( Clockwork Orange Piper and all). So usually when I see his work I associate it with children’s books a bit more on the hardcore side of the equation. Neil Gaiman and Paul Stewart and the like. Could he do adorable? Could he dial back the disgusting? Yes, yes, and (for good measure) yes again. He has that thing we like to call in the business “talent”. Seems to suit him, it does.
Riddell also seems capable of occasionally re-interpreting Rosen’s rhymes with a particularly child-centric view. The poem “Are You Listening?” felt wildly familiar to me, for example. On the left-hand page sits a guilty dinosaur, slurping a piece of spaghetti, looking mildly nervous. On the right-hand page a toddler is berating a small dinosaur stuffed animal, and it will be very easy indeed for kids looking at the picture to extrapolate the relationship between the realistic dino on the left-hand page, and the one on the right. Sometimes I even got the impression that he was softening the content a tad. The poem “Winter” is one of splinters and blisters, but thanks to the gentle hand of Riddell it turns into a snuggly bear hug with mom. All this and he makes the book multicultural as well. Manifique.
Is it very British? With an author from London and an artist from Brighton it runs the risk of indulging in a bit of English chicanery. There wasn’t much that struck me as containing a particular sense of humor, though, with the possible exception of the poem “Once”. A thoroughly silly but darker little work, it will probably remind Yankee readers more of Shel Silverstein than the aforementioned Seuss. There is also “Lost”, the story of a small mouse all alone, without any particular happy resolution in sight. Had such a poem appeared in a collection for small children originally in the States, I don’t think it’s ridiculous to think that an American editor would have gently nudged the author away from ending the poem with the somewhat dire, “I don’t know, I don’t know, anything at all. / I’m going to sit still now and just look at the wall.”
The least respected form of children’s literature in existence is poetry. It hasn’t any American Library Association awards it can win. It typically is remembered by teachers in April and then never thought of again. But nursery rhymes fare a bit better. Not every parent remembers to read them to their children, but a fair number try. Getting those same parents to read original works of poetry to their little kids can be trickier, so it helps if you package your book as a big, beautiful, lush and gorgeous gift book. Delightful to read aloud again and again (a good thing since I’m afraid you will have to, if only to please your rabid pint-sized audience) and lovely to the eye, Rosen and Riddell aim for the earliest of ages and end up creating a contemporary classic in the process. It may not be Seuss but you won’t miss him while you read it. A necessary purchase for any new parent. A required selection for libraries and bookstores everywhere. Or, as the book puts it, “Tippy-tappy / Tippy-tappy / Tap, tap, tap.”
For ages 0-4
Thirty-five poems greet you. Thirty-five varying in complexity and content. Just to set the tone, the first rhyme is “Tippy-Tappy” and it contains such a catchy rhythm and happy beat that kids will be bouncing in tandem by the time it is done. Next is “The Button Bop”, limited in word count, high on bops. Accompanied by the vibrant watercolors of artist Chris Riddell, each poem aims to set itself apart from the pack. Some are short, and some slightly longer. Some are anxious or scared while others beat their chests and roar their loudest. It feels like there’s something for everyone in this collection, but the takeaway is how well it holds together. A treasure in a treasury.
Michael Rosen isn’t a household name in United States, but I’d say at least one of his books is. Anyone who has ever sought out or read We’re Going on a Bear Hunt, illustrated by Helen Oxenbury has read his words. We’re just nuts about that book, and we have him to thank for it. Despite that, he’s not an author to relegate himself to just one kind of story. Indeed, I haven’t seen him produce much of anything quite as young as “Bear Hunt” in years (or, at the very least, I haven’t seen works of his brought to U.S. shores this “young” in content). That’s why this book is such a surprise and a delight.
If you have a small child, you grow accustomed to the classic nursery rhymes. They have, after all, withstood the test of time. Still, roundabout the one hundred and fortieth time you’ve read “Bye, Baby Bunting” you long for something a little different. Imagine then the palpable sense of relief such a parent might feel when reading jaunty little poems like “What a Fandango!” starring (what else?) a mango. The thing about Rosen is that so many of his poems feel as if they’ve been in the canon of nursery rhymery for centuries. “Oh Dear” is very much in the same vein as “Hush, Little Baby” all thanks to its regular rhythm and repetition. “Party Time” counts down and brings to mind “This Old Man” in reverse. And should you be under the misbegotten understanding that writing poems of this sort is easy, go on. Write one yourself. Now fill a book with them. I’ll just wait right here and finish my sandwich.
It is also worth noting that without including any verbal instructions, even the dullest of parental readers will catch on pretty early that many of these poems are interactive. Consider “Finger Story” where your fingers are instructed to do everything from “wake up” and “stretch” to “climb” and “slide”. And just in case they’re still not getting it, Chris Riddell’s art is on hand, showing a pudgy youngster and an orangutan of uncommon sweetness walking their fingers together on the ground.
What is interesting to me here is that in terms of age of the reader, Rosen isn’t limiting himself solely to toddlers. There are a couple poems in here that preschoolers would probably appreciate more than their drooling, babbling brethren. “I Am Hungry”, for example, stars a hungry bear listing everything he could eat at this moment (both the usual fare and unusual selections like “A funny joke” or “The sound of yes”) ending with “Then I’ll eat me” which is just the right level of ridiculousness to amuse the canny four-year-old. And “Don’t Squash” is going to ramp up the silly levels pretty effectively when a splatter happy elephant is instructed not to squash her toes, nose, a bun, the sun, cars, stars, a fly, or the very sky.
Now just the slightest glance of a gander at the back bookflap of this book and you’ll get an eyeful of the sheer talent Rosen has been paired with over the years. His words have been brought to life by folks no less eminent than Helen Oxenbury, Quentin Blake, Bob Graham, and more. Truth be told, I don’t really know if this is his first book with Chris Riddell or not. I will say, though, that when I saw that Riddell was the artist on this title I was surprised. When last seen in the States, Riddell had illustrated that nobly intentioned but ultimately awful Russell Brand Pied Piper of Hamlin. Nothing against Riddell, of course, he did what he could with the material ( Clockwork Orange Piper and all). So usually when I see his work I associate it with children’s books a bit more on the hardcore side of the equation. Neil Gaiman and Paul Stewart and the like. Could he do adorable? Could he dial back the disgusting? Yes, yes, and (for good measure) yes again. He has that thing we like to call in the business “talent”. Seems to suit him, it does.
Riddell also seems capable of occasionally re-interpreting Rosen’s rhymes with a particularly child-centric view. The poem “Are You Listening?” felt wildly familiar to me, for example. On the left-hand page sits a guilty dinosaur, slurping a piece of spaghetti, looking mildly nervous. On the right-hand page a toddler is berating a small dinosaur stuffed animal, and it will be very easy indeed for kids looking at the picture to extrapolate the relationship between the realistic dino on the left-hand page, and the one on the right. Sometimes I even got the impression that he was softening the content a tad. The poem “Winter” is one of splinters and blisters, but thanks to the gentle hand of Riddell it turns into a snuggly bear hug with mom. All this and he makes the book multicultural as well. Manifique.
Is it very British? With an author from London and an artist from Brighton it runs the risk of indulging in a bit of English chicanery. There wasn’t much that struck me as containing a particular sense of humor, though, with the possible exception of the poem “Once”. A thoroughly silly but darker little work, it will probably remind Yankee readers more of Shel Silverstein than the aforementioned Seuss. There is also “Lost”, the story of a small mouse all alone, without any particular happy resolution in sight. Had such a poem appeared in a collection for small children originally in the States, I don’t think it’s ridiculous to think that an American editor would have gently nudged the author away from ending the poem with the somewhat dire, “I don’t know, I don’t know, anything at all. / I’m going to sit still now and just look at the wall.”
The least respected form of children’s literature in existence is poetry. It hasn’t any American Library Association awards it can win. It typically is remembered by teachers in April and then never thought of again. But nursery rhymes fare a bit better. Not every parent remembers to read them to their children, but a fair number try. Getting those same parents to read original works of poetry to their little kids can be trickier, so it helps if you package your book as a big, beautiful, lush and gorgeous gift book. Delightful to read aloud again and again (a good thing since I’m afraid you will have to, if only to please your rabid pint-sized audience) and lovely to the eye, Rosen and Riddell aim for the earliest of ages and end up creating a contemporary classic in the process. It may not be Seuss but you won’t miss him while you read it. A necessary purchase for any new parent. A required selection for libraries and bookstores everywhere. Or, as the book puts it, “Tippy-tappy / Tippy-tappy / Tap, tap, tap.”
For ages 0-4
December 29, 2015
On the fence over this one. I love how different and silly it is, but I'm not sure all the poems are good. I'm not much of a poem guy, so I'd love a second opinion, like from Adrienne. I do know that this is the creepiest toddler poem I've ever read, and I LOVE it:
Bendy Man
Bendy Man, Bendy Man
He's a long leggy man.
Bendy Man, Bendy Man
In a baked bean can.
Bendy Man, Bendy Man
Wraps around trees.
Bendy Man, Bendy Man
Can't find his knees.
Bendy Man, Bendy Man
Creeps around town
Bendy Man, Bendy Man
Creeps underground
Bendy Man, Bendy Man
Under the bridge
Bendy Man, Bendy Man
Sitting in the fridge
Bendy Man, Bendy Man
Bends in two
Bendy Man, Bendy Man
Asleep in a shoe.
(note: the accompanying illustration adds to the creepiness immeasurably)
Bendy Man
Bendy Man, Bendy Man
He's a long leggy man.
Bendy Man, Bendy Man
In a baked bean can.
Bendy Man, Bendy Man
Wraps around trees.
Bendy Man, Bendy Man
Can't find his knees.
Bendy Man, Bendy Man
Creeps around town
Bendy Man, Bendy Man
Creeps underground
Bendy Man, Bendy Man
Under the bridge
Bendy Man, Bendy Man
Sitting in the fridge
Bendy Man, Bendy Man
Bends in two
Bendy Man, Bendy Man
Asleep in a shoe.
(note: the accompanying illustration adds to the creepiness immeasurably)
February 3, 2018
Four stars for the artwork,three for the poems.Chris Riddell is the best.
October 1, 2015
Accompanied by luscious watercolor and pencil illustrations with plenty of appeal for young readers, 35 poems play with language and sound in lines that are easy to read aloud. The verses celebrate many childhood experiences such as playing hide-and-seek with a stuffed animal friend, learning to read, eating a lot of food, or falling asleep after a long day. My personal favorite was "A Slow Train, Getting Slower and Slower," which is perfect for choral reading. I also loved "The Button Bop," which be a great piece for a duet performance. Parents and siblings who want to encourage a love for literacy need to be sure to share these poems with youngsters. They'll bring a smile to their mouths, foster a love for word play, rhythm and rhyme, and compel them to recite the lines themselves after repeated readings.
February 22, 2019
Extended Reading Diary - Poetry
A Great Big Cuddle: Poems for the Very Young
Michael Rosen illustrated by Cris Riddell
General points about the chosen anthology:
This is a great poetry anthology for younger children. Could be used in the Foundation Stage and some would be suitable for lower KS1. There are a range of different poems in this book which differ by length and style making it a great anthology for a primary school where the children are likely to have different tastes and abilities. The use of illustration and the size, font and colour of the text makes the poems even more enjoyable to read and look at. Overall, a lovely anthology which I would definitely use with children in the earlier years of primary school.
Boing! Boing!
What do I like about the poem?
I really like the structure and simplicity of this poem, making it work very well for younger children or as an introduction into poetry for children with little exposure to this form of literature. The simplicity makes it easily understandable which children may enjoy as this is not always the case with poetry. I also really like the use of font, including size and colour, in making the last line of the poem bold and really stand out. This not only brings attention to this line but also shows the emphasis which needs to be added to it when reading aloud.
Are there any memorable words or phrases?
The poem uses two repeated phases, ‘bounce bounce’ and ‘pounce pounce’. These phrases are very memorable as they act as the body for the poem. Each stanza contains one of these phrases, helping to create a repeating pattern throughout.
What do the phrases make me think of?
When I read this poem, to me, the phrases have very positive connotations. This is because of the words used such as ‘boing’ and ‘bounce’, making the poem seem happy and therefore enjoyable for both the reader and the audience. The phrases also made me think of words children may use when they are playing such as ‘jump’ and ‘ball’, this will therefore not only be more relatable for the children, but will also help to reinforce this vocabulary.
Is there anything significant about the shape of the poem?
The poem is positioned in quite an unusual way, starting in the top left-hand corner and progressing diagonally downwards to the bottom right-hand corner. The way that each verse is positioned encourages the reader to speed up when reading bringing purposeful tension to the poem. There is also an effect of each verse and accompanying illustration getting closer as the poem progresses, which gives the same effect.
When I look at the shape, does it help me to think about the poem in a different way?
The shape of the poem helps me to see it in a progressive way with the story starting at the top corner and ending at the opposite bottom corner. This progression could be the tiger physically growing and getting bigger, however, I interpreted it as the tiger growing in confidence from a small bouncy creature to a larger more confident one. This could reflect children’s feelings about themselves in the classroom as they grow in confidence.
Does the poem have a particular form?
The poem uses rhyming and repetition through the phases ‘bounce bounce’ and ‘pounce pounce’. This creates speed as you read the poem as well as reiteration of these important words. The lines in this poem are also very short and most of the words are repeated making it very accessible to younger children just beginning to look at poetry including those in the Foundation State and early KS1.
Do you have any questions about the poem?
Where does the inspiration for this poem come from? Is it based on a real tiger as it finds its roar or is it based on a toy or even a child?
Does the poem use any techniques?
Apart from the use of repetition, the main techniques in this poem come from the layout and illustrations. For this poem the illustrations are very powerful as they help to paint a picture of the tiger’s journey. At the beginning of the poem when the phrase ‘bounce bounce’ is used, the tiger is portrayed through the illustrations as an infant who is quite unsure and anxious. The poem then develops to use the phrase ‘pounce pounce’ in replace of ‘bounce bounce’, as this happens, the tiger is displayed by the illustrations in a much more confident and grown-up way. The illustrations therefore help hugely with deepening the development of the poem.
What is most memorable about the poem? How does it make you feel?
For me, the most memorable part of the poem is the last line ‘ROARRRRRR!’. This stands out because of the break in the repeated pattern which the rest of the poem followed. The first three stanzas have only two lines, however, the last has three including the ‘ROARRRRRR!’. This is a nice and memorable ending to the poem as it gives a clear representation of a tiger for the children. This line is also in a different size font and different colour, this is another technique used which helps the line to stand out and be memorable.
A Great Big Cuddle: Poems for the Very Young
Michael Rosen illustrated by Cris Riddell
General points about the chosen anthology:
This is a great poetry anthology for younger children. Could be used in the Foundation Stage and some would be suitable for lower KS1. There are a range of different poems in this book which differ by length and style making it a great anthology for a primary school where the children are likely to have different tastes and abilities. The use of illustration and the size, font and colour of the text makes the poems even more enjoyable to read and look at. Overall, a lovely anthology which I would definitely use with children in the earlier years of primary school.
Boing! Boing!
What do I like about the poem?
I really like the structure and simplicity of this poem, making it work very well for younger children or as an introduction into poetry for children with little exposure to this form of literature. The simplicity makes it easily understandable which children may enjoy as this is not always the case with poetry. I also really like the use of font, including size and colour, in making the last line of the poem bold and really stand out. This not only brings attention to this line but also shows the emphasis which needs to be added to it when reading aloud.
Are there any memorable words or phrases?
The poem uses two repeated phases, ‘bounce bounce’ and ‘pounce pounce’. These phrases are very memorable as they act as the body for the poem. Each stanza contains one of these phrases, helping to create a repeating pattern throughout.
What do the phrases make me think of?
When I read this poem, to me, the phrases have very positive connotations. This is because of the words used such as ‘boing’ and ‘bounce’, making the poem seem happy and therefore enjoyable for both the reader and the audience. The phrases also made me think of words children may use when they are playing such as ‘jump’ and ‘ball’, this will therefore not only be more relatable for the children, but will also help to reinforce this vocabulary.
Is there anything significant about the shape of the poem?
The poem is positioned in quite an unusual way, starting in the top left-hand corner and progressing diagonally downwards to the bottom right-hand corner. The way that each verse is positioned encourages the reader to speed up when reading bringing purposeful tension to the poem. There is also an effect of each verse and accompanying illustration getting closer as the poem progresses, which gives the same effect.
When I look at the shape, does it help me to think about the poem in a different way?
The shape of the poem helps me to see it in a progressive way with the story starting at the top corner and ending at the opposite bottom corner. This progression could be the tiger physically growing and getting bigger, however, I interpreted it as the tiger growing in confidence from a small bouncy creature to a larger more confident one. This could reflect children’s feelings about themselves in the classroom as they grow in confidence.
Does the poem have a particular form?
The poem uses rhyming and repetition through the phases ‘bounce bounce’ and ‘pounce pounce’. This creates speed as you read the poem as well as reiteration of these important words. The lines in this poem are also very short and most of the words are repeated making it very accessible to younger children just beginning to look at poetry including those in the Foundation State and early KS1.
Do you have any questions about the poem?
Where does the inspiration for this poem come from? Is it based on a real tiger as it finds its roar or is it based on a toy or even a child?
Does the poem use any techniques?
Apart from the use of repetition, the main techniques in this poem come from the layout and illustrations. For this poem the illustrations are very powerful as they help to paint a picture of the tiger’s journey. At the beginning of the poem when the phrase ‘bounce bounce’ is used, the tiger is portrayed through the illustrations as an infant who is quite unsure and anxious. The poem then develops to use the phrase ‘pounce pounce’ in replace of ‘bounce bounce’, as this happens, the tiger is displayed by the illustrations in a much more confident and grown-up way. The illustrations therefore help hugely with deepening the development of the poem.
What is most memorable about the poem? How does it make you feel?
For me, the most memorable part of the poem is the last line ‘ROARRRRRR!’. This stands out because of the break in the repeated pattern which the rest of the poem followed. The first three stanzas have only two lines, however, the last has three including the ‘ROARRRRRR!’. This is a nice and memorable ending to the poem as it gives a clear representation of a tiger for the children. This line is also in a different size font and different colour, this is another technique used which helps the line to stand out and be memorable.
December 2, 2018
Throughout many of these poems the author uses a range of fonts and text sizes to create emotion and effect. I like these poems because they are effectively illustrated to support the content of the poem e.g. the poem called I am angry, this poem provides the opportunity for children to be able to possibly relate to the poem and learn from it. From the poem I am angry the phrases ‘wake up stones’ and ‘boil words’ are memorable to me because they create a visual image of the authors creative thoughts and messages behind the words. They also portray the emotion of anger through the text format (bold font).
Overall a great text
Overall a great text
February 26, 2018
I enjoyed this book and think the poems are fit for very young children. These illustrations have an imaginative appeal with many original creature creations. The poems follow a goodnight theme so I feel it would be excellent for parents to read to their young children before bed.
December 5, 2021
The nonsense words throughout Rosen's poems make for a very entertaining read, and Riddell's illustrations are fantastic.
June 15, 2016
A collection of poems for children under the age of two. The illustrations are darling and some of the poems are absolutely wonderful. Some of the other poems are a little strange and I could see parents being put off by the first few.
Recommended for ages 0-2.
Recommended for ages 0-2.
April 30, 2016
Illustrations: Wonderful. Awesome! Beautiful and sweet.
Poems: Umm. Odd.
Poems: Umm. Odd.
December 12, 2016
I didn't love all of these poems, but the ones I did like, I REALLY liked (my favorites were Don't Squash, I Am Angry, and Inside Out). Plus, the illustrations are to die for.
April 26, 2018
A Great Big Cuddle Poems for the Very Young is a poetry children's book for kids 1-3 years of age. Each page in this book is a different form of poetry long poems, short poems , rhyming poems, even animal poems. My favorite poem is Lost on page 16 in the book. It is about losing people and being by yourself. I enjoyed this poem biggest it is so much different from all the others and isn't a traditional children's poem. When we think about kids we think everything has to be happy. I enjoy that this book covers a topic that most won't. The best line in the poem is "One moment they were there and we were having fun. Now they've disappeared, every single one." That to me is using poetry and a platform to teach a life lesson which I really enjoyed. The reason I gave this book a 4 out of 5 is because there are too many rhyming, repetitive poems. They say the same two words over and over just in bigger font's and different colors. As a teacher I would get tired of reading the poem and my students probably would not listen. The illistrations in this book are so fitting for the book, they are colorful and beautfiul but they have a soft feel to them that goes with the cuddling theme of the book. This book will become very appealing to young readers, they will really enjoy the rhyming poems because you can turn it into a song. I know for my students they will love the animal counting poem. I would use this book at home for a night time routine read a poem a night. As a teacher I would read the poem either during circle time or right before nap time for my students.
June 20, 2021
Lost
One moment they were there and we were having fun
Now they've disappeared, every single one.
I don't know where to go and I'm feeling rather scared
I don't know where they are, it's not as if they cared.
I'm lost, I'm lost, I'm halfway up the stairs
They've only gone and left me, and nobody cares.
Help me, help me, someone. Can't you hear me shout?
Isn't anybody here who can come and help me out?
I'm alone and lonely and it's starting to get dark.
Where is everyone? Did they go to the park?
Are they in or out? Did they go up to town?
Do you think I should go upstairs? Or down?
I don't know, I don't know, anything at all.
I'm going to sit still now and just look at the wall.
If Chris Riddell writes it or illustrates it then I must track it down and own it. Luckily we found this today in a local charity shop and I was, once again, not disappointed.
This book is an anthology of poetry which reflects the day to day issues of being a toddler. Some are short and punchy, others, like the above, are more in-depth and moving. All are accompanied by lavish illustrations that draw the eye and make you smile.
A very enjoyable read. 4 stars.
One moment they were there and we were having fun
Now they've disappeared, every single one.
I don't know where to go and I'm feeling rather scared
I don't know where they are, it's not as if they cared.
I'm lost, I'm lost, I'm halfway up the stairs
They've only gone and left me, and nobody cares.
Help me, help me, someone. Can't you hear me shout?
Isn't anybody here who can come and help me out?
I'm alone and lonely and it's starting to get dark.
Where is everyone? Did they go to the park?
Are they in or out? Did they go up to town?
Do you think I should go upstairs? Or down?
I don't know, I don't know, anything at all.
I'm going to sit still now and just look at the wall.
If Chris Riddell writes it or illustrates it then I must track it down and own it. Luckily we found this today in a local charity shop and I was, once again, not disappointed.
This book is an anthology of poetry which reflects the day to day issues of being a toddler. Some are short and punchy, others, like the above, are more in-depth and moving. All are accompanied by lavish illustrations that draw the eye and make you smile.
A very enjoyable read. 4 stars.
February 16, 2024
Absolutely adorable silly rhymes for little ones. My earliest recollection of Michael Rosen poetry is "Don't Put Mustard in the Custard" and "Bathroom Fiddler" and I am glad that though the poems in this book targeted a much younger demographic, the tone is the same. I could feel Michael Rosen's tone and voice coming through these poems. Some more than others, but also not really being the target demographic for these poems there are obviously some that were not as good. "A Slow Train, Getting Slower and Slower" was probably one of my favorites in this book, especially reading it aloud and reading each line slower than the line before (as I interpret it is supposed to be read). The illustrations were cute. I feel this would be a great introductory poetry book for super little kids.
May 25, 2023
A wonderful companion to Ready for Spaghetti: Funny Poems for Funny Kids. Most of these are indeed for even younger children, but not all. Riddell is arguably a more acclaimed illustrator than Dunbar. This one doesn't have the introduction the other does to help the parent new to poetry. But the rhymes are clearly meant to be played out, danced to, or at least read aloud - so, self-explanatory. If I were to gift a book to a young family I couldn't choose but would have to give them both of these.
April 7, 2020
These are super fun poems for young children! There is a variety from super funny and upbeat to slower, sweet poems. Kids can enjoy having them read to them or reading the poems themselves. There are also great pictures to go along with the poems!
Lexile: N/A
GR: N/A
Trait: Sentence Fluency
Lexile: N/A
GR: N/A
Trait: Sentence Fluency
November 23, 2020
These poems are special for young readers, using minimal, yet strategic, word choices that stick out to and engage the reader. Different fun words and other nonsense words hold interesting sounds that are pleasant to your young one's ears and get them excited about rhyming too.
April 26, 2023
This is a poem book we quote and we keep coming back to in our family. The kids love it and so do I. There is lots of repetition, and the topics the poems cover are perfect for the littlest of humans--not too complex. This is a fun book!
September 30, 2018
Beautifully illustrated, full of humour, nonsense and word play, making poetry fun!
September 17, 2019
Loved the rhymes and illustrations.
March 22, 2020
Reading poetry with Mr 4, but this was a little bit... strange? too young? We prefer Bananas In My Ears by the same author.
January 30, 2021
Full of adorable word play, cute illustrations, and clever typography
April 21, 2021
Silly an easy to read poems for early elementary students.
February 14, 2022
Not everything resonates with me, but one of the few books that delights in the utter joy of playing with language for the very young. Like wiggly wiggly p14 and lunchtime p25.
February 17, 2022
The poems were silly and we didn’t like them very much.
July 10, 2022
Ok poems, although some are a little dark
July 18, 2023
Many poems for young children
September 18, 2024
I see the appeal for the kiddos but pity the adults having to read these “poems”.
December 18, 2024
Didn’t like tippy-tappy, did like wiggly wiggly and I am hungry
February 26, 2025
Absolute powerhouse of a team, read out loud giggling. My children will be raised on this
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