And we’re off, with the first book discussion of the season. We are trying to present the books more generally in order of publication this year, in hopes that readers will have a better chance of knowing the books as they’re discussed. We’re starting with a book that was published early in the year, in fact in January, to much excitement and praise.

Last Stop on Market Street is a lovely, warm picture book, with strong and commendable themes of intergenerational friendship, building community, and finding beauty in unlikely places. And other messages as well: the value of helping the less fortunate, how to grow up to be a good person (as guided by your Nana). Matt de la Pena’s text is both sensory and colloquial, with believable-sounding dialogue, and an equally believable relationship between grandmother and grandson.

But we’re here to talk about Christian Robinson’s art. The Horn Book Magazine review basically said that the book was channeling Ezra Jack Keats, “in spirit and visual style,” and I think that pretty much captures its feel and appeal. The acrylic paintings and collage are artfully simple, and like Peter in The Snowy Day, CJ is an everychild — and a brown everychild. The colors sing, with eye-catching blocks of color throughout, all in perfect accord with one another. One of my favorite double-page spreads shows Nana and CJ walking to the bus shelter in the rain, Nana holding her orange umbrella aloft and CJ, in his highly individual yellow shirt (with blue and orange stripes on the sleeves), closer to the puddled street, which reflects those oranges and yellows beautifully. (In that same spread, note the way the tree behind them is composed of a collaged white trunk and painted green leaves, giving the tree remarkable texture and beauty.) On another spread, rectangles rule: the dark blue bus stop contrasts with the white sidewalk and bus, which contrasts with the green car, etc. It’s such a simple composition, but with its shapes and colors so artfully arranged.

I think few would argue that the most sublime spread is the one in which the guitar music CJ hears on the bus lifts him out of mundane reality, out of the busy city, and into a world of nature, where butterflies ‘dance free’ and waves crash against a sunset sky. Robinson does a remarkable job of not translating the text literally but completely capturing the “feeling of magic” CJ experiences: all with minimal colors, simple shapes, the trademark yellow sweater, and CJ’s profile front and center, eyes closed in concentration and delight.

I do have a few quibbles. Some might be silly, but may also be details a child (or the Caldecott committee) might notice. Where does Nana’s knitting come from? She is shown throughout carrying the tiniest of purses. Why is she sitting in the handicapped seat on the bus? That does not seem like something thoughtful Nana would ever do. Why does the blind man on the bus carry a cane and have a guide dog? I have some knowledge of the blind community and I have never witnessed someone using both. It would be a very cumbersome arrangement! (Also, the dog on this bus wanders freely around the bus – again, not something an actual guide dog would ever do. It’s clearly meant to be a guide dog, not just a pal, because the dog is shown with a harness attached.) And just in terms of continuity – I think it might disappoint some child readers that once Nana and CJ get off the bus there’s so little relationship between the people they see on the street and the people in the soup kitchen. We recognize Bobo, the Sunglass Man, and Trixie (although it’s sure a long time from the page Nana mentions them to the page we finally see them, without any kind of refresher or reminder in the text), but why aren’t the people queuing up outside shown inside the soup kitchen on the last spread? It’s not like there is a long line inside that’s preventing them from going in. It would have been satisfying and given the book some additional closure to see them inside seated at a table or being served food.

It may bear repeating, for newcomers and old hands alike, that looking at a picture book for your own pleasure, or a child's, is very different from scrutinizing it the way the Caldecott committee does. I didn't notice any of my quibbles until I looked at the book as carefully and critically as a committee member would. Remember how Jon Klassen (humorously) characterized the committee in his 2013 Caldecott Acceptance speech: "They are a group of beings assembled entirely to notice things." Of course,  just because someone sees flaws in a book does NOT necessarily knock it off the Caldecott table. The committee may take note of flaws and still decide that a book's strengths are enough to disregard any minor problems.

So, what are your thoughts? Last Stop on Market Street received three star reviews and a ton of early buzz. Is it holding up to its promise? Do weigh in below.