Kamishibai Man

Starred review from August 22, 2005
Caldecott-winner Say (Grandfather's Journey
) has often written about children adrift between the cultures of East and West. Here, he imagines an old man straddling past and present. The kamishibai man of pre-war Japan brought to neighborhood children cliff-hanger tales, storyboard paintings and homemade sweets. Say's retired kamishibai man—lean and spare, with a face full of kindness—decides one day to return to his old route, familiar landmarks of the city having disappeared under a blanket of asphalt. This time, he tells a new story: his own. "Ah, yes, I can see you now, all your bright faces," he remembers, "clasping coins in your little hands... Patience, everyone! You'll get your sweets." When television arrived, he recalls, his once-eager listeners disappeared, too. "One day a little girl poked her head out the window and shushed me." As he talks, and passersby realize who he is, a great crowd gathers around him—"We grew up with your stories!" "Tell us 'Little One Inch' again!" Say's gift is to multiply themes without struggling under their weight. Aging, cultural change, the way humans seem to lose warmth with technological advances—he gestures toward all of these while keeping the lens tightly focused on the kamishibai man. Readers who worry that Say may be thinking about the fate of his own career should be reassured; his artistry and power of invention are as strong as ever, and so will be his readers' enthusiasm. Ages 4-8.

Starred review from October 1, 2005
Gr 1-5 -An elderly kamishibai (paper theater) man decides to return to the city and spend the day on his former rounds. His wife makes candies for him, just as in the past, and he sets off on his bicycle. Things have changed -there's traffic with honking horns and he wonders, -Who needs to buy so many things and eat so many different foods? - when he sees the shops and restaurants replacing beautiful trees that have been cut. He sets up his theater and begins to tell his personal story of being a kamishibai man in a flashback sequence. Soon he is surrounded by adults who remember him and his stories from their youth. Ironically, that night he is featured on the news on television -the very technology that replaced him. Say's distinctive style and facial expressions are especially touching. A foreword gives readers a glimpse of the importance of the kamishibai man in the author's early life, and an afterword provides a historical look at the forgotten art form. The power of the story and the importance of the storyteller are felt in this nostalgic piece that makes readers think about -progress. - Those interested in storytelling and theater will be especially impressed with this offering, but it will have broad appeal." -Helen Foster James, University of California at San Diego"

Copyright 2005 School Library Journal, LLC Used with permission.

Starred review from September 15, 2005
Gr. 1-3. In a foreword, Say explains that Kamishibai means "paper theater" and that years ago Kamishibai men were itinerant storytellers who traveled around Japan on bicycles with a big, wooden box mounted on the back seat. The box contained a miniature theater, and beneath it were drawers of candy that the performer sold to eke out a living. As a storyteller spun his tale, he used picture cards to illustrate dramatic points, finishing each time with a cliffhanger designed to entice the children in his audience to come back another time to hear the continuation of the story. Say's lovely new book is about an elderly Kamishibai man, long retired, who, missing his rounds, decides to pedal back to the old neighborhood for one last performance. The story-within-a-story that emerges reveals why this unique type of performance art has all but disappeared. The quietly dramatic, beautifully evocative tale contains a cliffhanger of its own, and its exquisite art, in the style of Kamishibai picture cards, will attract even the most jaded kid away from the TV to enjoy a good, good book.(Reprinted with permission of Booklist, copyright 2005, American Library Association.)

January 1, 2006
In Say's nostalgic homage to "kamishibai" ("paper theater" of 1930s Japan), retired performer Jiichan essays a decades-later visit to his old haunts in a now-crowded city. Miraculously, recounting his story summons his former audience grown up, a throng of adults who greet him with affection and praise. Say's lovely paintings feature eloquent characterizations and evocative landscapes.

(Copyright 2006 by The Horn Book, Incorporated, Boston. All rights reserved.)

November 1, 2005
In Japan in the 1930s, kamishibai ("paper theater") performers told stories, illustrating them with picture cards displayed in small wooden theaters mounted on their bicycles; they earned a meager living by selling candy to the children who gathered for their serial cliffhangers. In Say's nostalgic homage to this dramatic form, former kamishibai performer Jiichan (Grandpa) essays a decades-later visit to his old haunts, bicycling from his country home to a city now crowded with trucks, tall buildings, and shops. Overcome by the unfamiliar bustle, he takes refuge in a vacant lot, absorbed by memories of an eager audience listening under long-gone trees and of his career's demise with the advent of television. Miraculously, recounting his story summons his former audience grown up, a throng of adults who greet him with affection and praise. An afterword sets kamishibai in an honorable place between such traditional theater as kabuki and today's anime. Say's paintings are lovely: eloquent characterizations, evocative landscapes, and, for the memory sequence, a more freely drawn style that recalls the vanished art form he celebrates.

(Copyright 2005 by The Horn Book, Incorporated, Boston. All rights reserved.)