*Starred Review* The intricate lion's face that crowds the cover of Pinkney's latest folktale adaptation is unaccompanied by any title or credits, and that is entirely appropriate there are no words inside, either. Through illustration alone Pinkney relates the well-known Aesop fable of the mouse who is captured by a lion, only to be unexpectedly released. Then, when the lion finds himself trapped by hunters, it is the mouse who rescues him by gnawing through the twine. Pinkney bends his no-word rule a bit with a few noises that are worked into the art ( Screeeech when an owl dives; Putt-Putt-Putt when the hunters' jeep arrives), but these transgressions will only encourage young listeners to get involved with read-along sessions. And involved they will be how could they not get drawn into watercolors of such detail and splendor? Pinkney's soft, multihued strokes make everything in the jungle seem alive, right down to the rocks, as he bleeds color to indicate movement, for instance, when the lion falls free from the net. His luxuriant use of close-ups humanizes his animal characters without idealizing them, and that's no mean feat. In a closing artist's note, Pinkney talks about his choice to forgo text.--Kraus, Daniel Copyright 2009 Booklist

(Preschool, Primary) By retelling Aesop's fable entirely in his signature pencil and watercolor art, Pinkney encourages closer exploration of the pleasing detail with which he amplifies it. The mouse has just escaped an owl when she makes the mistake of running up the lion's back; his decision to let her go, over three full spreads, is all the more eloquent for being wordless. Her dauntless attack on the white hunters' densely knotted rope trap, in which the lion is caught, is related via numerous smaller frames; successful, the mouse takes one tough knot home to her young (as a toy? Or to tell them her story?). On every page, this beautiful book suggests even more than it tells about its real setting, and about that fabulous world where such bargains are made and such rescues may happen. It's a generous rendition: there are character-revealing portraits of the protagonists, unencumbered by text, on the jacket (a regal lion, sumptuous with golden mane, glances anxiously from the front; the doughty mouse, wide-eyed with intelligence, is on the back). On the front of the book itself is a second pair of telling portraits in lieu of a title; there's an African Peaceable Kingdom on the back. One endpaper celebrates the animal-crowded Serengeti setting; the second rounds out the story with the lion and mouse families on a shared outing. It will be a challenge for libraries to make every gorgeous surface available, but it's a challenge worth taking on. Artist's note appended. From HORN BOOK, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

THE art of Jerry Pinkney's new picture book is commanding enough to do without the author's name or even the title on the front cover. A jacket with no words at all? It's been done before, but not often - probably most notably with Fred Marcellino's "Puss in Boots" (1990), which won a Caldecott Honor. That cover featured a big cat, too, but here Pinkney gives us a lion's head with a magnificent mane, filling the entire frame. The Sun King demeanor is somewhat diminished by the uneasy glance the lion is casting stage right, toward the back cover, where a mouse looks up with a question in its eye. Which creature will be the hero of the tale within? This is Pinkney's second go at "The Lion and the Mouse," the first being a brief entry in his "Aesop's Fables" of almost 20 years ago. But that first pair were only supporting players to Aesop's text, 200 or so words plus a moral: "Even the strongest can sometimes use the help of the smallest." The new book has only seven distinct words, all sound effects - an owl, stalking the mouse, "whoooo" and "screeeech"; the mouse, "scratch" and "squeak." Providing the plot is the "puttputt-putt" of the jeep bearing humans into the Serengeti landscape (a note says). And you don't even need the sounds to see exactly what's going on. Wordless picture books require great cunning not only to provide a recognizable pantomime but also to lead readers from one scene to the next: how do you know when to turn the page when there are no words to pull you forward? Pinkney's story begins with a mouse pausing alertly in -what is this?- a big paw print in the sandy ground, one of a set tracking across the title-page spread. We turn the page, dawn is (beautifully) breaking, the mouse is poised, apparently listening. . . . Good thing there is a hole in that fallen tree on the far right, because on the next page the mouse barely dives in when the owl swoops. The mouse moves on, coming to rest on - "Is that a snake?" asked the 4-year-old I was sharing the book with. Pinkney's sly use of nature's camouflage causes us to look more closely. Nope: it was a tail, then a furry back, and before you know it the lion has the mouse by its tail, his "GRRR" seeming more puzzled than threatening, the mouse's squeak an "Oops!" Winner of five Caldecott Honors, Pinkney has always seemed happier drawing animals than people. Look, in his 2007 retelling, at his studied Little Red Riding Hood next to his lively Wolf. His beasts are not humans in disguise; while both the lion and the mouse have emotions and intelligence in their eyes, they are animal in nature. We don't know why the lion lets the mouse go free or why the mouse nibbles the lion out of the net planted by the men (poachers? wardens?) from the jeep. But it's actions in this case that count. That's the moral of the story. Roger Sutton is editor in chief of The Horn Book Magazine.

PreS-Gr 3-The African Serengeti forms the backdrop for a lion that captures a rodent and-for reasons left for readers to ponder-releases it. His decision is rewarded, and the value of even the smallest creature is recognized in this stunning Caldecott winner rendered in expressive watercolors. A visual feast. (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Other than some squeaks, hoots and one enormous roar, Pinkney's (Little Red Riding Hood) interpretation of Aesop's fable is wordless-as is its striking cover, which features only a head-on portrait of the lion's face. Mottled, tawny illustrations show a mouse unwittingly taking refuge on a lion's back as it scurries away from an owl. The large beast grabs and then releases the tiny creature, who later frees the lion who has become tangled in a hunter's snare. Pinkney enriches this classic tale of friendship with another universal theme-family-affectingly illustrated in several scenes as well as in the back endpapers, which show the lion walking with his mate and cubs as the mouse and her brood ride on his back. Pinkney's artist's note explains that he set the book in Africa's Serengeti, "with its wide horizon and abundant wildlife so awesome yet fragile-not unlike the two sides of each of the heroes." Additional African species grace splendid panoramas that balance the many finely detailed, closeup images of the protagonists. Pinkney has no need for words; his art speaks eloquently for itself. Ages 3-6. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved

A nearly wordless exploration of Aesop's fable of symbiotic mercy that is nothing short of masterful. A mouse, narrowly escaping an owl at dawn, skitters up what prove to be a male lion's tail and back. Lion releases Mouse in a moment of bemused gentility andwhen subsequently ensnared in a poacher's rope trapreaps the benefit thereof. Pinkney successfully blends anthropomorphism and realism, depicting Lion's massive paws and Mouse's pink inner ears along with expressions encompassing the quizzical, hapless and nearly smiling. He plays, too, with perspective, alternating foreground views of Mouse amid tall grasses with layered panoramas of the Serengeti plain and its multitudinous wildlife. Mouse, befitting her courage, is often depicted heroically large relative to Lion. Spreads in watercolor and pencil employ a palette of glowing amber, mouse-brown and blue-green. Artist-rendered display type ranges from a protracted "RRROAARRRRRRRRR" to nine petite squeaks from as many mouselings. If the five cubs in the back endpapers are a surprise, the mouse family of ten, perched on the ridge of father lion's back, is sheer delight. Unimpeachable. (author's note) (Picture book. 3-6) Copyright Kirkus Reviews, used with permission.