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The Little Wooden Robot and the Log Princess
A New York Times/New York Public Library Best Illustrated Book of the Year
In this fresh new fairy tale, a wooden robot embarks on a quest to find his missing sister-- making for a memorable contemporary bedtime story in acclaimed graphic novelist Tom Gauld's first picture book for children.
For years, the king and queen have tried desperately to have a baby. Their wish was granted twice, when an engineer and a witch gave them a little wooden robot and an enchanted log princess.
But there's just one catch: every night when the log princess sleeps, she transforms back into an ordinary log, and can only be woken up with magic words.
The princess and her robot brother are are inseparable, until the sleeping princess, mistaken for lumber, is accidentally carted off to parts unknown. Now it's up to her devoted brother to find her, and get them safely back home.
They need to take turns to get each other home, and on the way, they face a host of adventures involving the Queen of Mushrooms, a magic pudding, a baby in a rosebush, and an old lady in a bottle.
This is acclaimed graphic novelist Tom Gauld's first picture book for children, inspired by a bedtime story he made up for his daughters. In his words, "I was trying to make a book inspired by three different sets of books: The books that I remember enjoying as a child, the books that I watched my daughters enjoying, and the books I enjoy now as an adult. I wanted the book to have its own quirky feeling but also to function like a classic bedtime story."
An ALSC Notable Children's Book
A Charlotte Zolotow Highly Commended Title
A People Magazine Best Kids Book of the Year
A Washington Post Best Children's Book of the Year
A Wall Street Journal Best Children's Book of the Year
A Financial Times Best Book of the Year
An NPR 'Book We Love!'
A Booklist Editors' Choice
A Shelf Awareness Best Children's Book of the Year
A Bulletin of the Center for Children's Books Blue Ribbon Book!
A Publishers Lunch Best Book of the Year
A Junior Library Guild Gold Standard Selection
An Evanston Public Library Great Books for Kids pick!
A CCBC Choice
A Mighty Girl Best Book of the Year
In this fresh new fairy tale, a wooden robot embarks on a quest to find his missing sister-- making for a memorable contemporary bedtime story in acclaimed graphic novelist Tom Gauld's first picture book for children.
For years, the king and queen have tried desperately to have a baby. Their wish was granted twice, when an engineer and a witch gave them a little wooden robot and an enchanted log princess.
But there's just one catch: every night when the log princess sleeps, she transforms back into an ordinary log, and can only be woken up with magic words.
The princess and her robot brother are are inseparable, until the sleeping princess, mistaken for lumber, is accidentally carted off to parts unknown. Now it's up to her devoted brother to find her, and get them safely back home.
They need to take turns to get each other home, and on the way, they face a host of adventures involving the Queen of Mushrooms, a magic pudding, a baby in a rosebush, and an old lady in a bottle.
This is acclaimed graphic novelist Tom Gauld's first picture book for children, inspired by a bedtime story he made up for his daughters. In his words, "I was trying to make a book inspired by three different sets of books: The books that I remember enjoying as a child, the books that I watched my daughters enjoying, and the books I enjoy now as an adult. I wanted the book to have its own quirky feeling but also to function like a classic bedtime story."
An ALSC Notable Children's Book
A Charlotte Zolotow Highly Commended Title
A People Magazine Best Kids Book of the Year
A Washington Post Best Children's Book of the Year
A Wall Street Journal Best Children's Book of the Year
A Financial Times Best Book of the Year
An NPR 'Book We Love!'
A Booklist Editors' Choice
A Shelf Awareness Best Children's Book of the Year
A Bulletin of the Center for Children's Books Blue Ribbon Book!
A Publishers Lunch Best Book of the Year
A Junior Library Guild Gold Standard Selection
An Evanston Public Library Great Books for Kids pick!
A CCBC Choice
A Mighty Girl Best Book of the Year
40 pages, Hardcover
First published August 24, 2021
11 people are currently reading
1105 people want to read
About the author
Tom Gauld
30 books749 followersTom Gauld is a cartoonist and illustrator. He draws weekly cartoons for the Guardian newspaper and New Scientist magazine. He has created eight covers for the New Yorker and a number of comic books. He lives and works in London.
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Displaying 1 - 30 of 419 reviews
July 20, 2021
Tone. Can’t teach a writer how to make it. Can’t quite explain what it is or why one book’s tone will work while another’s falls flat. As a result, the facts of the mater are irrefutable: Tone is a bloody nuisance. You won’t necessarily notice its absence if the book you’re reading is toneless, but you’ll most certainly notice its presence if it’s done well in an unexpected source. Considering that this is Tom Gauld’s first picture book “for children” (or so his bookflap proclaims) my expectations were not particularly high or low. Certainly the artist has drawn adult comics and the occasional New Yorker cover, but that’s no guarantee that such skills will transfer over to children’s literature. Writing picture books is hard. Writing original picture book fairytales? Nigh unto near impossible a task. For it to work, the artist must be succinct, understand classic fairytale tropes (enough so that they can replicate them without overdoing them), and have that ineffable something: the right tone. What’s so crazy about Gauld’s book The Little Wooden Robot and the Log Princess is that not only does it check off all those boxes, it’s also dryly funny. Being beautiful to look at is simply icing on the cake. Smart fairytelling that’s tonally on point? More of this, please.
Once upon a time there lived a king and a queen. They had no children, so the king consulted the royal inventor and was given a little wooden robot. The queen consulted a witch in the forest and was given a little princess made from a log. The two children were beloved and very close, but at night the princess would turn into a log when she slept. The robot always woke her in the morning… until he didn’t. Just one slip up and the two children found themselves on an epic journey. First away, then back again, and finally home with their parents once more.
For fun, let’s just pick apart each fairytale element of this book. So you begin with the classic childless royal couple. It must have been very comforting to regular people in the old days to know that their rulers might be powerful, but that infertility is the great equalizer. Now at this point, usually one member of the couple will go out and find a solution, usually in the form of a magical person. What I like about having both the king and queen seek a solution is that they’re taking equal initiative. They don’t sit about passively waiting for a fairy to drop by and grant them a child. By gum they make their kids out of wood, one way or another, and then they’re a happy family of four. That done, we learn that the princess suffers from an uncontrolled transformation. Not into a stag or a frog or any animal at all, really. She turns into a log when she sleeps. We’re closer to Sylvester and the Magic Pebble territory than anything else here. And as with any good fairytale, the disaster is set into motion when the robot thinks only of its own happiness over that of its sister. Both robot and princess have a series of tiny adventures in the course of things, my own personal favorite being “The Baby in the Rosebush” since it sounds so doggone Grimm-esque. But the final, beautiful fairytale element I loved the most comes in the form of some tiny beetles. When all is lost, it is the kindness the robot exhibited towards the beetles that live in its chest that saves the day. The best thing about the combination of all these tropes is that while I can equate them to real, classic fairytales, everything Gauld has come up with is wholly his own. He is capable of taking the elements that work in folktales and applying them to his own story with his own sense of humor. And in a mere 40 pages at that!
Now I’m just going to double back to that early statement I made about tone. You can take all the fairytale themes in the world but fall on your face tonally and they won’t do you a lick of good in the end. This book achieves something that many picture books cannot: It can be read, and read well, by almost every kind of reader. Do you know how difficult it is to achieve that? One might argue that the greatest picture books are the ones that achieve this aim. Just listen to the first sentence: “There once lived a king and queen who happily ruled a pleasant land, but they had no children.” I would pay great gobs of gold to see the original manuscript of this book. I would wager that it was wordier at its start. But with time (and excellent editing) it has been pared down to the most essential, most needed words. It is neither a particularly long book, nor short. It is as long as it needs to be to get to its ending, which is just about perfect. The sole distraction may be the rare Briticism. But as we get a goodly number of our fairytales out of Europe anyway, these moments (the puddings come to mind) have a tendency to roll off the proverbial American reader’s back.
I’ve been trying to figure out the best way to describe Tom Gauld’s artistic style. The closest thing I can come up with is Ivan Brunetti mixed with the cross-hatching of a laid-back Sendak and just a tincture of Randall Munroe. I mean YOU try to explain it! Told in one word: Meticulous. But it’s also so seemingly simple that you could be tricked into thinking the art was just a series of slightly modified smiley faces. Look at the Wooden Robot and the Log Princess. They’re simple figures with just eyes and a mouth and the tiniest little hint of a nose on the Princess. Delve a little deeper, though, and you can see so many details in the margins. The royal inventor’s workshop is filled with bric-a-brac. The witch’s cottage is overflowing with ephemera. And once in a while in the book you’ll see a rune-like language in the details.
The last, but perhaps most important, reason that this book works as well as it does is that it is the rare story that shows a happy family, uses a split in that family to provide the necessary tension, and concludes with a happy ending in the form of a reunion. Year’s ago author Arnold Lobel told a tale not dissimilar from this one called Prince Bertram the Bad. Like this book it ends with a kindly witch flying a missing child back to his royal parents. But unlike that book, no one in this book (that we officially meet anyway) is a bad sort of person. You might think that would make the book less exciting in some way, but what Mr. Gauld understands so well is that sometimes your luck just runs out. A crummy day, or a crummy set of circumstances, has all the same emotional heft as any marauding threat. With clever drawings, a firm foot in fairytale storytelling, and a plot unafraid to do the emotional lifting, this may be one of the best little picture books I’ve read in a good long while. A modern day classic, and I don’t use such terms lightly.
Once upon a time there lived a king and a queen. They had no children, so the king consulted the royal inventor and was given a little wooden robot. The queen consulted a witch in the forest and was given a little princess made from a log. The two children were beloved and very close, but at night the princess would turn into a log when she slept. The robot always woke her in the morning… until he didn’t. Just one slip up and the two children found themselves on an epic journey. First away, then back again, and finally home with their parents once more.
For fun, let’s just pick apart each fairytale element of this book. So you begin with the classic childless royal couple. It must have been very comforting to regular people in the old days to know that their rulers might be powerful, but that infertility is the great equalizer. Now at this point, usually one member of the couple will go out and find a solution, usually in the form of a magical person. What I like about having both the king and queen seek a solution is that they’re taking equal initiative. They don’t sit about passively waiting for a fairy to drop by and grant them a child. By gum they make their kids out of wood, one way or another, and then they’re a happy family of four. That done, we learn that the princess suffers from an uncontrolled transformation. Not into a stag or a frog or any animal at all, really. She turns into a log when she sleeps. We’re closer to Sylvester and the Magic Pebble territory than anything else here. And as with any good fairytale, the disaster is set into motion when the robot thinks only of its own happiness over that of its sister. Both robot and princess have a series of tiny adventures in the course of things, my own personal favorite being “The Baby in the Rosebush” since it sounds so doggone Grimm-esque. But the final, beautiful fairytale element I loved the most comes in the form of some tiny beetles. When all is lost, it is the kindness the robot exhibited towards the beetles that live in its chest that saves the day. The best thing about the combination of all these tropes is that while I can equate them to real, classic fairytales, everything Gauld has come up with is wholly his own. He is capable of taking the elements that work in folktales and applying them to his own story with his own sense of humor. And in a mere 40 pages at that!
Now I’m just going to double back to that early statement I made about tone. You can take all the fairytale themes in the world but fall on your face tonally and they won’t do you a lick of good in the end. This book achieves something that many picture books cannot: It can be read, and read well, by almost every kind of reader. Do you know how difficult it is to achieve that? One might argue that the greatest picture books are the ones that achieve this aim. Just listen to the first sentence: “There once lived a king and queen who happily ruled a pleasant land, but they had no children.” I would pay great gobs of gold to see the original manuscript of this book. I would wager that it was wordier at its start. But with time (and excellent editing) it has been pared down to the most essential, most needed words. It is neither a particularly long book, nor short. It is as long as it needs to be to get to its ending, which is just about perfect. The sole distraction may be the rare Briticism. But as we get a goodly number of our fairytales out of Europe anyway, these moments (the puddings come to mind) have a tendency to roll off the proverbial American reader’s back.
I’ve been trying to figure out the best way to describe Tom Gauld’s artistic style. The closest thing I can come up with is Ivan Brunetti mixed with the cross-hatching of a laid-back Sendak and just a tincture of Randall Munroe. I mean YOU try to explain it! Told in one word: Meticulous. But it’s also so seemingly simple that you could be tricked into thinking the art was just a series of slightly modified smiley faces. Look at the Wooden Robot and the Log Princess. They’re simple figures with just eyes and a mouth and the tiniest little hint of a nose on the Princess. Delve a little deeper, though, and you can see so many details in the margins. The royal inventor’s workshop is filled with bric-a-brac. The witch’s cottage is overflowing with ephemera. And once in a while in the book you’ll see a rune-like language in the details.
The last, but perhaps most important, reason that this book works as well as it does is that it is the rare story that shows a happy family, uses a split in that family to provide the necessary tension, and concludes with a happy ending in the form of a reunion. Year’s ago author Arnold Lobel told a tale not dissimilar from this one called Prince Bertram the Bad. Like this book it ends with a kindly witch flying a missing child back to his royal parents. But unlike that book, no one in this book (that we officially meet anyway) is a bad sort of person. You might think that would make the book less exciting in some way, but what Mr. Gauld understands so well is that sometimes your luck just runs out. A crummy day, or a crummy set of circumstances, has all the same emotional heft as any marauding threat. With clever drawings, a firm foot in fairytale storytelling, and a plot unafraid to do the emotional lifting, this may be one of the best little picture books I’ve read in a good long while. A modern day classic, and I don’t use such terms lightly.
September 8, 2021
Tom Gauld is described as the master of stripped-down storytelling in his books for adults such as Mooncop and Goliath, but in his first picture book he goes a different way, with more words than he has ever used in any project to tell a story. The art style is simple and recognizably Gauld-ish-- meticulous, engaging, beautiful, but the story is elaborate, a fairy tale of a king and a queen that wanted children, so they contracted an inventor to make a wooden robot, and a witch to make a log princess.
All good, but here's the hitch: When the log princess falls asleep, she becomes a log, and the robot must wake her for her to become human again. One day, he is distracted, he fails to wake her, and a servant throws the log out the window, it rolls down a hill, gets taken to faraway lands, which sets up an adventurous rescue. I think the story and the number of words make this a three star book for me, but the artwork is five stars. There are a couple of pages of panels suggesting other adventures too many to recount. I thought that was weird, though maybe kids could write them? There is no reason to believe Gauld, a tongue-in-cheek ironic illustrator (he's done eight New Yorker covers) would make a picture book appealing for children, but it looks like he may have done it.
All good, but here's the hitch: When the log princess falls asleep, she becomes a log, and the robot must wake her for her to become human again. One day, he is distracted, he fails to wake her, and a servant throws the log out the window, it rolls down a hill, gets taken to faraway lands, which sets up an adventurous rescue. I think the story and the number of words make this a three star book for me, but the artwork is five stars. There are a couple of pages of panels suggesting other adventures too many to recount. I thought that was weird, though maybe kids could write them? There is no reason to believe Gauld, a tongue-in-cheek ironic illustrator (he's done eight New Yorker covers) would make a picture book appealing for children, but it looks like he may have done it.
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May 9, 2022Es increíble ver cómo cuando un autor tiene talento es capaz de coger los elementos clásicos de los cuentos que están en la memoria colectiva, darles una vuelta, actualizarlos y construir una nueva historia que sabe a pequeño clásico instantáneo para los más pequeños de la casa.
«El pequeño robot de madera y la princesa tronco» tiene el toque de inteligencia y originalidad que Tom Gauld imprime en todas sus viñetas, pero además tiene una cantidad de ternura absolutamente inusitada que hace que este pequeño álbum infantil se lea con una inevitable sonrisa bobalicona.
Y lo mejor de todo es que no incurre en ñoñerías, ni en ese error tan común de tratar a los niños pequeños como si fueran idiotas. Este es uno de esos libros que los primerísimos lectores adorarán porque además de ser una preciosidad y de contener una pequeña aventura muy satisfactoria, es la mar de divertido.
«El pequeño robot de madera y la princesa tronco» tiene el toque de inteligencia y originalidad que Tom Gauld imprime en todas sus viñetas, pero además tiene una cantidad de ternura absolutamente inusitada que hace que este pequeño álbum infantil se lea con una inevitable sonrisa bobalicona.
Y lo mejor de todo es que no incurre en ñoñerías, ni en ese error tan común de tratar a los niños pequeños como si fueran idiotas. Este es uno de esos libros que los primerísimos lectores adorarán porque además de ser una preciosidad y de contener una pequeña aventura muy satisfactoria, es la mar de divertido.
November 14, 2021
The sort of nonsensical fairy tale for which I have little patience but believe will probably appeal greatly to children. Forced to re-read it over and over to an enthusiastic little fan, I could see it growing on me, perhaps.
October 14, 2021
Tremendously inventive.
August 18, 2023
Very beautifully illustrated fairy-tale like story for small children. There's a lot to see in the illustrations and a lot of variety. The story is simple and emotional, for very small children some explanations might be necessary.
October 26, 2021
This is the fairy tale Hans Christian Andersen WOULD have written if he hadn't been depressed and had lived somewhere with more sunlight.
January 19, 2022
A quiet, sweet story of love, support and adventure when two siblings must rescue each other after an accident takes them far from home.
August 7, 2022
Why did this make me cry reading it?
Why is this such a perfectly lovely book?
Why have I never read Tom Gauld's stuff before?
Why am I ordering a copy at 3am?
Why is this such a perfectly lovely book?
Why have I never read Tom Gauld's stuff before?
Why am I ordering a copy at 3am?
October 12, 2022
Tom Gauld es un ilustrador sobretodo conocido por sus tiras semanales para The Guardian o New Scientist. En este primer álbum infantil hace algo inusual en los autores para adultos que se acercan a la LIJ: un auténtico álbum infantil. Gauld no hace guiños a los lectores adultos, no llena las páginas de referencias cinematográficas o literarias, ni deconstruye ni subvierte nada. Simplemente nos ofrece una bonita historia de amor fraterno entre un pequeño robot y una princesa tronco, en que la mayor parte de la aventura está apenas enunciada con un título y una ilustración en un par de páginas que son puro Tom Gauld y que dejan el trabajo de completar la historia a la imaginación de los lectores.
February 18, 2022
Met zijn eerste prentenboek voor kinderen schiet de Schotse illustrator en cartoonist Tom Gauld meteen raak.
Zijn heldere, eenvoudige, herkenbare en toch erg speelse tekenstijl lenen zich perfect voor een kleurrijk, fantasierijk en goed uitgewerkt sprookje.
Een koningspaar dat geen kinderen kan krijgen, laat er twee maken: de vader een houten robot via een bevriende wetenschapper, de moeder een boomstam prinses via een lieve, oude heks.
De twee zijn onafscheidelijk, maar wanneer de prinses verward wordt met een gewone boomstam, moet haar broertje naar haar op zoek en neemt Gauld de lezer mee op een heerlijk avontuur.
Het verhaal en de tekeningen vullen elkaar perfect aan: beiden zijn ze helder en eenvoudig, speels en vol humor. Gauld vertelt leuk, het verhaal heeft vaart en frivole plotwendingen en het boek is uitstekend opgebouwd. Heerlijk verhaaltje voor het slapengaan!
Zijn heldere, eenvoudige, herkenbare en toch erg speelse tekenstijl lenen zich perfect voor een kleurrijk, fantasierijk en goed uitgewerkt sprookje.
Een koningspaar dat geen kinderen kan krijgen, laat er twee maken: de vader een houten robot via een bevriende wetenschapper, de moeder een boomstam prinses via een lieve, oude heks.
De twee zijn onafscheidelijk, maar wanneer de prinses verward wordt met een gewone boomstam, moet haar broertje naar haar op zoek en neemt Gauld de lezer mee op een heerlijk avontuur.
Het verhaal en de tekeningen vullen elkaar perfect aan: beiden zijn ze helder en eenvoudig, speels en vol humor. Gauld vertelt leuk, het verhaal heeft vaart en frivole plotwendingen en het boek is uitstekend opgebouwd. Heerlijk verhaaltje voor het slapengaan!
December 26, 2021
A very short and very sweet fairytale for small children, illustrated in delightful detail.
November 1, 2024
Ich liebe solche Geschichten einfach! Und Tom Gaulds Stil ist herrlich. 💛
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September 22, 2021This was delightful.
March 16, 2024
this feels like if Studio Ghibli did a take on Pinocchio. of course I love it
November 30, 2021
I love a book with no bad guys, no crime, and no misbehaving uber-jerks. Not all stories need a good vs. evil struggle, but most storytellers feel the need to include some form of it.
The Little Wooden Robot and the Log Princess is one of those purely good fairytales, where things just *are*. It's all kinds of refreshing. Family, love, support and patience are all here on these pages to restore your faith in people (and robots, and logs, and even witches).
My OCD tendencies found the framed and perfectly symmetrical illustrations to be especially pleasing. Seriously, the harmony in these pages relaxed and satisfied me in ways I cannot quite explain.
Open it up and see for yourself. The Little Wooden Robot and the Log Princess is a wonderful story presented in a beautifully structured way.
The Little Wooden Robot and the Log Princess is one of those purely good fairytales, where things just *are*. It's all kinds of refreshing. Family, love, support and patience are all here on these pages to restore your faith in people (and robots, and logs, and even witches).
My OCD tendencies found the framed and perfectly symmetrical illustrations to be especially pleasing. Seriously, the harmony in these pages relaxed and satisfied me in ways I cannot quite explain.
Open it up and see for yourself. The Little Wooden Robot and the Log Princess is a wonderful story presented in a beautifully structured way.
November 14, 2021
Nothing awful or terribly offensive, but kind of dumb and pointless.
December 12, 2024
Short and sweet, lovely artwork. Wished the story was longer.
October 24, 2021
Tom Gauld's cartoons in The Guardian and New Scientists are well known to me as hilarious commentary on the book and scientific fields (in the respective news media). So reading a Gauld tale longer than a standard comic panel aimed at younger children is a different experience. Can his art and storytelling abilities still be interesting. For me, the answer is yes.
The book is a fairy tale about a King and Queen who, lacking children, decide to go and make some. The Wooden Robot was created by the royal inventor, the Log Princess by a clever old witch. And they were happy together. The Log Princess turns back into a log when she goes to sleep and turns back when awaken with some magic words, which the Wooden Robot does each morning.
But one morning, the Wooden Robot was distracted, and before he could say the magic words, the Log Princess (in the form of a log) was accidentally discarded. Thus starts the adventures of the Wooden Robot to rescue the Log Princess and then return to the Kingdom. Which, of course, they do, with the help of some little friends.
The story is simple, the adventure is mostly linear (with some quick diversions caused by other adventures) but Gauld's intricate yet simple art holds it all together, together with more words than he usually uses in his weekly comics. Little Ones (and adults) who re-read the story will probably keep finding new things in the art.
All in all, a good first outing for Gauld in the field of art and fairy tale storytelling. Hopefully, there can be more in the future.
The book is a fairy tale about a King and Queen who, lacking children, decide to go and make some. The Wooden Robot was created by the royal inventor, the Log Princess by a clever old witch. And they were happy together. The Log Princess turns back into a log when she goes to sleep and turns back when awaken with some magic words, which the Wooden Robot does each morning.
But one morning, the Wooden Robot was distracted, and before he could say the magic words, the Log Princess (in the form of a log) was accidentally discarded. Thus starts the adventures of the Wooden Robot to rescue the Log Princess and then return to the Kingdom. Which, of course, they do, with the help of some little friends.
The story is simple, the adventure is mostly linear (with some quick diversions caused by other adventures) but Gauld's intricate yet simple art holds it all together, together with more words than he usually uses in his weekly comics. Little Ones (and adults) who re-read the story will probably keep finding new things in the art.
All in all, a good first outing for Gauld in the field of art and fairy tale storytelling. Hopefully, there can be more in the future.
December 29, 2021
This was a really cute concept, but ultimately nothing special and rather forgettable.
Anyone who's read a few fairy tales is familiar with the concept of a king and queen who are desperate for a baby, and go to someone else for help. This time, the aides (a witch and an inventor) are truly helpful, and do not trick the kingdom or ask for anything nefarious in return - that was a refreshing change. The witch puts a magic spell on a log to create a princess, and the inventor builds a robot to create a prince. The prince and princess become inseparable companions who play together happily each day. One morning, there is a little problem, and adventure ensues! Most of the adventure is merely suggested, and takes place off-stage. It was nice that no one was evil. The moral of the story is: be kind to others, and help each other out. The End.
Anyone who's read a few fairy tales is familiar with the concept of a king and queen who are desperate for a baby, and go to someone else for help. This time, the aides (a witch and an inventor) are truly helpful, and do not trick the kingdom or ask for anything nefarious in return - that was a refreshing change. The witch puts a magic spell on a log to create a princess, and the inventor builds a robot to create a prince. The prince and princess become inseparable companions who play together happily each day. One morning, there is a little problem, and adventure ensues! Most of the adventure is merely suggested, and takes place off-stage. It was nice that no one was evil. The moral of the story is: be kind to others, and help each other out. The End.
December 30, 2021
L’heure est aux bilans de fin d’année et en préparant ma compilation, je réalise que j’ai oublié de marquer certains titres comme lus.
Alors voilà, désolée si j’ai l’air de lire extrêmement vite aujourd’hui, c’est que je rectifie les oublis 😬
(Cet album est fabuleux. D’ailleurs)
Alors voilà, désolée si j’ai l’air de lire extrêmement vite aujourd’hui, c’est que je rectifie les oublis 😬
(Cet album est fabuleux. D’ailleurs)
August 1, 2022
Tiny story, entertaining and sweet. I do wish he'd expanded on the additional adventures, but maybe it's a good opportunity for adults reading this book to children to invent them themselves. The illustrations are delightful.
May 20, 2024
Ποιος έβαλε 1* σε αυτό δεν ξέρω, πάντως πολύ χαριτωμένο, το διαβάσαμε με την κόρη μου που τώρα έμαθε να διαβάζει μόνη και της άρεσε πολύ. Ήθελε να μάθει τι γίνεται παρακάτω κ η εικονογράφηση ιδανική για παιδικό παραμύθι!
(Αναρωτιέμαι αν το ερέθισμα για το παραμύθι ήταν το sleep like a log 😅)
(Αναρωτιέμαι αν το ερέθισμα για το παραμύθι ήταν το sleep like a log 😅)
July 1, 2022
This may be the perfect fairy tale. I absolutely loved everything about it!
November 18, 2022
A straightforward enough story, but imbued with Gauld's distinct sensibilities and artistic style--aimed at kids this time, but still unmissable.
January 7, 2024
Beautiful.
January 7, 2025
My 3.5 yo son loves this book right now and I agree - its one of my new favourites too. He likes to play the robot, I get to be the witch and dad is, of course, the princess. ✨🌷
December 19, 2025
⭐️4.75 stars
September 16, 2021
Illustrations were good; reminded me a little of the Hilda graphic novels. Wasn't much character development.
Displaying 1 - 30 of 419 reviews