Colorful layered pictures inspired by different techniques will give the reader plenty to look at in the new tale inspired by a classic. A clever porcupine reminds a cautious village that we all win when we come together and share.
Gather round for soup fit for the king in this vibrant twist on a classic fable.
With brightly colored art and engaging characters, this retelling of the well-known Stone Soup story will captivate young readers. Noko the traveling porcupine arrives in a village. He's denied food and a place to sleep by all the animals he meets. Finally he's granted a fire and a large pot of water. He adds a few of his quills to make his famous quill soup, which he says the king loves! Slowly but surely, everyone contributes ingredients--carrots, beans, and more. Will the soup feed them all?
About the Author
Alan Durant writes fiction for all ages, from preschool prose to poetry for adults. His picture books include Burger Boy, illustrated by Mei Matsuoka. Alan lives with his partner and three children in Brighton, England.
Dale Blankenaar is a full-time picture book illustrator and designer from South Africa. He has illustrated about thirty picture books and has won several awards including the Image of the Book, an international competition for book illustration and design for Quill Soup.
From South African, an animal retelling of the “Stone Soup” folktale. The stranger in this version is Noko, a porcupine. Having traveled without food “through the Valley of a Thousand Hills,” he arrives in a village hungry. When the villagers refuse him food, he creates a “thick and rich” soup with nothing but hot water and three of his own quills—and, of course, all the other ingredients that the villagers contribute. Impressed by Noko’s claim to have fed this soup to the king, they fork over carrots, mealies, beans, spinach, and more. The king, not present but imagined, is a lion; the villagers are Meerkat, Warthog, Rabbit, and bunches of others. The setting, called a village, is both bustling and ambiguous—an amalgam of village, forest, and jungle. The scenes are intensely crowded and bursting with energy; both animals and backgrounds are styled in two dimensions, so everything overlaps on one plane. These animals aren’t living in a specific static location so much as a world of bright red, yellow, blue, green, black, and white shapes and patterns. Occasionally an element seems industrial, such as small rounded rooms connected by ladders and tunnels that evoke factory pipes, but it’s not definite. Flap copy says that illustrator Blankenaar took inspiration from African sources ranging from broad to specific: “Tanzanian artwork, the wood sculpture of Western Africa, and the costumes and masks of the Bwa people of Burkina Faso.” Visually dynamic. —Kirkus Reviews