Perhaps uncommon to the traditional approach to this topic, such as *, Yo! Yes?

interplays two characters of realistically diverse backgrounds through an unconventional use of minimal action in illustration and minimal words in an all- dialogue story. This 2009 Caldecott winner follows two boys exploring the frightful beginnings of a new friendship. Playful and modern speech occupy nearly a quarter of each page in only one or two words. The success of this book demonstrates the seamless construction of character, dialogue, and illustration through tactful word choice and unconventional style. One of the more important aspects of this storybook is revealed through use of strictly dialogue and no other story- telling device wherein it achieves a message which sells and appeals truly to its range of audience. Making friends, not just new but, firsts, is a universal goal of the 3 - 6 age range because this is the time they have begun to interact with their peers other than siblings, as they are being introduced to preschool or other learning and activity institutions. Raschkas juxtaposition of the appropriate skill set yet minimal speech, the characters are able to enter several emotional realms and breakthrough to a new phase of interaction; friendship. Quite realistically, the boys have opposing personalities behind their characters. The two characters represent common themes of lifelong personality understandings; one boy is outrageously gregarious and the other is timid and bashful. However, common to both of them, and conceivably leading to their climax, the boys share sympathy and interest for one another. It is striking that this author/illustrator is able to format 34 words in such a remarkably lucid discourse, one which overcomes the inhibiting factor of shyness. The use of illustration and design offers a second layer in the communication between both the characters in the story and subsequently, between the child reader and the climactic achievement of purposeful interaction. The typography perfectly mirrors the dimensions of a series of emotions a child would be suspect to foresee and approach in their own, real lives. The large, charcoal, seemingly handwritten text mimics that of a child, at last remembering to stay clear and vivid. Most ingeniously, Raschka saves one particular episode for a limited debut of red, decreased font. Dramatically emphasizing the fear, rejection, loneliness and the battle of admittance to all of these feelings there exists a sense of relief that Raschka is able to communicate, even after so much of the preceding dialogue already subtly communicates the struggle to the reader. Simply using two words in red face, the child understands new feelings about sympathy as red is known to evoke strong emotions, associations with love, warmth and comfort, and creates feelings of intensity and excitement.1 Although it is recommended to vary your scenes or episodes to allow for variety in the artwork (How to think Visually p. 19), Yo!Yes? is defined by its unnecessary change of setting and minimal activity, surpassing the convention of its brethren story books. Through these uses of colloquial speed and creative depictions of the modern child, Yo! Yes? is a picture book of playful tone and a universally succeeding development of character building, storyline, and readability for the 3 - 6 age range of our time. Whether this message will succeed in carrying through many generations is a matter based on the pace at which our speech progresses. Much like Raschkas approach with current dialogue and American realism, Mark Twains similar approaches have shown a relevant and everlasting message.
1 Kendra Van Wagner, "Color Psychology How Colors Impact Moods, Feelings, and Behaviors," About.com, http://psychology.about.com/od/ sensationandperception/a/colorpsych.htm (accessed April 26, 2009).