Here are 54 books that Giraffes Can't Dance fans have personally recommended if you like
Giraffes Can't Dance.
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I am pathologically allergic to “message” books. As the former host of The Gittle List contest for self-published authors, I’ve read hundreds of children’s books. Many were “tell, not show” books. Stories with phrases like “we all should respect each other’s differences” rather than showing characters respecting each other’s differences. My recommended books are, at least in part, about diversity. Like my own book series, they demonstrate diversity through unusual friendships. Showing how characters work out their differences by learning about each other and finding ways to get along. A good story can change hearts and minds when characters carry the message–not beat readers over the head with it.
A story I read so often in my childhood that I could recite it nearly verbatim. I read it frequently to my son. Then my grandchildren. Although they were inexplicably drawn to Bartholomew and the Oobleck by Dr. Seuss and, of course, their grandmother’s books, smart boys.
Here, a naughty boy, Max, runs away and enters a world of wild creatures and becomes their king. Max has a blast being king until he misses home. The transition from foe to friend to king moves quickly but is a topic worth exploring more in-depth.
Kids love the Wild Things dance scene done with rhythmic grunts and book shaking. I love its unique view on a child’s desire for independence and simultaneous need to come home.
Read-along with the story in this book and CD edition!
One night Max puts on his wolf suit and makes mischief of one kind and another, so his mother calls him 'Wild Thing' and sends him to bed without his supper.
That night a forest begins to grow in Max's room and an ocean rushes by with a boat to take Max to the place where the wild things are. Max tames the wild things and crowns himself as their king, and then the wild rumpus begins.
But when Max has sent the monsters to bed, and everything is quiet,…
I am passionately keen on poetry of many types because, whether rhyming or not, most poetry employs rhythm which is something that has a subconscious appeal to human senses. For children, rhyme provides an easy introduction to poetry and I enjoy using it because children themselves love it. Mums tell me that they are asked to read the same book time and time again – and not to try to skip any spreads! At the age of three, before she could read, my son’s goddaughter knew the whole of You Can’t Take an Elephant on the Bus by heart. The rhymes children hear when very young remain with them, sometimes forever.
Julia Donaldson is the supremo of rhyming. I am certainly not the only writer she has inspired. All her books are really well crafted and the fact that she is a singer and very musical can be felt by reading her exemplary rhyme.
I recommend this book, the first which made her name in this genre, because it has all the qualities of a best rhyming text. It tells a story to which children can relate, is never boring, and has an unerring and satisfying beat.
Julia Donaldson's trademark rhyming text and Axel Scheffler's brilliant, characterful illustrations come together in this perfect read aloud-a perfect gift for any special occasion!
A mouse is taking a stroll through the deep, dark wood when along comes a hungry fox, then an owl, and then a snake. The mouse is good enough to eat but smart enough to know this, so he invents . . . the gruffalo! As Mouse explains, the gruffalo is a creature with terrible claws, and terrible tusks in its terrible jaws, and knobbly knees and turned-out toes, and a poisonous wart at the end…
I am passionately keen on poetry of many types because, whether rhyming or not, most poetry employs rhythm which is something that has a subconscious appeal to human senses. For children, rhyme provides an easy introduction to poetry and I enjoy using it because children themselves love it. Mums tell me that they are asked to read the same book time and time again – and not to try to skip any spreads! At the age of three, before she could read, my son’s goddaughter knew the whole of You Can’t Take an Elephant on the Bus by heart. The rhymes children hear when very young remain with them, sometimes forever.
This is another quite different type of book which has taught me a lot about rhythm, how impelling it can be, and how a refrain can be used to advantage. Proceeding at a jaunty tempo here the boy frames his questions to his mother throughout the book with 3 possible answers, ‘Yes, or no or maybe.’
"Momma will you feed the hen?
Yes or no or maybe?
Scatter corn a round the pen.
You and me and baby?
To which the mum replies, in this case in the affirmative
Yes, we’ll feed the speckled hen
Scratching in the dew
Then she’ll lay two speckled eggs.
One for each of you."
This book has a memorable rhythm, good rhyme and it takes you into the world of the child and the mother. It finishes at the end of the day with the boy going to sleep which gives it the bonus…
I am passionately keen on poetry of many types because, whether rhyming or not, most poetry employs rhythm which is something that has a subconscious appeal to human senses. For children, rhyme provides an easy introduction to poetry and I enjoy using it because children themselves love it. Mums tell me that they are asked to read the same book time and time again – and not to try to skip any spreads! At the age of three, before she could read, my son’s goddaughter knew the whole of You Can’t Take an Elephant on the Bus by heart. The rhymes children hear when very young remain with them, sometimes forever.
This is the sort of nonsense book which I absolutely love. It is one of a series that began with Oi Frog. The books all defy the usual advice that picture books, whether rhyming or not, need a proper story. In these books the only concern of the animal characters is on what they should sit. Here rhyme is king. The sillier the better, "dingoes sit on flamingos," "hogs sit on clogs," etc. They are all great fun but this is my favourite because I love the cat and her sarcastic asides.
This book is simply fun and will make children laugh.
2
authors picked
Oi Cat!
as one of their favorite books, and they share
why you should read it.
This book is for kids age
3,
4, and
5.
What is this book about?
The laughter never ends with Oi Frog and Friends!
This absurdly funny, rhyming read-aloud picture book is guaranteed to get children giggling! From the bestselling, multi-award-winning creators of Oi Frog. *Over 1 million copies sold*
According to Frog ... Cats sit on gnats, Dogs sit on logs, Alpacas sit on cream crackers, Armadillos sit on pillows and Chicks sit on bricks.
But wait! Cat doesn't like sitting on gnats, they keep biting his bottom! Will Frog and Dog help him change the rules?
'This animal rhyming silliness goes from strength to strength.' The Guardian 'Will have children in fits of…
I am passionately keen on poetry of many types because, whether rhyming or not, most poetry employs rhythm which is something that has a subconscious appeal to human senses. For children, rhyme provides an easy introduction to poetry and I enjoy using it because children themselves love it. Mums tell me that they are asked to read the same book time and time again – and not to try to skip any spreads! At the age of three, before she could read, my son’s goddaughter knew the whole of You Can’t Take an Elephant on the Bus by heart. The rhymes children hear when very young remain with them, sometimes forever.
Lynley Dodd is another master rhymer famous for her series about the scruffy dog Hairy McLary from Donaldson’s Dairy. I though, particularly like Schnitzel on Krumm, the daschund, and fell under the spell of this book the first time I heard it read:
"Tucked in a hideyhole
Under the stir
Lay a rickety basket
In need of repair; a chewed up old cushion,
A blanket all worn
Everything broken
And smelly and torn
And
Under that blanket his paws on his tum
Happily snoring
Lay Schnitzel von Krumm."
His owners are determined to give him a clean new basket but does he like the things they offer? The refrain "No not a bit" runs through the book until at last, he gets his old smelly blanket back.
I recommend this book because it is warm and funny and is a story to which children, who hate being separated from their…
Sausage dog, Schnitzel von Krumm, is outraged when his family decides to replace his worn out, beaten up old basket. The new bed doesn't look right, feel right - or smell right! Something must be done ...
Bestselling author Lynley Dodd's tale will charm children and features one of the favourite characters first introduced in the `Hairy Maclary' series.
I have written poetry since I was a little boy. Rhyme came naturally to me, and I found it to be a world to escape to. This led me to songwriting and touring in bands, and it grew into my vocation as a jingle writer in Australia. Eventually, I wrote the jingle that won the World’s Best Jingle award in Hollywood, and this, in part, inspired me to move to New York City from Australia. The other driving force was getting my first book, How To Steal From Banks—an autobiography—published in America. Writing and rhyming are deeply embedded in my soul and cells.
I love an underdog story. Overcoming adversity against all odds.
Ricky is a rockstar. Plus, I’ve been a rocker all my life, playing in bands all over the world, so when it comes to rock n roll, I clearly identify. I like the subtle use of color in the illustrations in this book, as it gives the rhyming verse a little room to shine.
Ricky, the Rock that Couldn’t Roll also points loosely to overcoming a disability and gently navigates the emotion of living with such a burden.
These rocks can really roll! Well, most of them, anyway...
Get ready to meet a new rock group! From zippy, little pebbles to big strong boulders, the rocks get together to play and roll around their favorite hill, only to find that one of their friends, Ricky, can't roll with them. Unlike all of the others, who are all round, Ricky can't roll because he's flat on one side.
Except for poor Ricky, who quietly sat. You see, Rick couldn't roll, because one side was flat.
His friends didn't get it, "Come Roll!" they would chant. So Ricky tried, but…
I have written poetry since I was a little boy. Rhyme came naturally to me, and I found it to be a world to escape to. This led me to songwriting and touring in bands, and it grew into my vocation as a jingle writer in Australia. Eventually, I wrote the jingle that won the World’s Best Jingle award in Hollywood, and this, in part, inspired me to move to New York City from Australia. The other driving force was getting my first book, How To Steal From Banks—an autobiography—published in America. Writing and rhyming are deeply embedded in my soul and cells.
It’s not just the rhyme or the time or the tale. It’s not the Who ocean on which Horton sails… Seriously though, it is the title that shines even among the genius of other Suess titles. Horton was my biggest influence in becoming a children’s author, and it helped me to find my own rhyming voice.
To tell a powerful story in rhyme is far more difficult than writers and readers may think, and this book goes deep—a rich example of Dr. Seuss’ brilliance and rhyming excellence in storytelling.
When Horton the Elephant hears a tiny voice calling for help from a speck of dust, he is determined to save his new friend.
'A person's a person, no matter how small..'
Horton the elephant sets out to save the inhabitants of a speck of dust, in this classic and hilarious tale about friendship and respect, from the inimitable Dr. Seuss.
As part of a major rebrand programme, HarperCollins is relaunching Dr. Seuss's bestselling books, including such perennial favourites as The Cat in the Hat, Green Eggs and Ham and Fox in Socks. In response to consumer demand, the bright…
I have written poetry since I was a little boy. Rhyme came naturally to me, and I found it to be a world to escape to. This led me to songwriting and touring in bands, and it grew into my vocation as a jingle writer in Australia. Eventually, I wrote the jingle that won the World’s Best Jingle award in Hollywood, and this, in part, inspired me to move to New York City from Australia. The other driving force was getting my first book, How To Steal From Banks—an autobiography—published in America. Writing and rhyming are deeply embedded in my soul and cells.
Liberty DeVitto—former drummer for Billy Joel and many other legendary artists—is himself a humble soul and loves to shine a light on his gratitude for being able to do a job that he dearly loves and that millions would line up to do. Like Santa Claus, Liberty is grateful for what he gets to do and takes the responsibility very seriously.
Love, Santa Claus mirrors Liberty’s view of his position in the world while telling a beautiful Christmas story in rhyming verse.
Love, Santa Claus is a love letter to spiritual enlightenment and servant-hearted contentment. Follow Santa through his annual rituals and see the legendary icon of Christmas in a whole new way.
The most important words of advice my incisive editor at Knopf, Victoria Wilson, gave me while I was laboring upon my biography of Martha Graham – coming out in October, you can pre-order it now – was to say that “she was not a goddess, and you don’t want to worship her.” Yes, I had the nerve to take on this formidable and forbidding figure as a result of bearing witness to her anti-War masterwork, Chronicle, on a winter evening fourteen years ago. Yes, I believed that modern dance was the missing link in my long exploration of American modernism. And yes, I believe that I have proven my point, painting Martha Graham’s portrait as a person – rather than an icon.
I am sure many of you already know this visionary philosopher from his ground-breaking The Hero With a Thousand Faces. You may not be aware that Campbell was married to Jean Erdman, one of Martha Graham’s principal dancers in the ‘30s and ‘40s. Campbell’s initiations to modern dance came at Sarah Lawrence College when witnessing Erdman as Graham’s student; and then at Bennington, where Erdman performed with Graham’s company. His own learned background in the archetypal ethos of C.G. Jung made Campbell a prime candidate for Graham’s deeply-digging, Nietzschean/ecstatic archaic/abstract movement vocabulary. The choreographer and the professor spoke the same kinaesthetic language, Erdman remembered. There were many late nights when “Martha would call Joe on the phone” with some arcane question about her mythographic pieces in progress – Night Journey and Errand into the Maze. Many of Campbell’s essays in this book were first published in Dance Observer…
Joseph Campbell’s collected writings on dance and art, edited and introduced by Nancy Allison, CMA, the founder of Jean Erdman Dance, and including Campbell’s unpublished manuscript “Mythology and Form in the Performing and Visual Arts,” the book he was working on when he died.
Dance was one of mythologist Joseph Campbell’s wide-ranging passions. His wife, Jean Erdman, was a leading figure in modern dance who worked with Martha Graham and had Merce Cunningham in her first company. When Campbell retired from teaching in 1972, he and Erdman formed the Theater of the Open Eye, where for nearly fifteen years they…
I began studying women’s lives in college (1960s), but recently realized that I (like others) passed myself off as a gender specialist, but had been ignoring men’s roles, beliefs, and behaviour in gender dynamics. I was put off by the studies that too consistently showed men as always violent and controlling. Many studies emphasized men at war, men abusing women, and gay men with HIV/AIDS; there seemed no recognition of positive masculine traits. Recognizing also that men had different ideals about their own masculinity in different places, I examined men’s lives among international elites and in communities in the US, Sumatra, and Indonesia, where I’d done ethnographic research.
Erotic Triangles returns to a part of the world I know well, though the topic is alien to my own natural resource emphasis. Yet I found it fascinating for its symbolic analyses of West Java’s musical and art worlds – intertwined intimately with the relations between men and women and among men. Its emphasis on triangles was the inspiration for me to structure my own analyses as a harp (another ‘triangle’), within which the strings signify traits that men value in a given culture. Spiller’s analysis inspired my own analogy between the creation of harp music and the clusters of values that influence men’s identities, their personal and cultural ‘songs.’
In West Java, Indonesia, all it takes is a woman's voice and a drumbeat to make a man get up and dance. Every day, men there - be they students, pedicab drivers, civil servants, or businessmen - breach ordinary standards of decorum and succumb to the rhythm at village ceremonies, weddings, political rallies, and nightclubs. The music the men dance to varies from traditional gong ensembles to the contemporary pop known as dangdut, but they consistently dance with great enthusiasm. In "Erotic Triangles", Henry Spiller draws on decades of ethnographic research to explore the reasons behind this phenomenon, arguing that…
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