The notion of a secret hideout strikes a chord of longing in most children, so youngsters will instantly be drawn to Mattiangeli's imaginative account of Hannah, a girl who chooses to leave normal life behind to live in the park. Sala's illustrations, created in colored pencil and watercolor, bring Hannah's adventures to life in delightful detail boasting a palette of violet, periwinkle, and sage. Here readers find the redheaded girl standing purposefully in the hilly park ingshot in hand, coonskin cap on head undly ignoring the parental voice calling to her. She soon finds the perfect shelter: a secret hollow in some woody shrubs, which she shares with a gentle being she calls Odd Furry Creature. Hannah makes them feather capes and leaf beds, and together they collect treasures from nature. But as time passes, loneliness creeps into the hideout does the persistent voice calling for Hannah. An ending twist will please readers in this sweet celebration of imagination and creativity that is supported by a subtle yet reassuring message of love.

‘Where are you?' a voice called. ‘Hurry up, we have to go!' But Hannah wasn't there, and no one could find her."Those are the sole words printed on the opening, double-page spread. It depicts Hannah's bedroom, in which readers may spot, among other items, binoculars, art supplies, and a stuffed creature resembling one of Maurice Sendak's wild things. On the next page, the protagonist is shown in a park, wearing a coonskin cap, aiming a slingshot at a squirrel, and musing about living there instead of heeding the voice that was rushing her. As the pages progress, Hannah does live there for an indeterminate amount of time, her sole companion the Odd Furry Creature, who is apparently mute. The Odd Furry Creature (resembling the toy in Hannah's bedroom) is not the only homage to Where the Wild Things Are; the fanciful art has the same muted palette and a similar, appealing style. Moreover, the text offers, instead of a plot, a dreamlike dive into Hannah's psyche. Both art and text deftly illustrate a common, contradictory urge to escape the company of humans while also retaining its safety. The companions live—undetected—in a vine-enclosed space large enough for their feathery capes, leafy beds, and small fire for roasting pigeons on. When Hannah decides to return to those who miss her, the final pages leave readers uncertain about what—if anything—has actually happened. Hannah presents white; humans seen in the background are diverse.From Italy, a beautiful, charming bedtime story for readers comfortable with ambiguity. (Picture book. 4-7)

Someone calls -Hurry up, we have to go!- But Hannah-s not in her room, -and no one could find her.- She appears to be at the park, sporting a coonskin hat and a slingshot; next, readers see Hannah living there in a brush shelter, prying open a tin can with a knife. A big, bulky beast is soon inside with her, and both wear feathered capes. (-Can I hide with you?- Hannah asks the Odd Furry Creature; -she pretended to hear a yes.-) The two forage and roast food over a small fire, eventually venturing forth from the shelter so Hannah can show the creature the world it-s never seen. The voice summons her again: -Hurry up!- This time, a page turn reveals Hannah at her desk-she-s been drawing the story all along. With affection, Italian author Mattiangeli distills all the charms of living off the land in a few short pages. Sala (She Made a Monster), who both translated and illustrated, paints dreamy, slightly askew landscapes, her rich greens and earth tones set off by Hannah-s red hair and freckles. An encyclopedic spread of foraged items, from feathers to grubs, adds to the adventure-s authenticity. Hannah-s exploits delight-and so does her imaginative power. Ages 4-8. (June)