The new edition of this American classic pairs the original (1930) text with artwork by Loren Long, whose previous picture books include Madonna's Mr. Peabody's Apples (2003) and Walt Whitman's When I Heard the Learn'd Astronomer (2004). Grand in scale but cozy in effect, the impressive acrylic paintings use subtle strokes of rich colors to create a series of narrative scenes large enough to be clearly visible back to the last row of storytime or classroom. The characters remain convincing as dolls, toys, and trains despite the slight changes in expression, position, and emotion that bring them to life. The most memorable elements of the artwork, though, are the fluid lines, rounded shapes, and warm colors of the lyrical landscapes, which are reminiscent of paintings by Thomas Hart Benton. Chances are the unassuming Little Blue Engine never expected such a handsome showcase, even for her finest hour, but this edition provides a brilliant new setting that many readers will prefer to the original picture book.

This new oversize edition is quite handsome; the illustrations, using the same palette as the original, are lovely. But it's too big, the illustrations too lush, the slender little story almost crushed under this version's good intentions. It's one thing to rescue an out-of-print gem; it's an entirely different matter to tamper with a never-out-of-print classic.

A genuine meme came into the language from this beloved story, now reaching its fourth generation of children. It's still an enchanting tale of a little train filled with toys, books, fruit, milk and treats for "all those good little boys and girls on the other side of the mountain." Long has enriched this new edition with bountiful illustrations that take their palette and inspiration from the original, but are greatly enhanced by imagination and inventiveness, to say nothing of glorious printing. The colors are warmer, richer and fuller, without the dry clear crispness of the first edition. The oversized format allows Long to fill the pages and the imagination with magic like two double-page spreads of toys and treats floating in the air and brilliant perspectives that set the scenes. The trains are curvier, their faces more organic. There is real movement in the rounded lines of the roads and rails as well as the struggle to reach the top. Not a replacement, surely, but a companion, this will travel proudly next to the one that first thought it could. (Picture book. 3-7)

PreS-Gr 2 This classic tale has been re-released with updated illustrations and a larger format. The text remains the same. The art, done with acrylics, is stylized and still retains a bit of an old-fashioned flavor. Nevertheless, the '30s look is definitely gone. In its place, readers will find artwork suggestive of a retro '50s look. As with the original, the clown takes center stage. His outfit, however, has changed from green polka dots to red pants, yellow shirt, and a colorful stocking cap. The text, with its, I think I can, I think I can refrain, is a timeless piece of children's literature and so familiar that it needs no elaboration. It's hard to improve upon a classic, and one advantage that the traditional edition has over this one is that the quaint and sentimental text pairs nicely with the antique artwork. The modern illustrations undoubtedly work better with a group but they have a faux feel to them. As such they are a little out of sync with the prim and proper style of writing in the story about the good little boys and girls on the other side of the mountain [who will be] without the wonderful toys to play with and the good food to eat. Nevertheless, this is an acceptable purchase, especially for those libraries without a copy of the first edition or larger libraries wishing to collect all versions of classic tales. Roxanne Burg, Orange County Public Library, CA