Pajama Press

“Armed with only her wits, her courage and some delicious peach dumplings cooked by the farmer, she meets a monkey, a dog and a pheasant who, lured by the dumplings, accompany her on her quest…The acrylic paintings feature a winsome girl, three friendly animals and a jolly green giant whose friendliness belies the tales told of him…this story has a satisfying ring and a tasty ending. A winningly good-natured version of a familiar favorite.”

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“…Nakamura’s imaginative but slimmer version [of the iconic Japanese ‘Peach Boy’ story], features a gender twist and is lighter and somewhat quirky, with a fearless, daring heroine…Bender’s illustrations enhance and mimic the energy of the lighthearted story. Painted in acrylics on illustration board with a textured surface, the results are wonderfully appealing pictures, many featuring softly coloured peachy tones, while others are brightly hued, lively in detail and highlight glorious landscapes.”

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“…Based on a traditional Japanese folktale about a peach boy named Momotaro who fights demons, Raymond Nakamura updates the story with a strong female protagonist as an activist, rather than a warrior.  Her no-nonsense attitude and tact are the armaments of her endeavour, ones she embodies rather than carries.

…Momoko’s disregard for rumours and the directness of her engagement with everyone, from her parents to the animals and the ogre, can certainly teach us all a lesson or two.  With fortitude and respect (she never negates the animals’ stories of the ogre), and a healthy dose of trust, Momoko is able to make a start on creating a better world.”

— Helen Kubiw

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“Nakamura has created an iconic figure in the dauntless Momoko. She is a force of nature who strides through the rural Japanese landscape with no hesitation, doubt or fear. Bender’s illustrations are bigger than life and saturated with exuberant colour. There is detail and depth in the pictures that will hold a child’s attention for a long time. In one spread Momoko’s beautiful, expressive face is so animated with inner light that one almost expects her to start moving and talking. In another, the ogre’s pagoda climbs majestically and mysteriously into the clouds. The simple text is vivid with drama as the ogre’s reputation grows ever more terrifying, relieved by a fine sense of comedy and repeated jokes.

As Momoko likes to say whenever she is pleased, this book is “Peachy!” in all its lush, juicy goodness.”
—Charis Cotter

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