Reviews:
"...Fantasies which come out from the colours of the rainbow; full of pictures from the nature and narrations from the world of traditions. Stories that compose a book of high aesthetics, a work that is poetic in its writing and enjoyable in its reading. We should not forget that nowadays, when a great number of mostly inartistic and 'improper' books for children is published, the authoress' name can, in any way, assure us for the outcome of the act of writing a book."
Yiannis S. Papadatos
DIAVAZO magazine, March 2004, p. 71.

"...Contemporary narration techniques such as the use of parts of texts from foreign classic fairy tales, Greek folklore songs, excerpts from contemporary Greek poetry or the subversion of familiar fairy tales are elements that enrich the text and prove the fertility of its interaction as a whole. Classic storytellers' heroes, such as Andersen, Perrault and Grimm Brothers' heroes, talk with a number of different objects, the trees or the flowers in the stories they act so as each narration to be put forward through a succinct and playful style. The third person narration, the realistic as well as poetic descriptions and the lively and humourous dialogues make stories evolve smoothly and efficiently. Through all these fairy tales, the authoress presents the importance of a number of internationally common values and notions such as that of freedom, wisdom and knowledge (i.e. 'The Green Parrot'). She also points out the importance of human emotions and relationships in contrast to the material riches and external appearance ('The Doll with the Dark Blue Dress'). Finally, she refers to the problems of our contemporary society referring, for example, to the issue of acceptance of whatever differs from the world that surrounds us ('The Orange that Was a Late Bloomer'). The authoress uses the fairy tale salads, the technique of the esoteric dialogues in her texts, the subversion of some classic fairy tales, i.e. that of the Little Red Riding Hood and the Sleeping Beauty and the subsequent subversion of the two gender roles. Through her stories, she even subverts the animism of playing that is a major characteristic of all classic fairy tales. In this way, she offers to children rich material that is full of imagination and prospect. The vividness of the illustrations with the alternation and composition of bright colours arouse children's desire to read while they also cultivate their aestheticism."
Ada Katsiki-Givalou, Professor in the University of Athens
DIAVAZO magazine, November 2004, p. 94 (nomination of the book for the Diavazo Children's Literature Award 2004).

"...In Every Day a Tale, Every Night Goodnight storytelling elements such as verbal/traditional narrations and strategic references to the self, as seen in post-modern prose, are all used very uniquely. The author constructs a seemingly “simple” and traditional book of tales, but simultaneously adapts and overturns the stable values of the world of storytelling. The technique is quite reformist.  Worth consideration is the rhythmical title by which the text refers to itself as a tale (...) The reader is invited to enjoy the story by using all of his senses.  The text succeeds not only in triggering reflective thought from the coexistence of verbal and textual methods but further blends the traditional forms of narration with contemporary narrative styles."
Gina Kalogyrou
Associate Professor, University of Athens
Published in the volume To yfanto tis Pinelopis – Diachronikes anagnoseis gia tin prosopikotita kai to ergo tis Loty Petrovits-Andrutsopulou (Penelope’s Weaving -Diachronic Readings for Loty Petrovits-Andrutsopulou’s work and personality), p.125-138. Volos: University of Thessaly, Word and Culture Laboratory, 2008.