Like Schroeder's first book, Ragtime Tumpie (1989), and his recent Minty (p. 537), this is a fictionalized account of the childhood of a great American. Louis Armstrong's first musical experiences, while listening to the jazz and ragtime blaring from the honky-tonks, dance halls, and street bands in the tough New Orleans neighborhood of his childhood, are the backdrop for his struggle to acquire his own horn. The soft, rosy, and golden-brown tones of Cooper's paintings cast a romantic glow over the story that was much more shadowed and chancy than Schroeder makes it sound. Still, the incredible drive that carried Armstrong from poverty to worldwide fame is shown clearly in young Louis's singleminded pursuit of a dream, and therein lie the book's message and its appeal. Curiously, the origin of the nickname ``Satchmo'' is never explained and is not used in the story, appearing only in the author's note. (Picture book. 6-10)
Pub Date: Oct. 1, 1996
ISBN: 0-385-32046-9
Page Count: 32
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1996
At ``Step 2'' in the useful ``Step into Reading'' series: an admirably clear, well-balanced presentation that centers on wolves' habits and pack structure. Milton also addresses their endangered status, as well as their place in fantasy, folklore, and the popular imagination. Attractive realistic watercolors on almost every page. Top-notch: concise, but remarkably extensive in its coverage. A real bargain. (Nonfiction/Easy reader. 6-10)
Pub Date: April 1, 1992
ISBN: 0-679-91052-2
Page Count: 48
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1992
BOOK REVIEW
Gooney Bird Greene (with a silent E) is not your average second grader. She arrives in Mrs. Pidgeon’s class announcing: “I’m your new student and I just moved here from China. I want a desk right smack in the middle of the room, because I like to be right smack in the middle of everything.” Everything about her is unusual and mysterious—her clothes, hairstyles, even her lunches. Since the second graders have never met anyone like Gooney Bird, they want to hear more about her. Mrs. Pidgeon has been talking to the class about what makes a good story, so it stands to reason that Gooney will get her chance. She tells a series of stories that explain her name, how she came from China on a flying carpet, how she got diamond earrings at the prince’s palace, and why she was late for school (because she was directing a symphony orchestra). And her stories are “absolutely true.” Actually, they are explainable and mesh precisely with the teacher’s lesson, more important, they are a clever device that exemplify the elements of good storytelling and writing and also demonstrate how everyone can turn everyday events into stories. Savvy teachers should take note and add this to their shelf of “how a story is made” titles. Gooney Bird’s stories are printed in larger type than the narrative and the black-and-white drawings add the right touch of sauciness (only the cover is in color). A hybrid of Harriet, Blossom, and Anastasia, irrepressible Gooney Bird is that rare bird in children’s fiction: one that instantly becomes an amusing and popular favorite. (Fiction. 6-9)
Pub Date: Sept. 1, 2002
ISBN: 0-618-23848-4
Page Count: 96
Publisher: Walter Lorraine/Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2002
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