After the little dog Kashtanka is separated from her master, who spends the day wandering from customer to tavern to relative, she is taken in by a man who feeds her better than her master ever did and begins to train her: he's a clown whose act already includes a boar, a cat, and a goose. When the goose suddenly dies, Kashtanka is pressed into service—and is recognized and reclaimed by her original master and his son, who happen to be in the audience. The rather long, quiet story has been ``translated for young readers'' (does this mean adapted? We couldn't find the original, but the style seems less rich and colorful than in Chekhov's other stories); it is illustrated with Moser's usual gallery of skillfully wrought paintings, including several incisive portraits (the half-madeup clown could be Olivier), appealing glimpses of the dog, and some memorable compositions. Not essential, but good bookmaking. (Fiction/Picture book. 6-10)
Pub Date: Nov. 7, 1991
ISBN: 0-399-21905-6
Page Count: 48
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1991
BOOK REVIEW
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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