A second bittersweet story about the hero of Buster's World (1990 Batcheldor Award)—with the vulnerable but resilient Danish boy now yearning to play the lead in a school play. Telling scenes reveal that Buster's life isn't easy: he must fetch his father home from a bar; he shares a bed with his sister; he's treated callously by teachers, the play's director, and a school custodian—only one of the blindly angry people he contends with. Creative and sensitive as well as exasperating, Buster counters with mischief—not all of it innocent: he tricks the privileged boy chosen to play the sheikh into letting him paint his face green—but he's also the sympathetic confidant of a neighbor, a recent widower, and, for all its faults, his family is a loving one. Like his character, his age is a surreal blend of playfulness and adult experience—though he does decimals in math, Buster's constant companion is ``Charlie Mane,'' a broomstick horse. In the book's most poignant moment, just after a teacher has called him a ``zero...[a] nothing,'' Buster's told by the custodian that Charlie Mane has been burned: he was infested with lice. The weeping Buster still has courage and a sense of his own value: running free, he shouts, ``I'm Buster...I'm not nothing.'' A moving story that captures childhood's essence in a rare blend of unblinking realistic detail, pathos, and rollicking, roguish humor. In Bell's excellent translation, the style is wonderfully vigorous and colorful. (Fiction. 9+)
Pub Date: Oct. 1, 1991
ISBN: 0-525-44772-5
Page Count: 112
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1991
BOOK REVIEW
BOOK REVIEW
Simple, bella, un regalo permenente: simple and beautiful, a gift that will stay.
Renowned Latin American writer Alvarez has created another story about cultural identity, but this time the primary character is 11-year-old Miguel Guzmán.
When Tía Lola arrives to help the family, Miguel and his hermana, Juanita, have just moved from New York City to Vermont with their recently divorced mother. The last thing Miguel wants, as he's trying to fit into a predominantly white community, is a flamboyant aunt who doesn't speak a word of English. Tía Lola, however, knows a language that defies words; she quickly charms and befriends all the neighbors. She can also cook exotic food, dance (anywhere, anytime), plan fun parties, and tell enchanting stories. Eventually, Tía Lola and the children swap English and Spanish ejercicios, but the true lesson is "mutual understanding." Peppered with Spanish words and phrases, Alvarez makes the reader as much a part of the "language" lessons as the characters. This story seamlessly weaves two culturaswhile letting each remain intact, just as Miguel is learning to do with his own life. Like all good stories, this one incorporates a lesson just subtle enough that readers will forget they're being taught, but in the end will understand themselves, and others, a little better, regardless of la lengua nativa—the mother tongue.
Simple, bella, un regalo permenente: simple and beautiful, a gift that will stay. (Fiction. 9-11)Pub Date: March 1, 2001
ISBN: 0-375-80215-0
Page Count: 160
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2001
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister:...
A magnificently creepy fantasy pits a bright, bored little girl against a soul-eating horror that inhabits the reality right next door.
Coraline’s parents are loving, but really too busy to play with her, so she amuses herself by exploring her family’s new flat. A drawing-room door that opens onto a brick wall becomes a natural magnet for the curious little girl, and she is only half-surprised when, one day, the door opens onto a hallway and Coraline finds herself in a skewed mirror of her own flat, complete with skewed, button-eyed versions of her own parents. This is Gaiman’s (American Gods, 2001, etc.) first novel for children, and the author of the Sandman graphic novels here shows a sure sense of a child’s fears—and the child’s ability to overcome those fears. “I will be brave,” thinks Coraline. “No, I am brave.” When Coraline realizes that her other mother has not only stolen her real parents but has also stolen the souls of other children before her, she resolves to free her parents and to find the lost souls by matching her wits against the not-mother. The narrative hews closely to a child’s-eye perspective: Coraline never really tries to understand what has happened or to fathom the nature of the other mother; she simply focuses on getting her parents back and thwarting the other mother for good. Her ability to accept and cope with the surreality of the other flat springs from the child’s ability to accept, without question, the eccentricity and arbitrariness of her own—and every child’s own—reality. As Coraline’s quest picks up its pace, the parallel world she finds herself trapped in grows ever more monstrous, generating some deliciously eerie descriptive writing.
Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister: Coraline is spot on. (Fiction. 9-12)Pub Date: July 1, 2002
ISBN: 0-380-97778-8
Page Count: 176
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2002
SEEN & HEARD
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