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ROBINSON CRUSOE

Name: ROBINSON CRUSOE
Author: Daniel Defoe

by Daniel Defoe & developed by Bee Gang ‧ RELEASE DATE: Dec. 15, 2011

Readers themselves will be in need of rescue from this abominable adaptation.

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A drastically abbreviated and uncommonly inept version of the classic survival tale.

Crusoe’s paraphrased narrative sweeps through the original’s major events up to the stranded traveler’s rescue—then on the last page suddenly cuts to a scene from Defoe’s lesser-known sequel for a one paragraph account of Friday’s death. The classic tale has been slashed to 15 screens of large text that is well-stocked with typos and interleaved with clumsy, sometimes irrelevant tilt- or touch-sensitive cartoon illustrations. Interactive effects include a “shooting gallery” in which the rifle points away from the moving pirate and a platter that inexplicably slides back and forth on the table in Crusoe’s shack. There are several screens on which foliage that can’t be completely moved aside covers parts of the text, and the superfluous firelit set of grimacing “cannibals” and flickable skulls have nothing whatsoever to do with the accompanying narrative. Furthermore, the menu’s index icon opens a tiny window almost impossible to scroll, and (in this version) the change-language icon shows only an option for English.

Readers themselves will be in need of rescue from this abominable adaptation. (iPad storybook app. 9-11)

Pub Date: Dec. 15, 2011

ISBN: N/A

Page Count: -

Publisher: Bee Gang

Review Posted Online: Jan. 17, 2012

Kirkus Reviews Issue: Feb. 1, 2012

- BOOK REVIEW
ROBINSON CRUSOE
by Daniel Defoe & illustrated by Penko Gelev & retold by Ian Graham

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HOW TÍA LOLA CAME TO (VISIT) STAY

From the Tía Lola Stories series , Vol. 1

by Julia Alvarez ‧ RELEASE DATE: March 1, 2001

Simple, bella, un regalo permenente: simple and beautiful, a gift that will stay.

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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

Categories:

CHILDREN'S GENERAL CHILDREN'S

- BOOK REVIEW
ALREADY A BUTTERFLY
by Julia Alvarez ; illustrated by Raúl Colón

- BOOK REVIEW
WHERE DO THEY GO?
by Julia Alvarez ; illustrated by Sabra Field

- BOOK REVIEW
HOW TÍA LOLA ENDED UP STARTING OVER
by Julia Alvarez

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TUCK EVERLASTING

by Natalie Babbitt ‧ RELEASE DATE: Nov. 1, 1975

However the compelling fitness of theme and event and the apt but unexpected imagery (the opening sentences compare the...

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At a time when death has become an acceptable, even voguish subject in children's fiction, Natalie Babbitt comes through with a stylistic gem about living forever.

Protected Winnie, the ten-year-old heroine, is not immortal, but when she comes upon young Jesse Tuck drinking from a secret spring in her parents' woods, she finds herself involved with a family who, having innocently drunk the same water some 87 years earlier, haven't aged a moment since. Though the mood is delicate, there is no lack of action, with the Tucks (previously suspected of witchcraft) now pursued for kidnapping Winnie; Mae Tuck, the middle aged mother, striking and killing a stranger who is onto their secret and would sell the water; and Winnie taking Mae's place in prison so that the Tucks can get away before she is hanged from the neck until....? Though Babbitt makes the family a sad one, most of their reasons for discontent are circumstantial and there isn't a great deal of wisdom to be gleaned from their fate or Winnie's decision not to share it.

However the compelling fitness of theme and event and the apt but unexpected imagery (the opening sentences compare the first week in August when this takes place to "the highest seat of a Ferris wheel when it pauses in its turning") help to justify the extravagant early assertion that had the secret about to be revealed been known at the time of the action, the very earth "would have trembled on its axis like a beetle on a pin." (Fantasy. 9-11)