From Dodds (The Shape of Things, 1994, not reviewed, etc.), a rhyming, reckless text that makes a math process pleasurably solvable; Mitchell’s illustrative debut features a smashing cast of 1930s characters and a playfulness that will keep readers guessing. The premise is a Great Race: at the sound of the gun, 80 bicycle racers take off at top speed. The path diverges at the top of a cliff, and half the racers hurtle forever downward and right out of the race and the book. The remaining 40 racers determinedly continue in boats, their curls, spyglasses, eye patches, matronly upswept hairdos, and Clara Bow—lips intact. Whirlpools erupt to divide them again and wreck their ships, so it’s time to grab the next horse and ride on. The race continues, despite abrupt changes in modes of transportation and in the number of racers that dwindle by disastrous divisions, until a single winner glides over the finish line in a single-prop plane. The pace is so breathless and engaging that the book’s didactic origins all but disappear; few readers will notice that they’ve just finished a math problem, and most will want to go over all the action again. (Picture book. 5-10)
Pub Date: Nov. 1, 1999
ISBN: 0-7636-0442-9
Page Count: 32
Publisher: Candlewick
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Nov. 15, 1999
PLB 0-531-33140-7 Ketcham’s first book is based on an allegedly true story of a childhood incident in the life of Johann Sebastian Bach. It starts with a couple of pages regaling the Bach home and all the Johanns in the family, who made their fame through music. After his father’s death, Johann Sebastian goes to live with his brother, Johann Christoph, where he boasts that he is the best organist in the world. Johann Christoph contradicts him: “Old Adam Reincken is the best.” So Johann Sebastian sets out to hear the master himself. In fact, he is humbled to tears, but there is hope that he will be the world’s best organist one day. Johann Sebastian emerges as little more than a brat, Reincken as more of a suggestion than a character. Bush’s illustrations are most transporting when offering details of the landscape, but his protagonist is too impish to give the story much authority. (Picture book. 5-9)
Pub Date: March 1, 1999
ISBN: 0-531-30140-0
Page Count: 32
Publisher: Orchard
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1999
Adler (also with Widener, Lou Gehrig, 1997, etc.) sets his fictional story during the week of July 14, 1932, in the Bronx, when the news items that figure in this tale happened. A boy gets a dime for his birthday, instead of the bicycle he longs for, because it is the Great Depression, and everyone who lives in his neighborhood is poor. While helping his friend Jacob sell newspapers, he discovers that his own father, who leaves the house with a briefcase each day, is selling apples on Webster Avenue along with the other unemployed folk. Jacob takes the narrator to Yankee Stadium with the papers, and people don’t want to hear about the Coney Island fire or the boy who stole so he could get something to eat in jail. They want to hear about Babe Ruth and his 25th homer. As days pass, the narrator keeps selling papers, until the astonishing day when Ruth himself buys a paper from the boy with a five-dollar bill and tells him to keep the change. The acrylic paintings bask in the glow of a storied time, where even row houses and the elevated train have a warm, solid presence. The stadium and Webster Avenue are monuments of memory rather than reality in a style that echoes Thomas Hart Benton’s strong color and exaggerated figures. (Picture book. 5-9)
Pub Date: April 1, 1999
ISBN: 0-15-201378-4
Page Count: 32
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1999
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