Sobering and convincing.
Twelve-year-old Lulu must care for her little sister when they are left homeless and alone.
The girls’ father disappears one morning from the Chevy Suburban in which he, Lulu, and Selena live. They’ve been in an RV park in Montana since driving up from Texas, where the girls’ mother died after a devastating, financially ruinous illness. For two weeks, Lulu manages to keep up the routine (food bank, laundromat, and picking up Selena from her after-school program), fending off queries about her dad. The narrative focus stays tightly with Lulu’s point of view, her understanding of the world informing her decisions. She’s afraid to ask for help, believing that she and Selena will be separated if anyone finds out about their situation. Lulu, the target of the contempt of some classmates, is befriended by both Jack, a boy who persuades her to try out for the school musical, and the town librarian, who unwittingly provides a refuge. Fox offers a message via Jack when he learns about Lulu’s life: “No one should have to live in a car.” Cranes—paper ones that Lulu and Selena fold, inspired by both the story of Hiroshima survivor Sadako Sasaki and the sandhill cranes migration—represent wishes granted and a kind of grace, leading to a satisfying, redemptive conclusion nicely pitched to a young audience. All the characters seem to be White.
Sobering and convincing. (author's note) (Fiction. 8-11)Pub Date: Aug. 24, 2021
ISBN: 978-1-5344-8508-2
Page Count: 208
Publisher: Simon & Schuster
Review Posted Online: June 1, 2021
Kirkus Reviews Issue: June 15, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Ironically, by choosing such a dramatic catalyst, the author weakens the adventure’s impact overall and leaves readers to...
A group of talking farm animals catches wind of the farm owner’s intention to burn the barn (with them in it) for insurance money and hatches a plan to flee.
Bond begins briskly—within the first 10 pages, barn cat Burdock has overheard Dewey Baxter’s nefarious plan, and by Page 17, all of the farm animals have been introduced and Burdock is sharing the terrifying news. Grady, Dewey’s (ever-so-slightly) more principled brother, refuses to go along, but instead of standing his ground, he simply disappears. This leaves the animals to fend for themselves. They do so by relying on their individual strengths and one another. Their talents and personalities match their species, bringing an element of realism to balance the fantasy elements. However, nothing can truly compensate for the bland horror of the premise. Not the growing sense of family among the animals, the serendipitous intervention of an unknown inhabitant of the barn, nor the convenient discovery of an alternate home. Meanwhile, Bond’s black-and-white drawings, justly compared to those of Garth Williams, amplify the sense of dissonance. Charming vignettes and single- and double-page illustrations create a pastoral world into which the threat of large-scale violence comes as a shock.
Ironically, by choosing such a dramatic catalyst, the author weakens the adventure’s impact overall and leaves readers to ponder the awkward coincidences that propel the plot. (Animal fantasy. 8-10)Pub Date: July 7, 2015
ISBN: 978-0-544-33217-1
Page Count: 256
Publisher: HMH Books
Review Posted Online: March 31, 2015
Kirkus Reviews Issue: April 15, 2015
Medically, both squicky and hopeful; emotionally, unbelievably squeaky-clean.
A 12-year-old copes with a brain tumor.
Maddie likes potatoes and fake mustaches. Kids at school are nice (except one whom readers will see instantly is a bully); soon they’ll get to perform Shakespeare scenes in a unit they’ve all been looking forward to. But recent dysfunctions in Maddie’s arm and leg mean, stunningly, that she has a brain tumor. She has two surgeries, the first successful, the second taking place after the book’s end, leaving readers hanging. The tumor’s not malignant, but it—or the surgeries—could cause sight loss, personality change, or death. The descriptions of surgery aren’t for the faint of heart. The authors—parents of a real-life Maddie who really had a brain tumor—imbue fictional Maddie’s first-person narration with quirky turns of phrase (“For the love of potatoes!”) and whimsy (she imagines her medical battles as epic fantasy fights and pretends MRI stands for Mustard Rat from Indiana or Mustaches Rock Importantly), but they also portray her as a model sick kid. She’s frightened but never acts out, snaps, or resists. Her most frequent commentary about the tumor, having her skull opened, and the possibility of death is “Boo” or “Super boo.” She even shoulders the bully’s redemption. Maddie and most characters are white; one cringe-inducing hallucinatory surgery dream involves “chanting island natives” and a “witch doctor lady.”
Medically, both squicky and hopeful; emotionally, unbelievably squeaky-clean. (authors’ note, discussion questions) (Fiction. 9-11)Pub Date: Oct. 3, 2017
ISBN: 978-1-62972-330-3
Page Count: 256
Publisher: Shadow Mountain
Review Posted Online: Aug. 1, 2017
Kirkus Reviews Issue: Aug. 15, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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