Sunny scenes featuring dot-eyed, shiny-surfaced zoo animals give this otherwise ill-conceived outing visual polish, at least. In a plot that will warm the cockles of anti-unionist hearts, the animals declare a strike—“ ‘We’re paid only peanuts!’ the elephants shout. / ‘And goodness, we’re bigger than that.’ / So now they won’t trumpet or lumber about. / They sit in the shade, looking fat.” A weeping child shames them into going back to work, whereupon they realize that “they actually like what they do.” Intentionally or not, an even clearer message emerges as the zookeeper, supposedly “doing the best that he can,” offers the elephants pecans and a shorter work day, but those ungrateful monkeys complain that the water in their small new kiddy pool is cold, and the zebras stubbornly reject the proffered oats, demanding the right to choose their own feed. Young readers will not only stumble over the text’s markedly irregular metrics, they are also likely to wonder how animals on strike are different from those on the job, as standing or sitting idly about is what real zoo residents usually do anyway. (Picture book. 7-9)
Pub Date: June 1, 2006
ISBN: 0-06-057502-6
Page Count: 32
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2006
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look...
Winning actually isn’t everything, as jazz-happy Rooster learns when he goes up against the legendary likes of Mules Davis and Ella Finchgerald at the barnyard talent show.
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look good—particularly after his “ ‘Hen from Ipanema’ [makes] / the barnyard chickies swoon.”—but in the end the competition is just too stiff. No matter: A compliment from cool Mules and the conviction that he still has the world’s best band soon puts the strut back in his stride. Alexander’s versifying isn’t always in tune (“So, he went to see his cousin, / a pianist of great fame…”), and despite his moniker Rooster plays an electric bass in Bower’s canted country scenes. Children are unlikely to get most of the jokes liberally sprinkled through the text, of course, so the adults sharing it with them should be ready to consult the backmatter, which consists of closing notes on jazz’s instruments, history and best-known musicians.Pub Date: Sept. 1, 2011
ISBN: 978-1-58536-688-0
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
Strong rhythms and occasional full or partial rhymes give this account of P.T. Barnum’s 1884 elephant parade across the newly opened Brooklyn Bridge an incantatory tone. Catching a whiff of public concern about the new bridge’s sturdiness, Barnum seizes the moment: “’I will stage an event / that will calm every fear, erase every worry, / about that remarkable bridge. / My display will amuse, inform / and astound some. / Or else my name isn’t Barnum!’” Using a rich palette of glowing golds and browns, Roca imbues the pachyderms with a calm solidity, sending them ambling past equally solid-looking buildings and over a truly monumental bridge—which soars over a striped Big Top tent in the final scene. A stately rendition of the episode, less exuberant, but also less fictionalized, than Phil Bildner’s Twenty-One Elephants (2004), illustrated by LeUyen Pham. (author’s note, resource list) (Picture book. 7-9)
Pub Date: Sept. 26, 2005
ISBN: 0-618-44887-X
Page Count: 32
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2005
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