Written in an odd mix of rhymed and free verse, this middle-class-child’s-eye view of the Blizzard of 1888 offers a compelling picture of the disaster and its aftermath. Though the young narrator is able to persuade her father to take her to the circus in Madison Square, by the time they’re slogging home, “Our faces glazed crystal, / we battled the blizzard, / which was like a wild animal / rattling a cage, / attacking and fighting / all in a rage.” From a priceless cover scene of tiny figures sliding across the frozen East River beneath the Brooklyn Bridge, to views of passengers being rescued from a stalled elevated train, Filipucci’s neatly drawn city scenes effectively capture both the period look of New York’s streets and the catastrophe’s scale. But she does it in a lighthearted way that underscores the resilience of the city’s residents. High links present and past at the end, noting that New York’s electrical lines and public transportation went underground as a result of the storm. An absorbing lead-in to Jim Murphy’s Blizzard! (2000). (author’s note) (Picture book. 7-9)
Pub Date: Oct. 1, 2004
ISBN: 0-8027-8910-2
Page Count: 32
Publisher: Walker
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2004
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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