In this story of a boy and his dog, and the brutal, angry man who finds the road to redemption at last, Naylor rounds off a trilogy that began with Shiloh (1991). The good news is that the dog doesn't die, although Marty, the narrator, gives readers that impression on the first page. Judd Travers has stopped drinking and become less hostile; nonetheless, years of bad feelings have left their mark, and his is the name that comes up most often in conjunction with a murder and some local robberies. Marty is half-willing to give Judd the benefit of the doubt—and so defends the man to schoolmates on the bus, and even pays him an occasional visit. Judd shows signs of authentic human feeling, actually laughing and joking (readers of the first two books will be shocked), and grieving when he must kill one of his hunting dogs. Judd proves innocent of the crimes, too, and in the climax risks his life to save Shiloh from drowning. That earns a hug from Marty, and only readers familiar with the first books will be able to appreciate how far Judd has come when he hugs back. Subplots and extraneous incidents loosen the story's weave, but Naylor's use of present tense adds immediacy to events, and Marty's path to reconciliation with Judd, and to a parallel truce with his pesky little sister Dara Lynn, will go straight to readers' hearts. (Fiction. 10-12)
Pub Date: Aug. 1, 1997
ISBN: 0-689-81460-7
Page Count: 137
Publisher: Atheneum
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1997
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Bishop’s spectacular photographs of the tiny red-eyed tree frog defeat an incidental text from Cowley (Singing Down the Rain, 1997, etc.). The frog, only two inches long, is enormous in this title; it appears along with other nocturnal residents of the rain forests of Central America, including the iguana, ant, katydid, caterpillar, and moth. In a final section, Cowley explains how small the frog is and aspects of its life cycle. The main text, however, is an afterthought to dramatic events in the photos, e.g., “But the red-eyed tree frog has been asleep all day. It wakes up hungry. What will it eat? Here is an iguana. Frogs do not eat iguanas.” Accompanying an astonishing photograph of the tree frog leaping away from a boa snake are three lines (“The snake flicks its tongue. It tastes frog in the air. Look out, frog!”) that neither advance nor complement the action. The layout employs pale and deep green pages and typeface, and large jewel-like photographs in which green and red dominate. The combination of such visually sophisticated pages and simplistic captions make this a top-heavy, unsatisfying title. (Picture book. 7-9)
Pub Date: March 1, 1999
ISBN: 0-590-87175-7
Page Count: 32
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1999
Themes of freedom and responsibility twine between the lines of this short but heavy novel from the author of Because of Winn-Dixie (2000). Three months after his mother's death, Rob and his father are living in a small-town Florida motel, each nursing sharp, private pain. On the same day Rob has two astonishing encounters: first, he stumbles upon a caged tiger in the woods behind the motel; then he meets Sistine, a new classmate responding to her parents' breakup with ready fists and a big chip on her shoulder. About to burst with his secret, Rob confides in Sistine, who instantly declares that the tiger must be freed. As Rob quickly develops a yen for Sistine's company that gives her plenty of emotional leverage, and the keys to the cage almost literally drop into his hands, credible plotting plainly takes a back seat to character delineation here. And both struggle for visibility beneath a wagonload of symbol and metaphor: the real tiger (and the inevitable recitation of Blake's poem); the cage; Rob's dream of Sistine riding away on the beast's back; a mysterious skin condition on Rob's legs that develops after his mother's death; a series of wooden figurines that he whittles; a larger-than-life African-American housekeeper at the motel who dispenses wisdom with nearly every utterance; and the climax itself, which is signaled from the start. It's all so freighted with layers of significance that, like Lois Lowry's Gathering Blue (2000), Anne Mazer's Oxboy (1995), or, further back, Julia Cunningham's Dorp Dead (1965), it becomes more an exercise in analysis than a living, breathing story. Still, the tiger, "burning bright" with magnificent, feral presence, does make an arresting central image. (Fiction. 10-12)
Pub Date: March 1, 2001
ISBN: 0-7636-0911-0
Page Count: 128
Publisher: Candlewick
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2001
BOOK TO SCREEN
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