Eric Knights 1940 classic started out a short story; here Wells and Jeffers (Waiting For The Evening Star, 1993) bring it back to that length, enhanced with solemn, elegant artwork. The plot is evergreen in its appeal: When Joes unemployed father reluctantly sells Lassie to the Duke of Rudling, she escapes three times and then again, even after she's been hauled from Yorkshire to Scotland. She endures dreadful abuse and privation as she travels nearly a thousand miles home. Wells tells the tale in a lean, episodic, quick-paced way, describing Joes heartbreak and Lassies physical trials in precise, effective phrases as she highlights the contrasts between rich and poor, kind and cruel. Jefferss paintings range in size from vignettes to a wordless full spread; her finely-detailed figures pose gracefully against sweeping landscapes or neat, well-kept interiors. A timeless tale, handsomely turned out and made available at last, in its essentials, to younger readers. (Picture book 7-9)
Pub Date: Oct. 1, 1995
ISBN: 0-8050-3794-2
Page Count: 48
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1995
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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
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