Children's Book Reviews: 6/22/2009

Dump truck Bertrand wears a permanent scowl. He kvetches (“This dirt is too HEAVY!”) and treats his co-workers with contempt (“He was rude to the backhoe. And he was a real pain to the crane”). But an accidental encounter with a sweet-natured porcupine construction worker named Tilly reveals that Bertrand isn’t misanthropic after all—he’s just got a toolbox of pain-causing items caught in his treads (“Oh, owie-ow! I can’t believe you did that!” Bertrand yells as the porcupine removes a wrench, screwdriver, hammer, traffic cone and other items from his tire). In her sophomore outing, Spangler’s (Peg Leg Peke) bright digital cartooning can border on amateurish, and her wrapup and Bertrand’s total 180 (“I want to do something NICE!”) are so patly sunny that they take away much of the fun of the preceding pages. But she knows how to create a compelling comic antihero (Bertrand’s apostrophe-like eyebrows are particularly expressive, while his whininess should prompt chuckles of recognition), and her narrative never slackens. Ages 3–6. (July)

In Baek’s (Be Gentle with the Dog, Dear!) second outing, a cuddly polar bear tumbles down a cliff into the “green and grassy” world of a panda. There’s an early case of mistaken identity, with the now-muddy polar bear resembling a panda himself; when he’s washed clean, he worries that his new buddy might reject him: “What terrifically splotchy panda bear would want to be friends with a plain white polar bear?” (His fears turn out to be unfounded.) When the polar bear gets homesick, they make a ladder out of bamboo so the polar bear can climb back up the cliff (“My mother told me never to play with food... but I think it’s okay this time,” the panda decides). The final spread pulls back to reveal a zoo, with the polar bear exhibit overlooking the pandas. It’s a quiet book—a feeling echoed in the serene green and blue watercolors—but Baek’s pacing is steady, his artwork is nicely balanced against the text and the issue of difference in friendship is treated with respect. Ages 3–5. (June)

Why won’t the new king eat the cook’s magnificent food? Max, the cheery, bespectacled hound who narrates the story, used to taste the king’s food to test for poison; now he spends most of his time consoling the cook. In an attempt to satisfy the fussy king—a small boy with a wobbly crown and a horrible scowl—Max and the cook travel the world in search of the rarest delicacies—French fries, pizza, chili tacos—to no avail. When Max discovers the king snacking on the sly, ruining his appetite, he alerts the cook. “I will tell your mother,” the cook promises the small king. “You wouldn’t,” replies the king. “I would,” says the cook, “and I will.” With the boy finally “eating like a king,” success and reward for the cook and his dog follow. Oppel (Airborn) cooks up punchy, ready-for-television dialogue, while the rich, textural spreads of Johnson and Fancher (What a Good Big Brother) make use of unexpected materials—recipe cards for the cook’s clothing, for instance—and kid-pleasing details, as when the king splatters a whole pizza against a wall via catapult. Ages 3–6. (June)

“Mom says I’m the first kid in history to take a school picture with gum stuck in his hair. You can barely notice.” Keane’s (Bobby Bramble Loses His Brain) opening lines, and the accompanying photo of disheveled Joe with a large wad of bubble gum on his head, clue readers in to this book’s humorous tone—at once understated and hyperbolic—from the outset. Brunkus’s (Junie B. Jones series) bustling art provides bountiful evidence of Joe’s sloppiness: food flies and milk spills as he shovels cereal into his mouth (wearing goggles for protection). But his effortless messiness (“I slurp, spill, slouch, talk with my mouth full, and put my elbows on the table without even trying”) has its downside: his friend’s mom refuses to let Joe—with a frog sticking out of his pocket and a puddle of mud under his sneakers—inside (“But I wiped my feet!” he laments). When his entire family comes down with the flu, his attempts to morph into Neat Joe and make soup have expectedly comedic results. From start to finish, this is good, not-so-clean fun. Ages 4–7. (July)

As she did in One Thousand Tracings, Judge weaves a compelling tale based on a true, heartwarming incident. In 1914, the children of Boston raised $6,000 to buy three trained elephants for the Franklin Park Zoo. But told through the eyes of siblings (and fund-raisers) Dorothy and Henry, the story expands into an inspired celebration of kid power. From the opening spread, children are at the helm. “Pennies for elephants! Send in your pennies, your nickels, and dimes!” hawks the newspaper boy, capturing the children’s attention, but not the humorously haughty adult passersby. Dorothy and Henry, along with 50,000 other children, donate their savings, shovel snow and throw admission-based costume parties: “When Henry got an idea in his head, it was like fuel to a Studebaker.” Such dollops of historical flavor abound, with watercolors of knickers-clad boys and streets bustling with people, horses and horseless carriages. Warm sepia tones lend atmosphere, too, and splashes of bright red, blue, purple and yellow in the children’s outfits echo their sunny, can-do demeanor: “We kids had done it!... Mollie, Waddy, and Tony were home to stay.” Ages 4–7. (June)

Rhythmic cadences and a dark palette are paired to explore the shadowy setting and circle of life for creatures that live near a pond. The majority of the book is a cumulative poem—“This is the water/ the deep, still water/ that filled the pond/ by Anna’s house./ This is the algae/ the jade green algae...”—though Franco abandons the format, somewhat awkwardly, with two closing stanzas in Anna’s voice. The algae is eaten by a mayfly nymph, the mayfly by a beetle, and a frog, snake, skunk, owl, raccoon and coyote make appearances, too. The overall tone is matter-of-fact yet lyrical, and Franco’s ending “Facts to Pond-er” offers kid-pleasing details about the book’s creatures. Vitale’s somber, nighttime panoramas—oil on wood, with a strong horizontal grain—feature stylized figures that, while striking, may detach viewers from the insect gobbling and egg stealing described. Anna’s facial expression is static, as if she were a carved figurehead on an ancient ship. Although the text is sometimes difficult to read against the muted paintings, young naturalists and poets will be intrigued nonetheless. Ages 4–8. (June)

Even though he lives in the year 2174, Mike Stellar is a fairly normal preteen: good-humored, slightly disgruntled when it comes to schoolwork and a bit of a troublemaker along with his hyper best friend Stinky (“the human embodiment of the word 'staccato’ ”). When his scientist parents announce that the family is moving to Mars without providing a reason, Mike’s detective work begins. He puts on a brave face (“I wanted to meet my fate like a man. Even if just a hyperventilating man in a shiny jumpsuit”), but is shaken by the changes and the sudden appearance of his parents’ assistant, creepy Mr. Shugabert, who watches his every step. As their spaceship Sojourner approaches “the Fold” in which the last shuttle was presumed destroyed (and Stinky’s brother lost), Mike and his odd new friend Larc gather clues and analyze who they can trust. Holt’s children’s book debut whizzes by at warp speed—the suspenseful plot and the precocious yet complex hero combine for a fun ride with a satisfying resolution. Ages 9–12. (June)

Twelve-year-old Miranda, a latchkey kid whose single mother is a law school dropout, narrates this complex novel, a work of science fiction grounded in the nitty-gritty of Manhattan life in the late 1970s. Miranda’s story is set in motion by the appearance of cryptic notes that suggest that someone is watching her and that they know things about her life that have not yet happened. She’s especially freaked out by one that reads: “I’m coming to save your friend’s life, and my own.” Over the course of her sixth-grade year, Miranda details three distinct plot threads: her mother’s upcoming appearance on The $20,000 Pyramid; the sudden rupture of Miranda’s lifelong friendship with neighbor Sal; and the unsettling appearance of a deranged homeless person dubbed “the laughing man.” Eventually and improbably, these strands converge to form a thought-provoking whole. Stead (First Light) accomplishes this by making every detail count, including Miranda’s name, her hobby of knot tying and her favorite book, Madeleine L’Engle’s A Wrinkle in Time. It’s easy to imagine readers studying Miranda’s story as many times as she’s read L’Engle’s, and spending hours pondering the provocative questions it raises. Ages 9–14. (July)

This quiet debut novel addresses big themes of family, friendship, abuse and love with subtlety and honesty. Life is largely predictable for 12-year-old narrator Franny, who is devoted to her family, friends, animals and small Oklahoma town. But things become complicated one summer, when a single mother and her son move into the cabin across the street. Franny is eager to befriend the new boy, Lucas, who warns her that “sometimes people mean well, but they don’t realize what they’re getting themselves into.” When Lucas’s estranged and abusive father shows up, Franny and her family are anxious to help, but Lucas and his mother pull away. The bonds of friendship are tested by secrets, and Franny’s family’s barn is destroyed in a mysterious fire. In the end, Franny learns that some secrets are worth keeping, while others are too dangerous to stay bottled up. Though a few characters (particularly Franny’s five-year-old brother, Ben) occasionally sound overly mature, Franny is a relatable and consistent narrator, the homey rural setting is thoughtfully rendered and the easy prose should appeal to reluctant readers. Ages 10–up. (June)

Anna was best friends with Frankie and her brother, Matt, until all three are in a car accident in which Matt is killed. A year later, Anna and Frankie, struggling to get past Matt’s death, head to California with Frankie’s parents for a beach vacation, determined to have “the Absolute Best Summer Ever (A.B.S.E).” But Anna has a secret: her friendship with Matt had become an intense romance shortly before the accident, and she cannot determine “the statue of limitations on feeling guilty for cheating on a ghost.” Readers will be quickly drawn in and moved by the pain that strains Frankie’s family, which ultimately threatens the friends’ relationship. The plot takes too long to unfold, however, and teens might be surprised that the title’s premise (referring to a bet the girls make that “whoever get the most prospects—wins”) almost disappears among other plot points. Still, Ockler’s debut is often poetic (“I’ve replayed the events of that day a hundred thousand times, looking for clues. An alternate ending. The butterfly effect”) and the girls’ friendship authentic, making for a poignant summer read. Ages 12–up. (June)

Structured as a series of blogs, chat-room entries and instant messages, Spooner’s (Last Child) romantic comedy of errors explores the consequences of testing loyalty. Recently dumped high school junior Annie bets her two friends that their boyfriends would cheat on them if given the chance (“let’s just test yr 2 handsome units. see how much u can really trust them”). To prove her wrong, Bliss and Tamra pose as seductive foreign-exchange students in a chat room and try to win the hearts of each other’s beaus. Some amusing online conversations follow as the girls become more and more intense about playing the game, taking on new personas and sometimes showing their truest colors behind the masks of their imagined figures, Tatiana from Albania and Bridget from Great Britain. Despite numerous “lol” moments, the book’s format (which closely resembles Lauren Myracle’s ttyl and its sequels) feels somewhat dated and busy, reading like a screenplay without the benefit of setting descriptions, stage directions and character sketches. While it should appeal to fans of Myracle’s series, it’s unlikely to attract a broader audience. Ages 13–up. (June)

This hard-hitting and lyrical novel opens with the apparent hanging of Jimmi Sixes, a disturbed 18-year-old veteran and street poet/junkie, back in the Bronx after his discharge from the army; the story then retraces the preceding month’s events. Stubborn 15-year-old Tamika (aka Mik), who lives in the projects called the Orange Houses, is hearing-impaired but often prefers to turn off her hearing aids and text message rather than speak. Jimmi introduces her to Fatima, an illegal refugee who has just arrived from Africa (“Her pinky and ring finger were gone. If she held up the hand, say to block a machete blade, the angle of the slash through her palm would match that of the slash crossing her cheek”), and a friendship blossoms. Fatima and Jimmi try to protect Mik from a box-cutter-wielding girl and her posse, but Jimmi ends up caught by a vigilante group. Griffin’s (Ten Mile River) prose is gorgeous and resonant, and he packs the slim novel with defeats, triumphs, rare moments of beauty and a cast of credible, skillfully drawn characters. A moving story of friendship and hope under harsh conditions. Ages 14–up. (June)

In this flawed but fun novel, 19-year-old Jane Roberts, new to Los Angeles, and her best friend Scarlett are discovered by a producer who wants to cast them in a “reality version of Sex and the City.” Jane (who is, in the producer’s eyes, “fresh, innocent, vulnerable. Perfect”) and Scarlett (“a gorgeous brainiac”) jump at the chance to star in L.A. Candy, alongside two other girls: “spoiled, rich heiress” Madison and “loveable ditz” Gaby. Immediately famous, they enjoy new apartments, designer clothes and easy access to L.A. hot spots. Readers get a behind-the-scenes look at the production of a reality show, including how supposedly spontaneous scenes are set up and shot and reshot, presumably inspired by debut author Conrad’s own experiences on The Hills. Jane, who “no longer thought about an outfit as being complete without a mike under her clothes, taped to her skin,” predictably becomes the breakout star of the show and learns the high price of fame. The climactic cliffhanger ending and lack of resolution hurt the book’s ability to stand on its own, but this guilty pleasure should leave readers eager for more. Ages 14–up. (June)

New books take readers through diverse historical terrain.

Third in the Through Time series, this detailed full-color book explores the history of London from “Neolithic camp” to the modern city it is today. Significant events throughout the centuries are covered on double-page spreads: “Plague!—A.D. 1348” headlines a disease-ridden city, where diminutive figures bury their dead and captions label landmarks (“houses are tightly packed together, so the infection spreads quickly”). The year 1666 marks the Great Fire, which is pictured blazing through the thatched roofs as residents scatter. Pages devoted to modern London highlight the technological advances made throughout its history: “rising property prices have driven factories out of London’s center,” and “glass skyscrapers... have transformed London’s skyline.” Cutaway views of various structures and concise but engaging text effectively capture the changing face of a city over time. Ages 6–10. (June)

This timely follow-up to If the World Were a Village offers a thought-provoking perspective on the people who make up America. Organized by overarching questions such as “Where do we come from?” and “What do we use?” the text illustrates the ethnic divisions, income levels and material consumption (among othercategories) of Americans—were America a theoretical village containing only 100 people. In a section on religion, bullet-points demonstrate the breakdown of religious persuasions within America—“82 consider themselves Christians... 2 are Buddhists... 1 is Jewish”—followed by a comparison with the “whole world” (if it were a village). Armstrong’s cheerful, smudgy paintings balance the text’s heaviness, and an afterword directed at adult readers provides suggestions for imparting the important but complex message to children. Ages 8–12. (Aug.)

This hands-on guide to the American Revolution has plenty of interactive features that enliven the historical setting. Lift-the-flaps provide details on the “Causes of the War” (such as the Stamp Act and Sugar Act); envelopes contain removable, fictionalized letters written by soldiers, their family members and other witnesses to historical events; and a section about the drafting of the Declaration of Independence includes a foldout facsimile of the original document. Major battles and figures are highlighted, including “Unsung Heroes” such as Phillis Wheatley, Abigail Adams and other “Women of the Revolution.” Ages 8–up. (June)

The famous buildings featured in this pictorial collection include Notre Dame cathedral in Paris, Neuschwanstein Castle in Germany, New York City’s Guggenheim Museum and the Beijing National Stadium (built for the 2008 Olympics), each pictured in color photographs, cross-sections and/or ground plans, with time lines tracing the buildings’ developments and changes over time. The straightforward text provides historical context and facts for each structure (the Tower of Pisa continues to lean despite multiple attempts at straightening; the Taj Mahal was built as a memorial). A sound introduction to some impressive structures. Also available: 13 Artists Children Should Know. Ages 12–up. (June)

This encyclopedic guide to the subject of slavery highlights its history from Mesopotamia through the Atlantic slave trade and into the present day, focusing on such issues as the lives of slaves (“Working on sugar plantations in the West Indies or Brazil was probably the hardest life an enslaved person could face”), movements that questioned slavery and the Emancipation Proclamation. A section entitled “Aftermath of Slavery” includes information about the lives of former slaves, the Reconstruction period in the U.S., civil rights struggles and how slavery is remembered and depicted today. Photographs, time lines, quotations from historical figures and paintings create a diverse panorama of information that ends with a discussion of the current slave trade and the reminder that “20 million people continue to be enslaved worldwide.” As thorough as it is socially pertinent. Ages 12–up. (June)

Suzanne Collins follows her bestselling dystopian novel, The Hunger Games, with a sequel that’s certain to cement fans’ commitment to the trilogy.

Fresh from their improbable victory in the annual Hunger Games, Katniss and Peeta get to enjoy the spoils only briefly before they must partake in a Capitol-sponsored victory tour. But trouble is brewing—President Snow tells Katniss directly he won’t stand for being outsmarted, and she overhears rumbles of uprisings in Panem’s districts. Before long it’s time for the next round of games, and because it’s the 75th anniversary of the competition, something out of the ordinary is in order. If this second installment spends too much time recapping events from book one, it doesn’t disappoint when it segues into the pulse-pounding action readers have come to expect. Characters from the previous volume reappear to good effect: Katniss’s stylist, Cinna, proves he’s about more than fashion; Haymitch becomes more dimensional. But the star remains Katniss, whose bravery, honesty and wry cynicism carry the narrative. (About her staff of beauticians she quips: “They never get up before noon unless there’s some sort of national emergency, like my leg hair.”) Collins has also created an exquisitely tense romantic triangle for her heroine. Forget Edward and Jacob: by book’s end (and it’s a cliffhanger), readers will be picking sides—Peeta or Gale? Ages 12–up. (Sept.)