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HARRY POTTER AND THE DEATHLY HALLOWS

From the Harry Potter series , Vol. 7

Following the lead of its six preceding episodes this one may be sprawling, untidy and, particularly in its treatment of...

The epic adventure ends where, and as, it should in this long-awaited heart- (and, predictably, door-) stopping closer. With the entire tale now laid out, it easier to see the themes and qualities that not only bind it into one coherent, humongous saga, but have also so strongly bound millions of readers to its decade-long unfolding.

Many of those themes—the Hero’s Journey, the wonder of magic-working, the cluelessness of grown-ups, the sweet confusion of adolescence—are standard fare in stories for young readers (or readers who remember being young), but Rowling has shown uncommon skill in playing them with and against each other, and also woven them into a darn good bildungsroman, populated by memorable characters and infused with a saving, irrepressible sense of fun. In The Deathly Hallows, she opens with a vintage, riveting escape scene, then sends Harry, Ron and Hermione into a months-long flight from the ascendant and hotly pursuing forces of Lord Voldemort—this journey also becomes a desperate search for the remaining horcruxes that make him unkillable. Allies both known and unexpected gather to help, but it is strength of spirit and character that, particularly in Harry’s case, blossom here after developing throughout the series, carrying these “three teenagers in a tent whose only achievement was not, yet, to be dead,” past hopelessness, sharp divisions and other challenges to a decisive faceoff against a seemingly unconquerable adversary. There is a slow stretch toward the middle as the trio, having passed through a succession of refuges, hides out in the wilderness for some soul searching, but Rowling kicks up the pace in the second half. Strewing the plot with dueling spells, narrow squeaks and multiple corpses, lightening the load with well-placed humor and casting a sharp light on the flaws and graces of her characters, she builds to a suitably huge, compelling and, like illustrator Mary GrandPré’s chapter-head vignettes, stylish climactic battle on the grounds of Hogwarts.

Following the lead of its six preceding episodes this one may be sprawling, untidy and, particularly in its treatment of race and class issues, sometimes disturbingly simplistic—but, taken as a whole, it gives the author’s brilliantly imagined fantasy the grand finish it merits. And along with her recent suggestion that she may, someday, produce a sort of  “Hogmarillion” to tie up all the loose ends, a provocatively sketchy epilogue (presumably a version of that Final Chapter that she claims to have written at the very beginning) here hints that she may not be ready to let go of her creations, just yet.

Pub Date: July 21, 2007

ISBN: 978-0-545-01022-1

Page Count: 759

Publisher: Levine/Scholastic

Review Posted Online: May 19, 2010

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THE SCHOOL FOR GOOD AND EVIL

From the School for Good and Evil series , Vol. 1

Rich and strange (and kitted out with an eye-catching cover), but stronger in the set pieces than the internal logic.

Chainani works an elaborate sea change akin to Gregory Maguire’s Wicked (1995), though he leaves the waters muddied.

Every four years, two children, one regarded as particularly nice and the other particularly nasty, are snatched from the village of Gavaldon by the shadowy School Master to attend the divided titular school. Those who survive to graduate become major or minor characters in fairy tales. When it happens to sweet, Disney princess–like Sophie and  her friend Agatha, plain of features, sour of disposition and low of self-esteem, they are both horrified to discover that they’ve been dropped not where they expect but at Evil and at Good respectively. Gradually—too gradually, as the author strings out hundreds of pages of Hogwarts-style pranks, classroom mishaps and competitions both academic and romantic—it becomes clear that the placement wasn’t a mistake at all. Growing into their true natures amid revelations and marked physical changes, the two spark escalating rivalry between the wings of the school. This leads up to a vicious climactic fight that sees Good and Evil repeatedly switching sides. At this point, readers are likely to feel suddenly left behind, as, thanks to summary deus ex machina resolutions, everything turns out swell(ish).

Rich and strange (and kitted out with an eye-catching cover), but stronger in the set pieces than the internal logic. (Fantasy. 11-13)

Pub Date: May 14, 2013

ISBN: 978-0-06-210489-2

Page Count: 496

Publisher: Harper/HarperCollins

Review Posted Online: Feb. 12, 2013

Kirkus Reviews Issue: April 15, 2013

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CORALINE

Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister:...

A magnificently creepy fantasy pits a bright, bored little girl against a soul-eating horror that inhabits the reality right next door.

Coraline’s parents are loving, but really too busy to play with her, so she amuses herself by exploring her family’s new flat. A drawing-room door that opens onto a brick wall becomes a natural magnet for the curious little girl, and she is only half-surprised when, one day, the door opens onto a hallway and Coraline finds herself in a skewed mirror of her own flat, complete with skewed, button-eyed versions of her own parents. This is Gaiman’s (American Gods, 2001, etc.) first novel for children, and the author of the Sandman graphic novels here shows a sure sense of a child’s fears—and the child’s ability to overcome those fears. “I will be brave,” thinks Coraline. “No, I am brave.” When Coraline realizes that her other mother has not only stolen her real parents but has also stolen the souls of other children before her, she resolves to free her parents and to find the lost souls by matching her wits against the not-mother. The narrative hews closely to a child’s-eye perspective: Coraline never really tries to understand what has happened or to fathom the nature of the other mother; she simply focuses on getting her parents back and thwarting the other mother for good. Her ability to accept and cope with the surreality of the other flat springs from the child’s ability to accept, without question, the eccentricity and arbitrariness of her own—and every child’s own—reality. As Coraline’s quest picks up its pace, the parallel world she finds herself trapped in grows ever more monstrous, generating some deliciously eerie descriptive writing.

Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister: Coraline is spot on. (Fiction. 9-12)

Pub Date: July 1, 2002

ISBN: 0-380-97778-8

Page Count: 176

Publisher: HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 15, 2002

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