Against the plethora of mutant and superhuman narratives, this effort just feels shopworn.
Jacobs serves up a juvenile-detention story flavored with weirdness.
Shreveport Justice Cannon, know within the Casimir Pulaski Juvenile Detention Center for Boys as Shreve, is happy to deal candy and wait until his sentence is up. When Jack Graves arrives and is assigned to Shreve’s cell, Casimir Juvie starts receiving visits from the mysterious Mr. Quincrux and Ilsa. They are curious about Jack’s polydactyly—he is the titular 12-fingered boy—and the strange circumstances that brought Jack to Casimir. Shreve and Jack are forced to flee from Quincrux and his creepy ability to invade people’s minds, even as Shreve seems to develop a talent for mind hijacking as well. While both teens are perfectly likable, there’s nothing new about them either. Shreve’s back story of neglect and self-sacrifice and Jack’s outcast status based on physical appearance are all too familiar. Quincrux’s power adds a dash of paranormal horror, but a potentially intriguing exploration of moral relativism through Shreve’s possessions becomes more lecture than narrative. A string of seemingly random encounters provides action but works against narrative cohesion.
Against the plethora of mutant and superhuman narratives, this effort just feels shopworn. (Paranormal adventure. 12-14)Pub Date: Feb. 1, 2013
ISBN: 978-0-7613-9007-7
Page Count: 280
Publisher: Carolrhoda Lab
Review Posted Online: Dec. 11, 2012
Kirkus Reviews Issue: Jan. 1, 2013
A trilogy opener both rich and strange, if heavy at the front end.
Riggs spins a gothic tale of strangely gifted children and the monsters that pursue them from a set of eerie, old trick photographs.
The brutal murder of his grandfather and a glimpse of a man with a mouth full of tentacles prompts months of nightmares and psychotherapy for 15-year-old Jacob, followed by a visit to a remote Welsh island where, his grandfather had always claimed, there lived children who could fly, lift boulders and display like weird abilities. The stories turn out to be true—but Jacob discovers that he has unwittingly exposed the sheltered “peculiar spirits” (of which he turns out to be one) and their werefalcon protector to a murderous hollowgast and its shape-changing servant wight. The interspersed photographs—gathered at flea markets and from collectors—nearly all seem to have been created in the late 19th or early 20th centuries and generally feature stone-faced figures, mostly children, in inscrutable costumes and situations. They are seen floating in the air, posing with a disreputable-looking Santa, covered in bees, dressed in rags and kneeling on a bomb, among other surreal images. Though Jacob’s overdeveloped back story gives the tale a slow start, the pictures add an eldritch element from the early going, and along with creepy bad guys, the author tucks in suspenseful chases and splashes of gore as he goes. He also whirls a major storm, flying bullets and a time loop into a wild climax that leaves Jacob poised for the sequel.
A trilogy opener both rich and strange, if heavy at the front end. (Horror/fantasy. 12-14)Pub Date: June 7, 2011
ISBN: 978-1-59474-476-1
Page Count: 234
Publisher: Quirk Books
Review Posted Online: March 30, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Stands out neither as a folk-tale retelling, a coming-of-age story, nor a Holocaust novel.
A Holocaust tale with a thin “Hansel and Gretel” veneer from the author of The Devil’s Arithmetic (1988).
Chaim and Gittel, 14-year-old twins, live with their parents in the Lodz ghetto, forced from their comfortable country home by the Nazis. The siblings are close, sharing a sign-based twin language; Chaim stutters and communicates primarily with his sister. Though slowly starving, they make the best of things with their beloved parents, although it’s more difficult once they must share their tiny flat with an unpleasant interfaith couple and their Mischling (half-Jewish) children. When the family hears of their impending “wedding invitation”—the ghetto idiom for a forthcoming order for transport—they plan a dangerous escape. Their journey is difficult, and one by one, the adults vanish. Ultimately the children end up in a fictional child labor camp, making ammunition for the German war effort. Their story effectively evokes the dehumanizing nature of unremitting silence. Nevertheless, the dense, distancing narrative (told in a third-person contemporaneous narration focused through Chaim with interspersed snippets from Gittel’s several-decades-later perspective) has several consistency problems, mostly regarding the relative religiosity of this nominally secular family. One theme seems to be frustration with those who didn’t fight back against overwhelming odds, which makes for a confusing judgment on the suffering child protagonists.
Stands out neither as a folk-tale retelling, a coming-of-age story, nor a Holocaust novel. (author’s note) (Historical fiction. 12-14)Pub Date: March 6, 2018
ISBN: 978-0-399-25778-0
Page Count: 432
Publisher: Philomel
Review Posted Online: Dec. 20, 2017
Kirkus Reviews Issue: Jan. 15, 2018
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