by Mona Golabek & Lee Cohen ; adapted by Sarah J. Robbins ; illustrated by Olga Ivanov & Aleksey Ivanov ‧ RELEASE DATE: Jan. 12, 2021
This adapted story of a Kindertransport survivor doesn’t hang together.
A young teen goes on the Kindertransport from Austria to England and makes a new life.
Lisa, 14, is studying piano when she must leave Vienna in late 1938 because of the Nazis. She eventually lands in London, living in a Willesden Lane hostel with 32 other young people while she awaits her sister’s arrival. She works in a clothing factory but never forgets her passion for music. Luckily, there is a piano in the hostel, and after learning about auditions for the Royal Academy of Music, Lisa wins a spot. Without parents or money, she eventually makes her debut with the assistance of the Academy and her friends. Only in the epilogue is the sad story of her parents told. This true story was recounted by pianist Golabek—Lisa’s daughter—and Cohen in The Children of Willesden Lane (2003). Adapted by Robbins as a chapter book from Emil Sher’s 2017 young readers’ edition, the text reads like a novel and is punctuated by abundant unsourced and likely fictionalized dialogue, both internal and external. Occasional nonfiction insets offer context but are too cursory to help readers really understand “What is Nazism?” and other topics—though robust backmatter will help those children who avail themselves of it. The faces in the Ivanovs’ black-and-white illustrations feel too jaunty and cartoonlike for this somber topic. The book does, however, effectively portray Lisa’s love for her instrument and her will to live and find her family members.
This adapted story of a Kindertransport survivor doesn’t hang together. (map, photographs, discussion questions, activities, timeline, historical note, resources) (Biography. 8-11)Pub Date: Jan. 12, 2021
ISBN: 978-0-316-46307-2
Page Count: 176
Publisher: Little, Brown
Review Posted Online: Nov. 17, 2020
Kirkus Reviews Issue: Dec. 1, 2020
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by Timothy Tocher & illustrated by Stacy Curtis ‧ RELEASE DATE: Feb. 1, 2011
“Bizarre” barely covers some of the wacky incidents Tocher gathers from baseball history. A trainer inserted a severed ear into “Sweet Lou” Johnson’s abdomen after a bus accident (for temporary safekeeping), and it was never removed. Mets outfielder Joe Christopher was able to move his cap around by wriggling his ears. Ineffective Giants hurler Cliff Melton tipped off batters to his pitches during his delivery because his ears were so big they blocked out the stands behind his head. And that’s just “All Ears,” the first of nine thematic “Innings,” each presented as a set of simply drawn cartoon panels threaded with terse commentary and the occasional punchline. Though a little knowledge of the game will make it easier to appreciate some of these feats and mishaps, even nonfans will wince at the account of a fan who was hit by a foul ball twice during the same at-bat, marvel at the achievements of one-handed pitcher Jim Abbott and laugh at the generally futile attempts to catch balls (or in one messy case, a grapefruit) dropped from the top of the Washington Monument, a passing stunt plane and other high points. An easy pitch, particularly to reluctant or inexpert readers. (Nonfiction browsing item. 9-11)
Pub Date: Feb. 1, 2011
ISBN: 978-0-7614-5813-5
Page Count: 64
Publisher: Marshall Cavendish
Review Posted Online: April 4, 2011
Kirkus Reviews Issue: Jan. 15, 2011
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by Gloria Spielman & illustrated by Manon Gauthier ‧ RELEASE DATE: Sept. 1, 2011
At its best when the emphasis is on the skill and artistry of Mime’s most accomplished practitioner—alas, too much of the...
The legendary mime is introduced to a new generation, though not entirely successfully.
As a child, Marceau loved to silently entertain his friends, like his idol, Charlie Chaplin. During the Nazi occupation of France, Marcel and his brother took on new identities in the French Underground, where they forged documents for Jewish children and helped many to escape to Switzerland. Spielman assumes that her young audience will understand references to deportation and concentration camps; unfortunately for those that don't, her matter-of-fact tone speaks more of adventure than deadly peril. Her tone subtly changes when she lovingly describes Marceau’s training and development as a mime and his stage persona of Bip the clown, admiring his skills in the “art of silence” that won him international renown. But here too, comparisons to the Little Tramp and Pierrot may be outside readers’ frame of reference. Though the illustrations carefully complement the textual content with period details, Gauthier’s cartoon faces are all nearly identical, with only the screen image of Chaplin and Marceau’s Bip having distinctive features. A double-page spread at the conclusion provides photographs of Bip in action and is the only clear indication of Marceau’s stagecraft.
At its best when the emphasis is on the skill and artistry of Mime’s most accomplished practitioner—alas, too much of the book looks elsewhere. (Picture book/biography. 8-10)Pub Date: Sept. 1, 2011
ISBN: 978-0-7613-3961-8
Page Count: 32
Publisher: Kar-Ben
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: Aug. 15, 2011
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by Gloria Spielman ; illustrated by Inbal Gigi Bousidan
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