A refreshingly atypical exercise in waging peace, despite the tired “X vs. Y” scenario.
Argot issues nearly spark a brawl in this addition to the trendy “head-to-head mashup” genre.
These antagonists confront one another not on the base paths as in Mark Summers and Aaron Frisch’s Pirates at the Plate (2012) but on the dusty streets of Old Cheyenne. They square off after noxious Capt. Burnt Beard’s uncharacteristically civil “Be ye knowin’ where we’d be findin’ a fair scrub and a swish?” is greeted with an uncomprehending sneer by Black Bob McKraw and his band of rustlers—themselves “nastier than week-old chili, and twice as gassy.” It seems pirates don’t speak cowboy, and cowboys don’t speak pirate. Happily, the opportune arrival of Pegleg Highnoon, “the world’s only pirate cowboy,” literally clears the air as he insults both gangs in their respective jargons. Having found common ground (“Yes, it was their stench. But it was a start”), all head amicably for the town’s only bathhouse and saloon. Using muddy colors to provide an unwashed look, Barneda pits a scurvy crew of sea creatures led by an octopus against a posse of prairie critters headed up by a scowling bull. All are dressed in occupation-appropriate duds, including Highnoon (a generic-looking reptile presumably intended to be a marine iguana), who sports a mix of iconic gear from peg leg to Stetson.
A refreshingly atypical exercise in waging peace, despite the tired “X vs. Y” scenario. (Picture book. 6-8)Pub Date: March 12, 2013
ISBN: 978-0-375-85874-1
Page Count: 40
Publisher: Knopf
Review Posted Online: Nov. 30, 2012
Kirkus Reviews Issue: Dec. 15, 2012
There are many parallel legends – the seal women, for example, with their strange sad longings – but none is more direct than this American Indian story of a girl who is carried away in a horses’ stampede…to ride thenceforth by the side of a beautiful stallion who leads the wild horses. The girl had always loved horses, and seemed to understand them “in a special way”; a year after her disappearance her people find her riding beside the stallion, calf in tow, and take her home despite his strong resistance. But she is unhappy and returns to the stallion; after that, a beautiful mare is seen riding always beside him. Goble tells the story soberly, allowing it to settle, to find its own level. The illustrations are in the familiar striking Goble style, but softened out here and there with masses of flowers and foliage – suitable perhaps for the switch in subject matter from war to love, but we miss the spanking clean design of Custer’s Last Battle and The Fetterman Fight. 6-7
Pub Date: Aug. 1, 1978
ISBN: 0689845049
Page Count: -
Publisher: Bradbury
Review Posted Online: April 26, 2012
Kirkus Reviews Issue: Sept. 1, 1978
Vague text and anemic pictures make this at best a half-hearted tribute to the construction workers of the last century or so. In her brief, poetic text Johnson writes of “those shadowy building men . . . moving the earth to connect water,” of “railroad workers . . . who were there to connect all.” She continues: “As buildings tower above us / they tell the tales / of the cities . . . They whisper down past it all and say, / ‘They built us, your fathers . . .’ ” There is little here to engage child readers, either intellectually or emotionally, and Moser’s remote, indistinct portraits of ordinary-looking men (only men) dressed in sturdy working clothes and, mostly, at rest, only intermittently capture any sense of individual or collective effort. In evident recognition of these inadequacies, a prose afterword has been added to explain what the book is about—a superfluous feature had Moser and Johnson produced work up to their usual standards. Let readers spend time more profitably with the likes of John Henry or Mike Mulligan. (Picture book. 6-8)
Pub Date: Feb. 1, 2001
ISBN: 0-590-66521-9
Page Count: 32
Publisher: Blue Sky/Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2000
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