Moving, though more about the disaster itself than its human cost.
In first-person free verse, Johnstown, Pennsylvania, residents comment on their lives and dreams before and after the catastrophic flood of 1889.
The six main voices in the cast are younger than those in Jame Richards’ similarly versified account, Three Rivers Rising (2010)—at least until the aftermath, when Andrew Carnegie and other members of the South Fork Fishing and Hunting Club, two survivors who unsuccessfully sued them for damages, Red Cross founder Clara Barton, and, most poignantly, unidentified (but perhaps previously met) victims chime in. Burg invents some characters, but everyone given a first and last name is historical, and she takes such pains to describe the flood’s direct causes and actual events in the poems that her appended note seems superfluous. The expressed feelings and words are all her own, though, and if most of the speakers sound more like mouthpieces than distinct individuals, both the intensity of the tragedy and a sense of outrage that the negligent parties escaped punishment come through clearly. Except for the personified river’s contributions, which are nature notes cast into solemn, italicized streams of one- to three-word lines, everyone’s mildly elevated language and cadence sound so much alike that without the identifying labels it’s hard to tell one from another. Still, readers will come away with a clear idea of the flood’s causes, perpetrators, and shocking toll. An absence of descriptors points to a White default.
Moving, though more about the disaster itself than its human cost. (Verse historical fiction. 11-13)Pub Date: Oct. 6, 2020
ISBN: 978-1-338-54069-7
Page Count: 336
Publisher: Scholastic
Review Posted Online: Aug. 17, 2020
Kirkus Reviews Issue: Sept. 1, 2020
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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BOOK TO SCREEN
Ultimately more than a little full of itself, but well-stocked with big themes, inventively spun fairy-tale tropes, and...
Good has won every fairy-tale contest with Evil for centuries, but a dark sorcerer’s scheme to turn the tables comes to fruition in this ponderous closer.
Broadening conflict swirls around frenemies Agatha and Sophie as the latter joins rejuvenated School Master Rafal, who has dispatched an army of villains from Capt. Hook to various evil stepmothers to take stabs (literally) at changing the ends of their stories. Meanwhile, amid a general slaughter of dwarves and billy goats, Agatha and her rigid but educable true love, Tedros, flee for protection to the League of Thirteen. This turns out to be a company of geriatric versions of characters, from Hansel and Gretel (in wheelchairs) to fat and shrewish Cinderella, led by an enigmatic Merlin. As the tale moves slowly toward climactic battles and choices, Chainani further lightens the load by stuffing it with memes ranging from a magic ring that must be destroyed and a “maleficent” gown for Sophie to this oddly familiar line: “Of all the tales in all the kingdoms in all the Woods, you had to walk into mine.” Rafal’s plan turns out to be an attempt to prove that love can be twisted into an instrument of Evil. Though the proposition eventually founders on the twin rocks of true friendship and family ties, talk of “balance” in the aftermath at least promises to give Evil a fighting chance in future fairy tales. Bruno’s polished vignettes at each chapter’s head and elsewhere add sophisticated visual notes.
Ultimately more than a little full of itself, but well-stocked with big themes, inventively spun fairy-tale tropes, and flashes of hilarity. (Fantasy. 11-13)Pub Date: July 21, 2015
ISBN: 978-0-06-210495-3
Page Count: 672
Publisher: Harper/HarperCollins
Review Posted Online: June 25, 2015
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