The Golem walks the streets again, in the crafty conjuring of Rogasky (Smoke and Ashes, 1988) and the evocative illustrations of Hyman. The novel, for those expecting a fairy tale, packs plenty of dramatic punch: Rogasky spares none of the blood or violence the Golem wrought in the defense of the Jews and while the stories may be metaphorical, she brackets them against the real politics and living conditions of Jews in 16th-century Prague. According to legend, Rabbi Judah Loew, a wise and loving man, created the Golem to protect his neighbors from the dangers of religious prosecution and the bloodshed of pogroms. The Golem proved his worth, speechlessly warning the Jews not to eat poisoned matzoh on the eve of Passover and dragging wrongdoers to the police station. Eventually, his actions helped force the royal decree that made the blood libel against the Jews illegal. Rogasky's focus on such crimes as the blood libel, which claimed that Jews spilled human blood as part of their worship, lays bare the irrationality and danger of prejudice; however, she offers readers no healing balm that might lead to increased tolerance (save, perhaps, for the cardinal, a friend of the rabbi despite their religious differences, and one of the book's few good Christians). The art- -full-page and spot illustrations in full color—lends not only a sense of place and excitement, but mythic grandeur as well. (Folklore. 8+)
Pub Date: Oct. 15, 1996
ISBN: 0-8234-0964-3
Page Count: 96
Publisher: Holiday House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1996
Wrought with admirable skill—the emptiness and menace underlying this Utopia emerge step by inexorable step: a richly...
In a radical departure from her realistic fiction and comic chronicles of Anastasia, Lowry creates a chilling, tightly controlled future society where all controversy, pain, and choice have been expunged, each childhood year has its privileges and responsibilities, and family members are selected for compatibility.
As Jonas approaches the "Ceremony of Twelve," he wonders what his adult "Assignment" will be. Father, a "Nurturer," cares for "newchildren"; Mother works in the "Department of Justice"; but Jonas's admitted talents suggest no particular calling. In the event, he is named "Receiver," to replace an Elder with a unique function: holding the community's memories—painful, troubling, or prone to lead (like love) to disorder; the Elder ("The Giver") now begins to transfer these memories to Jonas. The process is deeply disturbing; for the first time, Jonas learns about ordinary things like color, the sun, snow, and mountains, as well as love, war, and death: the ceremony known as "release" is revealed to be murder. Horrified, Jonas plots escape to "Elsewhere," a step he believes will return the memories to all the people, but his timing is upset by a decision to release a newchild he has come to love. Ill-equipped, Jonas sets out with the baby on a desperate journey whose enigmatic conclusion resonates with allegory: Jonas may be a Christ figure, but the contrasts here with Christian symbols are also intriguing.
Wrought with admirable skill—the emptiness and menace underlying this Utopia emerge step by inexorable step: a richly provocative novel. (Fiction. 12-16)Pub Date: April 1, 1993
ISBN: 978-0-395-64566-6
Page Count: 208
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1993
In addition to the supernatural elements, Brosgol interweaves some savvy insights about the illusion of perfection and...
A deliciously creepy page-turning gem from first-time writer and illustrator Brosgol finds brooding teenager Anya trying to escape the past—both her own and the ghost haunting her.
Anya feels out of place at her preppy private school; embarrassed by her Russian heritage, she has worked hard to lose her accent and to look more like everyone else. After a particularly frustrating morning at the bus stop, Anya storms off, only to accidentally fall down a well. Down in the dark hole, she meets Emily, a ghost who claims to be a murder victim trapped down in the dank abyss for 90 years. With Emily’s help, Anya manages to escape, though once free, she learns that Emily has traveled out with her. At first, Emily seems like the perfect friend; however, once her motives become clear, Anya learns that “perfect” may only be an illusion. A moodily atmospheric spectrum of grays washes over the clean, tidy panels, setting a distinct stage before the first words appear. Brosgol’s tight storytelling invokes the chilling feeling of Neil Gaiman’s Coraline (2002), though for a decidedly older set.
In addition to the supernatural elements, Brosgol interweaves some savvy insights about the illusion of perfection and outward appearance. (Graphic supernatural fiction. 12 & up)Pub Date: June 7, 2011
ISBN: 978-1-59643-552-0
Page Count: 224
Publisher: First Second
Review Posted Online: April 18, 2011
Kirkus Reviews Issue: May 1, 2011
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