SILVERTONGUE

THE STONEHEART TRILOGY BOOK THREE

George and Edie remain admirably stoic heroes, but dry prose inhibits this conclusion’s pace. In a many-layered London, George and Edie are stuck in a timeless moment, the only humans who didn’t disappear when time froze. They’re not alone, though: Spits (metal and stone statues, mostly war figures) fight for good, while Taints (sculptures of non-human creatures) ally with the double-strong force of the dark. The dark has an Ice Devil and the ghoulish Walker, a grisly immortal who kills casually and steals life-forces. George and Edie’s tenacious fighting spirits are especially touching because of their separate histories of emotional loss, but the narration’s verbosity decelerates motion; for example, a falling object is “an angular jagged shape getting bigger with startling rapidity as it spun straight at them,” its speed slowed by description. Battle action and Edie’s nightmares also grind to a trudge. Only Edie’s time-travel views of the Walker torturing her mother move quickly and creepily. Mostly for fans of the livelier second installment. (Fantasy. 10-13)

Pub Date: April 7, 2009

ISBN: 978-1-4231-0179-6

Page Count: 480

Publisher: Disney-Hyperion

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2009

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A bit of envelope-pushing freshens up the formula.

HOCUS POCUS AND THE ALL-NEW SEQUEL

In honor of its 25th anniversary, a Disney Halloween horror/comedy film gets a sequel to go with its original novelization.

Three Salem witches hanged in 1693 for stealing a child’s life force are revived in 1993 when 16-year-old new kid Max completes a spell by lighting a magical candle (which has to be kindled by a virgin to work). Max and dazzling, popular classmate Allison have to keep said witches at bay until dawn to save all of the local children from a similar fate. Fast-forward to 2018: Poppy, daughter of Max and Allison, inadvertently works a spell that sends her parents and an aunt to hell in exchange for the gleeful witches. With help from her best friend, Travis, and classmate Isabella, on whom she has a major crush, Poppy has only hours to keep the weird sisters from working more evil. The witches, each daffier than the last, supply most of the comedy as well as plenty of menace but end up back in the infernal regions. There’s also a talking cat, a talking dog, a gaggle of costumed heroines, and an oblique reference to a certain beloved Halloween movie. Traditional Disney wholesomeness is spiced, not soured, by occasional innuendo and a big twist in the sequel. Poppy and her family are white, while Travis and Isabella are both African-American.

A bit of envelope-pushing freshens up the formula. (Fantasy. 10-15)

Pub Date: July 10, 2018

ISBN: 978-1-368-02003-9

Page Count: 528

Publisher: Freeform/Disney

Review Posted Online: June 17, 2018

Kirkus Reviews Issue: July 1, 2018

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GATHERING BLUE

From the Giver Quartet series , Vol. 2

Lowry returns to the metaphorical future world of her Newbery-winning The Giver (1993) to explore the notion of foul reality disguised as fair. Born with a twisted leg, Kira faces a bleak future after her mother dies suddenly, leaving her without protection. Despite her gift for weaving and embroidery, the village women, led by cruel, scarred Vandara, will certainly drive the lame child into the forest, where the “beasts” killed her father, or so she’s been told. Instead, the Council of Guardians intervenes. In Kira’s village, the ambient sounds of voices raised in anger and children being slapped away as nuisances quiets once a year when the Singer, with his intricately carved staff and elaborately embroidered robe, recites the tale of humanity’s multiple rises and falls. The Guardians ask Kira to repair worn historical scenes on the Singer’s robe and promise her the panels that have been left undecorated. Comfortably housed with two other young orphans—Thomas, a brilliant wood-carver working on the Singer’s staff, and tiny Jo, who sings with an angel’s voice—Kira gradually realizes that their apparent freedom is illusory, that their creative gifts are being harnessed to the Guardians’ agenda. And she begins to wonder about the deaths of her parents and those of her companions—especially after the seemingly hale old woman who is teaching her to dye expires the day after telling her there really are no beasts in the woods. The true nature of her society becomes horribly clear when the Singer appears for his annual performance with chained, bloody ankles, followed by Kira’s long-lost father, who, it turns out, was blinded and left for dead by a Guardian. Next to the vividly rendered supporting cast, the gentle, kindhearted Kira seems rather colorless, though by electing at the end to pit her artistic gift against the status quo instead of fleeing, she does display some inner stuff. Readers will find plenty of material for thought and discussion here, plus a touch of magic and a tantalizing hint (stay sharp, or you’ll miss it) about the previous book’s famously ambiguous ending. A top writer, in top form. (author’s note) (Fiction. 11-13)

Pub Date: Sept. 1, 2000

ISBN: 0-618-05581-9

Page Count: 224

Publisher: Houghton Mifflin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 2000

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