Here’s a Holstein who makes a fetching subject for Lundquist’s camera, though this easy-reading portrait of a dairy farm’s “four-footed factory” leaves the boundary between fact and invention a little vague. Never explaining why Clarabelle has a name when her 1,200 herdmates evidently don’t, the author joins her as she gives birth (offstage), then disappears while her calf—seen in an obviously posed shot—is fed “first milk” from a bottle by two farm lads. Off she trundles to the milking center, and afterward back to the manger, where she stands on bedding made from her own processed dung and feeds on a mix of silage that may be “tossed like a garden salad,” but certainly doesn’t look like one. Along with tallying the many products made from Clarabelle’s milk and manure (methane from the latter even powers an electrical generator) and explaining with tantalizing brevity how a few of them are made, Peterson introduces some members of the farm’s owning family. Younger readers may get a clearer picture of how a dairy farm works from Gail Gibbons’s The Milk Makers (1985) or Aliki’s Milk from Cow to Carton (1992), but this provides a more personal view of the enterprise. (Nonfiction. 7-9)
Pub Date: Oct. 1, 2007
ISBN: 978-1-59078-310-8
Page Count: 32
Publisher: Boyds Mills
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2007
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look...
Winning actually isn’t everything, as jazz-happy Rooster learns when he goes up against the legendary likes of Mules Davis and Ella Finchgerald at the barnyard talent show.
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look good—particularly after his “ ‘Hen from Ipanema’ [makes] / the barnyard chickies swoon.”—but in the end the competition is just too stiff. No matter: A compliment from cool Mules and the conviction that he still has the world’s best band soon puts the strut back in his stride. Alexander’s versifying isn’t always in tune (“So, he went to see his cousin, / a pianist of great fame…”), and despite his moniker Rooster plays an electric bass in Bower’s canted country scenes. Children are unlikely to get most of the jokes liberally sprinkled through the text, of course, so the adults sharing it with them should be ready to consult the backmatter, which consists of closing notes on jazz’s instruments, history and best-known musicians.Pub Date: Sept. 1, 2011
ISBN: 978-1-58536-688-0
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
Strong rhythms and occasional full or partial rhymes give this account of P.T. Barnum’s 1884 elephant parade across the newly opened Brooklyn Bridge an incantatory tone. Catching a whiff of public concern about the new bridge’s sturdiness, Barnum seizes the moment: “’I will stage an event / that will calm every fear, erase every worry, / about that remarkable bridge. / My display will amuse, inform / and astound some. / Or else my name isn’t Barnum!’” Using a rich palette of glowing golds and browns, Roca imbues the pachyderms with a calm solidity, sending them ambling past equally solid-looking buildings and over a truly monumental bridge—which soars over a striped Big Top tent in the final scene. A stately rendition of the episode, less exuberant, but also less fictionalized, than Phil Bildner’s Twenty-One Elephants (2004), illustrated by LeUyen Pham. (author’s note, resource list) (Picture book. 7-9)
Pub Date: Sept. 26, 2005
ISBN: 0-618-44887-X
Page Count: 32
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2005
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