A charming tale about deceit’s tangled web with textured, kinetic illustrations.
In this illustrated children’s book, a young osprey has an ethical dilemma.
In his debut novel, Oscar the Osprey: The Bird Who Was Afraid of Heights (2015), Polansky introduced his avian title character and explained how he dealt with his fear of heights. Oscar also bravely stayed at Jenny Lake for the winter while his flock migrated south, a feat that has transformed him from outcast to hero. But what only Oscar and the timber wolves know is that he actually found a safe spot a short distance from the lake, returning to it just before his flock flew north. The idea that a lie doesn’t matter if it doesn’t hurt anyone (voiced by a bear) seems plausible. But Oscar’s brother Otto, upset that he’s lost his leadership position among the young ospreys to Oscar, nearly drowns when he tries to prove himself by attempting to catch a strong and wily trout. And if ospreys believe the wolf leader’s self-serving claim that Oscar’s feat was easy, and “it would be a great idea if all you ospreys stayed through the winter,” the results could be disastrous. Oscar summons his courage and meets with the elders to tell the truth. In the end, Oscar understands that being honest is more important than heroism. Polansky lays out the complications of Oscar’s conundrum well; it’s not quite as simple as lie versus truth, especially in light of Oscar’s history of being ostracized for fear of heights. Young readers will appreciate the elders’ compassionate response. In a few cases, however, Polansky misrepresents ospreys for the sake of his fable. The birds rarely form large flocks in winter, for example. Also, it’s unfortunate to replicate human sexism in Otto’s comment that his sister Oprah is “no competition….She was just a girl.” (Female ospreys are generally larger than males.) The story is bolstered by Rosow’s black-and-white ink illustrations. Expressive and scribbly, as when a tangled cloud of frustration overhangs Oscar, these are somewhat reminiscent of Jules Feiffer’s work, but with more compact line work and an original flair.
A charming tale about deceit’s tangled web with textured, kinetic illustrations.Pub Date: March 5, 2019
ISBN: 978-1-72830-112-9
Page Count: 48
Publisher: AuthorHouse
Review Posted Online: July 10, 2019
Review Program: Kirkus Indie
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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