The author retells a French legend of the juggler who performs his tricks for the Madonna. In Olofsson’s version, he asks for a meal at a monastery. The Abbott reluctantly allows him in with strict orders for the monks to send him on his way as soon as he finishes his meal. But the monks are fascinated by the jester and ask him to perform. He begins his tricks, and by means of his flute, leads the way to the chapel where he jumps on the high altar and proceeds with the show. The Abbott, who has retired to his study, hears the noise and follows it to the chapel. Furious, he admonishes the monks, when one of them points to the revered picture of the Weeping Madonna above the altar. It is a miracle—for the Madonna is smiling. The Abbott realizes he was wrong and asks the jester to name a favor. The jester asks that anyone who asks for shelter or a meal at the monastery should be welcome, and so it happens. The jester becomes famous as everyone recognizes him for the jester who made the Weeping Madonna smile. The illustrations are stylized to evoke the design of medieval manuscripts and the red, blue, green, and soft yellow colors heighten the effect. The type seems to be handwritten and at times is difficult to read. Interestingly, the illustrations are also reminiscent of the cartoon drawings of Louis Slobodkin. The story is told in an awkward manner with stilted phrases that interrupt the smoothness of the text. There are no notes to identify this as a story based on a French legend. The Little Juggler, illustrated by Barbara Cooney (o.p.), is closest to this version, but her illustrations are more distinguished and she includes a note on the origin of the tale. The Clown of God, by Tomie dePaola (1978), also acknowledges this as a French legend, and in a foreword says that this was the original title by which the tale was known. DePaola’s and Cooney’s versions portray the juggler as a person devoted to the Madonna and he performs his tricks to give honor to her. Perhaps this version, with its emphasis more on generosity than adoration will appeal to a wider audience. (Picture book/folktale. 5-7)
Pub Date: April 5, 2002
ISBN: 91-29-65499-8
Page Count: 28
Publisher: R&S/Farrar, Straus & Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2002
A book of the basic teachings of Buddha, presented through a collection of six classic, simple tales. When a monkey takes refuge from a monsoon in a cave, he happens upon a group of bickering animals—a monkey, lion, turtle, jackal, and dove. Before the fighting becomes too fierce, a small statue of Buddha begins to glow in the darkest corner. To pass the time—and to stop the fighting—wise Buddha spins enlightening stories of tolerance, endurance, sagacity, truthfulness, kindness, and clarity. Buddha recounts his past lives in many forms—from monkey to pigeon to willow tree—to his captive listeners. Such straightforward yet profound tales combine with the art and design for an example of bookmaking that is aesthetically pleasing in every way. Color-washed linoprints cleverly distinguish the stories from the black-and-white narrative frame, while an informative afterword offers brief background detail about Buddha and these six “birth stories” known as Jatakas. (Picture book/folklore. 4-7)
Pub Date: April 8, 1999
ISBN: 0-374-33548-6
Page Count: 40
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1999
A placid story that provides some sense of differences in generations, economics, and geography.
Bevan, a stuffed toy bear, has belonged to many different children over the years.
Starting in a wealthy home around the turn of the 20th century, as one of many toys in a nursery belonging to three children, the bear changes homes many times. The nanny in his original home gives him to her own granddaughter, who lives in a little house before moving to a lighthouse where her father goes to work. When she grows up, she marries a rancher, and the bear goes to her son. As a teen, that boy saves his soda-fountain wages, buys a van with a psychedelic paint job, and explores the U.S. during the 1960s, and the bear dons a hippie outfit. When he falls out of the van, a dog picks him up, and Bevan finds himself living with an artist who marries a musician. Their daughter takes Bevan to summer camp, where he is left behind, ultimately winding up in a thrift store, where a mom buys him for her young daughter, a contemporary little girl who loves him just as much as the other children. Observant viewers will note objects belonging to each era on the windowsill in the latest owner’s room. The first several generations of Bevan’s owners are White, but some characters are people of color, including the newest family. The full-color paintings are softly realistic. (This book was reviewed digitally.)
A placid story that provides some sense of differences in generations, economics, and geography. (Picture book. 5-7)Pub Date: Sept. 15, 2021
ISBN: 978-1-5341-1110-3
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: June 8, 2021
Kirkus Reviews Issue: July 1, 2021
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