Tessa, 15, has always wished for a different kind of father, perhaps one more like Atticus Finch, the wise figure in To Kill a Mockingbird. Her father, an overworked surgeon, volunteers to go to Vietnam and returns on medical discharge in a fragile mental state. En route to a new job, he and Tess end up at the home of his older, maternalistic sister, Treena, while Tess's mother, a nurse, remains behind to care for a friend who is in her last weeks of a faltering pregnancy. With her concern for her father, Tess juggles more typical teenager interests—her obsession with smooth-talking Caleb, and her friendship with Selina, who believes that Caleb is dangerously untrustworthy. Marino (The Mona Lisa of Salem Street, 1995, etc.) leaves out the atmospheric details of the late 1960s and strains to keep Tess's mother offstage; Tess's point of view is divided between her first- person narration and diary entries, which are often repetitive and occasionally needless. Other aspects of the story fare better: The budding love affair comes to a melodramatic end in which Tess finally sees Caleb for what he is and musters her wits to survive a frightening situation. Despite other dramatic highlights—including the revelation that Caleb, having gotten one of the postulants at a local convent pregnant, is urging her to have an abortion—Tess and Selina are mature and thoughtful characters; through them are imparted astute notions on the nature of friendship. (Fiction. 12-14)
Pub Date: Oct. 1, 1997
ISBN: 0-689-80066-5
Page Count: 183
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1997
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The poster boy for relentless mischief-makers everywhere, first encountered in No, David! (1998), gives his weary mother a rest by going to school. Naturally, he’s tardy, and that’s but the first in a long string of offenses—“Sit down, David! Keep your hands to yourself! PAY ATTENTION!”—that culminates in an afterschool stint. Children will, of course, recognize every line of the text and every one of David’s moves, and although he doesn’t exhibit the larger- than-life quality that made him a tall-tale anti-hero in his first appearance, his round-headed, gap-toothed enthusiasm is still endearing. For all his disruptive behavior, he shows not a trace of malice, and it’ll be easy for readers to want to encourage his further exploits. (Picture book. 5-7)
Pub Date: Sept. 1, 1999
ISBN: 0-590-48087-1
Page Count: 32
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1999
Themes of freedom and responsibility twine between the lines of this short but heavy novel from the author of Because of Winn-Dixie (2000). Three months after his mother's death, Rob and his father are living in a small-town Florida motel, each nursing sharp, private pain. On the same day Rob has two astonishing encounters: first, he stumbles upon a caged tiger in the woods behind the motel; then he meets Sistine, a new classmate responding to her parents' breakup with ready fists and a big chip on her shoulder. About to burst with his secret, Rob confides in Sistine, who instantly declares that the tiger must be freed. As Rob quickly develops a yen for Sistine's company that gives her plenty of emotional leverage, and the keys to the cage almost literally drop into his hands, credible plotting plainly takes a back seat to character delineation here. And both struggle for visibility beneath a wagonload of symbol and metaphor: the real tiger (and the inevitable recitation of Blake's poem); the cage; Rob's dream of Sistine riding away on the beast's back; a mysterious skin condition on Rob's legs that develops after his mother's death; a series of wooden figurines that he whittles; a larger-than-life African-American housekeeper at the motel who dispenses wisdom with nearly every utterance; and the climax itself, which is signaled from the start. It's all so freighted with layers of significance that, like Lois Lowry's Gathering Blue (2000), Anne Mazer's Oxboy (1995), or, further back, Julia Cunningham's Dorp Dead (1965), it becomes more an exercise in analysis than a living, breathing story. Still, the tiger, "burning bright" with magnificent, feral presence, does make an arresting central image. (Fiction. 10-12)
Pub Date: March 1, 2001
ISBN: 0-7636-0911-0
Page Count: 128
Publisher: Candlewick
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2001
BOOK TO SCREEN
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