THE GIANTS AND THE JONESES

In search of legendary “iggly plops,” Jumbeelia climbs down the “bimplestonk” and finds a lawn mower, a sheep and three children whom she pops into her collector’s bag and takes back to Groil, her giant’s world in the clouds. As the kidnapped “iggly plops,” Collette, Steven and baby Poppy, come to understand their predicament, from Jumbeelia’s harmless first welcoming kiss and delicious French fry, and the eventual signs of growing neglect, their old careless relationship changes and becomes caring. Collette’s deepening introspection and fear grows, as she recognizes in Jumbeelia and herself the symptom of a casual collector: boredom. The plot quickens when Zab, Jumbeelia’s brother, takes control. No longer animated dollhouse toys, in Zab’s grip, they are helpless play-action figures to be tortured, forcing the children to drastic action. An invented Giant language that may entice young readers to the back to decipher the English-sounding picturesque language—or may drive them away—makes coincidence and quick resolutions a little less irritating. This reverse Jack in the Beanstalk feels like—and will be—a children’s movie. (Fiction. 8-10)