When the 'marvelous misadventures' in the 18th century mode take on the aspect of a soulful Dance of Death, the fabric is rent; but stay—the telling tells all. How Fourth Fiddler Sebastian, coming afoul of his pomposity The Purse, is turned out, the least clumsiness being deemed devious in Regent Grinssorg's realm; how he saves himself and a blue-eyed white cat from a most unMerry Host, loses his fiddle and almost his freedom, and finds a friend whose name of Nicholas is not the whole of it; and most marvelously "How Sebastian Misjudged His Opponent" who changes in a trice from pugnacious fellow traveler to shrinking runaway apprentice to fugitive servant-girl to fancy-spoken Princess Isabel of Hamelin-Loring—recently betrothed to the Regent. Therein of course lies the tale, lacking only the clown Lelio's "accursed" fiddle (uncovered by Presto the cat at Quicksilver's Gallimaufry-Theatricus) to play out the theme. For in the hazardous course of thwarting the Princess' recapture—and divesting her of illusions about royal beneficence as well as her regal speech—the violin makes Sebastian its instrument, and he surpasses himself: is he not a mere fiddler but a true musician? The violin mesmerizes its hearers also, and providentially dances Grinssorg to his death before Presto shatters it, saving Sebastian from a like fate. Princess Isabel will be a constitutional monarch with Nicholas, otherwise Captain Freeling the legendary rebel, as First Minister until she abdicates all power and marries Sebastian—who meanwhile sets out to become "a noble among fiddlers, not a fiddler among nobles." Well put, and better to linger on than whether "make-believe and moonshine" are "the truth—as they might be." Especially since make-believe and moonshine are the making of The Misadventures.
Pub Date: Sept. 25, 1970
ISBN: 0440405491
Page Count: 224
Publisher: Dutton
Review Posted Online: Oct. 27, 2011
Kirkus Reviews Issue: Sept. 1, 1970
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A hymn to the intrinsic loveliness of the wild and the possibility of sharing it.
What happens when a robot washes up alone on an island?
“Everything was just right on the island.” Brown beautifully re-creates the first days of Roz, the protagonist of his Wild Robot novels, as she adapts to living in the natural world. A storm-tossed ship, seen in the opening just before the title page, and a packing crate are the only other human-made objects to appear in this close-up look at the robot and her new home. Roz emerges from the crate, and her first thought as she sets off up a grassy hill—”This must be where I belong”—is sweetly glorious, a note of recognition rather than conquest. Roz learns to move, hide, and communicate like the creatures she meets. When she discovers an orphaned egg—and the gosling Brightbill, who eventually hatches—her decision to be his mother seems a natural extension of her adaptation. Once he flies south for the winter, her quiet wait across seasons for his return is a poignant portrayal of separation and change. Brown’s clean, precise lines and deep, light-filled colors offer a sense of what Roz might be seeing, suggesting a place that is alive yet deeply serene and radiant. Though the book stands alone, it adds an immensely appealing dimension to Roz’s world. Round thumbnails offer charming peeks into the island world, depicting Roz’s animal neighbors and Brightbill’s maturation.
A hymn to the intrinsic loveliness of the wild and the possibility of sharing it. (author’s note) (Picture book. 3-6)Pub Date: June 24, 2025
ISBN: 9780316669467
Page Count: 48
Publisher: Little, Brown
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
Rich and strange (and kitted out with an eye-catching cover), but stronger in the set pieces than the internal logic.
Chainani works an elaborate sea change akin to Gregory Maguire’s Wicked (1995), though he leaves the waters muddied.
Every four years, two children, one regarded as particularly nice and the other particularly nasty, are snatched from the village of Gavaldon by the shadowy School Master to attend the divided titular school. Those who survive to graduate become major or minor characters in fairy tales. When it happens to sweet, Disney princess–like Sophie and her friend Agatha, plain of features, sour of disposition and low of self-esteem, they are both horrified to discover that they’ve been dropped not where they expect but at Evil and at Good respectively. Gradually—too gradually, as the author strings out hundreds of pages of Hogwarts-style pranks, classroom mishaps and competitions both academic and romantic—it becomes clear that the placement wasn’t a mistake at all. Growing into their true natures amid revelations and marked physical changes, the two spark escalating rivalry between the wings of the school. This leads up to a vicious climactic fight that sees Good and Evil repeatedly switching sides. At this point, readers are likely to feel suddenly left behind, as, thanks to summary deus ex machina resolutions, everything turns out swell(ish).
Rich and strange (and kitted out with an eye-catching cover), but stronger in the set pieces than the internal logic. (Fantasy. 11-13)Pub Date: May 14, 2013
ISBN: 978-0-06-210489-2
Page Count: 496
Publisher: Harper/HarperCollins
Review Posted Online: Feb. 12, 2013
Kirkus Reviews Issue: April 15, 2013
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
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