Just a bit of well-armed fun, more suitable formatwise for a gift than classroom or library shelves.

READ REVIEW

MAISY'S CASTLE

A relatively sturdy pullout castle with a die-cut drawbridge and a dragon in the cellar serves as playscape for punch-out figures of medieval Maisy and her friends.

The dramatic main event follows a perfunctory scenario in which Maisy welcomes “Sir Charley” the crocodile and others to a bit of archery practice, then dons armor to win a friendly joust “by one point.” Even toddlers-at-arms (with minimal assistance from a yeoparent) can follow the easy instructions to set up the castle and brace it. The card-stock punch-outs include four characters in period dress, two rideable destriers and, oddly, a cannon. These can be stored in an accompanying pocket when not in use—or even dispensed with entirely, as the castle is not only festooned with busy guards and other residents, but there is lots of (literal) monkey business going on. Along with sending Maisy further from her customary domestic settings than usual, this outing features a possibly discomfiting quantity of weaponry—none seen actually in use, but still adding an unusually martial note to a series that generally promotes more peaceful pursuits.

Just a bit of well-armed fun, more suitable formatwise for a gift than classroom or library shelves. (Novelty. 5-7)

Pub Date: Sept. 1, 2014

ISBN: 978-0-7636-7438-0

Page Count: 10

Publisher: Candlewick

Review Posted Online: Oct. 15, 2014

Kirkus Reviews Issue: Dec. 1, 2014

Did you like this book?

No Comments Yet

This reimagined telling has an engaging charm that rings true.

KAFKA AND THE DOLL

An imagining of an unlikely real-life episode in the life of absurdist Franz Kafka.

Theule follows the outline of the account: When Kafka meets an unhappy girl in a Berlin park in 1923 and learns her doll is lost, Kafka writes a series of letters from Soupsy, the doll, to Irma, the girl. The real letters and the girl’s identity have been lost to history; the invented letters describe a dazzling variety of adventures for Soupsy. Unfortunately, as the letters increase in excitement, Kafka’s health declines (he would die of tuberculosis in June 1924), and he must find a way to end Soupsy’s adventures in a positive way. In an author’s note, readers learn that Kafka chose to write that Soupsy was getting married. Theule instead opts to send the doll on an Antarctic expedition. Irma gets the message that she can do anything, and the final image shows her riding a camel, a copy of Metamorphosis peeking from a satchel. While kids may not care about Kafka, the short relationship between the writer and the little girl will keep their interest. Realizing that an adult can care so much about a child met in the park is empowering. The stylized illustrations, especially those set in the chilly Berlin fall, resemble woodcuts with a German expressionist look. The doll’s adventures look a little sweeter, with more red and blue added to the brown palette of the German scenes. (This book was reviewed digitally with 10.5-by-17-inch double-page spreads viewed at 23% of actual size.)

This reimagined telling has an engaging charm that rings true. (biographical note, bibliography) (Picture book. 5-7)

Pub Date: March 9, 2021

ISBN: 978-0-593-11632-6

Page Count: 48

Publisher: Viking

Review Posted Online: Dec. 25, 2020

Kirkus Reviews Issue: Jan. 15, 2021

Did you like this book?

No Comments Yet

An upbeat introduction to the scrappy origins of a little-known bit of American musical history.

STALEBREAD CHARLIE AND THE RAZZY DAZZY SPASM BAND

Drawing from the little that’s known about Emile “Stalebread Charlie” Lacoume, Mahin presents a fictionalized story about the homeless New Orleanian boys who innovated “spasm band” music, considered one of jazz’s precursors.

In 1895, Stalebread and pal Warm Gravy, both white, live in Storyville, which “smelled like trash and looked like trouble.” The boys steal to eat, constantly dodging the coppers. Hearing a trio playing one night, Stalebread hatches an idea. “Gravy! We’ll start a band. We’ll never be hungry again!” With an old stovepipe to sing through and a pebble-filled can to shake, the boys debut their rhythms—to the neighborhood’s general disdain. “No one liked their music. Not even the alley cats.” A boy called Cajun (the band’s sole kid of color) joins up with his “comb-made kazoo.” Pennywhistler Monk is next, followed by kids on washboard, spoons, and cigar-box fiddle. Though more often chased off than cheered, the boys’ luck finally turns when they bravely improvise for patrons at Mac’s Restaurant and Saloon. Mahin’s jaunty narrative uses occasional rhyme, and onomatopoeic words scroll through in arcing display type. Illustrator Tate’s note mentions finding supporting research for his intentional visual diversity: Among the diverse denizens of Storyville, he depicts a black cop. The text ends abruptly, but Mahin’s note adds lively details.

An upbeat introduction to the scrappy origins of a little-known bit of American musical history. (craft activity) (Picture book. 5-7)

Pub Date: July 10, 2018

ISBN: 978-0-547-94201-8

Page Count: 40

Publisher: Clarion

Review Posted Online: April 16, 2018

Kirkus Reviews Issue: May 1, 2018

Did you like this book?

No Comments Yet
more