THE MAIDEN ON THE MOOR

Tangentially inspired by an old English ballad (LC's 398.2 designation is questionable), this tale of a maiden found unconscious on a snowy moor has grand atmosphere but some unresolved mysteries. The maiden, taken in and cared for by a shepherd, awakens and begs the shepherd's smallest dog to slay her; in death she becomes both a goose soaring into the sky and a new maiden. The shepherd, till this moment in despair over the disappearance of the original maiden (whom he has come to love), joyfully welcomes the new one as his life's companion, knowing nothing of the sorcery and shape-shifting. Readers never learn why the goose was imprisoned in human form, nor how she came to be on the moor, nor why she did not confide her plight to the shepherd. Bleak Scottish moors are the background for colored-pencil illustrations in chill tones of gray, buff, and midnight blue, with the maiden rendered in pre-Raphaelite, alabaster beauty. Howell (The Ugly Duckling, Putnam, 1990, etc.) makes fuller use of the original ballad than Singer (Sky Words, Macmillan, 1994, etc.), by working flowers named there into decorative panels and borders. An illuminated initial capital and Celtic interlaces on many pages help establish the mood of antiquity. An adapted version of the ballad appears as a preface. (Picture book. 8-12)

Pub Date: April 1, 1995

ISBN: 0-688-08674-8

Page Count: 40

Publisher: Morrow/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1995

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Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister:...

CORALINE

A magnificently creepy fantasy pits a bright, bored little girl against a soul-eating horror that inhabits the reality right next door.

Coraline’s parents are loving, but really too busy to play with her, so she amuses herself by exploring her family’s new flat. A drawing-room door that opens onto a brick wall becomes a natural magnet for the curious little girl, and she is only half-surprised when, one day, the door opens onto a hallway and Coraline finds herself in a skewed mirror of her own flat, complete with skewed, button-eyed versions of her own parents. This is Gaiman’s (American Gods, 2001, etc.) first novel for children, and the author of the Sandman graphic novels here shows a sure sense of a child’s fears—and the child’s ability to overcome those fears. “I will be brave,” thinks Coraline. “No, I am brave.” When Coraline realizes that her other mother has not only stolen her real parents but has also stolen the souls of other children before her, she resolves to free her parents and to find the lost souls by matching her wits against the not-mother. The narrative hews closely to a child’s-eye perspective: Coraline never really tries to understand what has happened or to fathom the nature of the other mother; she simply focuses on getting her parents back and thwarting the other mother for good. Her ability to accept and cope with the surreality of the other flat springs from the child’s ability to accept, without question, the eccentricity and arbitrariness of her own—and every child’s own—reality. As Coraline’s quest picks up its pace, the parallel world she finds herself trapped in grows ever more monstrous, generating some deliciously eerie descriptive writing.

Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister: Coraline is spot on. (Fiction. 9-12)

Pub Date: July 1, 2002

ISBN: 0-380-97778-8

Page Count: 176

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 2002

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THE COLOR OF MY WORDS

This standout novella lustrously portrays Ana Rosa and the rich simplicity of her family’s daily life in the Dominican Republic. The linked vignettes and elegant prose vitalize the merengue music, colorful houses, as well as the people’s poverty and the tyranny of the government. Each chapter begins with one of Ana Rosa’s lovely rhythmic verses. A poet and writer at age 12, she steals bits of paper to record everything she sees, hears, and imagines. Ana Rosa’s family is very close by necessity, but it is her beloved brother Guario who has the job that supports them. As the novella proceeds, dark shadows begin to slink through the gentle days. We learn that Ana Rosa’s father drinks too much rum and Coke, especially on Sundays, when he becomes a lurching spectacle. Then an official informs the villagers that to build a hotel, the government has sold the land on which their families have lived for generations. The villagers band together, Ana Rosa writes an article, and her brother Guario becomes their passionate leader. But when the day of the standoff arrives, the villager’s words and rocks are nothing against the guardia’s guns and bulldozers. The heartbreaking result is Guario’s death. Without diluting the sorrow, Joseph (Fly, Bessie, Fly, 1998, etc.) illustrates the good arising from the tragedy as the government cancels the hotel project and Ana Rosa begins writing the life of her brother. This is an achingly beautiful story that will awaken profound emotions in the reader. (author’s note) (Fiction. 8-11)

Pub Date: Aug. 31, 2000

ISBN: 0-06-028232-0

Page Count: 144

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2000

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