Molly, 16, is a true original: she sells collages fashioned from pieces of junk that she's juxtaposed to convey a liberal social message; she also goes regularly to a welfare hotel, where she gives the kids art materials and teaches their use with easy camaraderie. The money she makes at her stall in front of New York's Metropolitan Museum comes in handy, but—unlike her mother, a cocktail singer turned piano teacher—Molly's principles make her averse to the idea of a rich boyfriend. Ron, whom she believes to be the son of the housekeeper to the wealthy Spratts, is more her style; in an idyllic getting-acquainted period, the two share likes and opinions on art, politics, the environment, etc., at a rate that may daunt some readers but that isn't unrealistic from intelligent Molly and a Harvard junior. When Molly discovers that Ron is really a Spratt, she's predictably furious; sensibly, Anderson concludes with a partial reconciliation combined with enforced separation: Ron's off to study architecture at the Sorbonne. Along with some suspense about Ron's identity, the story is kept moving through a series of lively scenes, especially with the kids; a classy museum party is also wittily evoked. Some details, like the fearlessness of Molly's midnight search for an orphaned boy in Times Square, are less than plausible, and minor characters are lightly sketched; but Molly herself is vibrant and determined, her story a better-than-average anti-romance. (Fiction. 12-16)
Pub Date: Oct. 1, 1991
ISBN: 0-15-213801-3
Page Count: 202
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1991
Certain to provoke controversy and difficult to see as a book for children, who could easily miss the painful point.
After Hitler appoints Bruno’s father commandant of Auschwitz, Bruno (nine) is unhappy with his new surroundings compared to the luxury of his home in Berlin.
The literal-minded Bruno, with amazingly little political and social awareness, never gains comprehension of the prisoners (all in “striped pajamas”) or the malignant nature of the death camp. He overcomes loneliness and isolation only when he discovers another boy, Shmuel, on the other side of the camp’s fence. For months, the two meet, becoming secret best friends even though they can never play together. Although Bruno’s family corrects him, he childishly calls the camp “Out-With” and the Fuhrer “Fury.” As a literary device, it could be said to be credibly rooted in Bruno’s consistent, guileless characterization, though it’s difficult to believe in reality. The tragic story’s point of view is unique: the corrosive effect of brutality on Nazi family life as seen through the eyes of a naïf. Some will believe that the fable form, in which the illogical may serve the objective of moral instruction, succeeds in Boyne’s narrative; others will believe it was the wrong choice.
Certain to provoke controversy and difficult to see as a book for children, who could easily miss the painful point. (Fiction. 12-14)Pub Date: Sept. 12, 2006
ISBN: 0-385-75106-0
Page Count: 224
Publisher: David Fickling/Random
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2006
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
Despite some missteps, this will appeal to readers who enjoy a fresh and realistic teen voice.
A teenage, not-so-lonely loner endures the wilds of high school in Austin, Texas.
Norris Kaplan, the protagonist of Philippe’s debut novel, is a hypersweaty, uber-snarky black, Haitian, French-Canadian pushing to survive life in his new school. His professor mom’s new tenure-track job transplants Norris mid–school year, and his biting wit and sarcasm are exposed through his cataloging of his new world in a field guide–style burn book. He’s greeted in his new life by an assortment of acquaintances, Liam, who is white and struggling with depression; Maddie, a self-sacrificing white cheerleader with a heart of gold; and Aarti, his Indian-American love interest who offers connection. Norris’ ego, fueled by his insecurities, often gets in the way of meaningful character development. The scenes showcasing his emotional growth are too brief and, despite foreshadowing, the climax falls flat because he still gets incredible personal access to people he’s hurt. A scene where Norris is confronted by his mother for getting drunk and belligerent with a white cop is diluted by his refusal or inability to grasp the severity of the situation and the resultant minor consequences. The humor is spot-on, as is the representation of the black diaspora; the opportunity for broader conversations about other topics is there, however, the uneven buildup of detailed, meaningful exchanges and the glibness of Norris’ voice detract.
Despite some missteps, this will appeal to readers who enjoy a fresh and realistic teen voice. (Fiction. 13-16)Pub Date: Jan. 8, 2019
ISBN: 978-0-06-282411-0
Page Count: 384
Publisher: Balzer + Bray/HarperCollins
Review Posted Online: Oct. 14, 2018
Kirkus Reviews Issue: Nov. 1, 2018
BOOK REVIEW
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