Eurocentric, not to mention overly ambitious—but being able to say some variant of “Not so hot” in Belarus, Brazil or any...
With just a bit of practice children will come away from this quick but sweeping linguistic look-see able to exchange greetings and a “How are you doing?” with anyone (almost) anywhere in the world.
Following a dash past language’s origins and families, Webb introduces 21 tongues—literally, as signed languages are clumped with semaphore and other codes in a mop-up chapter at the end. At one double-page spread per language, each is given a thumbnail history, a linguistic map, translations of the numbers one through 10, pronunciation notes and a set of conversational words or phrases from “Hello” to “I’m fine, thank you” or, conversely, “Not so good.” He also tacks on an alphabet (Pinyin for Mandarin Chinese, Devanagari script for Hindi-Urdu) and, in catchall boxes on each spread, comments on scripts, loan words, and one or two distinctive orthographic or grammatical features. Including English, 10 of his selections are European languages, but he also tucks in a few choices from elsewhere such as Quechua and Zulu plus, in passing, samples at least of Esperanto, Klingon and even “Textese,” LOL. Lest he be accused of leaving anything out, the author closes with a glance at various forms of animal communication.
Eurocentric, not to mention overly ambitious—but being able to say some variant of “Not so hot” in Belarus, Brazil or any point between has to count for something. (index) (Nonfiction. 10-13)Pub Date: April 15, 2015
ISBN: 978-1-77147-155-8
Page Count: 64
Publisher: Owlkids Books
Review Posted Online: Feb. 2, 2015
Kirkus Reviews Issue: Feb. 15, 2015
Anemic despite the art and no match in scope or style for Marie Heaney’s Names Upon the Harp, illustrated by P.J. Lynch...
Pretty pictures aren’t enough to compensate for indifferent storytelling in this slender gathering of tales from a former Irish Children’s Laureate.
Readers familiar with the lore should recognize the standard-issue versions of the “Children of Lir” and the tale of Labraid Lorc (here “Labhra” Lorc), a legendary king with horse’s ears. In addition to these, Parkinson presents four tales of beautiful princesses transformed into various animals (and, in one, an ugly hag), plus a cursory account of Cú Chulainn’s exploits up to his wedding. The patchy prose alternates between flights of lyrical description (of, usually, one princess or another) and plain exposition with occasional awkward phrasing: “Gentle Etain got to hear that poor Ailill was very unhappy….” One entry, “The Enchanted Deer,” feels more like a fragment than a full story. There are no source or introductory notes, and rather than being at the front where it would be more immediately helpful, the pronunciation guide is tacked on at the end. The stylized illustrations add lyrical notes of their own with jewel-rich hues and delicately drawn figures, but they sometimes fight with the text. Whelan portrays an “old woman” gathering rushes in the “Land Under Wave” as quite young-looking.
Anemic despite the art and no match in scope or style for Marie Heaney’s Names Upon the Harp, illustrated by P.J. Lynch (2000). (Folk tales. 10-13)Pub Date: Sept. 1, 2013
ISBN: 978-1-84780-140-1
Page Count: 66
Publisher: Frances Lincoln
Review Posted Online: Aug. 13, 2013
Kirkus Reviews Issue: Sept. 1, 2013
Strange and disconcerting.
A retelling of an early-19th-century German satirical play in which royalty, mistaken identity, rebellion and angst all play out in a fairy-tale setting requires leaps of comprehension beyond its intended audience.
Prince Leonce and Princess Lena have never met but share a sense of dissatisfaction with their places in life. When it is decreed that they must marry, they separately attempt to escape their fates. But a chance encounter at an inn results in love at first sight. Meanwhile, back at the castle, the King (Leonce’s father) has prepared for the marriage celebrations, and thanks to the machinations of Leonce’s confidant Valerio, the nuptials proceed with disguises and surprises. Amann reimagines the original work, employing wildly varying language and syntax. There are flowery, esoteric descriptions, metaphoric allusions and contemplative moments, along with comedic pronouncements and some modern twists. Zwerger’s imaginative, watercolor-and-collage illustrations incorporate changing perspectives and are filled with unexpected and delightful touches that shed some light on the confusion inherent in the text. Young readers for whom the work is evidently intended will be more puzzled than intrigued (the publisher is recommending an age range of 4-8). It might be more successful with an older audience that has adult guidance, although many adults will be hard-pressed to explain the call for a workless society at the conclusion.
Strange and disconcerting. (biographical material, bibliography) (Play. 10-12)Pub Date: Dec. 1, 2013
ISBN: 978-0-7358-4141-3
Page Count: 64
Publisher: NorthSouth
Review Posted Online: Oct. 19, 2013
Kirkus Reviews Issue: Nov. 1, 2013
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