THE WARM PLACE

A young giraffe escapes from the zoo and sets out for her African homeland in this antic animal fantasy. Though she can sense which way to go, Ruva knows little of the world, and so is fortunate in her companions: doughty Troll and wise Rodentus, both rats; Nelson, an irascible chameleon; and Jabila, a San Franciscan youth who, amazingly, can still understand the animals' Common Speech. Farmer (of the recent Newbery Honor book, The Ear, the Eye and the Arm, 1994, etc.) throws an array of obstacles before them, from locked doors to the demonic (but stupid) Slope Siblings, a cutthroat band of kidnappers and gun runners. The companions prove equal to every occasion, until trapped (aboard the yacht Apocalypso) in mid-ocean by an infestation of Sargasso Strangleweed; they escape that with the help of the weed's only natural enemy, Gross Green Sea-Going Sargasso Snails. The ending seems sudden—arriving at last in Africa, the friends set Ruva on the road toward home, then split up to find their own ``warm places,'' and, as in her other books, Farmer's distinctive voice and slightly skewed brand of comedy take some getting used to. Fear not, for the Good Guys are strongly individual, the Bad Guys deliciously horrid, and the whole adventure wild and risky. (Fiction. 10-13)

Pub Date: April 1, 1995

ISBN: 0-531-06888-9

Page Count: 152

Publisher: Orchard

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 1995

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THE TIGER RISING

Themes of freedom and responsibility twine between the lines of this short but heavy novel from the author of Because of Winn-Dixie (2000). Three months after his mother's death, Rob and his father are living in a small-town Florida motel, each nursing sharp, private pain. On the same day Rob has two astonishing encounters: first, he stumbles upon a caged tiger in the woods behind the motel; then he meets Sistine, a new classmate responding to her parents' breakup with ready fists and a big chip on her shoulder. About to burst with his secret, Rob confides in Sistine, who instantly declares that the tiger must be freed. As Rob quickly develops a yen for Sistine's company that gives her plenty of emotional leverage, and the keys to the cage almost literally drop into his hands, credible plotting plainly takes a back seat to character delineation here. And both struggle for visibility beneath a wagonload of symbol and metaphor: the real tiger (and the inevitable recitation of Blake's poem); the cage; Rob's dream of Sistine riding away on the beast's back; a mysterious skin condition on Rob's legs that develops after his mother's death; a series of wooden figurines that he whittles; a larger-than-life African-American housekeeper at the motel who dispenses wisdom with nearly every utterance; and the climax itself, which is signaled from the start. It's all so freighted with layers of significance that, like Lois Lowry's Gathering Blue (2000), Anne Mazer's Oxboy (1995), or, further back, Julia Cunningham's Dorp Dead (1965), it becomes more an exercise in analysis than a living, breathing story. Still, the tiger, "burning bright" with magnificent, feral presence, does make an arresting central image. (Fiction. 10-12)

Pub Date: March 1, 2001

ISBN: 0-7636-0911-0

Page Count: 128

Publisher: Candlewick

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2001

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RED-EYED TREE FROG

Bishop’s spectacular photographs of the tiny red-eyed tree frog defeat an incidental text from Cowley (Singing Down the Rain, 1997, etc.). The frog, only two inches long, is enormous in this title; it appears along with other nocturnal residents of the rain forests of Central America, including the iguana, ant, katydid, caterpillar, and moth. In a final section, Cowley explains how small the frog is and aspects of its life cycle. The main text, however, is an afterthought to dramatic events in the photos, e.g., “But the red-eyed tree frog has been asleep all day. It wakes up hungry. What will it eat? Here is an iguana. Frogs do not eat iguanas.” Accompanying an astonishing photograph of the tree frog leaping away from a boa snake are three lines (“The snake flicks its tongue. It tastes frog in the air. Look out, frog!”) that neither advance nor complement the action. The layout employs pale and deep green pages and typeface, and large jewel-like photographs in which green and red dominate. The combination of such visually sophisticated pages and simplistic captions make this a top-heavy, unsatisfying title. (Picture book. 7-9)

Pub Date: March 1, 1999

ISBN: 0-590-87175-7

Page Count: 32

Publisher: Scholastic

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1999

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