A wacky adventure that stands out through highlighting its heroine’s foibles, giving her plenty of room to grow in future...
A tomboy princess wishes to become a knight.
Don’t call her Princess Serena—self-styled Princess Pulverizer is the Royal School of Ladylike Manners’ pre-eminent troublemaker, and she would rather learn to fence than dance. She begs her kingly father to let her attend Knight School. The king—skeptical due to her temperament rather than her gender—will allow it only after she demonstrates knightly virtues. “Even she knew that honor, kindness, and sacrifice weren’t exactly her strong points.” He sends her on a Quest of Kindness, requiring eight good deeds (with proof—the king knows she would cheat if she could). After her first attempt at kindness is a comedic flop, Princess Pulverizer hears of a queen whose jewels have gone missing. She deduces that an ogre must be the culprit and sets off to retrieve the jewels by purposefully getting captured. Getting out isn’t as easy as in, though. Cowardly Knight School dropout Lucas and his friend Dribble, a dragon ostracized because he’d rather cook grilled-cheese sandwiches than terrorize villages, attempt a rescue but with no success—the three outcasts must team up for a gassy escape solution. In the spot illustrations, animator Balistreri plays up the slapstick action and character expressiveness; Princess Pulverizer and her family appear to be white, while Lady Frump and other side characters are depicted with darker skin.
A wacky adventure that stands out through highlighting its heroine’s foibles, giving her plenty of room to grow in future installments. (Fantasy. 6-8)Pub Date: Jan. 16, 2018
ISBN: 978-0-515-15832-8
Page Count: 144
Publisher: Penguin Workshop
Review Posted Online: Oct. 27, 2017
Kirkus Reviews Issue: Nov. 15, 2017
Lovely and evocative, just the thing to spark an interest in the original and its sequels—and the upcoming film sequel, Mary...
Refined, spit-spot–tidy illustrations infuse a spare adaptation of the 1934 classic with proper senses of decorum and wonder.
Novesky leaves out much—the Bird Woman, Adm. Boom, that ethnically problematic world tour, even Mr. and Mrs. Banks—but there’s still plenty going on. Mary Poppins introduces Jane and Michael (their twin younger sibs are mentioned but seem to be left at home throughout) to the Match-Man and the buoyant Mr. Wigg, lets them watch Mrs. Corry and her daughters climb tall ladders to spangle the night sky with gilt stars, and takes them to meet the zoo animals (“Bird and beast, star and stone—we are all one,” says the philosophical bear). At last, when the wind changes, she leaves them with an “Au revoir!” (“Which means, Dear Reader, ‘to meet again.’ ”) Slender and correct, though with dangling forelocks that echo and suggest the sweeping curls of wind that bring her in and carry her away, Mary Poppins takes the role of impresario in Godbout’s theatrically composed scenes, bearing an enigmatic smile throughout but sharing with Jane and Michael (and even the parrot-headed umbrella) an expression of wide-eyed, alert interest as she shepherds them from one marvelous encounter to the next. The Corrys have brown skin; the rest of the cast presents white.
Lovely and evocative, just the thing to spark an interest in the original and its sequels—and the upcoming film sequel, Mary Poppins Returns, which opens in December 2018. (Picture book. 6-8)Pub Date: Oct. 23, 2018
ISBN: 978-1-328-91677-8
Page Count: 32
Publisher: HMH Books
Review Posted Online: Sept. 16, 2018
Kirkus Reviews Issue: Oct. 1, 2018
BOOK REVIEW
A close encounter of the best kind.
Left behind when the space bus departs, a child discovers that the moon isn’t as lifeless as it looks.
While the rest of the space-suited class follows the teacher like ducklings, one laggard carrying crayons and a sketchbook sits down to draw our home planet floating overhead, falls asleep, and wakes to see the bus zooming off. The bright yellow bus, the gaggle of playful field-trippers, and even the dull gray boulders strewn over the equally dull gray lunar surface have a rounded solidity suggestive of Plasticine models in Hare’s wordless but cinematic scenes…as do the rubbery, one-eyed, dull gray creatures (think: those stress-busting dolls with ears that pop out when squeezed) that emerge from the regolith. The mutual shock lasts but a moment before the lunarians eagerly grab the proffered crayons to brighten the bland gray setting with silly designs. The creatures dive into the dust when the bus swoops back down but pop up to exchange goodbye waves with the errant child, who turns out to be an olive-skinned kid with a mop of brown hair last seen drawing one of their new friends with the one crayon—gray, of course—left in the box. Body language is expressive enough in this debut outing to make a verbal narrative superfluous.
A close encounter of the best kind. (Picture book. 6-8)Pub Date: May 14, 2019
ISBN: 978-0-8234-4253-9
Page Count: 40
Publisher: Margaret Ferguson/Holiday House
Review Posted Online: Feb. 5, 2019
Kirkus Reviews Issue: March 1, 2019
BOOK REVIEW
BOOK REVIEW
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