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CALL ME AHNIGHITO

Designated fiction by LC, this account of the peregrinations of a Greenland meteorite is based on fact. Robert Peary found three meteorites on an early expedition, shipped them back to New York, and sold them to the American Museum of Natural History. In a highly anthropomorphized first-person treatment, Conrad endows the huge extraterrestrial with sensation and emotion (to be fair, so did Peary in Northward Over the Great Ice, 1898) and tells the story so completely from its point of view that questions go unanswered: What is the meteorite made of?. Why did the "snow people" (the local Inuit) chip pieces from it over hundreds of years? Why did the "new people" (Peary's expedition) labor so mightily over it? What does the name "Ahnighito" mean? Why did the meteorite interfere with the ship's compass? Etcetera. The fuller story of what Ahnighito meant to the Inuit, to Peary, and to the museum is simply not here. Highly textured illustrations feature a somber Arctic palette of grays, browns, and an intense cobalt blue. The bustling New York City scenes are reminiscent of Egielski's work in Yorinks's Oh, Brother (1989). Children may like the pictures better than the story; its appeal is limited by Conrad's choice of narrator. (Picture book. 6-9)

Pub Date: May 30, 1995

ISBN: 0-06-023322-2

Page Count: 32

Publisher: HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 1995

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RAPUNZEL

Rapunzel, Rapunzel, let down your dreads! Isadora once again plies her hand using colorful, textured collages to depict her fourth fairy tale relocated to Africa. The narrative follows the basic story line: Taken by an evil sorceress at birth, Rapunzel is imprisoned in a tower; Rapunzel and the prince “get married” in the tower and she gets pregnant. The sorceress cuts off Rapunzel’s hair and tricks the prince, who throws himself from the tower and is blinded by thorns. The terse ending states: “The prince led Rapunzel and their twins to his kingdom, where they were received with great joy and lived happily every after.” Facial features, clothing, dreadlocks, vultures and the prince riding a zebra convey a generic African setting, but at times, the mixture of patterns and textures obfuscates the scenes. The textile and grain characteristic of the hewn art lacks the elegant romance of Zelinksy’s Caldecott version. Not a first purchase, but useful in comparing renditions to incorporate a multicultural aspect. (Picture book/fairy tale. 6-8)

Pub Date: Oct. 1, 2008

ISBN: 978-0-399-24772-9

Page Count: 32

Publisher: Putnam

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Sept. 1, 2008

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BUBBA, THE COWBOY PRINCE

A FRACTURED TEXAS TALE

A Cinderella parody features the off-the-wall, whang-dang Texas hyperbole of Ketteman (The Year of No More Corn, 1993, etc.) and the insouciance of Warhola, who proves himself only too capable of creating a fairy godcow; that she's so appealingly whimsical makes it easy to accept the classic tale's inversions. The protagonist is Bubba, appropriately downtrodden and overworked by his wicked stepdaddy and loathsome brothers Dwayne and Milton, who spend their days bossing him around. The other half of the happy couple is Miz Lurleen, who owns ``the biggest spread west of the Brazos.'' She craves male companionship to help her work the place, ``and it wouldn't hurt if he was cute as a cow's ear, either.'' There are no surprises in this version except in the hilarious way the premise plays itself out and in Warhola's delightful visual surprises. When Lurleen tracks the bootless Bubba down, ``Dwayne and Milton and their wicked daddy threw chicken fits.'' Bubba and babe, hair as big as a Texas sun, ride off to a life of happy ranching, and readers will be proud to have been along for the courtship. (Picture book/folklore. 6-8)

Pub Date: Nov. 1, 1997

ISBN: 0-590-25506-1

Page Count: 32

Publisher: Scholastic

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 1, 1997

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