Vignettes from the lives of the kids on Bertram's bus—the ``fruit cake bus'' to a special British school. Regardless of their problems (speechless noises, slobbering, incontinence, seizures), these physically and intellectually limited individuals are vibrantly alive. Rebecca's family loves her, but she's shelved when social pressure hits; some kids are lucky enough to have supportive parents; others are quietly despised at home—or suffocated: e.g., inarticulate Micky, ``sitting like an egg in my wheelchair,'' has an overprotective mum who denies him the chance to go to a special college, his only hope of achieving independence. His thoughts, at least, are eloquent: ``I am enslaved to her care...the ritual dance into which we are both now locked.'' Facing life with a coping sort of logic (and even humor), sensitive to the world and words around them, these children accept handicaps that seem almost insurmountable. We are privileged to be able to listen in on their inner voices, sharing their stories as they occur, and to meet Bertram, the bus driver, who omits from his succinct daily reports the love and humor and respect he feels toward his charges. An attention-holding ``sleeper'' with unusual depth. (Fiction. 8-12)
Pub Date: Nov. 2, 1992
ISBN: 0-8050-2297-X
Page Count: 102
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1992
BOOK REVIEW
BOOK REVIEW
The poem/novel ends with only a trace of hope; there are no pat endings, but a glimpse of beauty wrought from brutal reality.
Billie Jo tells of her life in Oklahoma during the Dust Bowl: Her mother dies after a gruesome accident caused by her father's leaving a bucket of kerosene near the stove; Billie Jo is partially responsible—fully responsible in the eyes of the community—and sustains injuries that seem to bring to a halt her dreams of playing the piano.
Finding a way through her grief is not made easier by her taciturn father, who went on a drinking binge while Billie Joe's mother, not yet dead, begged for water. Told in free-verse poetry of dated entries that span the winter of 1934 to the winter of 1935, this is an unremittingly bleak portrait of one corner of Depression-era life. In Billie Jo, the only character who comes to life, Hesse (The Music of Dolphins, 1996, etc.) presents a hale and determined heroine who confronts unrelenting misery and begins to transcend it.
The poem/novel ends with only a trace of hope; there are no pat endings, but a glimpse of beauty wrought from brutal reality. (Fiction. 9-12)Pub Date: Oct. 1, 1997
ISBN: 978-0-590-36080-7
Page Count: 240
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1997
Ideas abound, but when the focus shifts from Thomas' determination to take the measure of the house (literally and...
Dies Drear? Ohio abolitionist, keeper of a key station on the Underground Railroad, bearer of a hypercharged name that is not even noted as odd. Which is odd: everything else has an elaborate explanation.
Unlike Zeely, Miss Hamilton's haunting first, this creates mystery only to reveal sleight-of-hand, creates a character who's larger than life only to reveal his double. Thirteen-year-old Thomas Small is fascinated, and afraid, of the huge, uncharted house his father, a specialist in Negro Civil War history, has purposefully rented. A strange pair of children, tiny Pesty and husky Mac Darrow, seem to tease him; old bearded Pluto, long-time caretaker and local legend, seems bent on scaring the Smalls away. But how can a lame old man run fast enough to catch Thomas from behind? what do the triangles affixed to their doors signify? who spread a sticky paste of foodstuffs over the kitchen? Pluto, accosted, disappears. . . into a cavern that was Dies Drear's treasure house of decorative art, his solace for the sequestered slaves. But Pluto is not, despite his nickname, the devil; neither is he alone; his actor-son has returned to help him stave off the greedy Darrows and the Smalls, if they should also be hostile to the house, the treasure, the tradition. Pluto as keeper of the flame would be more convincing without his, and his son's, histrionics, and without Pesty as a prodigy cherubim. There are some sharp observations of, and on, the Negro church historically and presently, and an aborted ideological debate regarding use of the Negro heritage.
Ideas abound, but when the focus shifts from Thomas' determination to take the measure of the house (literally and figuratively), the story becomes a charade. (Mystery. 8-12)Pub Date: Sept. 9, 1968
ISBN: 1416914056
Page Count: 260
Publisher: Macmillan
Review Posted Online: Oct. 26, 2011
Kirkus Reviews Issue: Sept. 1, 1968
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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