Dahl's elemental fix on kids' consciousness gets this off to a surefire shivery start, with orphan Sophie, awake st the witching hour, snatched from her bed by a giant hand and carried off to a land of giants clear off the last page of the atlas. But Sophie's kidnapper is really friendly (hence BFG for Big Friendly Giant) and does not eat humans as she had feared, but occupies himself gathering and dispensing dreams. He also expresses himself in a mixed-up, cutesy manner that is simply tiresome. Nearby, however, are nine still-bigger giants who do eat humans ("I is a nice and jumbly giant" but "human beans is like strawbunkles and cream to those giants," says the BFG)—and it's to protect the world from them that Sophie and the BFG hatch a scheme: He will mix a dream from his collection and send it to the Queen of England to apprise her of the threat; then, when she awakens, Sophie will be on her windowsill, and the BFG waiting in the garden, to convince her that the dream is true. And so it is that we find Sophie and the BFG breakfasting with Her Majesty . . . and the BFG violating all decorum, even to letting fly a glumptious whizzpopper (kids would call it a fart). Nevertheless the Queen is impressed and sends off her military men, who, under the BFG's direction, rope the sleeping giants and haul them back by helicopter to be imprisoned in a giant pit. This is all told in Dahl's higgledy-piggledy home-made manner, which is rarely disarming here despite the pandering. And it's hard to find the bumble-tongued BFG endearing.
Pub Date: Nov. 1, 1982
ISBN: 0374304696
Page Count: 219
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 16, 2011
Kirkus Reviews Issue: Nov. 1, 1982
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Menacing and most likely to appeal to established fans of its co-creators.
Existing artwork from an artistic giant inspires a fairy-tale reimagination by a master of the horror genre.
In King’s interpretation of a classic Brothers Grimm story, which accompanies set and costume designs that the late Sendak created for a 1997 production of Engelbert Humperdinck’s opera, siblings Hansel and Gretel survive abandonment in the woods and an evil witch’s plot to gobble them up before finding their “happily ever after” alongside their father. Prose with the reassuring cadence of an old-timey tale, paired with Sendak’s instantly recognizable artwork, will lull readers before capitalizing on these creators’ knack for injecting darkness into seemingly safe spaces. Gaping faces loom in crevices of rocks and trees, and a gloomy palette of muted greens and ocher amplify the story’s foreboding tone, while King never sugarcoats the peach-skinned children’s peril. Branches with “clutching fingers” hide “the awful enchanted house” of a “child-stealing witch,” all portrayed in an eclectic mix of spot and full-bleed images. Featuring insults that might strike some as harsh (“idiot,” “fool”), the lengthy, dense text may try young readers’ patience, and the often overwhelmingly ominous mood feels more pitched to adults—particularly those familiar with King and Sendak—but an introduction acknowledges grandparents as a likely audience, and nostalgia may prompt leniency over an occasional disconnect between words and art.
Menacing and most likely to appeal to established fans of its co-creators. (Picture book. 4-8)Pub Date: Sept. 2, 2025
ISBN: 9780062644695
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 15, 2025
A pleasing premise for book lovers.
A fantasy-loving bookworm makes a wonderful, terrible bargain.
When sixth grader Poppy Woodlock’s historic preservationist parents move the family to the Oregon coast to work on the titular stately home, Poppy’s sure she’ll find magic. Indeed, the exiled water nymph in the manor’s ruined swimming pool grants a wish, but: “Magic isn’t free. It cosssts.” The price? Poppy’s favorite book, The Lion, the Witch, and the Wardrobe. In return she receives Sampson, a winged lion cub who is everything Poppy could have hoped for. But she soon learns that the nymph didn’t take just her own physical book—she erased Narnia from Poppy’s world. And it’s just the first loss: Soon, Poppy’s grandmother’s journal’s gone, then The Odyssey, and more. The loss is heartbreaking, but Sampson’s a wonderful companion, particularly as Poppy’s finding middle school a tough adjustment. Hartman’s premise is beguiling—plenty of readers will identify with Poppy, both as a fellow bibliophile and as a kid struggling to adapt. Poppy’s repeatedly expressed faith that unveiling Sampson will bring some sort of vindication wears thin, but that does not detract from the central drama. It’s a pity that the named real-world books Poppy reads are notably lacking in diversity; a story about the power of literature so limited in imagination lets both itself and readers down. Main characters are cued White; there is racial diversity in the supporting cast. Chapters open with atmospheric spot art. (This review has been updated to reflect the final illustrations.)
A pleasing premise for book lovers. (Fantasy. 9-12)Pub Date: May 2, 2023
ISBN: 9780316448222
Page Count: 320
Publisher: Little, Brown
Review Posted Online: Feb. 24, 2023
Kirkus Reviews Issue: March 15, 2023
BOOK REVIEW
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