GREEN BOY

An environmental message overwhelms the plot in this disappointing time-travel story. Twelve-year-old narrator Trey lives in the Bahamas with his grandparents and seven-year-old brother Lou, who has undiagnosed seizures and never talks. When the brothers’ favorite island spot, Long Pond Cay, is slated to become a major resort, their grandfather protests with no success against the developers, who retaliate by secretly destroying his boats. Intensifying the evil of the developers’ side of the issue, Trey’s negligent father appears as a worker for the developer and threatens to take Trey from his grandparents. In the midst of these disputes, Trey and Lou are mysteriously transported to a city in the future, an environmental horror with no stars, fresh air, or open land. During several trips through time, Lou plays a key part in the future world’s survival, in a strange meeting with Gaia, Mother Earth herself, and an even stranger scene in which Lou takes on a mythological role. While Cooper (King of Shadows, 1999, etc.) writes movingly about the beauty of the Bahamas and earnestly about her concerns for the future, she misses the mark here as a storyteller. The present and future worlds aren’t meaningfully connected nor do the Celtic mythological references fit the surroundings. The issue of the resort is all too easily resolved; the narrator veers into an adult voice in places; and Lou comes across not as a credible seven-year-old but as a literary device. (Fiction. 9-12)

Pub Date: March 1, 2001

ISBN: 0-689-84751-3

Page Count: 208

Publisher: McElderry

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2002

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However the compelling fitness of theme and event and the apt but unexpected imagery (the opening sentences compare the...

TUCK EVERLASTING

At a time when death has become an acceptable, even voguish subject in children's fiction, Natalie Babbitt comes through with a stylistic gem about living forever. 

Protected Winnie, the ten-year-old heroine, is not immortal, but when she comes upon young Jesse Tuck drinking from a secret spring in her parents' woods, she finds herself involved with a family who, having innocently drunk the same water some 87 years earlier, haven't aged a moment since. Though the mood is delicate, there is no lack of action, with the Tucks (previously suspected of witchcraft) now pursued for kidnapping Winnie; Mae Tuck, the middle aged mother, striking and killing a stranger who is onto their secret and would sell the water; and Winnie taking Mae's place in prison so that the Tucks can get away before she is hanged from the neck until....? Though Babbitt makes the family a sad one, most of their reasons for discontent are circumstantial and there isn't a great deal of wisdom to be gleaned from their fate or Winnie's decision not to share it. 

However the compelling fitness of theme and event and the apt but unexpected imagery (the opening sentences compare the first week in August when this takes place to "the highest seat of a Ferris wheel when it pauses in its turning") help to justify the extravagant early assertion that had the secret about to be revealed been known at the time of the action, the very earth "would have trembled on its axis like a beetle on a pin." (Fantasy. 9-11)

Pub Date: Nov. 1, 1975

ISBN: 0312369816

Page Count: 164

Publisher: Farrar, Straus and Giroux

Review Posted Online: April 13, 2012

Kirkus Reviews Issue: Nov. 1, 1975

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Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister:...

CORALINE

A magnificently creepy fantasy pits a bright, bored little girl against a soul-eating horror that inhabits the reality right next door.

Coraline’s parents are loving, but really too busy to play with her, so she amuses herself by exploring her family’s new flat. A drawing-room door that opens onto a brick wall becomes a natural magnet for the curious little girl, and she is only half-surprised when, one day, the door opens onto a hallway and Coraline finds herself in a skewed mirror of her own flat, complete with skewed, button-eyed versions of her own parents. This is Gaiman’s (American Gods, 2001, etc.) first novel for children, and the author of the Sandman graphic novels here shows a sure sense of a child’s fears—and the child’s ability to overcome those fears. “I will be brave,” thinks Coraline. “No, I am brave.” When Coraline realizes that her other mother has not only stolen her real parents but has also stolen the souls of other children before her, she resolves to free her parents and to find the lost souls by matching her wits against the not-mother. The narrative hews closely to a child’s-eye perspective: Coraline never really tries to understand what has happened or to fathom the nature of the other mother; she simply focuses on getting her parents back and thwarting the other mother for good. Her ability to accept and cope with the surreality of the other flat springs from the child’s ability to accept, without question, the eccentricity and arbitrariness of her own—and every child’s own—reality. As Coraline’s quest picks up its pace, the parallel world she finds herself trapped in grows ever more monstrous, generating some deliciously eerie descriptive writing.

Not for the faint-hearted—who are mostly adults anyway—but for stouthearted kids who love a brush with the sinister: Coraline is spot on. (Fiction. 9-12)

Pub Date: July 1, 2002

ISBN: 0-380-97778-8

Page Count: 176

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 2002

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