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THE EXPERIMENTS OF DOCTOR VERMIN

Egan (A Mile From Ellington Station, 2001, etc.) ventures onto William Steig territory with an offbeat Halloween tale about a porcine short-order cook discovering the true meaning of courage. When his car breaks down one stormy October night, Sheldon nerves himself to approach a spooky, nearby mansion—and suddenly finds himself strapped to a table, blown up to four times normal size by a cackling mad scientist bent on world domination. Then he’s hurriedly ejected into the dark woods because the mind control part of the transformation doesn’t take. As evil Dr. Vermin can turn himself into an inoffensively small mouse at will, Sheldon is almost discredited when he leads concerned neighbors back to the mansion. But the plucky piggie unmasks the villain in the nick of time, then tests a potion that restores him and other victims to normalcy. In simply drawn settings, Egan poses stubby-limbed human and animal figures with small but expressive facial features that reflect the tongue-in-cheek tone. Like Sylvester, Pearl, Caleb, or, for that matter, Dr. De Soto, Sheldon learns that inner stuff is more important than outer form or size. (Picture book. 6-8)

Pub Date: Sept. 30, 2002

ISBN: 0-618-13224-4

Page Count: 32

Publisher: Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 2002

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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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