THE MISADVENTURES OF DON QUIXOTE

Name: THE MISADVENTURES OF DON QUIXOTE
Author: Tom Lathrop
ISBN: 978-0-94256658-1

retold by Tom Lathrop illustrated by Jack Davis ‧ RELEASE DATE: July 4, 2012

Cramped page design aside, an appealing first exposure for younger readers that highlights the story’s comedy over its...

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An abbreviated version of the best-ever cautionary tale about the hazards of reading too much (among other things), played for laughs and matched to comical caricatures for illustrations.

Lathrop covers a select few of the original’s high spots in his plainly told paraphrase. Looking hilariously lanky and cross-eyed in Davis’ loosely drawn and colored cartoons, the bookish Don sets out in too-small armor to seek knightly glory. He chooses an oblivious peasant girl as his Dulcinea (“because dulce means ‘sweet’ in Spanish,” the reteller helpfully notes) and mounts Rocinante (“rocín means ‘old nag,’ and ante means ‘before,’ signifying that his horse used to be an old nag but wasn’t one anymore”). With his wise fool neighbor, Sancho Panza, as witness, he charges off to battle a windmill, a herd of sheep, a hapless wineskin and a cage of sleepy lions. Though buck-toothed and dopey of aspect, Sancho Panza gets his own chance to shine as he earns a bag of gold escudos judging several legal cases before Quixote is at last unhorsed by a concerned friend and agrees to take a year off from questing.

Cramped page design aside, an appealing first exposure for younger readers that highlights the story’s comedy over its satire and sentiment. (Picture book. 6-8)

Pub Date: July 4, 2012

ISBN: 978-0-94256658-1

Page Count: 32

Publisher: LinguaText

Review Posted Online: May 29, 2012

Kirkus Reviews Issue: June 15, 2012

Categories:

CHILDREN'S GENERAL CHILDREN'S

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THE GIRL WHO LOVED WILD HORSES

by Paul Goble ‧ RELEASE DATE: Aug. 1, 1978

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There are many parallel legends – the seal women, for example, with their strange sad longings – but none is more direct than this American Indian story of a girl who is carried away in a horses’ stampede…to ride thenceforth by the side of a beautiful stallion who leads the wild horses. The girl had always loved horses, and seemed to understand them “in a special way”; a year after her disappearance her people find her riding beside the stallion, calf in tow, and take her home despite his strong resistance. But she is unhappy and returns to the stallion; after that, a beautiful mare is seen riding always beside him. Goble tells the story soberly, allowing it to settle, to find its own level. The illustrations are in the familiar striking Goble style, but softened out here and there with masses of flowers and foliage – suitable perhaps for the switch in subject matter from war to love, but we miss the spanking clean design of Custer’s Last Battle and The Fetterman Fight. 6-7

Pub Date: Aug. 1, 1978

ISBN: 0689845049

Page Count: -

Publisher: Bradbury

Review Posted Online: April 26, 2012

Kirkus Reviews Issue: Sept. 1, 1978

Categories:

CHILDREN'S GENERAL CHILDREN'S

- BOOK REVIEW
RED CLOUD'S WAR
by Paul Goble ; illustrated by Paul Goble ; introduction by Robert Lewis

- BOOK REVIEW
ALL OUR RELATIVES
by Paul Goble & illustrated by Paul Goble

- BOOK REVIEW
SONG OF CREATION
by Paul Goble & illustrated by Paul Goble

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THOSE BUILDING MEN

by Angela Johnson & illustrated by Barry Moser ‧ RELEASE DATE: Feb. 1, 2001

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Vague text and anemic pictures make this at best a half-hearted tribute to the construction workers of the last century or so. In her brief, poetic text Johnson writes of “those shadowy building men . . . moving the earth to connect water,” of “railroad workers . . . who were there to connect all.” She continues: “As buildings tower above us / they tell the tales / of the cities . . . They whisper down past it all and say, / ‘They built us, your fathers . . .’ ” There is little here to engage child readers, either intellectually or emotionally, and Moser’s remote, indistinct portraits of ordinary-looking men (only men) dressed in sturdy working clothes and, mostly, at rest, only intermittently capture any sense of individual or collective effort. In evident recognition of these inadequacies, a prose afterword has been added to explain what the book is about—a superfluous feature had Moser and Johnson produced work up to their usual standards. Let readers spend time more profitably with the likes of John Henry or Mike Mulligan. (Picture book. 6-8)