Barney and The Piggy are back in this long-awaited, delightfully icky sequel to Interstellar Pig (1995). The aliens have left in pursuit of The Piggy, but Barney still has the Interstellar Pig board game they abandoned in their haste. He’s been playing the game with his new friends: another 16-year-old named Katie, an undergraduate named Matt, and a mysterious stranger named Julian. Barney thinks that the game is no longer dangerous, since the aliens have left Earth. Of course, the real game isn’t over at all. Julian kidnaps Barney, and reveals himself as a giant tapeworm parasite in a dinosaur-like creature with disgusting eating habits. Matt, it seems, is a giant parasitic wasp, who kidnaps Katie. Katie, at least, is actually human. This merry band descends on the planet J’koot in search of The Piggy. J’koot is the home of enormous crabs who reputedly find humans tastiest after slow and painful death (the crabs are distressed by their brutal reputation; in one hysterical scene, they escort their captives to a tastefully decorated spa for “marination therapy” in a pool filled with something like garlic and soy sauce). To complicate matters even further, Barney has a parasite—Madame Toxoplasma Gondii—living in a cyst in his brain; she needs Barney to be eaten by a giant crab in order to complete her lifecycle. Barney’s hilarious adventures are filled with gruesome detail, lovingly described. The presence of a few appealing secondary characters, which Interstellar Pig lacked, gives Barney’s new story freshness in its own right, and keeps it from being merely a sequel. (Fiction. 12-16)
Pub Date: Oct. 1, 2002
ISBN: 0-525-46918-4
Page Count: 220
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2002
Wrought with admirable skill—the emptiness and menace underlying this Utopia emerge step by inexorable step: a richly...
In a radical departure from her realistic fiction and comic chronicles of Anastasia, Lowry creates a chilling, tightly controlled future society where all controversy, pain, and choice have been expunged, each childhood year has its privileges and responsibilities, and family members are selected for compatibility.
As Jonas approaches the "Ceremony of Twelve," he wonders what his adult "Assignment" will be. Father, a "Nurturer," cares for "newchildren"; Mother works in the "Department of Justice"; but Jonas's admitted talents suggest no particular calling. In the event, he is named "Receiver," to replace an Elder with a unique function: holding the community's memories—painful, troubling, or prone to lead (like love) to disorder; the Elder ("The Giver") now begins to transfer these memories to Jonas. The process is deeply disturbing; for the first time, Jonas learns about ordinary things like color, the sun, snow, and mountains, as well as love, war, and death: the ceremony known as "release" is revealed to be murder. Horrified, Jonas plots escape to "Elsewhere," a step he believes will return the memories to all the people, but his timing is upset by a decision to release a newchild he has come to love. Ill-equipped, Jonas sets out with the baby on a desperate journey whose enigmatic conclusion resonates with allegory: Jonas may be a Christ figure, but the contrasts here with Christian symbols are also intriguing.
Wrought with admirable skill—the emptiness and menace underlying this Utopia emerge step by inexorable step: a richly provocative novel. (Fiction. 12-16)Pub Date: April 1, 1993
ISBN: 978-0-395-64566-6
Page Count: 208
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1993
Certain to provoke controversy and difficult to see as a book for children, who could easily miss the painful point.
After Hitler appoints Bruno’s father commandant of Auschwitz, Bruno (nine) is unhappy with his new surroundings compared to the luxury of his home in Berlin.
The literal-minded Bruno, with amazingly little political and social awareness, never gains comprehension of the prisoners (all in “striped pajamas”) or the malignant nature of the death camp. He overcomes loneliness and isolation only when he discovers another boy, Shmuel, on the other side of the camp’s fence. For months, the two meet, becoming secret best friends even though they can never play together. Although Bruno’s family corrects him, he childishly calls the camp “Out-With” and the Fuhrer “Fury.” As a literary device, it could be said to be credibly rooted in Bruno’s consistent, guileless characterization, though it’s difficult to believe in reality. The tragic story’s point of view is unique: the corrosive effect of brutality on Nazi family life as seen through the eyes of a naïf. Some will believe that the fable form, in which the illogical may serve the objective of moral instruction, succeeds in Boyne’s narrative; others will believe it was the wrong choice.
Certain to provoke controversy and difficult to see as a book for children, who could easily miss the painful point. (Fiction. 12-14)Pub Date: Sept. 12, 2006
ISBN: 0-385-75106-0
Page Count: 224
Publisher: David Fickling/Random
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2006
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