From Williams (The True Colors of Caitlynne Jackson, 1997, etc.), a sensitive portrait of a loving family facing the effects of a devastating illness, and an unflinching look at how Alzheimer's destroys its victims. The summer before Elyse enters junior high promises to be a wonderful one, with books lined up to read, a novel to write, plenty of mornings for sleeping in, and, best of all, a new project, working with a boy, Bruce A., on a neighborhood newspaper he's starting. Then her mother gives Elyse and older sister Jordyn some news: Their widowed grandmother, suffering from Alzheimer's, is moving in with them for the summer, when the girls can take care of her. From the beginning Granny's behavior is erratic as she fades in and out of past and present, calling Elyse ``Addie,'' after her own sister, but Elyse clings to a stubborn, unrealistic belief that the older woman will get better if only they are patient. After a series of increasingly unsettling episodes, even Elyse realizes that her grandmother is deteriorating. Once school starts, they institutionalize Granny, to keep her safe, but they bring her home each day after school. Although the ending is upbeat, this is a sad story; Elyse's distress that her beloved grandmother is changing, permanently, for the worse, has the mournful knell of authenticity. The likable characters face problems common to most readers, and do so with grace and courage. (Fiction. 8-12)
Pub Date: April 1, 1998
ISBN: 0-385-32534-7
Page Count: 200
Publisher: Delacorte
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1997
The poem/novel ends with only a trace of hope; there are no pat endings, but a glimpse of beauty wrought from brutal reality.
Billie Jo tells of her life in Oklahoma during the Dust Bowl: Her mother dies after a gruesome accident caused by her father's leaving a bucket of kerosene near the stove; Billie Jo is partially responsible—fully responsible in the eyes of the community—and sustains injuries that seem to bring to a halt her dreams of playing the piano.
Finding a way through her grief is not made easier by her taciturn father, who went on a drinking binge while Billie Joe's mother, not yet dead, begged for water. Told in free-verse poetry of dated entries that span the winter of 1934 to the winter of 1935, this is an unremittingly bleak portrait of one corner of Depression-era life. In Billie Jo, the only character who comes to life, Hesse (The Music of Dolphins, 1996, etc.) presents a hale and determined heroine who confronts unrelenting misery and begins to transcend it.
The poem/novel ends with only a trace of hope; there are no pat endings, but a glimpse of beauty wrought from brutal reality. (Fiction. 9-12)Pub Date: Oct. 1, 1997
ISBN: 978-0-590-36080-7
Page Count: 240
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1997
Ideas abound, but when the focus shifts from Thomas' determination to take the measure of the house (literally and...
Dies Drear? Ohio abolitionist, keeper of a key station on the Underground Railroad, bearer of a hypercharged name that is not even noted as odd. Which is odd: everything else has an elaborate explanation.
Unlike Zeely, Miss Hamilton's haunting first, this creates mystery only to reveal sleight-of-hand, creates a character who's larger than life only to reveal his double. Thirteen-year-old Thomas Small is fascinated, and afraid, of the huge, uncharted house his father, a specialist in Negro Civil War history, has purposefully rented. A strange pair of children, tiny Pesty and husky Mac Darrow, seem to tease him; old bearded Pluto, long-time caretaker and local legend, seems bent on scaring the Smalls away. But how can a lame old man run fast enough to catch Thomas from behind? what do the triangles affixed to their doors signify? who spread a sticky paste of foodstuffs over the kitchen? Pluto, accosted, disappears. . . into a cavern that was Dies Drear's treasure house of decorative art, his solace for the sequestered slaves. But Pluto is not, despite his nickname, the devil; neither is he alone; his actor-son has returned to help him stave off the greedy Darrows and the Smalls, if they should also be hostile to the house, the treasure, the tradition. Pluto as keeper of the flame would be more convincing without his, and his son's, histrionics, and without Pesty as a prodigy cherubim. There are some sharp observations of, and on, the Negro church historically and presently, and an aborted ideological debate regarding use of the Negro heritage.
Ideas abound, but when the focus shifts from Thomas' determination to take the measure of the house (literally and figuratively), the story becomes a charade. (Mystery. 8-12)Pub Date: Sept. 9, 1968
ISBN: 1416914056
Page Count: 260
Publisher: Macmillan
Review Posted Online: Oct. 26, 2011
Kirkus Reviews Issue: Sept. 1, 1968
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