The discovery of a mouse in the synagogue signals a break from the routine for the ten old men who gather there every night. Grumbling and getting in each other’s way, they manage to set a trap. Next day, when the mouse is still alive—and visibly irritated in Clement’s fine-lined, delicately colored, gently comical illustrations—they instead create a cozily furnished corner in the cupboard, offer a supply of strawberries and apple slices, and, predictably, soon discover that “he” is a “she.” The synagogue being a far less lively place after the energetic new arrivals are carried off to a home in the country, the mouse is welcomed back when she reappears at the door, alone: “Don’t tell me. Your children grew up and moved away. An old story.” But: “Don’t worry. You’ll hear from your kids again. You know when? When they need something.” Like James Stevenson’s more recent outings, this good-natured episode may have less appeal for young children (though that mouse is pretty cute, and so are the old guys) than for the parents and grandparents who will insist on reading it to them. So share it, already. (Picture book. 7-9)
Pub Date: March 13, 2007
ISBN: 978-0-88776-716-6
Page Count: 32
Publisher: Tundra Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2007
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look...
Winning actually isn’t everything, as jazz-happy Rooster learns when he goes up against the legendary likes of Mules Davis and Ella Finchgerald at the barnyard talent show.
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look good—particularly after his “ ‘Hen from Ipanema’ [makes] / the barnyard chickies swoon.”—but in the end the competition is just too stiff. No matter: A compliment from cool Mules and the conviction that he still has the world’s best band soon puts the strut back in his stride. Alexander’s versifying isn’t always in tune (“So, he went to see his cousin, / a pianist of great fame…”), and despite his moniker Rooster plays an electric bass in Bower’s canted country scenes. Children are unlikely to get most of the jokes liberally sprinkled through the text, of course, so the adults sharing it with them should be ready to consult the backmatter, which consists of closing notes on jazz’s instruments, history and best-known musicians.Pub Date: Sept. 1, 2011
ISBN: 978-1-58536-688-0
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
Strong rhythms and occasional full or partial rhymes give this account of P.T. Barnum’s 1884 elephant parade across the newly opened Brooklyn Bridge an incantatory tone. Catching a whiff of public concern about the new bridge’s sturdiness, Barnum seizes the moment: “’I will stage an event / that will calm every fear, erase every worry, / about that remarkable bridge. / My display will amuse, inform / and astound some. / Or else my name isn’t Barnum!’” Using a rich palette of glowing golds and browns, Roca imbues the pachyderms with a calm solidity, sending them ambling past equally solid-looking buildings and over a truly monumental bridge—which soars over a striped Big Top tent in the final scene. A stately rendition of the episode, less exuberant, but also less fictionalized, than Phil Bildner’s Twenty-One Elephants (2004), illustrated by LeUyen Pham. (author’s note, resource list) (Picture book. 7-9)
Pub Date: Sept. 26, 2005
ISBN: 0-618-44887-X
Page Count: 32
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2005
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