Stronger than the Incredible Hulk, more agile than Spiderman, purpler than Barney, here’s Sumo Mouse, mysterious, masked protector of Japanese mousedom and thunder-thighed bane of feline malefactors everywhere. Having obviously steeped himself in sumo and martial-arts movie lore, the late master of cut-paper and Caldecott winner (Golem, 1996), Wisniewski sends his first-class foe-squasher hurtling from Tokyo’s rooftops to free hundreds of mice—all rendered as distinct individuals in characteristically flamboyant razor-cut paper collages—slated for insertion into squeaky toys manufactured by the unscrupulous Tiger Tanaka. Who is this globular do-gooder? Believing that he could only be grand champion wrestler Gachinko, Tanaka dispatches a gigantic robot to turn the renowned rikishi into sushi. But as the corpulent caped one is actually Gachinko’s friend Yama, a diminutive barber with the soul of a sumo and a very special suit in his basement, the stage is set for a nick-of-time rescue—and a shattering, spread-filling tsuma-dori smackdown. Three cheers for the mightiest mouse since, well, Mighty Mouse, who now looks so last-millennium. (Picture book. 7-9)
Pub Date: Nov. 1, 2002
ISBN: 0-8118-3492-1
Page Count: 32
Publisher: Chronicle Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2002
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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