Littlejim Houston is nearly 14 and loves his life in rural Appalachia in 1920, but he dreams of being more than a farmer and logger. He'd like to go the academy and then to college; he wants to become a teacher or maybe even an aviator. Money is tight, for the bottom has fallen out of the lumber market, and there's work to be done if they are to keep their farm. When Mama falls seriously ill, Papa needs money to take her to the Statesville hospital, and sells the mineral rights to his property to a couple of unsavory mineral speculators. The farm is left to Littlejim while his parents are gone. With Myron, a law student from Philadelphia who is staying with the Houstons for the summer, Littlejim soon discovers the magnitude of his father's blunder; the miners clear the family's only virgin stand of timber, claiming the right to ``prepare'' the land. This terrible loss results in Papa's seeking—and obtaining- -justice from outside the community; he also begins to understand the value of Littlejim's fine mind and openly pledges his support for his boy's education. It's a heartwarming story of family ties and friendship, set in an earlier era and another culture. Fans of the previous books (Littlejim's Gift, 1994, etc.) will not be disappointed. (b&w illustrations, further reading) (Fiction. 8-12)
Pub Date: April 1, 1997
ISBN: 0-15-201509-4
Page Count: 240
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 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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