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THE GENTLE FALCON

Name: THE GENTLE FALCON
Author: Hilda Lewis

by Hilda Lewis & developed by Crushed Lime Media ‧ RELEASE DATE: April 4, 2013

Uneven in value the new tweaks may be, but they do add luster to a tale that well merits a new generation of readers.

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Recipient of a starred Kirkus review in 1957, this fictionalized twin portrait of teenage Richard II and his child bride, Isabelle of Valois, still shines—more so for at least some of the historical matter added to this digital edition.

In the course of an extended, high-friction romance with a noble younger son who throws in his lot with the usurping future King Henry IV, lady-in-waiting Isabella Clinton witnesses or reports on tumultuous events both in England and at the French royal court during and after Richard’s truncated reign. Some “enhancements” don’t enhance much, among them (dispensable) family trees and a background essay drawn from Wikipedia, plus distracting bolded words in the narrative (“I must be schooled in the courtesies of my breeding”) linked to a glossary. But several dozen inserted, mostly color, illustrations ranging from old prints and manuscript illuminations to modern photos of artifacts do extend the original edition’s rough line drawings to offer evocative (if not always exactly period) glimpses of the era’s figures, fashions and frivolities.

Uneven in value the new tweaks may be, but they do add luster to a tale that well merits a new generation of readers. (new list of recommended websites and videos added to the old bibliography) (Enhanced e-book/historical fiction. 12-14)

Pub Date: April 4, 2013

ISBN: N/A

Page Count: -

Publisher: Crushed Lime Media

Review Posted Online: May 28, 2013

Kirkus Reviews Issue: June 15, 2013

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RED-EYED TREE FROG

by Joy Cowley ‧ RELEASE DATE: March 1, 1999

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Bishop’s spectacular photographs of the tiny red-eyed tree frog defeat an incidental text from Cowley (Singing Down the Rain, 1997, etc.). The frog, only two inches long, is enormous in this title; it appears along with other nocturnal residents of the rain forests of Central America, including the iguana, ant, katydid, caterpillar, and moth. In a final section, Cowley explains how small the frog is and aspects of its life cycle. The main text, however, is an afterthought to dramatic events in the photos, e.g., “But the red-eyed tree frog has been asleep all day. It wakes up hungry. What will it eat? Here is an iguana. Frogs do not eat iguanas.” Accompanying an astonishing photograph of the tree frog leaping away from a boa snake are three lines (“The snake flicks its tongue. It tastes frog in the air. Look out, frog!”) that neither advance nor complement the action. The layout employs pale and deep green pages and typeface, and large jewel-like photographs in which green and red dominate. The combination of such visually sophisticated pages and simplistic captions make this a top-heavy, unsatisfying title. (Picture book. 7-9)

Pub Date: March 1, 1999

ISBN: 0-590-87175-7

Page Count: 32

Publisher: Scholastic

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1999

Categories:

CHILDREN'S ANIMALS

- BOOK REVIEW
THE TINY WOMAN'S COAT
by Joy Cowley ; illustrated by Giselle Clarkson

- BOOK REVIEW
SONG OF THE RIVER
by Joy Cowley ; illustrated by Kimberly Andrews

- BOOK REVIEW
THE WARLI PEOPLE
by Hye-Eun Shin ; illustrated by Su-Bi Jeong ; edited by Joy Cowley

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THE TIGER RISING

by Kate DiCamillo ‧ RELEASE DATE: March 1, 2001

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Themes of freedom and responsibility twine between the lines of this short but heavy novel from the author of Because of Winn-Dixie (2000). Three months after his mother's death, Rob and his father are living in a small-town Florida motel, each nursing sharp, private pain. On the same day Rob has two astonishing encounters: first, he stumbles upon a caged tiger in the woods behind the motel; then he meets Sistine, a new classmate responding to her parents' breakup with ready fists and a big chip on her shoulder. About to burst with his secret, Rob confides in Sistine, who instantly declares that the tiger must be freed. As Rob quickly develops a yen for Sistine's company that gives her plenty of emotional leverage, and the keys to the cage almost literally drop into his hands, credible plotting plainly takes a back seat to character delineation here. And both struggle for visibility beneath a wagonload of symbol and metaphor: the real tiger (and the inevitable recitation of Blake's poem); the cage; Rob's dream of Sistine riding away on the beast's back; a mysterious skin condition on Rob's legs that develops after his mother's death; a series of wooden figurines that he whittles; a larger-than-life African-American housekeeper at the motel who dispenses wisdom with nearly every utterance; and the climax itself, which is signaled from the start. It's all so freighted with layers of significance that, like Lois Lowry's Gathering Blue (2000), Anne Mazer's Oxboy (1995), or, further back, Julia Cunningham's Dorp Dead (1965), it becomes more an exercise in analysis than a living, breathing story. Still, the tiger, "burning bright" with magnificent, feral presence, does make an arresting central image. (Fiction. 10-12)