Disguised but recognizable elements from several fairy tales give this romantic episode a faintly arch undertone. An arrogant but extremely handsome prince is transformed into a floppy-skinned bloodhound after making the mistake of annoying an old woman who happens to be a fairy. Soon he finds himself reduced to eating garbage and sleeping under a bush, until Eliza, a beautiful, kind-hearted goat girl with “eyes that are like a chimera’s”—whatever that means—takes him in, dubbing him “Prince,” and teaching him a bit of discipline. He falls in love, and is able to show his devotion at last by saving her from a rampaging chimera of the lion-headed sort. As he lies dying in her lap, she kisses him, thus breaking the spell and paving the way for a quick marriage and a life together—not in the palace, but in the hills with the goats. The pale, formal illustrations play it straight, depicting elegantly posed figures in elaborately embroidered Renaissance costume (except for the prince in his four-legged incarnation, of course). Though the telling is often stiff and somewhat forced, this is a pretty tale, equally suitable for fans of conventional romance or fairy tale pastiches. (Picture book. 7-9)
Pub Date: Oct. 1, 2001
ISBN: 0-316-57417-1
Page Count: 32
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2001
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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