A third-grader of Puerto Rican descent, Gabi (the accent comes later) speaks Spanish at home and English at school. Her mother hates even the slightest hint of Spanglish—the mixing of Spanish and English—but as pressures mount at school and Gabi finds it difficult not to lose her temper at Johnny, her classmate and nemesis, it seems she can do nothing but speak Spanglish. Lightweight, but firmly focused on the everyday trials and tribulations of the spunky Gabi—and told through her voice—this will appeal to lots of girls, especially Latinas, who are ready to move out of beginning readers and into their own chapter books. Both sentences and paragraphs are short and direct, and Gabi’s narration includes plenty of kid-friendly dialogue, sometimes in Spanish or Spanglish, all of which is explained within the tale. Coupled with the sheer exuberance of Gabi’s family, the narrative voice may have some crying “stereotype,” but a truer comparison would be with sitcoms such as George López and The Brothers García. Cepeda, who also teamed with Montes on the picture-book folktale Juan Bobo Goes to Work (2001), here provides numerous black-and-white line illustrations, scattered throughout and often worked into the text block. Gabi’s almost triangular haircut—reminiscent of an Egyptian sphinx’s headdress—and the gleeful facial expressions of Johnny and Gabi’s little brother Miguelito add to the generally “hyper” feeling of the story itself. A glossary of Spanish terms is included. (Fiction. 6-9)
Pub Date: April 1, 2003
ISBN: 0-439-51710-9
Page Count: 124
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2003
Gooney Bird Greene (with a silent E) is not your average second grader. She arrives in Mrs. Pidgeon’s class announcing: “I’m your new student and I just moved here from China. I want a desk right smack in the middle of the room, because I like to be right smack in the middle of everything.” Everything about her is unusual and mysterious—her clothes, hairstyles, even her lunches. Since the second graders have never met anyone like Gooney Bird, they want to hear more about her. Mrs. Pidgeon has been talking to the class about what makes a good story, so it stands to reason that Gooney will get her chance. She tells a series of stories that explain her name, how she came from China on a flying carpet, how she got diamond earrings at the prince’s palace, and why she was late for school (because she was directing a symphony orchestra). And her stories are “absolutely true.” Actually, they are explainable and mesh precisely with the teacher’s lesson, more important, they are a clever device that exemplify the elements of good storytelling and writing and also demonstrate how everyone can turn everyday events into stories. Savvy teachers should take note and add this to their shelf of “how a story is made” titles. Gooney Bird’s stories are printed in larger type than the narrative and the black-and-white drawings add the right touch of sauciness (only the cover is in color). A hybrid of Harriet, Blossom, and Anastasia, irrepressible Gooney Bird is that rare bird in children’s fiction: one that instantly becomes an amusing and popular favorite. (Fiction. 6-9)
Pub Date: Sept. 1, 2002
ISBN: 0-618-23848-4
Page Count: 96
Publisher: Walter Lorraine/Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2002
Trickling, bubbling, swirling, rushing, a river flows down from its mountain beginnings, past peaceful country and bustling city on its way to the sea. Hooper (The Drop in My Drink, 1998, etc.) artfully evokes the water’s changing character as it transforms from “milky-cold / rattling-bold” to a wide, slow “sliding past mudflats / looping through marshes” to the end of its journey. Willey, best known for illustrating Geraldine McCaughrean’s spectacular folk-tale collections, contributes finely detailed scenes crafted in shimmering, intricate blues and greens, capturing mountain’s chill, the bucolic serenity of passing pastures, and a sense of mystery in the water’s shadowy depths. Though Hooper refers to “the cans and cartons / and bits of old wood” being swept along, there’s no direct conservation agenda here (for that, see Debby Atwell’s River, 1999), just appreciation for the river’s beauty and being. (Picture book/nonfiction. 7-9)
Pub Date: June 1, 2000
ISBN: 0-7636-0792-4
Page Count: 32
Publisher: Candlewick
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2000
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