Hand-lettered on lined paper like Moss’ hugely popular Amelia’s Notebook (1995) and its sequels, this series is likely to...
On her first day of fourth grade, Daphne starts a diary that quickly becomes one of doodles and disasters and sets up a new series by the creator of Amelia.
In this series opener, her teacher, Ms. Underwood, mispronounces her name when calling the roll, so that classmates—except best friend Kaylee—are calling her Daffy. The very slim plot involves Daphne's discovery that the name game has happened to others. Her solution is to nickname her teacher, but she realizes that she’s not the first to call her teacher Mrs. Underwear. The first-person narrative includes familiar middle-grade scenes—a trip to the orthodontist and the boredom of watching her younger brothers’ soccer practice—sketches of people and things, even rebuses. In a companion story that publishes simultaneously, The Vampire Dare, her vampire costume turns out to be a disaster, prompting classmates to claim she has cooties. Again Daphne turns the tide by transferring the onus to a cootie-catching old doll. This light reading is made even lighter by the fact that the last quarter of each volume is taken up with extra material: lists and sketches of name disasters in the first and costume disasters in the second.
Hand-lettered on lined paper like Moss’ hugely popular Amelia’s Notebook (1995) and its sequels, this series is likely to appeal to the same middle-grade audience but feels a touch too familiar. (Graphic fiction. 8-11)Pub Date: July 12, 2011
ISBN: 978-1-4424-1738-0
Page Count: 80
Publisher: Paula Wiseman/Simon & Schuster
Review Posted Online: April 18, 2011
Kirkus Reviews Issue: May 1, 2011
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BOOK REVIEW
Ironically, by choosing such a dramatic catalyst, the author weakens the adventure’s impact overall and leaves readers to...
A group of talking farm animals catches wind of the farm owner’s intention to burn the barn (with them in it) for insurance money and hatches a plan to flee.
Bond begins briskly—within the first 10 pages, barn cat Burdock has overheard Dewey Baxter’s nefarious plan, and by Page 17, all of the farm animals have been introduced and Burdock is sharing the terrifying news. Grady, Dewey’s (ever-so-slightly) more principled brother, refuses to go along, but instead of standing his ground, he simply disappears. This leaves the animals to fend for themselves. They do so by relying on their individual strengths and one another. Their talents and personalities match their species, bringing an element of realism to balance the fantasy elements. However, nothing can truly compensate for the bland horror of the premise. Not the growing sense of family among the animals, the serendipitous intervention of an unknown inhabitant of the barn, nor the convenient discovery of an alternate home. Meanwhile, Bond’s black-and-white drawings, justly compared to those of Garth Williams, amplify the sense of dissonance. Charming vignettes and single- and double-page illustrations create a pastoral world into which the threat of large-scale violence comes as a shock.
Ironically, by choosing such a dramatic catalyst, the author weakens the adventure’s impact overall and leaves readers to ponder the awkward coincidences that propel the plot. (Animal fantasy. 8-10)Pub Date: July 7, 2015
ISBN: 978-0-544-33217-1
Page Count: 256
Publisher: HMH Books
Review Posted Online: March 31, 2015
Kirkus Reviews Issue: April 15, 2015
Medically, both squicky and hopeful; emotionally, unbelievably squeaky-clean.
A 12-year-old copes with a brain tumor.
Maddie likes potatoes and fake mustaches. Kids at school are nice (except one whom readers will see instantly is a bully); soon they’ll get to perform Shakespeare scenes in a unit they’ve all been looking forward to. But recent dysfunctions in Maddie’s arm and leg mean, stunningly, that she has a brain tumor. She has two surgeries, the first successful, the second taking place after the book’s end, leaving readers hanging. The tumor’s not malignant, but it—or the surgeries—could cause sight loss, personality change, or death. The descriptions of surgery aren’t for the faint of heart. The authors—parents of a real-life Maddie who really had a brain tumor—imbue fictional Maddie’s first-person narration with quirky turns of phrase (“For the love of potatoes!”) and whimsy (she imagines her medical battles as epic fantasy fights and pretends MRI stands for Mustard Rat from Indiana or Mustaches Rock Importantly), but they also portray her as a model sick kid. She’s frightened but never acts out, snaps, or resists. Her most frequent commentary about the tumor, having her skull opened, and the possibility of death is “Boo” or “Super boo.” She even shoulders the bully’s redemption. Maddie and most characters are white; one cringe-inducing hallucinatory surgery dream involves “chanting island natives” and a “witch doctor lady.”
Medically, both squicky and hopeful; emotionally, unbelievably squeaky-clean. (authors’ note, discussion questions) (Fiction. 9-11)Pub Date: Oct. 3, 2017
ISBN: 978-1-62972-330-3
Page Count: 256
Publisher: Shadow Mountain
Review Posted Online: Aug. 1, 2017
Kirkus Reviews Issue: Aug. 15, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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