“A dog’s days are short, but his moments are pure.” And Burgess’s (Kite, 2000, etc.) narrative never shies from a pure canine experience in this unnerving allegory of a difficult 17-year-old. Sandra Francy covers every meaning in the dictionary for the word “bitch,” even literally being transformed into one by an alcoholic with an unfortunate magical twist. The unflinching Burgess exercises no leash in exploring Sandra’s personality, at once self-centered, cynical, vulgar, rebellious, and highly sexed. She is concerned with freely enjoying her young life, throwing advice and caution to the wind. When she changes into a dog, plainly the lure of the pack and utter freedom of a street dog’s life is little different from the life she was living. However, this is a study of human teenage psychology through a dog’s snout, and Sandra, now “Lady,” must overcome fear while balancing longings for security, her need for family, and the gradual overwhelming urgency of her canine senses. Each scene, whether as bad girl or as bitch, vibrates with verisimilitude, and in either state, Sandra/Lady is little bolstered by the cast of characters as flawed as she: her broken family, her brother whom she misjudges, her best friend, and her boyfriend, both of whom she discards for reasons rational only to a teen battling with an identity crisis. And then there are her friends in the dog world: Toby the magical alchie, and Fella and Mitch, two mutts who also were once people. The target audience may not understand some of the British slang in which Burgess steeps his prose, or why her father suddenly returns from America when she disappears. Or it might be shocked by the frank obsession with sex or even the choices Sandra makes, despite their worldly familiarity. But the shock one feels by the resolution, when the girl is at last finally and naturally true to herself, nips at the heels of the most hard-bitten innocent who refuses to stop and think life through for herself. It is that reader who must wonder and decide which side of the evolutionary fence to inhabit and therefore benefit from this intensely observed cautionary tale. (Fiction. YA)
Pub Date: May 1, 2001
ISBN: 0-8050-7148-2
Page Count: 240
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
There’s not much plot here, but readers will relish the opportunity to climb inside Autumn’s head.
The finely drawn characters capture readers’ attention in this debut.
Autumn and Phineas, nicknamed Finny, were born a week apart; their mothers are still best friends. Growing up, Autumn and Finny were like peas in a pod despite their differences: Autumn is “quirky and odd,” while Finny is “sweet and shy and everyone like[s] him.” But in eighth grade, Autumn and Finny stop being friends due to an unexpected kiss. They drift apart and find new friends, but their friendship keeps asserting itself at parties, shared holiday gatherings and random encounters. In the summer after graduation, Autumn and Finny reconnect and are finally ready to be more than friends. But on August 8, everything changes, and Autumn has to rely on all her strength to move on. Autumn’s coming-of-age is sensitively chronicled, with a wide range of experiences and events shaping her character. Even secondary characters are well-rounded, with their own histories and motivations.
There’s not much plot here, but readers will relish the opportunity to climb inside Autumn’s head. (Fiction. 14 & up)Pub Date: April 1, 2013
ISBN: 978-1-4022-7782-5
Page Count: 336
Publisher: Sourcebooks Fire
Review Posted Online: Feb. 12, 2013
Kirkus Reviews Issue: March 1, 2013
BOOK REVIEW
SEEN & HEARD
An ode to the children of migrants who have been taken away.
A Mexican American boy takes on heavy responsibilities when his family is torn apart.
Mateo’s life is turned upside down the day U.S. Immigration and Customs Enforcement agents show up unsuccessfully seeking his Pa at his New York City bodega. The Garcias live in fear until the day both parents are picked up; his Pa is taken to jail and his Ma to a detention center. The adults around Mateo offer support to him and his 7-year-old sister, Sophie, however, he knows he is now responsible for caring for her and the bodega as well as trying to survive junior year—that is, if he wants to fulfill his dream to enter the drama program at the Tisch School of the Arts and become an actor. Mateo’s relationships with his friends Kimmie and Adam (a potential love interest) also suffer repercussions as he keeps his situation a secret. Kimmie is half Korean (her other half is unspecified) and Adam is Italian American; Mateo feels disconnected from them, less American, and with worries they can’t understand. He talks himself out of choosing a safer course of action, a decision that deepens the story. Mateo’s self-awareness and inner monologue at times make him seem older than 16, and, with significant turmoil in the main plot, some side elements feel underdeveloped. Aleman’s narrative joins the ranks of heart-wrenching stories of migrant families who have been separated.
An ode to the children of migrants who have been taken away. (Fiction. 14-18)Pub Date: May 4, 2021
ISBN: 978-0-7595-5605-8
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Feb. 22, 2021
Kirkus Reviews Issue: March 15, 2021
BOOK REVIEW
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