WITCH BABY AND ME

From the Witch Baby series , Vol. 1

The author of the Pure Dead books applies the same ebullient and wacky sense of humor to a new series for younger readers. Lily’s new little sister, Daisy, is a witch. Lily knows this, because she can see when Daisy transforms herself into a dragonlet or Lily into a slug, and readers know it, because they have seen the Sisters of Hiss (Chin, Nose and poor Toad) make her so. But no one listens to Lily, and no one can see what Daisy does except Lily, so the gross, silly and extremely funny happenings remain a secret only readers share. Lily and Daisy’s befuddled parents, their older brother Jack (never seen without his earbuds) and a neighbor to their new home in the very North of Scotland whose parents named her Vivaldi also play parts, as does WayWoof, an odoriferous dog conjured often by Daisy, smelled by many but seen by very few. Gliori’s spot illustrations are spot-on, and various typefaces and footnotes are used to giggly effect. A second volume, Witch Baby and Me After Dark (ISBN: 978-0-55255-678-1), is also available, with more to come. (Magical adventure. 8-11)

Pub Date: Aug. 1, 2010

ISBN: 978-0-55255-676-7

Page Count: 248

Publisher: Corgi Children’s Books/Trafalgar

Review Posted Online: June 11, 2010

Kirkus Reviews Issue: July 1, 2010

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If not as effervescent as Roz’s first outing, it is still a provocatively contemplative one.

THE WILD ROBOT ESCAPES

Roz, a robot who learned to adapt to life among wild creatures in her first outing, seeks to return to the island she calls home.

Brown’s sequel to The Wild Robot (2016) continues an intriguing premise: What would happen to a robot after challenges in an unexpected environment cause it to evolve in unusual ways? As this book opens, Roz is delivered to a farm where she helps a widower with two young children run a dairy operation that has been in his family for generations. Roz reveals her backstory to the cows, who are supportive of the robot’s determination to return to the island and to her adopted son, the goose Brightbill. The cows, the children, and finally Brightbill himself come to Roz’s aid. The focus on Roz’s escape from human control results in a somewhat solemn and episodic narrative, with an extended journey and chase after Roz leaves the farm. Dr. Molovo, a literal deus ex machina, appears near the end of the story to provide a means of rescue. She is Roz’s designer/creator, and, intrigued by the robot’s adaptation and evolution but cognizant of the threat that those achievements might represent to humans, she assists Roz and Brightbill in their quest. The satisfactory (if inevitable-feeling) conclusion may prompt discussion about individual agency and determination, whether for robots or people.

If not as effervescent as Roz’s first outing, it is still a provocatively contemplative one. (Fiction. 8-11)

Pub Date: March 13, 2018

ISBN: 978-0-316-38204-5

Page Count: 288

Publisher: Little, Brown

Review Posted Online: Feb. 3, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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However the compelling fitness of theme and event and the apt but unexpected imagery (the opening sentences compare the...

TUCK EVERLASTING

At a time when death has become an acceptable, even voguish subject in children's fiction, Natalie Babbitt comes through with a stylistic gem about living forever. 

Protected Winnie, the ten-year-old heroine, is not immortal, but when she comes upon young Jesse Tuck drinking from a secret spring in her parents' woods, she finds herself involved with a family who, having innocently drunk the same water some 87 years earlier, haven't aged a moment since. Though the mood is delicate, there is no lack of action, with the Tucks (previously suspected of witchcraft) now pursued for kidnapping Winnie; Mae Tuck, the middle aged mother, striking and killing a stranger who is onto their secret and would sell the water; and Winnie taking Mae's place in prison so that the Tucks can get away before she is hanged from the neck until....? Though Babbitt makes the family a sad one, most of their reasons for discontent are circumstantial and there isn't a great deal of wisdom to be gleaned from their fate or Winnie's decision not to share it. 

However the compelling fitness of theme and event and the apt but unexpected imagery (the opening sentences compare the first week in August when this takes place to "the highest seat of a Ferris wheel when it pauses in its turning") help to justify the extravagant early assertion that had the secret about to be revealed been known at the time of the action, the very earth "would have trembled on its axis like a beetle on a pin." (Fantasy. 9-11)

Pub Date: Nov. 1, 1975

ISBN: 0312369816

Page Count: 164

Publisher: Farrar, Straus and Giroux

Review Posted Online: April 13, 2012

Kirkus Reviews Issue: Nov. 1, 1975

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