OWNEY, THE MAIL-POUCH POOCH

Going back to contemporary sources, Kerby retraces the travels of a stray terrier who became the semi-official mascot of the U.S. Postal Service in the 1890s and who, aboard ship and train, escorted mailbags to hundreds of destinations around the world. She sticks largely to facts—finding that accounts of how he got his name differ, she doesn’t try to explain its origin, for instance—but does tuck in occasional invented details to smooth the narrative. Although the text notes that his preserved body is still on display at the U.S. Postal Museum in Washington, D.C., it neglects to mention that he met his end by violence. Ever alert and sporting a harness increasingly covered in tags attached at his many stopovers, the small dog makes an engaging centerpiece in Barasch’s watercolor sketches. His tale has been told several times for younger audiences, most recently in Irene Kelly’s A Small Dog’s Big Life (2005); still, dog lovers will lap up this latest iteration. (photos, research note, sources) (Picture book/nonfiction. 7-9)

Pub Date: May 7, 2008

ISBN: 978-0-374-35685-9

Page Count: 40

Publisher: Frances Foster/Farrar, Straus & Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 2008

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RED-EYED TREE FROG

Bishop’s spectacular photographs of the tiny red-eyed tree frog defeat an incidental text from Cowley (Singing Down the Rain, 1997, etc.). The frog, only two inches long, is enormous in this title; it appears along with other nocturnal residents of the rain forests of Central America, including the iguana, ant, katydid, caterpillar, and moth. In a final section, Cowley explains how small the frog is and aspects of its life cycle. The main text, however, is an afterthought to dramatic events in the photos, e.g., “But the red-eyed tree frog has been asleep all day. It wakes up hungry. What will it eat? Here is an iguana. Frogs do not eat iguanas.” Accompanying an astonishing photograph of the tree frog leaping away from a boa snake are three lines (“The snake flicks its tongue. It tastes frog in the air. Look out, frog!”) that neither advance nor complement the action. The layout employs pale and deep green pages and typeface, and large jewel-like photographs in which green and red dominate. The combination of such visually sophisticated pages and simplistic captions make this a top-heavy, unsatisfying title. (Picture book. 7-9)

Pub Date: March 1, 1999

ISBN: 0-590-87175-7

Page Count: 32

Publisher: Scholastic

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1999

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TWENTY-ONE ELEPHANTS AND STILL STANDING

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 20, 2010

Kirkus Reviews Issue: Sept. 1, 2005

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