School Library Journal : PreS-Gr 1-A simple story about Rabbit and Mouse, who, despite Rabbit's penchant for trouble, are friends. When Rabbit launches his toy airplane (with Mouse in the pilot seat at takeoff) and it gets stuck in a tree, he convinces his friend that he will come up with a plan to get it down. He does so by stacking animals on top of one another (beginning with an elephant and a rhinoceros) until they are within reach of the toy. The double-page, hand-colored relief prints with heavy black outlines are magnificent, and children will enjoy the comically expressive pictures of the animals before and after their attempt to extract the plane. The text is minimal; it's the illustrations that are the draw here.-Kristin de Lacoste, South Regional Public Library, Pembroke Pines, FL

Copyright 2002 Cahners Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms

Publishers Weekly : Though sobering front-page headlines worry a young paperboy, the comics--especially a strip called Falconman--lift him up. Quite literally, in fact. After Henry peruses a Falconman strip in which a magical falcon converts a police trooper into a superman by lending him the power to fly, the boy's bike collides with a similarly gifted sparrow. Suddenly airborne, the boy delivers his newspapers in flight while saving innocent neighbors from a menacing bully and his growling pooch. For the course of Henry's transformation, the book adopts a comic-strip format, accenting the boxed, action-filled pictures with brief, punchy text and a chorus of sound effects like "CHIRP!", "WHOOSH!" and "THONK!" In a final, satisfying coup, Henry comes to the rescue of the benevolent sparrow, vulnerable because it has temporarily relinquished its powers of flight to Henry, a development that readers will delight in discovering before the boy does. The plot unravels chiefly through Pinkney's (Max Found Two Sticks; see I Smell Honey, reviewed above) airy, motion-filled art, expertly rendered in scratchboard, transparent dyes and gouaches in creamy colors never before seen in a comic book. Clever quips and asides add humor and playful melodrama. Pinkney clearly had a blast creating this soaring story, and his high spirits are transferable to the reader--ZAP! Ages 4-9.

Copyright 1997 Cahners Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms

School Library Journal : PreS-Gr 1--Fretting over headlines in the newspapers he's delivering, Henry almost runs over a sparrow on the sidewalk. There's a flash of light, and suddenly, like his comic-strip hero Falconman, the boy is swooping through the skies fighting evil--or, at least, collaring a scary dog, rescuing a cat from a bully's clutches, and repeatedly snatching the temporarily flightless sparrow out of danger in the nick of time. Like newspaper comics, Pinkney's full-color scratchboard scenes are done in page-sized panels, with a minimum of text but maximum action, dramatized by swirling lines, wide gestures, and "THONK!" "ZAP!" sound effects. Henry's heroics will win readers over instantly; he may not save the world, but before he returns to Earth, he does make his suburban neighborhood "just a little better." That's a plausible goal for any actual or would-be superhero.

John Peters, New York Public Library Distributed by Syndetic Solutions Inc. Terms

Publishers Weekly : Starred Review. A lavish middle-grade novel, Gaiman's first since Coraline, this gothic fantasy almost lives up to its extravagant advance billing. The opening is enthralling: There was a hand in the darkness, and it held a knife. Evading the murderer who kills the rest of his family, a child roughly 18 months old climbs out of his crib, bumps his bottom down a steep stairway, walks out the open door and crosses the street into the cemetery opposite, where ghosts take him in. What mystery/horror/suspense reader could stop here, especially with Gaiman's talent for storytelling? The author riffs on the Jungle Book, folklore, nursery rhymes and history; he tosses in werewolves and hints at vampires—and he makes these figures seem like metaphors for transitions in childhood and youth. As the boy, called Nobody or Bod, grows up, the killer still stalking him, there are slack moments and some repetition—not enough to spoil a reader's pleasure, but noticeable all the same. When the chilling moments do come, they are as genuinely frightening as only Gaiman can make them, and redeem any shortcomings. Ages 10–up. (Oct.)

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School Library Journal : Gr 5–8—Somewhere in contemporary Britain, "the man Jack" uses his razor-sharp knife to murder a family, but the youngest, a toddler, slips away. The boy ends up in a graveyard, where the ghostly inhabitants adopt him to keep him safe. Nobody Owens, so named because he "looks like nobody but himself," grows up among a multigenerational cast of characters from different historical periods that includes matronly Mistress Owens; ancient Roman Caius Pompeius; an opinionated young witch; a melodramatic hack poet; and Bod's beloved mentor and guardian, Silas, who is neither living nor dead and has secrets of his own. As he grows up, Bod has a series of adventures, both in and out of the graveyard, and the threat of the man Jack who continues to hunt for him is ever present. Bod's love for his graveyard family and vice versa provide the emotional center, amid suspense, spot-on humor, and delightful scene-setting. The child Bod's behavior is occasionally too precocious to be believed, and a series of puns on the name Jack render the villain a bit less frightening than he should be, though only momentarily. Aside from these small flaws, however, Gaiman has created a rich, surprising, and sometimes disturbing tale of dreams, ghouls, murderers, trickery, and family.—Megan Honig, New York Public Library

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Library Journal: In his second novel (after Bluesman, LJ 5/15/93), the son of noted writer Andre Dubus manages to get deep inside the heads of two very different characters who clash over a modest house in the San Francisco suburbs. Kathy is a recovering alcoholic and cokehead who loses her inherited bungalow for alleged nonpayment of taxes. Behmini, an Iranian who was an officer in the Shah's air force before fleeing the revolution, is now struggling to succeed in the United States. He buys the house at auction, planning to make a profit on the resale. Kathy skulks around the neighborhood and eventually confronts the family. When she becomes sexually involved with the policeman she met at her eviction, a married man with bad judgment and a drinking problem of his own, he takes up her cause with explosive results. Dubus's attention to detail and realistic prose style give the narrative a hard-edged, cinematic quality, but unlike many movies, its outcome is unexpected. Recommended for all fiction collections.

Reba Leiding, James Madison Univ., Harrisonburg, VA Distributed by Syndetic Solutions Inc. Terms

Publishers Weekly: This powerfully written but bleak narrative is a mesmerizing tale of the American Dream gone terribly awry. Massoud Amir Behrani, a former colonel in the Iranian Air Force under the Shah, now lives in exile with his wife and teenage son near San Francisco. Working on a road crew as a "garbage soldier" by day and as a deli clerk by night, Behrani is obsessed with restoring his family to the position of glittering wealth and prestige it once enjoyed. At a county auction, he sinks his savings into a bungalow seized for non-payment of taxes, and quickly moves his family into it, planning to resell the house at a sizable profit. But when the house's previous occupant, recovering coke addict Kathy Lazaro, resurfaces with valid claims for repossession, Behrani's plan begins to unravel, and with it his tightly controlled facade of composure. Tensions between Lazaro and Behrani quickly escalate into violence, as Lazaro's lover, a married police officer with a weak spot for lost causes, decides to take matters into his own hands. The book's horrifying denouement offers readers a searing study in the wages of pride. Dubus (Bluesman) writes with an authority regarding the American lower middle class that is reminiscent of Russell Banks and Richard Ford, and his limber imagination is capable of drawing the inner lives of three very different main characters with such compassion that readers will find their sympathies hopelessly divided. If the tragedy that he so skillfully orchestrates cries out to be leavened with a little less desperation and some quiet glimpse of hope, the keenly perceptive and moving narrative is proof that the son and namesake of one of our most talented writers has embarked on a dazzling career in his own right.

Copyright 1998 Cahners Business Information, Inc. Distributed by Syndetic Solutions Inc. Terms