Publishers Weekly : Tautly constructed, metaphorically rich, emotionally gripping and seductively told,Schmidt's (The Wednesday Wars) novel opens in the 300-year-old ancestral home of Henry Smith, whose father has raised him to believe that if you build your house far enough away from Trouble, then Trouble will never find you. With such an opening, it is inevitable that Trouble does find the aristocratic Smiths: Henry's older brother, Franklin, is critically injured by a truck. A Cambodian refugee named Chay, who attends the same school as Franklin, acknowledges responsibility, but over the course of Chay's trial it occurs, to Henry at least, that it was Franklin who sought Trouble: the racism he directed toward Chay specifically and Cambodian immigrants generally has been so widely shared in the community that no one challenged it. Twin sequences of events plunge the Smiths and Chay into further tragedy, also revealing the ravages of Chay's childhood under the Khmer Rouge. At the same time, a storm exposes a charred slave ship long buried on the Smiths' private beach: it emerges that their house has been close to Trouble all along. For all the fine crafting, the novel takes a disturbingly broad-brush approach to racism. Characters are either thuggish or willfully blind or saintly, easily pegged on a moral scale—and therefore untrue to life. Ages 12-up. (Apr.)

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School Library Journal : Starred Review. Gr 7–10—Nothing is as it seems when Trouble arrives in varied and symbolic ways for two families and two communities. Franklin Smith, the arrogant scion of an aristocratic New England family, is accidentally struck while running and subsequently dies. The blame is accepted by a classmate, a Cambodian immigrant from a nearby town. When legal technicalities prevent Chay Chouan from being jailed, the perceived miscarriage of justice reverberates through idyllic Blythbury-by-the-Sea. Franklin's younger brother, Henry, becomes determined to climb Mount Katahdin, a feat that Franklin had coldly suggested might prove that Henry had guts. Henry sets out hitchhiking for the mountain with best friend Sanborn. Somewhat improbably they are picked up by Chay, who has been expelled by his father and is driving the truck that killed Franklin. Their symbolic journey predictably includes moments of danger, self-discovery, and reconciliation, fortunately leavened by the humorously ironic Sanborn. Complex structure allows revelations into the character of Chay, child of a violent refugee camp, unwanted product of rape, lover of poetry, and protector of Henry's sister (in a Romeo-and-Juliet twist). Teeming with plot elements, some of which may seem too purposeful, and richly veined with social and psychological crosscurrents, this story may be seen as allegorical in its intent and representation. Nevertheless it contains Schmidt's eloquent language and compelling characters, as well as compassionate examinations of the passage from childhood to adulthood and of the patterns of common experience that mark and unite us as humans.—Kate McClelland, Perrot Memorial Library, Old Greenwich, CT

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Publishers Weekly : Starred Review. Catering to comics junkies, this vibrant and well-researched picture book biography introduces the youthful inventors of Superman, who this year celebrates his 70th anniversary. Writer Jerry Siegel and illustrator Joe Shuster are mild-mannered everymen whose reflective glasses conceal their eyes—and their potential. In a crowded high school hallway, Jerry wishes he could be with his friends, and a turn of the page reveals Tarzan, Flash Gordon and Buck Rogers. Joe, lousy at sports and mousy around girls, draws sci-fi heroes with a passion. In 1934, when both are 20, Jerry dreams up the Superman concept and Joe draws prototypes labeled S for 'super.' And for 'Siegel' and 'Shuster.' In June 1938, their creation launches in Action Comics. Nobleman details this achievement with a zest amplified by MacDonald's (Another Perfect Day) punchy illustrations, done in a classic litho palette of brassy gold, antique blue and fireplug red. MacDonald's Depression-era vignettes picture Siegel pondering his superhero's powers and the friends casting a single, caped shadow. A cautionary afterword chronicles their protracted financial struggles with DC Comics—when Siegel and Shuster sold their first Superman story, they also sold all rights to the character, for $130. Ages 10–up. (July)

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School Library Journal : Gr 4–6—Nobleman portrays teenaged Jerry Siegel and Joe Shuster as outcasts who found solace in the world of pulp magazines and comics. Their peers did not understand their fascination with tales of musclemen and detectives with gadgets, and their teachers deemed the stories that they loved to write and illustrate "trash." Despite these obstacles, the two friends continued writing and illustrating, and in 1934, Siegel had an avalanche of ideas about a new type of hero that he then shared with Shuster, who drew the first concept illustrations of Superman. It took another four years, however, before the superhero would make his public debut in Action Comics #1. MacDonald's illustrations are a tribute to 1930s pulp art, from the lines of the characters outlined in brown to the washes of yellow in the background. While the layout remains primarily in picture-book format, comic-book elements appear sporadically, such as with phrases separated from the rest of the text and placed in oval bubbles. One spread also uses panels to depict Siegel's thoughts as he conceptualized Superman. The story ends with the young men successfully landing a publisher. The afterword fills in more of the details, including Siegel and Shuster's long-running battle with DC Comics for a greater share of the profits, how their Jewish background affected Superman during World War II, and their final years. Boys of Steel is a solid introduction to the history of Superman's creation, especially for children who find an outlet in storytelling and art.—Kim T. Ha, Elkridge Branch Library, MD

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Publishers Weekly : Azarian's (A Farmer's Alphabet) handsome woodcuts provide a homespun backdrop to Martin's (Grandmother Bryant's Pocket) brief biography of a farmboy born in 1865 on the Vermont snowbelt who never lost his fascination with snowflakes. Wilson A. Bentley spent 50 years pioneering the scientific study of ice crystals, and developed a technique of microphotography that allowed him to capture the hexagonal shapes and prove that no two snowflakes are alike. Martin conveys Bentley's passion in lyrical language ("snow was as beautiful as butterflies, or apple blossoms"), and punctuates her text with frequent sidebars packed with intriguing tidbits of information (though readers may be confused by the two that explain Bentley's solution of how to photograph the snowflakes). Hand-tinted with watercolors and firmly anchored in the rural 19th century, Azarian's woodcuts evoke an era of sleighs and woodstoves, front porches and barn doors, and their bold black lines provide visual contrast to the delicate snowflakes that float airily in the sidebars. A trio of Bentley's ground-breaking black-and-white photographs of snowflakes, along with a picture and quote from him about his love for his work, is the icing that tops off this attractive volume. Ages 4-8.

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School Library Journal : K-Gr 3-This picture-book biography beautifully captures the essence of the life and passion of Wilson A. Bentley (1865-1931), known to many as "The Snowflake Man." A plaque in his hometown honors the work of this simple farmer who labored for 50 years to develop a technique of microphotography in an attempt to capture "...the grandeur and mystery of the snowflake." The story of this self-taught scientist begins with his early interest in the beauty of snow and his determination to find a way of sharing that beauty with others. At 16, his parents spent their life's savings on a special camera with its own microscope so he could make a permanent record of individual snowflakes. After two years of work, he perfected a technique for making acceptable pictures. He spent the rest of his life photographing ice crystals and sharing them with neighbors and interested scientists and artists around the world. Azarian's woodblock illustrations, hand tinted with watercolors, blend perfectly with the text and recall the rural Vermont of Bentley's time. The inclusion of a photograph of the scientist at work and three of his remarkable photographs adds authenticity. Two articles about his work, one written by Bentley himself, are listed on the CIP page. The story of this man's life is written with graceful simplicity. Sidebars decorated with snowflakes on every page add facts for those who want more details. An inspiring selection.-Virginia Golodetz, Children's Literature New England, Burlington, VT

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Publishers Weekly: "Collier's watercolor and collage artwork effectively blends a boy's idealism with the telling details of the city streets in this picture-book tour of Harlem," said PW. Ages 4-8. (Jan.)

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Publishers Weekly : In another picture book retelling of a Japanese folktale, Paterson ( The Tongue-Cut Sparrow ) recounts the story of Shozo, a one-eyed Samurai unjustly forced to be a servant, and Yasuko, a kitchen maid. They befriend a mandarin duck who pines for his mate while kept in captivity by a fearsome lord. When Yasuko releases the duck, both servants are sentenced to death, but they are subsequently saved by two mysterious imperial messengers who care for them throughout the night and disappear, leaving in their place the two mandarin ducks. Yasuko and Shozo live happily from that time on because ``as they had learned years before, trouble can always be borne when it is shared.'' Paterson's story is rich with magic, compassion and love. The Dillons' elegantly detailed watercolor and pastel drawings, in the style of 18th-century Japanese woodcuts, are exquisite. Ages 5-8.

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School Library Journal : There is a quiet subtlety of tone in both text and illustration that perfectly captures the spirit of this Japanese folktale. Paterson's economical use of language conveys the pure essence of a story that needs no verbal embellishment. A mandarin drake is separated from his mate by a cruel lord who covets beautiful things, only for the honor they bring him as their possessor. When the drake's magnificently colored plumage fades, he is banished to a far corner of the kitchen where Yasuko, the kitchen maid, frees him. The lord blames Shozo, the one-eyed chief steward who had once been a powerful samurai, beats him, strips him of his rank, and forces him to haul waste and scrub toilets. When Yasuko and Shozo fall in love, the lord sentences them to death; they are saved, however, by two messengers announcing that the emperor has abolished capital punishment. The Dillons' watercolor and pastel paintings have the appearance of woodcuts with a luminous quality, conveying both the gentleness and the strength of the characters and of the bond of love between the two couples, human and duck. The illustrations are simultaneously powerful and ethereal with bold lines and fine details which, nonetheless, are more suggestive than definitive. This visual understatement is seen most clearly in the depiction of nature. Each tree, flower, or blade of grass hints of more behind. There is a grace in the flowing lines of the kimonos and beauty in the muted autumn/winter palette, giving a golden, blue-gray, or mauve glow to the various scenes. Although the obvious message of this tale is that of kindness rewarded, there is a more subtle message brought home in the final words, ``trouble can always be borne when it is shared.'' --Kay E. Vandergrift, Information and Library Studies, Rutgers University, New Brunswick, NJ

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Publishers Weekly : This ambitious first novel introduces 16-year-old Miles Halter, whose hobby is memorizing famous people's last words. When he chucks his boring existence in Florida to begin this chronicle of his first year at an Alabama boarding school, he recalls the poet Rabelais on his deathbed who said, "I go to seek a Great Perhaps." Miles's roommate, the "Colonel," has an interest in drinking and elaborate pranks—pursuits shared by his best friend, Alaska, a bookworm who is also "the hottest girl in all of human history." Alaska has a boyfriend at Vanderbilt, but Miles falls in love with her anyway. Other than her occasional hollow, feminist diatribes, Alaska is mostly male fantasy—a curvy babe who loves sex and can drink guys under the table. Readers may pick up on clues that she is also doomed. Green replaces conventional chapter headings with a foreboding countdown—"ninety-eight days before," "fifty days before"—and Alaska foreshadows her own death twice ("I may die young," she says, "but at least I'll die smart"). After Alaska drives drunk and plows into a police car, Miles and the Colonel puzzle over whether or not she killed herself. Theological questions from their religion class add some introspective gloss. But the novel's chief appeal lies in Miles's well-articulated lust and his initial excitement about being on his own for the first time. Readers will only hope that this is not the last word from this promising new author. Ages 14-up. (Mar.)

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School Library Journal : Starred Review. Gr 1–5—In this new take on animal adaptation, readers are asked to guess how six different animals might hatch an egg, use a leaf, eat a clam, or dig a hole. They can then turn the page to see how the creatures, ranging from the well-known grizzly bear to the unusual white tent bat, pull off the task. Jenkins and Page have done a remarkable job of selecting animals with unique adaptations and organizing them into categories for the gamelike feel of the book. The explanations in the body of the book and in the more detailed end matter are clear and engaging. Jenkins's beguiling slender loris on the cover, with its torn-paper fur and uncannily realistic eyes, draws readers into a menagerie of detailed paper art. This is good science, organized and illustrated for joyful learning.—Ellen Heath, Easton Area Public Library, Easton, PA

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Publishers Weekly : In a starred review of the 1998 Newbery Medal winner, set during the Depression, PW said, "This intimate novel, written in stanza form, poetically conveys the heat, dust and wind of Oklahoma. With each meticulously arranged entry Hesse paints a vivid picture of her heroine's emotions." Ages 11-13.

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School Library Journal : Gr 4-7 Ghost story fans have a spooky treat in store with Hahn's eerie new novel. Molly, the 12-year-old narrator, and her brother Michael dislike their bratty 5-year-old stepsister Heather and resent the family move to an isolated converted church in the country. The adjourning graveyard frightens Molly, but Heather seems drawn to it. Molly discovers that the ghost of a child (Helen) who died in a fire a century ago wants to lure Heather to her doom. Molly determines to save her stepsister. In so doing, she learns that Heather's strange behavior stems from her feelings of guilt at having accidentally caused her mother's death by playing near a stove and starting a fire. Eventually, Molly wrests Heather from Helen's arms as the ghost attempts to drown them. The girls discover the skeletons of Helen's parents, and their burial finally puts to rest Helen's spirit. This is a powerful, convincing, and frightening tale. The details of everyday life quickly give way to terror. The pace never slackens. Characterization is strong, and descriptive passages set a mood of suspense. There should be a heavy demand from readers who are not ``faint at heart.'' Judy Greenfield, Rye Free Reading Room, N.Y.

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Library Journal : In this mixture of personal saga, social commentary, and scientific research, Payne researches elephants' use of infrasound (sound below human hearing) to communicate over long distances. She describes the research she undertook in Kenya and in Zimbabwe, a country that condones elephant culling. Dreadfully, most of the elephants she studied there were destroyed in a 1991 cull. She found this extremely distressful, withdrawing from her own research for a time. Upon returning to Zimbabwe, she faced more sorrow; three of her research associates had been killed in a plane crash. Most of the events of the book happened prior to 1992; perhaps just now Payne is able to write of them. Peppered with commentary, criticism, and catharsis, her book is neither pure natural history nor pure autobiography. Still, it offers interesting background reading for elephant followers. Acceptable for larger public libraries and large natural history collections.

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Publishers Weekly : "I was hearing faint sounds that might have been overtones of stronger sounds that the elephants, but not I, could hear." In a chronicle that effectively blends memoir with the drama of scientific discovery, Payne (Elephants Calling), an acoustic biologist at Cornell, describes her role in the discovery of infrasonic communication between elephants. As she does so, she recounts her 13 years' study of African elephants--observing their social and family structures and behaviors, including the digging of wells. A scientist's respect for the elephants, "my gray friends," and for the native scouts informs her work. Payne writes, "You appreciate the value of silence when you watch elephants at night.... Every animal in the herd listens when the herd is listening. To use silence so well: if I could choose for people one attribute of elephants, I'd choose this." Payne can be passionate, especially regarding the issues of poaching and the harvesting of ivory, and she is convinced that any decision about ivory harvesting must take into account both the experience of elephants themselves as well as the historic relations between indigenous peoples and wild animals. Payne believes that "[i]n such a world animals reveal things to each other, and even occasionally to people like me: their attention to us is commensurate with ours to them." This book will make a wonderful addition to the library of any animal lover or of anyone fascinated by intra- and interspecies communication. Maps and drawing by Laura Payne.

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