Library Journal : Let's cut to the chase and say that all libraries should buy this book, if only because people will be asking for it. Gladwell, New Yorker staff writer, TEDTalks (Technology, Entertainment, Design) personality, and author of the best sellers The Tipping Point and Blink, has, well, reached a tipping point in the consciousness of observers of popular culture. Following a format similar to his previous books, Gladwell gloms onto an apparent phenomenon—in this case people who seem significantly different from other people, whether for good or for ill—and offers what we're all apparently supposed to believe are startlingly logical explanations for why they stand out. Gladwell's reasons have largely to do with things like where they come from and what month they were born in. It's all very readable, but not particularly surprising. No matter, libraries will need to acquire it. [See Prepub Alert, LJ 7/08.]—Ellen Gilbert, Princeton, NJ

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Publishers Weekly : SignatureReviewed by Leslie ChangIn Outliers, Gladwell (The Tipping Point) once again proves masterful in a genre he essentially pioneered—the book that illuminates secret patterns behind everyday phenomena. His gift for spotting an intriguing mystery, luring the reader in, then gradually revealing his lessons in lucid prose, is on vivid display. Outliers begins with a provocative look at why certain five-year-old boys enjoy an advantage in ice hockey, and how these advantages accumulate over time. We learn what Bill Gates, the Beatles and Mozart had in common: along with talent and ambition, each enjoyed an unusual opportunity to intensively cultivate a skill that allowed them to rise above their peers. A detailed investigation of the unique culture and skills of Eastern European Jewish immigrants persuasively explains their rise in 20th-century New York, first in the garment trade and then in the legal profession. Through case studies ranging from Canadian junior hockey champions to the robber barons of the Gilded Age, from Asian math whizzes to software entrepreneurs to the rise of his own family in Jamaica, Gladwell tears down the myth of individual merit to explore how culture, circumstance, timing, birth and luck account for success—and how historical legacies can hold others back despite ample individual gifts. Even as we know how many of these stories end, Gladwell restores the suspense and serendipity to these narratives that make them fresh and surprising.One hazard of this genre is glibness. In seeking to understand why Asian children score higher on math tests, Gladwell explores the persistence and painstaking labor required to cultivate rice as it has been done in East Asia for thousands of years; though fascinating in its details, the study does not prove that a rice-growing heritage explains math prowess, as Gladwell asserts. Another pitfall is the urge to state the obvious: No one, Gladwell concludes in a chapter comparing a high-IQ failure named Chris Langan with the brilliantly successful J. Robert Oppenheimer, not rock stars, not professional athletes, not software billionaires and not even geniuses—ever makes it alone. But who in this day and age believes that a high intelligence quotient in itself promises success? In structuring his book against that assumption, Gladwell has set up a decidedly flimsy straw man. In the end it is the seemingly airtight nature of Gladwell's arguments that works against him. His conclusions are built almost exclusively on the findings of others—sociologists, psychologists, economists, historians—yet he rarely delves into the methodology behind those studies. And he is free to cherry-pick those cases that best illustrate his points; one is always left wondering about the data he evaluated and rejected because it did not support his argument, or perhaps contradicted it altogether. Real life is seldom as neat as it appears in a Malcolm Gladwell book. (Nov.)Leslie T. Chang is the author of Factory Girls: From Village to City in a Changing China (Spiegel & Grau).

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Publishers Weekly : Traveling into territory more commonly associated with Isaac Bashevis Singer, Newbery Medalist Fleischman (The Whipping Boy) draws attention to the especially cruel treatment of Jewish children during the Holocaust. The Great Freddie is a decorated GI, an orphan who has stayed in Europe and, by 1948, has found a toehold as a ventriloquist. And then Avrom Amos Poliakov shows up—rather, takes over. Avrom Amos is a dybbuk, a wandering soul or ghost, and, by demonstrating how he might speak for Freddie's wooden dummy, Avrom Amos convinces Freddie to let him lodge within Freddie. The dybbuk makes good on his promise, and Freddie's act becomes the toast of Paris. But Avrom Amos has his own agenda, as Freddie knows. He wants to track down the infamous SS colonel who not only killed him but also tortured children, including his sister, and before long, the dybbuk co-opts Freddie's act and his interviews to spread the word about the SS colonel. The dybbuk's voice will shock some readers; he speaks in embittered, Yiddish-inflected English that drives home his point. Here is Avrom Amos giving Freddie a history lesson: You didn't hear [that Hitler] told his Nazi meshuggeners, those lunatics, 'Soldiers of Germany, have some fun and go murder a million and a half Jewish kids? All ages! Babies, fine. Girls with ribbons in their hair, why not?' Fleischman inserts horrific factual details of Nazi brutality, and yet his message about bearing witness may be submerged beneath the sensational story line. Ages 9-14. (Sept.)

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School Library Journal : Starred Review. Gr 6–9—In 1948 Europe, former American bomber pilot Freddie Birch is making a precarious living as a ventriloquist when he encounters young Avrom Amos. The boy is a dybbuk, the spirit of a Jewish youth murdered by the Nazis. He was one of the resistance fighters who helped Freddie escape from a POW camp. The ghost has "unfinished business" with the SS colonel who killed him, and he needs a living body—Freddie's—to accomplish it. With Avrom's spirit sharing his space, The Great Freddie finds that his act improves. The dybbuk's snappy commentary is wildly popular with audiences, and the two begin to get bookings in fancier clubs. However, the spirit refuses to work on shabbes, and he insists that Freddie stand in for him at his bar mitzvah ceremony. Then Avrom begins to change the script, inserting information about his murder and the man who killed him. Since he is incorporeal, his character is revealed almost exclusively through dialogue—a remarkable juxtaposition of sharp, sometimes bitter humor with graphic descriptions of appalling wartime atrocities. Fleischman explores the sensitive topic of anti-Semitism—not just the overt evil of the Nazi system, but also the casual, pervasive bigotry of the period. Even Freddie has to deal with his own deep-seated prejudice. There is a strong emphasis on friendship and justice, and an ultimate affirmation of life and hope. This exciting and thought-provoking book belongs in every collection.—Elaine E. Knight, Lincoln Elementary Schools, IL

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School Library Journal : Starred Review. PreS-Gr 2—When a friendly mouse knocks at his door, Bear sternly points to the "No Visitors Allowed" sign. Returning to his breakfast preparations, he opens the cupboard only to find the mouse tucked inside a bowl. "Perhaps we could have just a spot of tea," the ever-hopeful guest suggests, but he is again shown the door. Despite boarding the windows shut, stopping up the chimney, and plugging the bathtub drain, the persistent rodent keeps reappearing. Finally Bear admits defeat, "I am undone," and agrees to set out a snack. Much to his surprise, Bear enjoys the company and shares jokes and demonstrates a talent at headstands. The visit prompts him to reconsider his sign: "That's for salesmen. Not for friends." Denton's softly hued watercolor illustrations capture the humorous interplay between the unlikely companions. The fastidious, pot-bellied bear wears a tiny apron while the wee mouse with a big personality peeks out of such unlikely places as an egg carton. The lively repetition and superb pacing make this an ideal choice for storytime.—Linda Ludke, London Public Library, Ontario, Canada

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Publishers Weekly : Zelinsky (Swamp Angel) does a star turn with this breathtaking interpretation of a favorite fair......More

Publishers Weekly : Unfolding like a play, Lester's novel in dialogue—based on actual events—cannot help but be informed by his research and writing for his 1969 Newbery Honor book, To Be a Slave. In many ways, the scenes here beg to be dramatized upon a stage; many sections read like monologues, but each contributes to a powerful whole. Some readers may initially have trouble connecting Emma, the children's nursemaid, to her parents, Mattie and Will, the master's manservant. As the book progresses, however, the relationships become crystal clear. The book opens as, in Mattie's words, "The rain is coming down as hard as regret." Master Butler is about to hold an auction to sell off 429 slaves in order to repay a gambling debt. Other details unfold, as Will mentions how he and Master Butler grew up together ("He used to look up to me like I was his big brother"); Emma mentions that Mistress Fannie left her husband a year before, and an author's note explains that Fannie Kemble, who opposed slavery, married Pierce Butler not knowing that he owned slaves. The ultimate betrayal occurs when Master Butler agrees to sell Emma, the only person whom Sara, his oldest child, trusts. Lester poignantly conveys how the auction polarizes the two sisters: Sara who detests slavery, and Frances who sides with her father. Some of the flashback sections (particularly that of the "slave-seller") interrupt the flow of events, but the novel provides a compelling opportunity for children to step into the shoes of those whose lives were torn apart by slavery. Ages 9-13. (Apr.)

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Publishers Weekly : This riveting first novel paints a frighteningly realistic picture of a world war breaking out in the 21st century. Told from the point of view of 15-year-old Manhattan native Daisy, the novel follows her arrival and her stay with cousins on a remote farm in England. Soon after Daisy settles into their farmhouse, her Aunt Penn becomes stranded in Oslo and terrorists invade and occupy England. Daisy's candid, intelligent narrative draws readers into her very private world, which appears almost utopian at first with no adult supervision (especially by contrast with her home life with her widowed father and his new wife). The heroine finds herself falling in love with cousin Edmond, and the author credibly creates a world in which social taboos are temporarily erased. When soldiers usurp the farm, they send the girls off separately from the boys, and Daisy becomes determined to keep herself and her youngest cousin, Piper, alive. Like the ripple effects of paranoia and panic in society, the changes within Daisy do not occur all at once, but they have dramatic effects. In the span of a few months, she goes from a self-centered, disgruntled teen to a courageous survivor motivated by love and compassion. How she comes to understand the effects the war has had on others provides the greatest evidence of her growth, as well as her motivation to get through to those who seem lost to war's consequences. Teens may feel that they have experienced a war themselves as they vicariously witness Daisy's worst nightmares. Like the heroine, readers will emerge from the rubble much shaken, a little wiser and with perhaps a greater sense of humanity. Ages 12-up.

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School Library Journal : Gr 8 Up–Daisy, 15, a troubled New York City teen with a distant father, a wicked (and pregnant) stepmother, and an eating disorder, is sent to England to stay on a rambling farm with her deceased mother's sister's family. It is made up of Aunt Penn "who always has Important Work To Do Related to the Peace Process" and her brood of children: Osbert, 16; 14-year-old twins Isaac and Edmond; and 9-year-old Piper. As the kids spend more and more time together, Daisy warms to them, beginning to tune in to a seemingly psychic bond that the siblings share. When Aunt Penn travels to Oslo, Daisy begins a sexual relationship with Edmond. At the same time, hostile forces invade England. Originally enjoying the freedom of a world that seems to have forgotten them, the cousins are inevitably separated, leaving Piper and Daisy to struggle across the countryside and rejoin the others. Daisy's voice is uneven, being at times teenage vapid, while elsewhere sporting a vocabulary rich with 50-cent words, phrases, and references. In addition, Rosoff barely scratches the surface of the material at hand. At times, this is both intentional and effective (the enemy is never named) but for the most part the dearth of explanation creates insurmountable questions around the basic mechanisms of the plot. There is no explanation of how a small force could take out all communications (including cell phones) and proceed to overrun and to control an entire country. Perhaps even stranger, the ramifications of psychic abilities and underage sexual relationships between first cousins is never addressed.–Douglas P. Davey, Halton Hills Public Libraries, Ontario, Canada

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Publishers Weekly: In Could I Have This Dance?, board-certified general surgeon Kraus spun the inspirational tale of a physician who uncovered an undiagnosed pocket of Huntington's disease ("HD," or "the dance") in her hometown and in her own family. Here, Kraus picks up the story of Claire McCall, M.D., as she awaits the outcome of her own genetic testing for HD. As Claire and her mother care for her father, who is in the advanced and desperately debilitating stages of the disease, she decides to postpone knowing whether she has it. Claire is in love with John Cerelli and afraid of what the results of the test might mean for their future. Her concern about the strength of John's love for her takes a sudden turn, however, when a serial rapist begins victimizing her patients, and John falls under suspicion. Does she know him as well as she thought? And where is God in all of this? The reader will have to suspend disbelief in places to enjoy the story, including a scene where John throws away an expensive diamond ring and it finds its way to a new owner in an unlikely manner. The author's practical experience as a doctor lends authenticity to the plot and results in some detailed descriptions of medical conditions and of the postrape examination of victims (which may be a bit graphic for the novel's intended Christian audience). Brisk pacing keeps the pages turning, and fans of the first novel will enjoy discovering how the romance between Claire and John reaches a surprising conclusion.

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Publishers Weekly: In Could I Have This Dance?, board-certified general surgeon Kraus spun the inspirational tale of a physician who uncovered an undiagnosed pocket of Huntington's disease ("HD," or "the dance") in her hometown and in her own family. Here, Kraus picks up the story of Claire McCall, M.D., as she awaits the outcome of her own genetic testing for HD. As Claire and her mother care for her father, who is in the advanced and desperately debilitating stages of the disease, she decides to postpone knowing whether she has it. Claire is in love with John Cerelli and afraid of what the results of the test might mean for their future. Her concern about the strength of John's love for her takes a sudden turn, however, when a serial rapist begins victimizing her patients, and John falls under suspicion. Does she know him as well as she thought? And where is God in all of this? The reader will have to suspend disbelief in places to enjoy the story, including a scene where John throws away an expensive diamond ring and it finds its way to a new owner in an unlikely manner. The author's practical experience as a doctor lends authenticity to the plot and results in some detailed descriptions of medical conditions and of the postrape examination of victims (which may be a bit graphic for the novel's intended Christian audience). Brisk pacing keeps the pages turning, and fans of the first novel will enjoy discovering how the romance between Claire and John reaches a surprising conclusion.

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Publishers Weekly: In Could I Have This Dance?, board-certified general surgeon Kraus spun the inspirational tale of a physician who uncovered an undiagnosed pocket of Huntington's disease ("HD," or "the dance") in her hometown and in her own family. Here, Kraus picks up the story of Claire McCall, M.D., as she awaits the outcome of her own genetic testing for HD. As Claire and her mother care for her father, who is in the advanced and desperately debilitating stages of the disease, she decides to postpone knowing whether she has it. Claire is in love with John Cerelli and afraid of what the results of the test might mean for their future. Her concern about the strength of John's love for her takes a sudden turn, however, when a serial rapist begins victimizing her patients, and John falls under suspicion. Does she know him as well as she thought? And where is God in all of this? The reader will have to suspend disbelief in places to enjoy the story, including a scene where John throws away an expensive diamond ring and it finds its way to a new owner in an unlikely manner. The author's practical experience as a doctor lends authenticity to the plot and results in some detailed descriptions of medical conditions and of the postrape examination of victims (which may be a bit graphic for the novel's intended Christian audience). Brisk pacing keeps the pages turning, and fans of the first novel will enjoy discovering how the romance between Claire and John reaches a surprising conclusion.

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Publishers Weekly: In Could I Have This Dance?, board-certified general surgeon Kraus spun the inspirational tale of a physician who uncovered an undiagnosed pocket of Huntington's disease ("HD," or "the dance") in her hometown and in her own family. Here, Kraus picks up the story of Claire McCall, M.D., as she awaits the outcome of her own genetic testing for HD. As Claire and her mother care for her father, who is in the advanced and desperately debilitating stages of the disease, she decides to postpone knowing whether she has it. Claire is in love with John Cerelli and afraid of what the results of the test might mean for their future. Her concern about the strength of John's love for her takes a sudden turn, however, when a serial rapist begins victimizing her patients, and John falls under suspicion. Does she know him as well as she thought? And where is God in all of this? The reader will have to suspend disbelief in places to enjoy the story, including a scene where John throws away an expensive diamond ring and it finds its way to a new owner in an unlikely manner. The author's practical experience as a doctor lends authenticity to the plot and results in some detailed descriptions of medical conditions and of the postrape examination of victims (which may be a bit graphic for the novel's intended Christian audience). Brisk pacing keeps the pages turning, and fans of the first novel will enjoy discovering how the romance between Claire and John reaches a surprising conclusion.

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Publishers Weekly: Clements's (Frindle) offers an uncharacteristically thin novel introducing a boy who excels at athletics and academics—and is a whiz at drawing—but whose "greatest talent had always been money." In preschool Greg did his older brothers' chores for pay; in nursery school he recycled his family's trash and kept the bottle and can deposit refunds; and by third grade he had "set himself a goal. He wanted to be rich." Now a fifth grader, Greg decides that "school would be an excellent place to make his fortune." Yet his business ventures selling candy and gum, novelty toys and homemade comic books land him in hot water with the principal. Though this young tycoon's ambitious aspirations and laughable arrogance are entertaining, the pace of the story slackens considerably at its midpoint, when Greg teams up with Maura, another talented artist and his longstanding rival, to launch a line of mini-comic books. Clements delivers a meaningful message about friendship, perseverance and proper priorities. But although Greg and Maura are likable and spunky, the detailed descriptions of how they create their debut books and petition the School Committee for permission to market them to fellow students grow tedious. Ages 8-12. (July)

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Publishers Weekly: Clements's (Frindle) offers an uncharacteristically thin novel introducing a boy who excels at athletics and academics—and is a whiz at drawing—but whose "greatest talent had always been money." In preschool Greg did his older brothers' chores for pay; in nursery school he recycled his family's trash and kept the bottle and can deposit refunds; and by third grade he had "set himself a goal. He wanted to be rich." Now a fifth grader, Greg decides that "school would be an excellent place to make his fortune." Yet his business ventures selling candy and gum, novelty toys and homemade comic books land him in hot water with the principal. Though this young tycoon's ambitious aspirations and laughable arrogance are entertaining, the pace of the story slackens considerably at its midpoint, when Greg teams up with Maura, another talented artist and his longstanding rival, to launch a line of mini-comic books. Clements delivers a meaningful message about friendship, perseverance and proper priorities. But although Greg and Maura are likable and spunky, the detailed descriptions of how they create their debut books and petition the School Committee for permission to market them to fellow students grow tedious. Ages 8-12. (July)

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Publishers Weekly: Clements's (Frindle) offers an uncharacteristically thin novel introducing a boy who excels at athletics and academics—and is a whiz at drawing—but whose "greatest talent had always been money." In preschool Greg did his older brothers' chores for pay; in nursery school he recycled his family's trash and kept the bottle and can deposit refunds; and by third grade he had "set himself a goal. He wanted to be rich." Now a fifth grader, Greg decides that "school would be an excellent place to make his fortune." Yet his business ventures selling candy and gum, novelty toys and homemade comic books land him in hot water with the principal. Though this young tycoon's ambitious aspirations and laughable arrogance are entertaining, the pace of the story slackens considerably at its midpoint, when Greg teams up with Maura, another talented artist and his longstanding rival, to launch a line of mini-comic books. Clements delivers a meaningful message about friendship, perseverance and proper priorities. But although Greg and Maura are likable and spunky, the detailed descriptions of how they create their debut books and petition the School Committee for permission to market them to fellow students grow tedious. Ages 8-12. (July)

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Publishers Weekly: Clements's (Frindle) offers an uncharacteristically thin novel introducing a boy who excels at athletics and academics—and is a whiz at drawing—but whose "greatest talent had always been money." In preschool Greg did his older brothers' chores for pay; in nursery school he recycled his family's trash and kept the bottle and can deposit refunds; and by third grade he had "set himself a goal. He wanted to be rich." Now a fifth grader, Greg decides that "school would be an excellent place to make his fortune." Yet his business ventures selling candy and gum, novelty toys and homemade comic books land him in hot water with the principal. Though this young tycoon's ambitious aspirations and laughable arrogance are entertaining, the pace of the story slackens considerably at its midpoint, when Greg teams up with Maura, another talented artist and his longstanding rival, to launch a line of mini-comic books. Clements delivers a meaningful message about friendship, perseverance and proper priorities. But although Greg and Maura are likable and spunky, the detailed descriptions of how they create their debut books and petition the School Committee for permission to market them to fellow students grow tedious. Ages 8-12. (July)

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Publishers Weekly: This sweeping biography, 10 years in the making, chronicles in fastidious detail de Kooning's rise from his humble beginnings in Rotterdam to his fame as an abstract expressionist and his descent into alcoholism and Alzheimer's. Emigrating to New York in 1926, de Kooning (1904–1997) situated himself among fellow artists and role models like Arshile Gorky. In 1938, he met and later married painter Elaine Fried; the two remained married despite de Kooning's predilection for bed hopping. (An affair with Joan Ward resulted in a daughter, Lisa, and indeed, the authors spend more ink on de Kooning's womanizing than his art making.) In the early 1940s, de Kooning's work appeared in group shows; his first solo show was a commercial failure. The artist did not meet with real success until the 1950s, when his paintings Excavation and Woman 1 made him "first among equals" in the art world. Stevens, New York magazine's art critic, and Swan, a former senior arts editor at Newsweek, see in de Kooning's life the realization of classic stories—the triumph of the immigrant, the man consumed by his success, the nonexistence of life's second acts—and this comprehensive biography, which attempts to explain de Kooning's art through a careful catalogue of his personal life, is a must read for his admirers. Illus.

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