Review of AL CAPONE DOES MY SHIRTS

Choldenko, Gennifer. 2004. AL CAPONE DOES MY SHIRTS. New York: G.P. Putnam’s Sons. ISBN 0-399-23861-1

AL CAPONE DOES MY SHIRTS is a collection of journal entries by Matthew “Moose” Flanagan. Moose’s life is not unlike that of a typical seventh grader—except that his older sister is autistic, his father is an electrician/prison guard, and he lives on Alcatraz Island. The characters’ traits unfold through a combination of dialog, action, and narrative. The family moved to Alcatraz to take advantage of an educational opportunity for his sister. Though he deeply resents the move, Moose, a self-proclaimed good boy, always does what he’s supposed to do and “tries very hard not to get angry with his sister.” Moose’s desire to have a “normal” family and do the right thing permeates everything he does. The island and its buildings and characteristics are explicitly described. The year is both included in the journal entries as well as alluded to in the title and text. Contemporary references to Al Capone, joblessness, and inkwells support the story’s 1930s era. The dialog and narrative are natural and flow easily—not at all encumbered by an author’s need to clarify the time period or force feed historical tidbits. The historical era and setting add to this story’s uniqueness and appeal. Even if the reader does not have a developmentally disabled family member, the target audience will empathize with the protagonist’s struggle to fit in socially and be a positive force within his family.

Selected as a Newbery Honor Book in 2005, this historical fiction novel is highly recommended for readers grades 5-9.

Review of THE WHIPPING BOY

Fleischman, Sid. 1986. THE WHIPPING BOY. New York: Greenwillow Books. ISBN 0-688-06216-4

Jemmy is supposed to “yowl like a stuck pig.” But during the whackings he resolutely holds back his tears. As the whipping boy of Prince Horace (more commonly referred to as Prince Brat), Jemmy has daily opportunities to practice this resolution. Though he no longer has to live in the sewers nor wonder when he will eat next, Jemmy longs to run away from the castle and be free. When the prince decides to run away and drags Jemmy along with him, the two are forced to cooperate with one another in order to survive. Using plot elements from The Prince and the Pauper as well as Aladdin, this story has a familiar feel. However, THE WHIPPING BOY has a higher level of verisimilitude than these traditional stories because of the attention to historical details such as whipping boys, notorious highwaymen, and ballad sellers. Giving further indication of the time period, each plot twist is announced with a lengthy title chapter reminiscent of literature of the middle ages; for example, “Chapter 19 Being a full account of the happenings in the dark sewers.” Other stories set in medieval times such as THE MIDWIFE’S APPRENTICE (K. Cushman) and THE TALE OF DESPEREAUX (K. DiCamillo) employ this use of detailed titles as well. Periodic, monochromatic illustrations by Peter Sis accentuate humorous situations as well as provide the reader with examples of the style of clothing. Fleischman’s spin on a familiar plot and multidimensional characters offer humor (Jemmy’s frequent interjection of incredulity, “gaw!”) and sincerity (“I wish I were like you….You’re not afraid of anything.”) and entice the reader through to a satisfying ending.

This piece of historical fiction earned the Newbery Medal in 1987 and is recommended for readers grades 4-8.

Review of THE MIDWIFE’S APPRENTICE

Cushman, Karen. 1995. THE MIDWIFE’S APPRENTICE. New York: Clarion Books. ISBN 0-395-69229-6

Wanting only food and the warmth provided by a dung heap, Brat’s expectations of life are utterly basic. Karen Cushman takes this character and grows her into a young woman with a name and aspirations of “a full belly, a contented heart, and a place in this world.” The local midwife plucks Brat from a dung heap to serve as her helper. Though initially she is seen as stupid and capable of only the most basic tasks, she grows into an apprentice with a name, Alyce. As Alyce learns she herself is capable and deserving of love, a parallel development is illustrated through her treatment of a stray cat—feeding it, saving it, naming it and loving it. Her innate compassion is the reason she is eventually seen as a valuable person. A local bully, a resident scholar, birthing women, and a young boy each experience Alyce’s kindness. In return, Alyce realizes her worth through their eyes and begins to believe in herself. This story of self determination, is set in a small village during the middle ages. Descriptions of things such as stamped dirt floors and washing linens in the stream allow the reader visualize what life was like. Descriptions of smells and sounds such as a dung heap and crying babies add to the reader’s picture of the era. Without overwhelming the story, Cushman utilizes vernacular common to the day such as “mayhap” and syntax such as “I be no angel” to reflect the times. Rich discussion about the differences and similarities between the middle ages and contemporary life could focus on the trades described in THE MIDWIFE’S APPRENTICE. Contemporary versions of midwives, inn keepers, millers and shepards could be compared to those in the story.

This piece of historical fiction earned the Newbery Medal in 1996 and is highly recommended for readers grades 4-8.

Review of LIZZIE BRIGHT AND THE BUCKMINSTER BOY

Schmidt, Gary D. 2004. LIZZIE BRIGHT AND THE BUCKMINSTER BOY. New York: Clarion Books. ISBN 0-618-43929-3

In 1912, Phippsburg, Maine is replete with silvery maples, pine trees, outhouses, dirt roads, and church-goers. The citizens of Phippsburg also have their fair share of racism. Turner Buckminster discovers this head on. After spending a great day with a new friend, he is accused of consorting with a “Negress.” In fact, his new friend Lizzie Bright is the only person in the community with whom Turner feels comfortable. Even when Lizzie is not around, Turner imagines conversations with her. Schmidt creates multidimensional characters using both action and dialog. Turner is a quiet and determined young man. Though he appears to be timid, he manages well-placed quips on the town’s most intimidating characters. Lizzie’s bold spirit and down-to-earth perspective are evident. Though she is a young black girl, Lizzie walks into a white woman’s home and she freely tells Turner he needs “to get his head on straight.” The spinster, Mrs. Cobb, seems to be mean and racist, but turns out to be not so easily labeled. The plot, that of a new minister and his family moving from Boston to a small town, could be seen as typical. Also typical is the fact that the son doesn’t relate well to his new community. However, the interracial relationship and some characters’ willingness to stand up in 1912 for what is right set this book apart. Though timeless, the conflicts and triumphs in this story clearly occur in another era. Phrases such as “Golly Moses,” mention of horse drawn wagons, and the lack of amenities remind the reader this piece of fiction is historical rather than contemporary. By combining frequent dialog and first person narrative, Schmidt creates an intimacy between the reader and LIZZIE BRIGHT AND THE BUCKMINSTER BOY. Through Lizzie’s self assurance and Turner’s relentless quest for justice glimmers of hope shine through in this tragic story .

Having garnered the distinction of both a Newbery Honor Book as well as a Michael L. Printz Honor Book, this tragic historical fiction novel is highly recommended for readers grades 5-8.