sion, self‐blame and anger at the mother who deserts him by succumbing to cancer. This time she follows another average youngster, Robbie Farley, through all the stages of grief over a parent's death - confu‐. Peggy Mann's “My Dad Lives in a Downtown Hotel” became a successful television special about a boy's reactions to his parents’ separation. Here is a tougher, more assertive view of survivor's trauma. A sincere and graceful appeal to the idealist in all of us.īy Peggy Mann. gentle acquiesence to her fate but Lowry does make her point, that only by cllerishing life is it possible ‘.to learn to accept death. The episode with the “hippies” is anachronistically idyllic, and the tragedy is oddly muted by the sister's Thirteen‐year‐old Meg, watching an older sister die of leukemia, has the comforts of a warm, enfolding family, her passion for photography and a friendly “hippie” couple next door who invite Meg to take pictures while they deliver their own baby at home. Lois Lowry handles the subject most delicately. The recent spate of adult books on death and dying appears to have restored this topic to its central place in children's fiction. Done up in six different styles of black - and - white illustration, from the austere surrealism of Charles Mikolaycak to the ragamuffin sophistication of Hilary ‘ Knight, this is a smorgasboard of the ridiculous‐unwieldy but fun for
Gilligan, along with another about batch of “flyaway” bread dough and four free‐wheeling narrative rhymes, make up a collections that, while by no means up to the standard Norma Farber set for herself in “As I Was Crossing Boston Common,” has the advantage of her hearty appetite for words‐plain, fancy and downright baroque. Whim crowds her out of house and home, and finally explodes from its own attenuated silliness. Illustrated by Tomie de Paola, Charles Mikolaycak, Friso Henstra, Trina Schart Hyman, Lydia DabcoVich and Hilary Knight. ‘bubbles wouldn't burst.’ “ And with that, Norma Farber is off, piling bubble upon bubble until Mrs.
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