Mary Wrightly, So Politely.
By Shirin Yim Bridges. Illustrated by Maria Monescillo. Harcourt. $16.99.
Dodsworth in Tokyo. By Tim
Egan. Houghton Mifflin. $14.99.
Pirates vs. Cowboys. By Aaron
Reynolds. Illustrated by David Barneda. Knopf. $16.99.
Being reserved, quiet and
cooperative certainly has its place – but there are limits! The little girl in Mary Wrightly, So Politely finds out
what those limits are during a shopping trip with her mother. She is looking
for a birthday present for her little brother, who is almost a year old. Mary
is a very quiet, polite and obedient child, exactly the sort of little girl
that parents frequently say they want. She genuinely dislikes raising her
voice, and constantly says “please” and “thank you” without having to be
reminded. But Shirin Yim Bridges shows that sometimes there can be such a thing
as being too quiet and cooperative.
What happens is that Mary’s mother sees a friend in the store and begins
speaking with her, while Mary continues searching for a gift for her brother.
And Mary finds something that is just right! But before she can get it, a girl
grabs it and starts walking away – and does not hear Mary’s quiet and polite
“excuse me” as Mary tries to get the gift back. The same thing happens,
frustratingly, with the next perfect present that Mary discovers. Mary tries to
alert her mother to the gift, but Mary’s attempt to interrupt her mother’s
discussion politely does not work quickly enough: someone else grabs this gift,
too. Mary, although she knows it is not polite to sulk, is right on the verge
of doing so when she spots a third
perfect gift, an even better one than the first two. But yet again, someone
else gets to it first, just as Mary reaches for it – and suddenly Mary realizes
that she has to RAISE HER VOICE so the woman will hear her and understand that
the gift is for Mary’s baby brother. Sure enough, the woman does hear Mary, and
of course is kind enough to give her the present – a blue elephant – so Mary
can get it. Mary resumes her polite and pleasant ways on the trip home, and is
even polite to her brother when giving him his present, but she has learned
that it is not always good to be too
self-effacing and quiet – a lesson that may seem odd in these hyperkinetic
times, but one that will surely strike home with families in which a child is a
touch too reserved. Maria Monescillo’s illustrations nicely capture the moods
of the story’s characters, from frustration to the world-encompassing joy of
Mary’s brother when he gets his elephant and hugs it tight.
Speaking of the world,
Dodsworth and the duck continue their travels around it in Dodsworth in Tokyo, in which Tim Egan builds the whole book around
the duck’s now-well-known propensity for getting into all sorts of trouble. Dodsworth
worries about this from the start of the book, noting that “Japan is a land of
customs and manners and order” but that “the duck wasn’t very good at those
things.” The duck, of course, promises to be on his best behavior, but
Dodsworth keeps a very close eye on him and repeatedly reminds him of the right
way to behave – and, surprisingly, the duck does quite well. But Dodsworth is
sure, as readers will be, that this cannot go on forever, and that is the
tension in this modest, well-told story, which as usual features reasonably
accurate depictions of various locations that Dodsworth and the duck visit. The
duck becomes fascinated by a toy called a kendama
– a ball attached by a string to a cup – and proves highly skilled at cupping
the ball, which Dodsworth himself cannot manage to do. A little girl leaves her
kendama behind in a park, and Dodsworth and the duck wait for her to return so
they can give it to her, but to no avail; so they take it with them on the rest
of their tour. Part of the fun here involves how un-ducklike the duck is:
Dodsworth has to rescue him from water at one point, since he cannot swim. The
duck cannot fly, either, and that fact is what Egan uses to bring the good-behavior
and kendama stories together in an amusingly appropriate climax. And yes,
eventually of course the duck makes a
huge mess, as young readers will have anticipated all along, but it all happens
in so good-humored a way that even Dodsworth finds himself laughing. Kids will
laugh along with him.
There is plenty to laugh at
in Pirates vs. Cowboys, too, and it
is a tossup which is funnier: Aaron Reynolds’ story or David Barneda’s
illustrations. The niceness and politeness here do not show up until very late
in the tale, and that is certainly understandable when Burnt Beard the Pirate
and Black Bob McKraw are the principal characters. And not just any characters: Burnt Beard, who does
indeed sport a beard, is an octopus – actually a hexapus, having “only” six
arms, two of which also serve him as legs. For his part, Black Bob is a
rip-roarin’ bull, full of nastiness and mayhem. You would think that the
characters’ spheres of operation would mean they would never meet, but Reynolds
says that Burnt Beard needs somewhere new to hide treasure, having filled up
all his usual places, so he and his scurvy crew head into Old Cheyenne, where
they meet up with Black Bob and his gang at a time when, for some reason, the
outlaws are not busy robbing a bank.
There is a big and very funny confrontation – shark, turtle and crab on one
side; pig, goat and snake on the other – and what makes it so funny is that
each gang talks its own lingo, and neither can understand the other, but both
know when they are being insulted. Then into town comes Pegleg Highnoon, “the
world’s only pirate cowboy,” who acts as interpreter so both gangs know just how they are being nasty to each other.
Pegleg then figures a way out of this mess, not from altruism but because he
“didn’t like anybody causing trouble” except for himself. And the way out has
to do with both gangs being – well, messy, sloppy, and altogether stinky.
That’s where the niceness in Pirates vs.
Cowboys finally shows up, and in this case niceness does not start the problem (as it does in Mary Wrightly, So Politely) – it solves the problem. Nicely done.
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