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The Inquisitor’s Tale or, The Three Magical Children and Their Holy Dog
By Adam Gidwitz
Illuminated by Hatem Aly
Dutton Children’s Books (an imprint of Penguin Random House)
$17.99
ISBN: 978-0-525-42616-5
Ages 9 and up
On shelves September 27th

God’s hot this year.

To be fair, God has had some fairly strong supporters for quite some time. So if I’m going to clarify that statement a tad, God’s hot in children’s literature this year. Even then, that sentence is pretty vague. Here in America there are loads of Christian book publishers out there, systematically putting out title after title after title each and every year about God, to say nothing of publishers of other religions as well. Their production hasn’t increased hugely in 2016, so why the blanket statement? A final clarification, then: God is hot in children’s books from major non-Christian publishers this year. Ahhhh. That’s better. Indeed, in a year when serious literary consideration is being heaped upon books like John Hendrix’s Miracle Man, in walks Adam Gidwitz and his game changing The Inquisitor’s Tale. Now I have read my fair share of middle grade novels for kids, and I tell you straight out that I have never read a book like this. It’s weird, and unfamiliar, and religious, and irreligious, and more fun than it has any right to be. Quite simply, Gidwitz found himself a holy dog, added in a couple proto-saints, and voila! A book that’s part superhero story, part quixotic holy quest, and part Canterbury Tales with just a whiff of intrusive narration for spice. In short, nothing you’ve encountered in all your livelong days. Bon appétit.

The dog was dead to begin with. A greyhound with a golden muzzle that was martyred in defense of a helpless baby. As various pub goers gather in the year 1242 to catch a glimpse of the king, they start telling stories about this dog that came back from the dead, its vision-prone mistress (a peasant girl named Jeanne), a young monk blessed with inhuman strength (William, son of a lord and a North African woman), and a young Jewish boy with healing capabilities (Jacob). These three very different kids have joined together in the midst of a country in upheaval. Some see them as saints, some as the devil incarnate, and before this tale is told, the King of France himself will seek their very heads. An extensive Author’s Note and Annotated Bibliography appear at the end.

If you are familiar with Mr. Gidwitz’s previous foray into middle grade literature (the Grimm series) then you know he has a penchant for giving the child reader what it wants. Which is to say, blood. Lots of it. In his previous books he took his cue from the Grimm brothers and their blood-soaked tales. Here his focus is squarely on the Middle Ages (he would thank you not to call them “The Dark Ages”), a time period that did not lack for gore. The carnage doesn’t really begin in earnest until William starts (literally) busting heads, and even then the book feels far less sanguine than Gidwitz’s other efforts. I mean, sure, dogs die and folks are burned alive, but that’s pretty tame by Adam’s previous standards. Of course, what he lacks in disembowelments he makes up for with old stand-bys like vomit and farts. Few can match the man’s acuity for disgusting descriptions. He is a master of the explicit and kids just eat that up. Not literally of course. That would be gross. As a side note, he has probably included the word “ass” more times in this book than all the works of J.M. Barrie and Roald Dahl combined. I suspect that if this book is ever challenged in schools or libraries it won’t be for the copious entrails or discussions about God, but rather because at one point the word “ass” (as it refers to a donkey) appears three times in quick, unapologetic succession. And yes, it’s hilarious when it does.

So let’s talk religious persecution, religious fundamentalism, and religious tolerance. As I write this review in 2016 and politicians bandy hate speech about without so much as a blink, I can’t think of a book written for kids more timely than this. Last year I asked a question of my readers: Can a historical children’s book contain protagonists with prejudices consistent with their time period? Mr. Gidwitz seeks to answer that question himself. His three heroes are not shining examples of religious tolerance born of no outside influence. When they escape together they find that they are VERY uncomfortable in one another’s presence. Mind you, I found William far more tolerant of Jacob than I expected (though he does admittedly condemn Judaism once in the text). His dislike of women is an interesting example of someone rejecting some but not all of the childhood lessons he learned as a monk. Yet all three kids fear one another as unknown elements and it takes time and a mutually agreed upon goal to get them from companionship to real friendship.

As I mentioned at the start of this review, religion doesn’t usually get much notice in middle grade books for kids from major publishers these days. And you certainly won’t find discussions about the differences between Christianity and Judaism, as when the knight Marmeluc tries to determine precisely what it is to be Jewish. What I appreciated about this book was how Gidwitz distinguished between the kind of Christianity practiced by the peasants versus the kind practiced by the educated and rich. The peasants have no problem worshipping dogs as saints and even the local priest has a wife that everyone knows he technically isn’t supposed to have. The educated and rich then move to stamp out these localized beliefs which, let’s face it, harken back to the people’s ancestors’ paganism.

Race also comes up a bit, with William’s heritage playing a part now and then, but the real focus is reserved for the history of Christian/Jewish interactions. Indeed, in his wildly extensive Author’s Note at the end, Gidwitz makes note of the fact that race relations in Medieval Europe were very different then than today. Since it preceded the transatlantic slave trade, skin color was rare and contemporary racism remains, “the modern world’s special invention.” There will probably still be objections to the black character having the strength superpower rather than the visions or healing, but he’s also the best educated and intelligent of the three. I don’t think you can ignore that fact.

As for the writing itself, that’s what you’re paying your money for at the end of the day. Gidwitz is on fire here, making medieval history feel fresh and current. For example, when the Jongleur says that some knights are, “rich boys who’ve been to the wars . . . Not proper at all. But still rich,” that’s a character note slid slyly into the storytelling. Other lines pop out at you too. Here are some of my other favorites:

• About that Jongleur, “… he looks like the kind of child who has seen too much of life, who’s seen more than most adults. His eyes are both sharp and dead at the same time. As if he won’t miss anything, because he’s seen it all already.”
• “Jeanne’s mother’s gaze lingered on her daughter another moment, like an innkeeper waiting for the last drop of ale from the barrel tap.”
• “The lord and lady welcomed the knights warmly. Well, the lady did. Lord Bertulf just sat in his chair behind the table, like a stick of butter slowly melting.”
• “Inside her, grand castles of comprehension, models of the world as she had understood it, shivered.”
• And Gidwitz may also be the only author for children who can write a sentence that begins, “But these marginalia contradicted the text…” and get away with it.

Mind you, Gidwitz paints himself into a pretty little corner fairly early on. To rest this story almost entirely on the telling of tales in a pub, you need someone who doesn’t just know the facts of one moment or the next but who could claim to know our heroes’ interior life. So each teller comes to mention each child’s thoughts and feelings in the course of their tale. The nun in the book bears the brunt of this sin, and rather than just let that go Gidwitz continually has characters saying things like, “I want to know if I’m sitting at a table filled with wizards and mind readers.” I’m not sure if I like the degree to which Gidwitz keeps bringing this objection up, or if it detracts from the reading. What I do know is that he sort of cheats with the nun. She’s the book’s deux ex machina (or, possibly the diaboli ex machina) acting partly as an impossibility and partly as an ode to the author’s love of silver haired librarians and teachers out there with “sparkling eyes, and a knowing smile.”

Since a large portion of the story is taken up with saving books as objects, it fits that this book itself should be outfitted with all the beauties of its kind. If we drill down to the very mechanics of the book, we find ourselves admiring the subtleties of fonts. Every time a tale switches between the present day and the story being told, the font changes as well. But to do it justice, the story has been illuminated (after a fashion) by artist Hatem Aly. I have not had the opportunity to see the bulk of his work on this story. I do feel that the cover illustration of William is insufficiently gargantuan, but that’s the kind of thing they can correct in the paperback edition anyway.

Fairy tales and tales of saints. The two have far more in common than either would like to admit. Seen in that light, Gidwitz’s transition from pure unadulterated Grimm to, say, Lives of the Improbable Saints and Legends of the Improbable Saints is relatively logical. Yet here we have a man who has found a way to tie-in stories about religious figures to the anti-Semitism that is still with us to this day. At the end of his Author’s Note, Gidwitz mentions that as he finished this book, more than one hundred and forty people were killed in Paris by terrorists. He writes of Medieval Europe, “It was a time when people were redefining how they lived with the ‘other,’ with people who were different from them.” The echoes reverberate today. Says Gidwitz, “I can think of nothing sane to say about this except this book.” Sermonizers, take note.

On shelves September 27th.

Like This? Then Try:

• Good Masters! Sweet Ladies! Voices from a Medieval Village by Laura Amy Schlitz, ill. Robert Byrd
• The Book of Everything by Guus Kuijer
• Crispin, the Cross of Lead by Avi

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Wolf Hollow
By Lauren Wolk
Dutton Children’s Books (an imprint of Penguin Random House)
$16.99
ISBN: 978-1101994825
Ages 10 and up
On shelves now.

I am not what you might call a very brave reader. This is probably why I primarily consume children’s literature. I might puff myself up with a defense that lists the many fine aspects of this particular type of writing and believe it too, but sometimes when you catch me in a weak moment I might confess that another reason I like reading books for kids is that the content is so very “safe” in comparison to books for adults. Disturbing elements are kept at a minimum. There’s always a undercurrent of hope running through the book, promising that maybe we don’t live in a cold, cruel, calculating universe that cares for us not one jot. Even so, that doesn’t mean that I don’t sometimes have difficulty with books written for, oh say, 10-year-olds. I do. I’m not proud of it, but I do. So when I flipped to the back of Wolf Hollow mid-way through reading it, I want to tell you that I did so not because I wanted to spoil the ending for myself but because I honestly couldn’t turn another page until I knew precisely how everything was going to fall out. In her debut children’s book, Lauren Wolk dives head first into difficult material. A compelling author, the book is making the assumption that child readers will want to see what happens to its characters, even when the foreshadowing is so thick you’d need a knife to cut through it. Even when the ending may not be the happy one everyone expects. And you know what? The book might be right.

It is fair to say that if Betty Glengarry hadn’t moved to western Pennsylvania in the autumn of 1943 then Annabelle would not have needed to become a liar later. Betty looks the part of the blond, blue-eyed innocent, but that exterior hides a nasty spirit. Within days of her arrival she’s threatened Annabelle and said in no uncertain terms that unless she’s brought something special she’ll take it out on the girl’s little brothers. Annabelle is saved from Betty’s threats by Toby, a war veteran with issues of his own. That’s when Betty begins a more concentrated campaign of pain. Rocks are thrown. Accusations made. There’s an incident that comes close to beheading someone. And then, when things look particularly bad, Annabelle disappears. And so does Toby. Now Annabelle finds herself trying to figure out what is right, what is wrong, and whether lies can ever lead people to the truth.

Right off the bat I’m going to tell you that this is a spoiler-rific review. I’ve puzzled it over but I can’t for the life of me figure out how I’d be able to discuss what Wolk’s doing here without giving away large chunks o’ plot. So if you’re the kind of reader who prefers to be surprised, walk on.

All gone? Okay. Let’s get to it.

First and foremost, let’s talk about why this book was rough going for me. I understand that “Wolf Hollow” is going to be categorized and tagged as a “bully book” for years to come, and I get that. But Betty, the villain of the piece, isn’t your average mean girl. I hesitate to use the word “sadistic” but there’s this cold undercurrent to her that makes for a particularly chilling read. Now the interesting thing is that Annabelle has a stronger spine than, say, I would in her situation. Like any good baddie, Betty identifies the girl’s weak spot pretty quickly (Annabelle’s younger brothers) and exploits it as soon as she is able. Even so, Annabelle does a good job of holding her own. It’s when Betty escalates the threat (and I do mean escalates) that you begin to wonder why the younger girl is so adamant to keep her parents in the dark about everything. If there is any weak spot in the novel, it’s a weak spot that a lot of books for middle grade titles share. Like any good author, Wolk can’t have Annabelle tattle to her parents because otherwise the book’s momentum would take a nose dive. Fortunately this situation doesn’t last very long and when Annabelle does at last confide in her very loving parents Betty adds manipulation to her bag of tricks. It got to the point where I honestly had to flip to the back of the book to see what would happen to everyone and that is a move I NEVER do. But there’s something about Betty, man. I think it might have something to do with how good she is at playing to folks’ preexisting prejudices.

Originally author Lauren Wolk wrote this as a novel for adults. When it was adapted into a book for kids she didn’t dumb it down or change the language in a significant manner. This accounts for some of the lines you’ll encounter in the story that bear a stronger import than some books for kids. Upon finding the footsteps of Betty in the turf, Annabelle remarks that they “were deep and sharp and suggested that she was more freighted than she could possibly be.” Of Toby, “He smelled a lot like the woods in thaw or a dog that’s been out in the rain. Strong, but not really dirty.” Maybe best of all, when Annabelle must help her mother create a salve for Betty’s poison ivy, “Together, we began a brew to soothe the hurt I’d prayed for.”

I shall restrain myself from describing to you fully how elated I was when I realized the correlation between Betty down in the well and the wolves that were trapped in the hollow so very long ago. Betty is a wolf. A duplicitous, scheming, nasty girl with a sadistic streak a mile wide. The kind of girl who would be more than willing to slit the throat of an innocent boy for sport. She’s a lone wolf, though she does find a mate/co-conspirator of sorts. Early in the book, Wolk foreshadows all of this. In a conversation with her grandfather, Annabelle asks if, when you raised it right, a wolf could become a dog. “A wolf is not a dog and never will be . . . no matter how you raise it.” Of course you might call Toby a lone wolf as well. He doesn’t seek out the company of other people and, like a wolf, he’s shot down for looking like a threat.

What Wolk manages to do is play with the reader’s desire for righteous justice. Sure Annabelle feels conflicted about Betty’s fate in the will but will young readers? There is no doubt in my mind that young readers in bookclubs everywhere will have a hard time feeling as bad for the antagonist’s fate as Annabelle does. Even at death’s door, the girl manages the twist the knife into Toby one last time. I can easily see kids in bookclub’s saying, “Sure, it must be awful to be impaled in a well for days on end . . . . buuuut . . . .” Wolk may have done too good a job delving deep into Betty’s dark side. It almost becomes a question of grace. We’re not even talking about forgiveness here. Can you just feel bad about what’s happened to the girl, even if it hasn’t changed her personality and even if she’s still awful? Wolk might have discussed after Betty’s death the details of her family situation, but she chooses not to. She isn’t making it easy for us. Betty lives and dies a terrible human being, yet oddly we’re the ones left with the consequences of that.

In talking with other people about the book, some have commented about what it a relief it was that Betty didn’t turn into a sweet little angel after her accident. This is true, but there is also no time. There will never be any redemption for Betty Glengarry. We don’t learn any specific details about her unhappy home life or what it was that turned her into the pint-sized monster she is. And her death comes in that quiet, unexpected way that so many deaths do come to us. Out of the blue and with a whisper. For all that she spent time in the well, she lies until her very last breath about how she got there. It’s like the novel Atonement with its young liar, but without the actual atoning.

Wolk says she wrote this book and based much of it on her own family’s stories. Her memories provided a great deal of the information because, as she says, even the simplest life on a Pennsylvanian farm can yield stories, all thanks to a child’s perspective. There will be people who compare it to To Kill a Mockingbird but to my mind it bears more in common with The Crucible. So much of the book examines how we judge as a society and how that judgment can grow out of hand (the fact that both this book and Miller’s play pivot on the false testimony of young girls is not insignificant). Now I’ll tell you the real reason I flipped to the back of the book early. With Wolf Hollow Wolk threatens child readers with injustice. As you read, there is a very great chance that Betty’s lies will carry the day and that she’ll never be held accountable for her actions. It doesn’t work out that way, though the ending isn’t what you’d call triumphant for Annabelle either. It’s all complicated, but it was that unknowing midway through the book that made me need to see where everything was going. In this book there are pieces to pick apart about lying, truth, the greater good, minority vs. majority opinions, the price of honesty and more. For that reason, I think it very likely it’ll find itself in good standing for a long time to come. A book unafraid to be uneasy.

On shelves now.

Source: Thanks to Penguin Random House for passing on the galley.

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Quackers Written and Illustrated by Liz Wong Alfred A. Knopf BYR    3/22/2016 978-0-553511543 32 pages    Ages 3—6 “Quackers is a duck. Sure, he may have paws and whiskers. And his quacks might sound more like…well, meows, but he lives among ducks, everyone he knows is a duck, and he’s happy. Then Quackers meets …

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Here Comes Valentine Cat Series: Here Comes Cat Written by Deborah Underwood Illustrated by Claudia Rueda Dial Books for Young Readers    12/22/2015 978-0-525-42915-9 88 pages     Ages 3—5 Junior Library Guild Selection “Cat is no fan of VALENTINE’S DAY, especially when it brings a new dog to the neighborhood. “Ouch. I’m sorry, Cat. …

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Penguin Random House has merged its Biographile and Word & Film sites to create a new site called Signature.

The site will include reportage on current events and cultural moments connected with books. The site will feature essays, interviews and opinion pieces by authors, journalists and other experts.

“Whether the headlines of tomorrow are consumed by a financial crisis, a blockbuster movie, a scientific breakthrough, or an election, there are books steeped in those subjects to further our understanding of it all,” said Kristin Fritz, director of Signature. “Signature is for readers who want deeper context for what’s going on around them. At Signature, we want to provide that context and bridge the gap between those readers and the authors and books they’ll find inspiring and useful.”

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Penguin Random House have away almost 50,000 books this past holiday season to kids in need.

The donation was made through the nonprofit First Book as part of the publisher’s #GiveaBook social media campaign. For every mention of the hashtag on social networks during the five week promotion, the publisher donated a book.

“Through the #GiveaBook effort, book lovers everywhere shared that love with 50,000 children in need,” stated Kyle Zimmer, president and CEO of First Book.  “We are so grateful to Penguin Random House for providing these brand new books for the classrooms and programs we serve, giving a gift that will be treasured throughout the year.”

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Penguin Random House has released new terms for e-book licenses sold to  libraries.

Beginning on January 1, 2016, all Penguin and Random House adult and children’s frontlist and backlist e-book titles will employ the same perpetual licensing model, which Random House has been using for years. Under the new model, libraries will own titles they purchase after January 1 in perpetuity.

The pricing will be “variable and flexible.” “Penguin Random House will continue to regularly adjust prices for public and school library purchase of individual e-books, with prices ranging from under $20 per title to a newly set maximum of $65 (both USD and CAD), reduced from the current cap U.S. $85/Canada $95,” the company explained in the release.

 

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Penguin Random House’s employees will be giving out free books on Giving Tuesday, December 1 as part of its #GiveaBook social media campaign.

The #GiveaBook team will be handing out free books in front of several of the publisher’s offices in New York (1745 Broadway and 375 Hudson Street), as well as at Carroll Community College (near the publisher’s Westminster, MD distribution center), and Sommer Elementary School (near its Crawfordsville, IN distribution center). The giveaways include: Red Rising by Pierce Brown; The Boys in the Boat by Daniel James Brown; All I want for Christmas is You by Mariah Carey, illustrated by Colleen Madden; and Llama Llama Gram & Grandpa by Anna Dewdney.

The promotion is part of the publisher’s social media promotion in which the publisher is donating a book to First Book for every tweet with the hashtag #GiveaBook, up to 35,000 times.

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Penguin Random House has relaunched its holiday social media campaign that promotes books as gifts, and book donations to children in need during the holiday season.

Now in its second year, the effort encourages social media users to use the hashtag #GiveaBook on Facebook and Twitter between today and Dec. 24. In exchange Penguin Random House will donate one book to the literacy charity First Book, up to 35,000 times.

Last year the goal was 25,000 #GiveaBook posts, but social media users surpassed the goal, which is why the publisher upped its commitment this year. In addition, this year the organization has  created The Giving Map, a digital tool to help people discover where they can make donations at a local book retailer or library this holiday season. Booksellers can share info about their stores’ holiday book drives on this Giving Map Submission Form.

Chronicle Books also launched its #GiveBooks campaign today.

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What does Christmas mean to you? Is it the sound of excited squeals on Christmas morning? Is it the smell of freshly baked cookies? Is it the sight of twinkling fairy lights around your Christmas tree? Or perhaps that satifying feel of a bloated belly after you’ve tasted every gourmet delight! Here are a few […]

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The Girl on the Train by Paula Hawkins. Riverhead Books, an imprint of Penguin RandomHouse. 2015. Library copy.

The Plot: Rachel takes the same commuter train to work and home, day in, day out. She watches outside her window, watches the buildings and houses. There is one couple in particular she watches, who she names Jess and Jason. Wondering about them and their lives, making up a story about who and what they are.

Until one day, something happens. Something that forces her from observer to participant, off the train and into the lives of those she watches.

The Good: I confess, that I'm not sure what put The Girl on the Train on my must-read list. Once it went there (and it was a long hold list from the library!) I avoided any reviews or mentions of the book, because I didn't want spoilers. Since it was being talked about in the same breadth as Gone Girl (my review here), I knew that I didn't want spoilers. I wanted to discover the book, and any twists and turns, on my own. (For another day is my perhaps contradictory stance on both not minding spoilers and also getting really annoyed when something I don't want spoiled is spoiled.)

To begin with, The Girl on the Train is nothing like Gone Girl: well, both have "girl" in the title. Are both are best-sellers with twists best discovered on one's own. But the unreliable narrator is different: Amy of Gone Girl is a deliberate manipulator of her own story, depending on her audience, and always believes she is the smartest person in the room. Rachel, the primary narrator of The Girl on the Train, is unreliable for different reasons. She doesn't know herself well enough to lie or manipulate the reader, even if at times she tells the story in a way to make herself look better. She also has problems with memory, and so she's unreliable because at times she just doesn't know.

There are three narrators, and I'll leave it to book clubs and others to discuss why these are "girls" and not women. There is Rachel, in her mid-thirties, the girl on the train looking out at life. There is Anna, a young mother, blissfully happy with her husband, her baby, her life. There is Megan, a wife and the crossroads, unsure of whether to pursue a new career or motherhood.

I picture you as a reader like myself; so here's the deal. I'll do nothing spoilery in this post, but if you want to talk spoilers, or things beyond what I do in this review, we'll do that in the comments. So reader, it's your choice, much like it was my choice to avoid reviews and news articles about the book.

The Girl on a Train is a mystery: a woman is missing. What happened to her? And why? It is also a a character study in Rachel, a woman whose life has come undone. She's of an age when she should be in a house, with a family, perhaps a career. She wants these things; she doesn't have these things; she's having more than a tough time reconciling herself to her life now. One of her few distractions, beyond drinking and wallowing in memories, is watching life outside the train window.

Anna's life of happiness is built on someone's else unhappiness, and you know what? Honestly? She doesn't care. That's right. Judge her as you want, the how of her romance and happiness started. Her daughter, her husband, isn't it what anyone wants? And she'll do what she can to keep anything from creeping into that unhappiness.

Megan doesn't quite know what she wants: she's drifting, anchored by a husband and a home but not much else. Motherhood, the next logical step for a wife in her twenties, isn't for her. She keeps her secrets and her past close and unshared with anyone, not even her husband.

These are the three who tell the story: and because it's just these three, with both limited perspectives and particular ways in which they see things, and because they are telling their stories at different times, it's a bit hard to figure things out. But the dots do connect, eventually, between the women and what they know and what they don't.

In some ways, I found this more satisfying than Gone Girl; I liked it more. At it's heart, The Girl on a Train is a mystery and I love a good mystery. It also has one of the more interesting, unapologetic alcoholics in literature; in some ways, I was reminded of Ken Bruen's Jack Taylor. And, because of their complexities and their integrity (each is true to themselves), I liked spending time with Rachel, Anna, and Megan. And while Amy amused me and kept me on her toes, I wouldn't say spending time with her was something I liked.

And yes...A Favorite Book Read in 2015. Because Rachel.

Links: NPR review; publishers' Reader's Guide; New York Time review.




Amazon Affiliate. If you click from here to Amazon and buy something, I receive a percentage of the purchase price.

© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

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Penguin Random House has introduced an upgraded version of the Penguin Random House Author Portal, an expansion on Random House Author Portals which now includes Penguin authors, as well as new features.

The tool allows authors and agents to access weekly sales and rights information about their titles, as well as check out royalty statements. The update brings a new design which is optimized for mobile, along with a tool for authors to view sales data on their dedicated-portal home page. The platform also includes a community contacts directory which allows authors to connect with other authors.

Follow this link to check out a video demo of the new platform.

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On this day, ahead of a predicted storm, I'm happy to share these three images—snapshots of books living forward.

Handling the Truth: On the Writing of Memoir will be released in a month or so by Avery—its fourth printing—with a newly crafted afterword (featuring some of the newly read memoirs and evolving memoir theories I've had since Handling was first released in August 2013).

Going Over will be released by Chronicle as a paperback in November, following a happy run as a hardback (thank you, kind librarians, teachers, readers).

Small Damages has just been released by Speak (Penguin Random House) in its second edition paperback—slightly different packaging, same story, and much gratitude to those who found and read the book either as a Philomel hardback or a first-edition Speak paperback.

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Penguin Random House and Amazon have settled the terms of their negotiations and inked a new agreement.

Neither company would comment on the contract, which covers print and e-book sales in the U.S. and the U.K. The Wall Street Journal has the scoop:

Amazon, in a statement, described the pacts as \"long-term agreements.\"

Penguin Random House, which is majority owned by Bertelsmann SE & Co., said in a statement that \"we are still in business with Amazon, and with all our retail partners, and will continue to be.\"

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Peace is an Offering

Written by Annette LeBox
Illustrated by Stephanie Graegin
Dial Books for Young Readers         3/10/2015
978-0-8037-4091-4
40 pages          Age 3 to 5

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“Peace is an offering.
A muffin or a peach.
A birthday invitation.
A trip to the beach.

“Follow these neighborhood children as they find love in everyday things—in sunlight shining through leaves and cookies shared with friends—and learn that peace is all around, if you just look for it.”

Review

Peace is an Offering contains a strong message about what the abstract concept of peace means for the young (and old): helping one another, being kind, joining together, and enjoying all aspects of life with respect to your family, friends, and neighbors. Peace does not need to be overcomplicated or forced. Peace is the accumulation of all the small, meaningful acts we do each day.

“Will you stay with me?
Will you be my friend?
Will you listen to my story
till the very end?”

The children in this large neighborhood, make, find, and (most importantly), show kindness to each other every day in simple heartfelt ways. The poem is beautifully written and illustrated. Children will easily understand each deftly visualized line or verse of the poem. Multicultural children interact with each other, families spend time together, and friends stay close.

What is not to love about Peace is an Offering? Nothing, though the spread alluding to 911 seems unnecessary. The verse feels out of place, as does the illustration, which deviates from the light, airy, everyday life depicted on the other spreads (see two examples here). but for those who lost a loved one or friend, the spread may provide comfort. Peace is an Offering is a gratifying read; uplifting and inspiring young and old alike. The author finishes the poem by offering advice to children.

So offer a cookie,
Walk away from a fight.
Comfort a friend
Through the long, dark night.

I loved every aspect of every spread. The poetry speaks to the heart. Pencil and watercolor illustrations have those details I rave about. Simply said, Peace is an Offering is a joy to read.

PEACE IS AN OFFERING. Text copyright © 2015 by Annette LeBox. Illustrations copyright © 2015 by Stephanie Graegin. Reproduced by permission of the publisher, Penguin Random House, NY.
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Purchase Peace is an Offering at Amazon—B&N—Book Depository—Penguin Random House.
Learn more about Peace is an Offering HERE.

Meet the author, Annette LeBox, at her website:  http://annettelebox.com/
Meet the illustrator, Stephanie Graegin, at her website:  http://graegin.com/
Find more picture books at Dial Books for Young Readers website:  http://www.penguin.com/meet/publishers/dialbooksforyoungreaders/

Dial Books for Young Readers is an imprint of Penguin Random House.  http://www.penguin.com/children/

Last Chance! VOTE for YOUR FAVORITE BEST BOOK for 2014 HERE.

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Copyright © 2015 by Sue Morris/Kid Lit Reviews

Last Chance! VOTE for YOUR FAVORITE BEST BOOK for 2014 HERE.

Filed under: 5stars, Children's Books, Favorites, Library Donated Books, NonFiction, Picture Book, Poetry Tagged: acceptance, Annette LeBox, Dial Books for Young Readers, family, friends, love, multicultural, peace, Peace is an Offering, Penguin Random House, relationships, Stephanie Graegin

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Penguin Random House has launched the Penguin hotline for the holidays.

Hundreds of Penguin staff members will be on hand to help anyone who makes a request for book recommendations. This online project is modeled after the Butterball Turkey Hotline which invites people to call in with questions they have about preparing turkeys.

Here’s more from the website: “Tell us as much as you’d like about that special someone on your gift list who deserves the right book. Once you submit the form, our Penguin Hotline staffers will get started picking books. Note that these really are individually selected recommendations, made by real people, not algorithms. This human touch means it may take us a day—or two—to get back to you.”

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The Penguin Random House Audio team has developed a new discovery app called “Volumes.”

With this free app, readers can listen to clips from works by Jodi Picoult, Sophie Kinsella, and Jim Gaffigan. Sometimes, full-length audiobooks will be made available at no charge. At the moment, users can download a free digital copy of Lewis Carroll’s Alice’s Adventures in Wonderland which features the voice acting talents of Jim Dale.

Her’s more from the press release: “As part of the app’s launch, and to encourage users to give listening a try, Penguin Random House Audio is working with Literacy Partners to donate one audiobook (up to 25,000 audiobooks) for every person that downloads the app and pledges to listen. Listeners can take the pledge on Random House Audio’s Facebook page.” What are your favorite audiobooks?

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Rumors are swirling that Bertelsmann SE will be making inquiries with Pearson PLC about increasing its ownership of Penguin Random House.

Currently, Bertelsmann controls 53% of the company while Pearson holds the remaining 47%. Some say that the executives at Pearson would be very willing to entertain conversations about this venture. Under its the shareholders agreement, Pearson will be able to sell some or all of its shares starting in October 2015.

Here’s more from Bloomberg: “Penguin Random House, the world’s largest book publisher, could be valued at 2.3 billion euros ($2.9 billion), based on a median multiple of 6.3 times paid for book publishers in the past three years and the target’s 2013 earnings. A buyout would give Bertelsmann — which has a war chest of several billion dollars according to Chief Executive Officer Thomas Rabe — more flexibility in running the business as the media house tightens its television, online, and print operations.” What do you think this would mean for the future of Penguin Random House?

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Universal Pictures has signed a two-year, first-look, production deal with Penguin Random House.

Universal will examine the publishing house’s recent publications, upcoming releases, backlist titles, and original ideas for movie projects. This also means that the Random House Studio (RHS) team will serve as a producer on future films. Back in 2005, RHS had launched a co-venture with Focus Features.

Here’s more from The Hollywood Reporter: “RHS recently renewed its partnership with Universal division Focus Features through 2016, but the new pact will expand ‘the scope of what we’re able to do,’ says RHS president Peter Gethers, who will oversee the new agreement. ‘Universal has a broader mandate and the ability to get bigger projects and bigger authors.’”

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Penguin Random House has unveiled its new logo. The original logos of the 250 imprints within the company will be retained. The executives plan to print the new company brand image alongside the imprint logos on the spines of books. The animated video embedded below features several examples to illustrate how this would look. Here's more from the press release: "The new corporate wordmark underscores the importance of the written word to the company’s culture and work and will most often be paired with one of Penguin Random House’s 250 widely recognized and respected publishing divisions, imprints, and brands. The brand system, as this pairing design framework is called, is flexible and can be employed not just at the publishing level, but also territorially." continued...

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