From School Library Journal
Grade 5–7—Lawrence explores Houdini's attempts to expose the spiritual fakery of mediums and séances in this novel set in June 1926. Thirteen-year-old Scooter King's mother is a medium; his hero is Houdini. When the great escape artist appears at the Orpheum, it is Scooter who finds a dead man in Houdini's Burmese Torture Tank. Certain that the killer meant to get rid of his idol, Scooter is determined to identify the culprit. Then, two more killings occur. The book is full of period references—to Stanley Steamers, flagpole sitting, the Charleston, etc., as well as slang, such as "the bee's knees," "the cat's pajamas," "the eel's hips," all of which at times bog down the story line. Houdini's eccentric personality is evident, and Scooter is a well-developed character. Secondary figures, however, are one-dimensional. Kids will enjoy learning how some of the illusions and tricks used by mediums work. Most touching is Scooter's coming-of-age awareness that mediums, even his mother, are likely fake. Tom Lalicki's similarly well-researched
Danger in the Dark: A Houdini & Nate Mystery (Farrar, 2006) integrates history into mystery in a more lighthearted, entertaining way. An afterword explains how Lawrence became interested in Houdini and which parts of the story are true.—
Connie Tyrrell Burns, Mahoney Middle School, South Portland, ME Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Lawrence takes a grand leap in time, place, and tone from novels like The Wreckers (1998). This book unfolds in New York City in the mid-1920s, during the height of the spiritualist craze. Protagonist Scooter King, 13, knows about mediums; he helps his mother with the “chumps” who attend her séances. Then Houdini arrives, determined to root out fakes, and murder follows. Readers accustomed to the High Seas Trilogy’s derring-do won’t find it here. However, the idea that Houdini used some of the same tricks as the fake spiritualists is definitely intriguing, and Lawrence does a pretty good job of conveying the magician’s quirky personality. He is less successful presenting the rest of the cast, though (Scooter is far too mature for his years), and his attempts to solidify the cultural backdrop by using expressions such as “all to the mustard” and “now he had a mash on my mother” will likely yank readers right out of the story. It’s Lawrence’s wonderful, detailed insight into the tricks of the medium’s trade that saves the day. Grades 5-7. --Stephanie Zvirin
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