From School Library Journal
Grade 5-8–Yet another novel-in-poems, this child's-eye view of the trial of the Lindbergh baby's supposed kidnapper/killer Bruno Hauptmann conveys the historical facts but only fitfully brings them to life. While the author casts the narrative of preteen Katie Flynn in blank verse, the setting, the heavy influx of reporters and celebrities, and the trial's participants are described in prosaic terms, and Katie often even leaves her personal reactions between the lines: "I expect my history teacher, Mr. Witkowski, will ask me/what I learned at the trial/about Law, about Criminals,/about our American Justice System./I expect he won't be happy/with my answers." Though Katie has done some growing up by the end, and subplots, including a pointedly parallel one involving a friend of Katie's who is unjustly accused of vandalism, add some immediacy, most of what readers will get from this story is reportage. Judith Edwards's
The Lindbergh Baby Kidnapping in American History (Enslow, 2000) is just one of several recent nonfiction treatments of the same tragic incident that go into more detail.
–John Peters, New York Public Library Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
--This text refers to an out of print or unavailable edition of this title.
Gr. 5-9. "Nothing much happens but eggs, chickens, and Santa Claus," complains restless Katie Leigh Flynn about life in her small New Jersey town. But on March 1, 1932, something
does happen--something sensational . . and tragic. The baby son of Colonel and Mrs. Charles Lindbergh is kidnapped in nearby Hopewell. Bruno Richard Hauptmann is arrested and put on trial for the crime--right there in Katie's hometown--and the 12-year-old finds herself caught up in the case as assistant to her journalist uncle. Readers see the famous trial through Katie's eyes as she records the events in unrhymed poems that have the terse rhythm of newspaper reports: "the sound of news / written down, sent out / on typewriters and telegraphs / from our little town." Katie realizes that someday she wants to make "that very same sound." Bryant does an extraordinary job of re-creating the Depression-era milieu during which the trial unfolded and, at the same time, conveying the gravity of an event that may have been a miscarriage of justice. As Katie says, "When a man's on trial for his life / isn't
every word important?" Bryant shows why with art and humanity.
Michael CartCopyright © American Library Association. All rights reserved
--This text refers to an out of print or unavailable edition of this title.