Julie Hale

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In 2011, 29-year-old American Ballet Theatre dancer David Hallberg made international headlines—and history—when he announced that he was joining the Bolshoi Ballet in Moscow, one of the world’s most prestigious ballet troupes, by the invitation of the Bolshoi’s director.

The first American to join the Russian company as a principal dancer, Hallberg began splitting his time between the Bolshoi and the American Ballet Theatre (ABT) in New York City. He led a stress-filled life of training and travel (his days off were often spent on airplanes, commuting between countries), and the pressure caught up with him in 2015, when foot issues led to his exit from the stage. After two problematic surgeries, Hallberg—devastated—thought he’d never dance again.

In his brisk, beautifully executed new memoir, A Body of Work, Hallberg documents his rise to the top of the ballet world and coping with a career-threatening injury. Born with the perfect ballet physique—tall and long limbed with flexible feet—he began studying ballet seriously at age 13 in Phoenix, Arizona. He was teased at school but supported by his parents, who encouraged his desire to dance.

By the age of 20, Hallberg was living in New York and dancing with ABT. He provides an enthralling inside look at life in the studio—the physical pain, the hard-to-please partners, the struggle to transcend technique and achieve artistry. “Dancing virtuoso steps,” Hallberg says, “can feel like traversing a darkened room trying to avoid a trip wire.”

At the time of his injury in 2015, Hallberg had performance engagements around the world. The road to recovery took two-and-a-half years, including 10 months with the Australian Ballet’s reputable rehabilitation team. In scenes that are emotionally raw and moving, he recounts the painful comeback process.

Performing as effortlessly on the page as he does on the stage, Hallberg, who returned to ABT in top form this year, writes about the technicalities of his craft with clarity and precision. Readers of every taste will find much to relish in his inspiring book (balletomanes will consume it in a couple of sittings). Should Hallberg choose to take it on when he retires, a new role may await him: writer.

In 2011, 29-year-old American Ballet Theatre dancer David Hallberg made international headlines—and history—when he announced that he was joining the Bolshoi Ballet in Moscow, one of the world’s most prestigious ballet troupes, by the invitation of the Bolshoi’s director.

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From obscure author to literary legend—that’s the transition Karl Ove Knausgaard has made in recent years thanks to his acclaimed autobiographical work, My Struggle. In that six-volume series, he delivers a meticulously detailed chronicle of his upbringing in Norway and his life as a writer, husband and father.

Knausgaard has a gift for making the quotidian seem compelling. His inclusivity and exactitude of detail, along with his tendency to follow narrative tangents to their exhausted ends, allows him to replicate on the page the nature of his own experience in a way that feels both expansive and microscopic. This effect enlivens his new book, Autumn, the first of four essay compilations, each of which will be named for a season.

Autumn was written as Knausgaard awaited the arrival of his fourth child, Anne, and it serves as a sort of introduction to the material world. Knausgaard offers musings on items encountered during the routine business of living—from plastic bags, bottles and rubber boots to the drum kit he keeps in his office. He also focuses on nature and its power to astonish and on the mysteries of the human body. Whether he’s writing about a rainstorm (“the sound of thunder always heightens the sense of being alive”) or teeth (“miniature white towers in the mouth”), the scrutiny Knausgaard applies to everyday objects renews them for the reader.

The essays in this perceptive collection are no more than a few pages in length, and Knausgaard’s prose style throughout is unembellished and precise. But the book also has an underpinning of tenderness. Of his children, Knausgaard writes, “I want them to relish life and have a sense of its abundance.” In Autumn, he captures that sense—and much more.

 

This article was originally published in the September 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

From obscure author to literary legend—that’s the transition Karl Ove Knausgaard has made in recent years thanks to his acclaimed autobiographical work, My Struggle. In that six-volume series, he delivers a meticulously detailed chronicle of his upbringing in Norway and his life as a writer, husband and father.

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Stephanie Graegin’s new wordless picture book, Little Fox in the Forest, is the enchanting story of a young girl and the stuffed fox she brings to class for show-and-tell. The absence of text adds to the magical atmosphere of the tale, which Graegin, working with a subdued palette of grays and blues, presents in panels, in the manner of a comic book.

During a break on the playground at school, the girl leaves her treasured toy unattended. Meanwhile, a fox (the real thing!) peeks out of the bushes, his vivid orange coat contrasting with the book’s muted background. He nabs the fox and dashes away, the girl in hot pursuit behind him.

With the help of a boy from school, the girl tracks the fox into the woods. When the two classmates discover a magical village among the trees, Graegin’s illustrations bloom into full color. The bright, bustling little town is inhabited by animals of every stripe—including the fox. But will the travelers be able to find him?

From opening endpapers that feature a bookshelf loaded with fabulous toys and titles like Mystery in the Woods to the fully realized town tucked away in the forest, Graegin’s book is filled with surprises. It’s a thrilling adventure that youngsters will love, and a story that gets richer with every perusal. No words necessary.

Stephanie Graegin’s new wordless picture book, Little Fox in the Forest, is the enchanting story of a young girl and the stuffed fox she brings to class for show-and-tell. The absence of text adds to the magical atmosphere of the tale, which Graegin, working with a subdued palette of grays and blues, presents in panels, in the manner of a comic book.

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Tales of the Old West seem to improve with age, as award-winning historian Tom Clavin (The Heart of Everything That Is) demonstrates in his lively new book, Dodge City: Wyatt Earp, Bat Masterson, and the Wickedest Town in the American West. Revisiting the capital of the wild frontier, Clavin focuses on Dodge City’s heyday—the 1870s and 1880s—and brings into sharp focus stories that long ago acquired the sepia tone of antiquity. 

Established as a military settlement, Dodge City developed into a frisky cowtown with a bustling stockyard and railroad terminus. Set on the plains in southwestern Kansas, it was an inevitable stop for buffalo hunters, businessmen, miners, guns-for-hire, cowpokes and other folks traveling westward. Dodge City, Clavin says, “came to symbolize both the American West and a nation seeking to fulfill its manifest destiny.” 

Because it attracted gunslingers of every breed (Dirty Sock Jack, Cold Chuck Johnny and Dynamite Sam, to name a few), extra-vigilant lawmen were needed to keep the peace. Bat Masterson and Wyatt Earp were tailor-made for the task. 

Clavin’s storytelling skills shine as he chronicles the personal histories of the now-mythical pair, tracing the years of their reign in the West and providing an intriguing look at their comradeship. He delivers plenty of quick-draw drama—with appearances from Wild Bill Hickok, Jesse James and others—in detailed accounts of the shootouts and duels that were the order of the day. 

Clavin’s bold narrative of life in a nation still coming of age provides a shot of good old-fashioned escapism. Dodge City “was a reservoir of tall tales,” he says, “yet many of the facts are equally if not more fascinating.” This rip-roarin’ read proves he’s right.

This article was originally published in the March 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Tales of the Old West seem to improve with age, as award-winning historian Tom Clavin (The Heart of Everything That Is) demonstrates in his lively new book, Dodge City: Wyatt Earp, Bat Masterson, and the Wickedest Town in the American West. Revisiting the capital of the wild frontier, Clavin focuses on Dodge City’s heyday—the 1870s and 1880s—and brings into sharp focus stories that long ago acquired the sepia tone of antiquity. 

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Almost as good as an evening at the theater: Simon Morrison’s Bolshoi Confidential lifts the curtain on one of the world’s oldest and most prestigious ballet companies. In this glittering, accessible history, Morrison tracks the ascent of the Moscow-based Bolshoi Ballet over two-and-a-half centuries while delivering a fascinating look at the dance-crazed culture of Russia, where the stars of the stage have long enjoyed celebrity status.

The word bolshoi, in English, means big, and as readers will discover, it’s a fitting modifier for a troupe made famous by the powerhouse athleticism of its performance style and the outsized personalities of its primas. Today, the company employs approximately 250 dancers. With a staff of 3,000 and a budget of $120 million, it continues to live up to its name.

The book opens with a set piece that’s stranger than fiction: Morrison’s account of the 2013 acid attack, plotted by a discontented principal, that permanently damaged the eyesight of Sergei Filin, the company’s artistic director at the time. As Morrison goes on to demonstrate, such a scandal is not without precedent at the Bolshoi. It’s only the most recent in a series of over-the-top incidents connected with the company—a theatrical lashing-out that underscores the institution’s mystique.

The Bolshoi’s “past is one of remarkable achievements interrupted, and even fueled by, periodic bouts of madness,” Morrison writes. He traces the troupe’s roots back to 1776 and the early pantomimes mounted by its first director, a shyster magician from England named Michael Maddox (whose dubious background makes for a fascinating side story). The company’s home theater was established near the Kremlin.

In the early 1800s, the Bolshoi came under the auspices of the Moscow Imperial Theaters, and guided by influential ballet master Charles Didelot, its members received rigorous training that included correction via baton. (“Bruises and loving pats on the head were the measure of a dancer’s promise,” notes Morrison.) The company matured into a performing entity that staged great 19th- and 20th-century ballets. Morrison shares the stories behind seminal productions of classics like Don Quixote and Swan Lake, and many major choreographers and composers have cameos, including Petipa, Gorsky, Tchaikovsky, and Prokofiev.

The company’s history, Morrison says, “travels hand in hand with the history of the nation.” In 1853, a fire led to a lavish refurbishing of the Bolshoi theater. Decades later, the Bolsheviks, disapproving of its Imperial-era opulence, wanted to demolish it. They defaced it instead. In 1922, Communist leaders gathered there to vote on the formation of the Soviet Union. Stalin sometimes addressed the party from the Bolshoi stage, and at one point, the theater was used as a makeshift polling station.

With the Communist Party came a renaming of the institution—it was known as the State Academic Bolshoi Theater—and the days of socialist realist ballets, when subject matter for stage performances was state sanctioned, and dance became a vehicle for propaganda. Ballets about collective farming and hydroelectricity were the norm. Bulldozers were employed as stage props. Yes, the ballets were as awful as they sound. Morrison classifies them as “ideological dreck.”

Chronicling the company’s comeback from this clumsy pas de deux between government and art, post-Soviet Union, Morrison paints a portrait of an indomitable institution, one with a gift for metamorphosis. In 2011, invitations to a gala event celebrating a $680 million redo of the theater were reportedly available on the Internet at a price of 2 million rubles—yet another grand gesture connected to a company that could only exist in Russia, where, as Morrison puts it, “politics can be theater and theater, politics.” 

A performing arts historian, journalist and author, Morrison draws upon archival material to tell a story that’s at once sweeping and deeply detailed. Bunheads will appreciate the anecdotes of passionate performers whose behavior could take dramaturgical turns (the impetuous Matilda Kshesinskaya, mistress of Tsar Nicholas II, once sent live chickens onto the stage during the performance of a rival dancer) and the insightful critique of the career of Maya Plisetskaya, the ballerina who best embodies the Bolshoi and a flamboyant mega-star who performed until the age of 70.

Longtime balletomanes and initiates to the art form will both enjoy Morrison’s masterful account of an epic company. It’s a welcome addition to the literature of ballet, and a poised performance from start to finish.

Almost as good as an evening at the theater: Simon Morrison’s Bolshoi Confidential lifts the curtain on one of the world’s oldest and most prestigious ballet companies. In this glittering, accessible history, Morrison tracks the ascent of the Moscow-based Bolshoi Ballet over two-and-a-half centuries while delivering a fascinating look at the dance-crazed culture of Russia, where the stars of the stage have long enjoyed celebrity status.
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Set in 1976, Calla Devlin’s impressive debut, Tell Me Something Real, is a compelling coming-of-age novel with a trio of sisters at its center. The Babcock siblings—tight-knit but all very different—struggle to maintain a sense of normalcy in the face of their mother’s illness.

Adrienne, the outspoken oldest sister; Vanessa, the introverted middle child; and Marie, the adored baby of the family, split their time between San Diego and Tijuana, where their mother receives alternative treatments for leukemia. Vanessa, 16 years old and a talented pianist, narrates the story, chronicling changes both large and small in her sisters as they react to their fractured family life. The sisters’ overworked father is often absent, so when Caleb, a 17-year-old cancer patient in need of treatment, comes to live with the Babcocks, life looks a little brighter.

A rewarding read for teens, this is a smart, compassionate story about living with loss and learning to make the most of each moment.

 

This article was originally published in the September 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

Set in 1976, Calla Devlin’s impressive debut, Tell Me Something Real, is a compelling coming-of-age novel with a trio of sisters at its center. The Babcock siblings—tight-knit but all very different—struggle to maintain a sense of normalcy in the face of their mother’s illness.
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“Salinger’s Holden Caulfield made a distinction between writers you would like to call on the phone and those you wouldn’t care to talk to at all. Teju Cole belongs to the former group.”

Those words were written by the author Aleksandar Hemon, and they’re proven true by Known and Strange Things, Teju Cole’s companionable new essay collection. Again and again in this gathering of more than 40 pieces, Cole demonstrates an appealing blend of erudition and affability—a quality that makes him unique as an essayist.

The author of the award-winning novel Open City, Cole was born in Kalamazoo, Michigan, but grew up in Lagos, Nigeria. He returned to the states for college, focusing on art history and photography. Both subjects figure prominently in these essays, which are organized into three categories: “Reading Things,” “Seeing Things” and “Being There.”

In the wistful “Far Away from Here,” Cole considers themes of home and dislocation during a visit to Switzerland, where he photographs the landscape in a process he describes as “thinking with my eyes about the country around me.” In unflinching essays like “Black Body” and “The White Savior Industrial Complex,” he examines contemporary perceptions of race, invoking the work of James Baldwin along the way.

An understated and lyrical stylist, Cole combines the rigor of a critic with the curiosity of Everyman. “We are creatures of private conventions,” he writes. “But we are also looking for ways to enlarge our coasts.” This collection provides a way.

 

This article was originally published in the August 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

“Salinger’s Holden Caulfield made a distinction between writers you would like to call on the phone and those you wouldn’t care to talk to at all. Teju Cole belongs to the former group.” Those words were written by the author Aleksandar Hemon, and they’re proven…
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Pioneering reporter Gay Talese tells the ultimate surveillance story in The Voyeur’s Motel, the true tale of innkeeper Gerald Foos, who spied on his customers for decades. From what he called his “personal observation laboratory”—an attic space equipped with screens that looked down into the rooms of his Aurora, Colorado, motel—Foos witnessed the full range of human behavior, as his guests slept, ate, argued, watched TV and, of course, had sex.

The latter activity was of special interest to Foos. Starting in the 1960s, he documented his guests’ erotic activities in a journal, an invasion of privacy he justified by positioning himself as a Kinsey-esque sexologist—a researcher whose work merited outside attention. In 1980 he reached out to Talese, who had undertaken his own exploration of America’s sexual mores for his book Thy Neighbor’s Wife.

Receiving a letter from Foos that detailed his activities, Talese says he was “deeply unsettled.” But his curiosity was piqued, and so he traveled to Colorado to meet Foos—to all appearances, the unremarkable owner of a typical roadside motel. Pudgy, with a side part and glasses, Foos was married to a nurse named Donna. He ran the Manor House with the help of his mother-in-law, Viola. Donna, surprisingly, sanctioned his spying; Viola was kept in the dark.

Talese stayed at the Manor House Hotel, a one-story affair with 21 guest rooms, a green facade, and orange doors, and he accompanied Foos to his carpet-laden loft several times. Together, they spied on guests. “I knew that what he was doing was very illegal,” Talese writes of Foos, going on to question “how legal” his own participation might have been.

Foos wouldn’t allow his name to be used in print, and he made Talese sign a privacy agreement. (Foos freed him from the contract in 2013, making it possible for Talese to finally publish his story.) After their meeting, he began mailing the reporter pages from his journal. You name it, Foos saw it: “I have witnessed, observed, and studied the best first hand, unrehearsed, non-laboratory sex between couples, and most other conceivable sex deviations,” he wrote. In addition to this A to Z of erotica, Foos, from his overhead perch, also claimed to have witnessed a murder.

Talese—a master of elegant, understated prose—uses an objective reportorial style to tell the voyeur’s story, and it’s the right approach for a narrative that requires no extra spice. (Graphic entries from Foos’ journals provide plenty of kick.) In a book that chronicles the vagaries of human conduct, Foos’ behavior is the most baffling. “My absolute solution to happiness was to be able to invade the privacy of others without their knowing it,” he wrote at one point—one of many head-scratching admissions from him that appear in the narrative.

The question of whether Talese should’ve blown the whistle on Foos at the outset instead of remaining silent adds another layer to this twisted tale. Further muddying the waters are Washington Post reports that cast doubt on Foos’ credibility, which caused Talese at first to “disavow” his own book, and later to disavow his disavowal.

Ethical questions aside, this is an unforgettable book that’s bound to give frequent travelers pause. Hotel-goers, take heed: Before you settle into that room, look up. 

Pioneering reporter Gay Talese tells the ultimate surveillance story in The Voyeur’s Motel, the true tale of innkeeper Gerald Foos, who spied on his customers for decades.
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BookPage Teen Top Pick, July 2016

In Lara Avery’s heartfelt, funny and bittersweet new novel, a gifted teen’s future is derailed when she’s diagnosed with a debilitating genetic condition. High school valedictorian Sammie McCoy can’t wait to escape small-town Vermont and start college at NYU. But when she learns she has Niemann-Pick Type C (NPC), her freshman-year plans begin to look unlikely. “Basically,” Sammie says of NPC, “it’s dementia.” 

Due to the disorder, Sammie will eventually lose her memory, and so she begins chronicling the major events and little details of her life on a laptop, “writing to remember” all the things she’s bound to forget. Meanwhile, she hides her condition from her friends, which works just fine until she bungles a critical debate-club tournament.

Avery is a skillful storyteller who lets Sammie’s decline unfold gradually over the course of the novel. From the start, Sammie comes across as smart and sassy, an overachiever with all the answers, but as NPC takes over, she regresses. Her thoughts and perspectives become less sophisticated, more childlike—a reflection of her inner deterioration. Avery fleshes out the narrative with a cast of authentic characters, including Maddie, Sammie’s debate-club partner (who sports an electric-red mohawk), and Stuart, a handsome would-be writer and Sammie’s longtime crush. 

Avery presents Sammie’s story not as a tragedy but as a tale of self-discovery. Without lapsing into sentiment or melodrama, she tackles big questions in a style that teen readers will find appealing. The Memory Book is a memorable read, indeed.

 

This article was originally published in the July 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

In Lara Avery’s heartfelt, funny and bittersweet new novel, a gifted teen’s future is derailed when she’s diagnosed with a debilitating genetic condition. High school valedictorian Sammie McCoy can’t wait to escape small-town Vermont and start college at NYU. But when she learns she has Niemann-Pick Type C (NPC), her freshman-year plans begin to look unlikely. “Basically,” Sammie says of NPC, “it’s dementia.”
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When Diane Arbus committed suicide in 1971, she was only 48 years old, and her career was on the climb. One of the foremost photographers of the 20th century, she had the remarkable ability to call up and capture the idiosyncrasies of just about anyone who submitted to her lens. As Arthur Lubow observes in Diane Arbus: Portrait of a Photographer, she “excavated the truth—or a truth” about her subjects.

In this new biography, which is brisk and accessible despite its 700-page length, Lubow tells the story of an artistically brilliant but emotionally fragile figure. During her relatively brief career, Arbus managed to capture with her camera a broad cross-section of humanity, including nudists, cross-dressers and the mentally handicapped. Born in 1923 into an affluent Jewish family (her brother was the poet Howard Nemerov), Arbus grew up in New York City. She received her first camera from her husband, Allan Arbus, with whom she started a successful fashion photography enterprise. Around 1956, she quit the business and began taking the forthright, unstaged portraits that made her famous, shooting in black and white the very young and the very old, mixed-race couples and nuclear families, millionaires, movie stars, bums, and sideshow freaks.

The book’s chronology is cued by her photographic output. In tracking the timeline of Arbus’ life through her art, Lubow brings to bear on the narrative a deep appreciation for her pictures and an impressive technical grasp of photography. An award-winning journalist, he explains the circumstances that shaped Arbus’ most iconic shots and—prompted by newly discovered letters and exclusive interviews—explores the controversy she courted by becoming close to some of her subjects. Bringing Arbus out from behind the lens, Lubow sheds new light on her genius and delivers a definitive portrait of the artist.

When Diane Arbus committed suicide in 1971, she was only 48 years old, and her career was on the climb. One of the foremost photographers of the 20th century, she had the remarkable ability to call up and capture the idiosyncrasies of just about anyone who submitted to her lens. As Arthur Lubow observes in Diane Arbus: Portrait of a Photographer, she “excavated the truth—or a truth” about her subjects.
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We can’t get enough of the Tudors. Despite the centuries that have passed, the clan that began with Henry VII and ended with Elizabeth I continues to command legions of loyal subjects, from BBC watchers and biography buffs to fans of historical fiction.

Those whose fealty lies with Elizabeth I (1533–1603) should procure John Guy’s new book anon. The first substantial narrative to deeply explore the latter decades of her reign, Elizabeth: The Forgotten Years zooms in on a critical period in Tudor history, providing a fascinating close-up of an aging queen taking her final turn upon the world stage. During this crucial, conclusive epoch in Elizabeth’s 44-year rule, many of her most trusted advisors died, and she faced a protracted war with Spain. She also reckoned uneasily with her own mortality, as her physical charms and health both waned.

In researching the book, Guy had access to a trove of largely unexplored archival material, and his narrative corrects a number of inaccuracies circulated by the queen’s previous chroniclers. The conception of Elizabeth as accessible and merciful—as “Good Queen Bess”—is one such fiction Guy deflates, noting that she lived in splendor while plague and a poor economy crippled her country, a state of affairs that aroused in her subjects resentment rather than adoration. Toward the end, Guy writes, to her people, Elizabeth was “a distant image or just a name.”

In her majesty’s orbit during these years were dashing, impetuous adventurers Walter Raleigh and Robert Devereux, who sought their fortunes at sea and in war. Their romanctic exploits during a time of political instability, when the question of Elizabeth’s successor was unresolved, make the book a bit of a nail-biter. 

Guy, winner of the Whitbread Award for Queen of Scots (2005), has produced a book in which Elizabeth’s royal presence is palpable. Tudorists, take heed: This fresh consideration of the queen—a woman by turns valiant and vulnerable, jealous and generous, unapproachable and compassionate—at the finis of her rule is a rousingly good read.

 

This article was originally published in the May 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

We can’t get enough of the Tudors. Despite the centuries that have passed, the clan that began with Henry VII and ended with Elizabeth I continues to command legions of loyal subjects, from BBC watchers and biography buffs to fans of historical fiction.
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Kurt Dinan’s action-packed debut, Don’t Get Caught, is a terrific pick for readers who prefer fiction with a twist of suspense. There’s nothing remarkable about the novel’s protagonist, Max Cobb. With lackluster grades and a nonexistent social life, Max doesn’t attract much attention in the halls of Asheville High. So he’s surprised to get an invitation from the Chaos Club, an anonymous group of tricksters with a long tradition of enraging school administrators through acts of mischief, from stacking tires up the campus flagpole to hacking the district’s website. To Max, who’s itching for a way to shed his humdrum reputation, this seems like pretty cool stuff.

But Max is wary about the invitation, and he soon learns that he isn’t the only one to be singled out. Four other students received a summons from the club, including his longtime crush, Ellie Wick. When the gang, following the club’s instructions, climbs to the top of the school’s freshly graffitied water tower only to get nabbed by security, they realize they’re nothing more than fall guys. Using tips picked up from his favorite caper flicks (The Fast and the Furious; Ocean’s Eleven), Max goes after the Chaos Club—and proves he can prank like a pro.

Dinan—a high school English teacher—infuses Max’s adventures with sly humor, convincing detail and just the right level of tension. From start to finish, this is a brisk and engaging debut.

Kurt Dinan’s action-packed debut, Don’t Get Caught, is a terrific pick for readers who prefer fiction with a twist of suspense. There’s nothing remarkable about the novel’s protagonist, Max Cobb. With lackluster grades and a nonexistent social life, Max doesn’t attract much attention in the halls of Asheville High. So he’s surprised to get an invitation from the Chaos Club, an anonymous group of tricksters with a long tradition of enraging school administrators through acts of mischief, from stacking tires up the campus flagpole to hacking the district’s website.

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Henry Cole’s Brambleheart is an enchanting coming-of-age adventure with an unlikely hero: a chipmunk named Twig who just can’t seem to find his place in the world. Twig lives in the Hill—a towering heap of metal, glass and plastic bric-a-brac discarded by humans—and, like the other animals there, he’s expected to find a trade. At school, each of his fellow students seems to already have a niche: Lily the rabbit is a whiz at twisting grass into sturdy rope, and Basil the weasel is a pro at metal craft. When it’s Twig’s turn to weave or weld in front of the class, he never fails to get flustered.

One day, Twig wanders beyond the Hill into unfamiliar territory, where he comes across a mysterious round object—an egg, as it happens, that cracks open to reveal a baby dragon. Hoping to keep this astonishing discovery to himself, Twig secretly brings the creature back to the Hill. But he knows that hiding the dragon isn’t right. With a little help from Lily, Twig makes some tough decisions and begins to grow up.

Cole conjures a fully realized world in this beautifully rendered fable. His delicate yet expressive pencil drawings make the magical realm of the Hill seem concrete. Youngsters are sure to see a bit of themselves in Twig and will take heart from his example. 

 

This article was originally published in the February 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

Henry Cole’s Brambleheart is an enchanting coming-of-age adventure with an unlikely hero: a chipmunk named Twig who just can’t seem to find his place in the world. Twig lives in the Hill—a towering heap of metal, glass and plastic bric-a-brac discarded by humans—and, like the other animals there, he’s expected to find a trade. At school, each of his fellow students seems to already have a niche: Lily the rabbit is a whiz at twisting grass into sturdy rope, and Basil the weasel is a pro at metal craft. When it’s Twig’s turn to weave or weld in front of the class, he never fails to get flustered.

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