FICTION

Freaks

256p. illus. photos. reprods. Scholastic/Chicken House. 2013. Tr $16.99. ISBN 978-0-545-47424-5; ebook $16.99. ISBN 978-0-545-52062-1. LC 2012002639.
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Gr 5–8—Larwood takes readers to gritty parts of Victorian London in this novel about performers in a freak show. There's actually little performance involved in their nightly exhibitions. It's more a matter of letting people gawk at their physical anomalies or unusual proclivities. Sheba the Wolfgirl is covered in fur; Mama Rat has a troupe of trained rodents; Gigantus is (as you might surmise) a giant; Sister Moon is a ninja; and Monkeyboy has a tail. When they learn that young children have been disappearing from the riverbanks, the misfits use their strangeness to their advantage, solving the mysterious kidnappings and thwarting evildoers. Much is attempted in this book, but the development of plot, characters, and setting is superficial and unconvincing. Larwood resorts far too frequently to the scatological humor of Monkeyboy, who delights in fouling the air with gaseous emissions and any available surface or receptacle with his fecal matter, which pales rather quickly. The combination of the improbable and the impossible sits uneasily beside Larwood's efforts to depict the grim realities of underclass life in 19th-century England.—Miriam Lang Budin, Chappaqua Library, NY
Performers in a Victorian freak show are the detective heroes in Larwood's first novel. Sheba, a hirsute girl who can morph into wolf form, joins with a "monkey boy," a gigantic man, a Japanese ninja girl with cat's eyes, and Mama Rat (custodian of intelligent rodents) to save London street urchins from a predatory group of scientific inventors. The misfits travel throughout the less savory areas of London as well as the Crystal Palace of the Great Exhibition in their efforts to retrieve the lost children. Larwood emphasizes solidarity, loyalty, and each character's special gifts in orchestrating his plot. Stock moments of suspense and action are laced together with a thread of inventive scatalogical humor ("holy pigeon turds on toast," Monkey Boy cries), and a better-than-usual evocation of the Victorian setting. A concluding author's note on mid-Victorian London is informative and engaging; it tethers the fantasy elements of the plot to sober reality. Despite some weak writing (the Crystal Palace is described as "a jaw-droppingly amazing man-made structure" by the narrator), this has energy, color, and creative verve. deirdre f. baker

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