FICTION

Sadie and Ratz

illus. by Ann James. 60p. Candlewick. 2012. Tr $14.99. ISBN 978-0-7636-5315-6; ebook $14.99. ISBN 978-0-7636-5990-5. LC number unavailable.
COPY ISBN
RedReviewStarGr 2–4—Playful, spritely Hannah has two hands named Sadie and Ratz, personified to keep her company and do all manner of mischief in retaliation to her annoying sibling, four-year-old Baby Boy. Yet even before the conflict, strong character development, authentic voices, and fluidity of language set this beginning chapter book apart, as do the remarkable charcoal illustrations, full of tenderness and verve. Play is paramount, as the wildly imaginative Hannah copes with the blossoming presence of Baby Boy and unfailingly implicates Sadie and Ratz. Her mother suggests yoga for relaxation and the hands become snowflakes, but as soon as Baby Boy turns the bend, they revert to Hammerheads and he responds with his "banshee bull" scream. Yet when Baby Boy starts to blame Sadie and Ratz for his own bits of mischief, Hannah must take notice. She muses that he used to be, "a spaceman who never heard or spoke," but now has become tricky. She has to come up with a solution. Witnessing her thought process is unforgettable in its sincerity: "A horrible thought came into my head./Maybe Sadie and Ratz would have to change." Hartnett adeptly conveys the pain and loneliness of an older sibling facing a monumental moment of change and captures what growing up really means to a child. This joyful choice for reading aloud serves as a discussion starter on coping, acceptance, and maturity, and as an instruction manual on personal narratives. There are myriad ways to appreciate this pitch-perfect story.—Sara Lissa Paulson, American Sign Language and English Lower School PS 347, New York City
Hannah's hands, Sadie and Ratz, often get her into trouble, such as when they jump onto the head of her little brother and try to rub his ears off. This sibling rivalry tale, told in the first person, is more psychologically sophisticated than usual for an early chapter book, but the sensitive drawings and clever book design add to the emotional clarity of Hannah's journey.
In Hartnett's first venture into younger reader territory, Sadie and Ratz are the pair of hands that belong to Hannah and get her into trouble. Sadie and Ratz like to "crush things up, twist and scrunch," and most especially they like to jump onto the head of Hannah's little brother, Baby Boy, and try to rub his ears off. In this original take on sibling rivalry, Sadie and Ratz resist, thank goodness, parental advice involving calming yoga positions such as "snowflakes in winter." Only when Baby Boy turns out to be a sneak, lying about domestic graffiti, spilled milk, and a broken clock, does Hannah, pushed to the wall, find the motivation to achieve mastery over her noncompliant appendages. This tale of temper and self-control, told in the first person, is more psychologically sophisticated than is usually found in an early chapter book, but the sensitive drawings and clever book design add significantly to the emotional clarity of Hannah's journey. sarah ellis

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