Gr 4–6—As Marciano is descended from Ludwig Bemelmans, so might Alexander Baddenfield be descended from Madeline's nemesis-turned-friend Pepito "The Bad Hat." Alexander, however, never sees the error of his ways. He is thoroughly bad for his entire nine lives-a circumstance he engineers by arranging for the transplantation of eight lives from his cat to himself. The rashness of youth combines with the recklessness of a person with many lives to lose as Alexander experiments wildly with the third rail of the subway system, the murky waters and treacherous currents of the Hudson River, an Icarus-style flight launched from the Empire State Building, an extremely brief stint as a matador, and more. When Alexander nears his final demise, he becomes overly cautious, immuring himself in his castle and avoiding any possible brushes with mortality. Naturally, that doesn't work, and the world is left a better place. The amusing, if macabre, premise is abetted by Blackall's slightly creepy gray and black-toned illustrations, in which hourglasses, the Grim Reaper, and funeral ribbons are recurring motifs. It's great to see Marciano enlarging his scope and good fun to see him partnered with Blackall.—
Miriam Lang Budin, Chappaqua Library, NYWhy is the world so messed up? And, would it be fun to be immortal? From these two story-rich questions Marciano invents Alexander Baddenfield. Alexander comes from a long line of miscreants ("To say that the Baddenfield family had a checkered past is to insult innocent board games everywhere"). The Baddenfields of yore are behind such evils as colonialism, slavery, cigarettes, and gas-guzzlers. His ancestors died young, but not Alexander: thanks to a stem-cell transplant from a cat, he has nine lives, giving him the opportunity to jump off the Empire State Building, get a python for a pet, try his hand at bullfighting, and touch the third rail, all with impunity. As in all cautionary tales, the magic gift has its problems, and Marciano stays true to the tradition by providing a redemption-free ending. The plot here is discursive and slow to get rolling (the setup for the transplant takes one third of the book), but the ride is fun for a sophisticated reader, with puns, anagrams, and good-natured satirical potshots at food allergies, New Yorkers, overprotected children, and cell phone apps. Blackall's illustrations are droll and cheerily gruesome. sarah ellis
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