Take a photo of a barcode or cover
4.0 AVERAGE
4.0 AVERAGE
This mystery had me staying in the car to finish the track, taking the cd with me to finish listening. I really enjoyed it and think children so really enjoy this. Main character also is dealing with some type sensory issues, but works through his relationships and actions. Fun Read (and listen)
I would have DNF'd if not for book club but got good about halfway
mysterious
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
adventurous
funny
lighthearted
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
No
The cutest, coziest story filled with adventure, mystery, and lost treasure; very Indiana Jones. I loved the development of Milo’s character; his love for stability and the comfort he finds in routine, but also the confidence he builds as he learns to trust his own abilities. As an adoptee, I also enjoyed seeing the protagonist’s curiosity and desire to wonder about his biological roots, while still feeling safe, secure, and loved with his adopted family. All around lovely winter read!
Content Warnings
Minor: Death
adventurous
hopeful
lighthearted
mysterious
medium-paced
Plot or Character Driven:
Plot
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
No
What a fun book! It would be the perfect cozy mystery book to read in the winter. Milo is looking forward to a quiet Christmas with his family when several intriguing guests unexpectedly show up at his family’s inn bringing with them mysteries to be solved. Milo and Meddy (the cook’s daughter) take up the challenge and an adventure begins! I think this would interest kids who love mystery, role-playing games, and storytelling. Oh, and, there’s a surprise ending!
When I was a kid I had a real and abiding love of Agatha Christie. This would be around the time when I was ten or eleven. It wasn’t that I was rejecting the mysteries of the children’s book world. I just didn’t have a lot to choose from there. Aside from The Westing Game or supernatural ghostly mysteries sold as Apple paperbacks through the Scholastic Book Fair, my choices were few and far between. Kids today have it better, but not by much. Though the Edgar Awards for best mystery fiction do dedicate an award for young people’s literature, the number of honestly good mystery novels for the 9-12 set you encounter in a given year is minimal. When you find one that’s really extraordinary you want to hold onto it. And when it’s Kate Milford doing the writing, there’s nothing for it but to enjoy the ride. A raconteur’s delight with a story that’ll keep ‘em guessing, this is one title you won’t want to miss.
It was supposed to be winter vacation. Though Milo’s parents run an inn with a clientele that tends to include more than your average number of smugglers, he can always count on winter vacation to be bereft of guests. Yet in spite of the awful icy weather, a guest appears. Then another. Then two more. All told more than five guests appear with flimsy excuses for their arrival. Some seem to know one another. Others act suspiciously. And when thefts start to take place, Milo and his new friend Meddy decide to turn detective. Yet even as they unravel clues about their strange clientele there are always new ones to take their places. Someone is sabotaging the Greenglass House but it’s the kids who will unmask the culprit.
To my mind, Milford has a talent that few authors can boast; She breaks unspoken rules. Rules that have been dutifully followed by children’s authors for years on end. And in breaking them, she creates stronger books. Greenglass House is just the latest example. To my mind, three rules are broken here. Rule #1: Children’s books must mostly be about children. Adults are peripheral to the action. Rule #2: Time periods are not liquid. You cannot switch between them willy-nilly. Rule #3: Parents must be out of the picture. Kill ‘em off or kidnap them or make them negligent/evil but by all means get rid of them! To each of these, Milford thumbs her proverbial nose.
Let’s look at Rule #1 first. It is worth noting that with the exception of our two young heroes, the bulk of the story focuses on adults with adult problems. It has been said (by me, so take this with a grain of salt) that by and large the way most authors chose to write about adults for children is to turn them into small furry animals ([b:Redwall|7996|Redwall (Redwall, #1)|Brian Jacques|https://d.gr-assets.com/books/1327877368s/7996.jpg|486980], etc.). There is, however, another way. If you have a small innocuous child running hither and thither, gathering evidence and spying all the while, then you can talk about grown-ups for long periods of time and few child readers are the wiser. If I keep mentioning The Westing Game it’s because Ellen Raskin did very much what Milford is doing here, and ended up with a classic children’s book in the process. So there’s certainly a precedent.
On to Rule #2. One of the remarkable things about Kate Milford as a writer is that she can set a book in the present day (there is a mention of televisions in this book, so we can at least assume it’s relatively recent) and then go and fill it with archaic, wonderful, outdated technology. A kind of alternate contemporary steampunk, if there is such a thing. In an era of electronic doodads, child readers are going to really get a kick out of a book where mysterious rusted keys, old doorways, ancient lamps, stained green glass windows, and other old timey elements give the book a distinctive flavor.
Finally, Rule #3. This was the most remarkable of choices on Milford’s part, and I kept reading to book to find out how she’d get away with it. Milo’s parents are an active part of his life. They clearly care for him, periodically checking up on his throughout the story, but never interfering with his investigations. Since the book is entirely set in the Greenglass House, it has the feel of a stage play (which, by the way, it would adapt to BRILLIANTLY). That means you're constantly running into mom and dad, but they don't feel like they're hovering. This is partly aided by the fact that they’re incredibly busy. So, in a way, Milford has discovered a way of removing parental involvement without removing parental care. The kids are free to explore and solve crimes and the adult gatekeepers reading this book are comforted by the family situation. A rarity if ever there was one.
But behind all the clues and ghost stories and thefts and lies what Greenglass House really is is the story of a hero’s journey. Milo starts out a soft-spoken kiddo with little faith in his own abilities. Donning the mantle of a kind of Dungeons & Dragons type character named Negret, he taps into a strength that he might otherwise not known he even had. There is a moment in the book when Milo starts acting with more confidence and actually thinks to himself, “And I didn’t even have to use Negret’s Irresistible Blandishment . . . I just did it.” Milo’s slow awakening to his own strengths and abilities is the heart of the novel. For all that people will discuss the mystery and the clues, it’s Milo that holds everything together.
Much of his personality is embedded in his identity as an adopted kid too. I love the mention of “orphan magic” that Milford makes at one point. It’s the idea that when something is sundered from its attachments it becomes more powerful in the process. At no point does Milford ever downplay the importance of the fact that Milo is adopted. It isn’t a casual fact that’s thrown in there and then forgotten. For Milo, the fact that he was adopted is part of who he is as a person. And coming to terms with that is part of his journey as well. Little wonder that he gathers such comfort from learning about orphan magic and its potential.
I’m looking at my notes about this book and I see I’ve written down little random facts that don’t really fit in with this review. Things like, “I did wonder if Milo’s name was a kind of unspoken homage to the Milo of The Phantom Tollbooth. And, “The book’s attitude towards smuggling is not all that different from, say, [b:Danny Champion of the World|6690|Danny the Champion of the World|Roald Dahl|https://d.gr-assets.com/books/1392098250s/6690.jpg|824600]’s attitude towards poaching.” And, “I love the vocabulary at work here. Raconteur. Puissance.” There is a lot a person can say about this book. I should note that there is a twist that a couple kids may see coming. It is, however, a fair twist and one that doesn’t cheat before you get to it. For the most part, Milford does a divine job at writing a darned good mystery without sacrificing character development and deeper truths. A great grand book for those kiddos who like reading books that make them feel smart. Fun fun fun fun fun.
For ages 9-14.
It was supposed to be winter vacation. Though Milo’s parents run an inn with a clientele that tends to include more than your average number of smugglers, he can always count on winter vacation to be bereft of guests. Yet in spite of the awful icy weather, a guest appears. Then another. Then two more. All told more than five guests appear with flimsy excuses for their arrival. Some seem to know one another. Others act suspiciously. And when thefts start to take place, Milo and his new friend Meddy decide to turn detective. Yet even as they unravel clues about their strange clientele there are always new ones to take their places. Someone is sabotaging the Greenglass House but it’s the kids who will unmask the culprit.
To my mind, Milford has a talent that few authors can boast; She breaks unspoken rules. Rules that have been dutifully followed by children’s authors for years on end. And in breaking them, she creates stronger books. Greenglass House is just the latest example. To my mind, three rules are broken here. Rule #1: Children’s books must mostly be about children. Adults are peripheral to the action. Rule #2: Time periods are not liquid. You cannot switch between them willy-nilly. Rule #3: Parents must be out of the picture. Kill ‘em off or kidnap them or make them negligent/evil but by all means get rid of them! To each of these, Milford thumbs her proverbial nose.
Let’s look at Rule #1 first. It is worth noting that with the exception of our two young heroes, the bulk of the story focuses on adults with adult problems. It has been said (by me, so take this with a grain of salt) that by and large the way most authors chose to write about adults for children is to turn them into small furry animals ([b:Redwall|7996|Redwall (Redwall, #1)|Brian Jacques|https://d.gr-assets.com/books/1327877368s/7996.jpg|486980], etc.). There is, however, another way. If you have a small innocuous child running hither and thither, gathering evidence and spying all the while, then you can talk about grown-ups for long periods of time and few child readers are the wiser. If I keep mentioning The Westing Game it’s because Ellen Raskin did very much what Milford is doing here, and ended up with a classic children’s book in the process. So there’s certainly a precedent.
On to Rule #2. One of the remarkable things about Kate Milford as a writer is that she can set a book in the present day (there is a mention of televisions in this book, so we can at least assume it’s relatively recent) and then go and fill it with archaic, wonderful, outdated technology. A kind of alternate contemporary steampunk, if there is such a thing. In an era of electronic doodads, child readers are going to really get a kick out of a book where mysterious rusted keys, old doorways, ancient lamps, stained green glass windows, and other old timey elements give the book a distinctive flavor.
Finally, Rule #3. This was the most remarkable of choices on Milford’s part, and I kept reading to book to find out how she’d get away with it. Milo’s parents are an active part of his life. They clearly care for him, periodically checking up on his throughout the story, but never interfering with his investigations. Since the book is entirely set in the Greenglass House, it has the feel of a stage play (which, by the way, it would adapt to BRILLIANTLY). That means you're constantly running into mom and dad, but they don't feel like they're hovering. This is partly aided by the fact that they’re incredibly busy. So, in a way, Milford has discovered a way of removing parental involvement without removing parental care. The kids are free to explore and solve crimes and the adult gatekeepers reading this book are comforted by the family situation. A rarity if ever there was one.
But behind all the clues and ghost stories and thefts and lies what Greenglass House really is is the story of a hero’s journey. Milo starts out a soft-spoken kiddo with little faith in his own abilities. Donning the mantle of a kind of Dungeons & Dragons type character named Negret, he taps into a strength that he might otherwise not known he even had. There is a moment in the book when Milo starts acting with more confidence and actually thinks to himself, “And I didn’t even have to use Negret’s Irresistible Blandishment . . . I just did it.” Milo’s slow awakening to his own strengths and abilities is the heart of the novel. For all that people will discuss the mystery and the clues, it’s Milo that holds everything together.
Much of his personality is embedded in his identity as an adopted kid too. I love the mention of “orphan magic” that Milford makes at one point. It’s the idea that when something is sundered from its attachments it becomes more powerful in the process. At no point does Milford ever downplay the importance of the fact that Milo is adopted. It isn’t a casual fact that’s thrown in there and then forgotten. For Milo, the fact that he was adopted is part of who he is as a person. And coming to terms with that is part of his journey as well. Little wonder that he gathers such comfort from learning about orphan magic and its potential.
I’m looking at my notes about this book and I see I’ve written down little random facts that don’t really fit in with this review. Things like, “I did wonder if Milo’s name was a kind of unspoken homage to the Milo of The Phantom Tollbooth. And, “The book’s attitude towards smuggling is not all that different from, say, [b:Danny Champion of the World|6690|Danny the Champion of the World|Roald Dahl|https://d.gr-assets.com/books/1392098250s/6690.jpg|824600]’s attitude towards poaching.” And, “I love the vocabulary at work here. Raconteur. Puissance.” There is a lot a person can say about this book. I should note that there is a twist that a couple kids may see coming. It is, however, a fair twist and one that doesn’t cheat before you get to it. For the most part, Milford does a divine job at writing a darned good mystery without sacrificing character development and deeper truths. A great grand book for those kiddos who like reading books that make them feel smart. Fun fun fun fun fun.
For ages 9-14.
The book seemed cute, cozy, and potentially interesting but moved far too slowly that I lost momentum and stopped picking it up
So lovely! A great family book club book! Such a fun mystery story set in the coziest inn during Christmas time. Made a want to curl up with a cup of hot chocolate!
adventurous
inspiring
lighthearted
reflective
slow-paced