Mirette on the Highwire

October 19, 1992
In this picture book set in 19th-century Paris, a child helps a daredevil who has lost his edge to regain his confidence. Many traveling performers stay at Madame Gateaux's boarding house, but Mme.'s daughter Mirette is particularly taken with one guest--the quiet gentleman who can walk along the clothesline without falling off. Mirette implores the boarder to teach her his craft, not knowing that her instructor is the ``Great Bellini'' of high wire fame. After much practice the girl joins Bellini on the wire as he conquers his fear and demonstrates to all of Paris that he is still the best. McCully's story has an exciting premise and starting point, but unfortunately ends up as a missed opportunity. Bellini's anxiety may be a bit sophisticated for the intended audience and, surprisingly, the scenes featuring Mirette and Bellini on the high wire lack drama and intensity. McCully's rich palette and skillful renderings of shadow and light sources make this an inviting postcard from the Old World. Ages 4-8.

Starred review from October 1, 1992
K-Gr 4- Mirette's mother keeps a boardinghouse that attracts traveling performers . The girl is intrigued by one silent visitor, Bellini, who has come for a rest. She finds him next morning walking a high wire strung across the backyard. Immediately, she is drawn to it, practicing on it herself until she finds her balance and can walk its distance. But she finds the man unusually secretive about his identity; he was a famous high-wire artist, but has lost his courage. He is lured by an agent to make a comeback, but freezes on the wire. Seeing Mirette at the end of it restores his nerve; after the performance the two set off on a new career together. As improbable as the story is, its theatrical setting at some historical distance, replete with European architecture and exotic settings and people, helps lend credibility to this circus tale. Mirette, through determination and perhaps talent, trains herself, overcoming countless falls on cobblestone, vaunting pride that goes before a fall, and lack of encouragement from Bellini. The impressionistic paintings, full of mottled, rough edges and bright colors, capture both the detail and the general milieu of Paris in the last century. The colors are reminiscent of Toulouse-Lautrec, the daubing technique of Seurat. A satisfying, high-spirited adventure. -Ruth K. MacDonald, Purdue Univ . Calumet, Hammond, IN