As a character, Puss in Boots is one of the oldest types in literature: the picaresque conman who intercedes with the world on his master's behalf. After persuading the king that his penniless master is a great lord, Puss tricks an ogre into turning himself into a mouse so that he can gobble him up and install his master in the ogre's palace. Following his master's marriage to the king's daughter, Puss, according to Cauley's retelling of Charles Perrault's classic tale, ``became a powerful lord, and never hunted mice again, except for fun.'' Cauley tells the story with energy and verve, and her illustrations are delicious. Though acting in a human context, Cauley's Puss is definitely feline: the smile of satisfaction which Puss allows himself after a job well done will be familiar to any cat-lover. (3-6)
School Library Journal
K-Gr 3 This retelling is faithful to Perrault's events, but otherwise uninspired: the change from ``grain'' to ``corn,'' for example, is confusing to Americans, who don't ``reap'' their ears. The same lack of that small but essential measure of originality or sensitivity is evident in the illustrations. They are competent: Puss has lively mien, and the gummi-bear colors are delicious; however there is nothing new, striking, or memorable about the layout, composition, settings, or conception in general. The conventional result is perfectly acceptable for most purposes, but disappointing for those hoping for a fresh imagination illuminating a classic. Patricia Dooley, formerly at Drexel University, Phila .