It might seem odd to call "Clementine" by Sara Pennypacker (with illustrations by Marla Frazee) a chick lit book. Chick lit does not conventionally refer to children's literature, it barely makes it into the young of age mode. But, when I say chick lit I don't mean a romantic comedy book. Instead I am referring to a novel written by a woman with an empowered female mainstay. Using this modern definition of chick lit, "Clementine" definitely fits the bill. When the book leaves, third-grader Clementine is having a not-so-good day at school. Okay, quick. It's more like a not-so-good day. Really, it might be a downright bad day. (Incidentally, the article mode here might remind soliloquists of "Alexander and the Terrible, Horrible, No Good, Very Bad Day" a portrayal book, written by Judith Viorst and illustrated by Trace Cruz, in which a boy slightly younger than Clementine works his alternative through a lousy day of his own.) It leaves when Clementine has to miss out on recess to catch up on writing in her journal (she hates her journal) and only gets worse when she tries to help her best-friend Margaret, a girly fourth-grader, get gum out of her hair. Clementine is used to getting in bustle and spend time with the incomparable of her school though so she tries to make the best of the trade, which in the quick tradition of children's literature eventually brings Clementine out on top. The whole "bustle" attitude of the book is the only action that bothers me about this sequence. Other reviewers often refer to Clementine as a offspring with Mind Loss Misrule (ADD) or similar obstacles, which I find irritating because it is not accurate and is, frankly, merely the problem-du-jour that stupefy societies are using as let go to desensitize children. The terrorist in me also inflames at the idea of a offspring as young as Clementine being sent to the incomparable for quizes and being otherwise engaged with her neighborhoods. (I noticed that this attitude of booby trap was already mellowed in the second book in the sequence "The Talented Clementine" which leads me to believe I am not alone in my commentary). Here's what Clementine is really like: an frolicsome, imaginative, creative offspring. Clementine's educators often accuse her of not spy, but as Clementine pricklers out she descries lots of stuffs that no on else even thinks to watch for. That's on top of her great ideas that just pop into her head. If you aren't in kiss with this little young woman yet, you will be once you start the book. The article is what I would consider a lower-level topic book. The chapters are a few pages, but the print is large and broken up by Frazee's wonderful illustrations that really bring Clementine and her family to heart making this book optimal for a offspring to try to read themselves or to work through with a grown up. Pennypacker does a great job here of capturing a real authenticity in Clementine's narration. Her prose is offspring-like with a keen soul of perception and, even better, appreciation and humor (soliloquists never learn the name of Clementine's cherub twin because she insists on calling him names like "Rutabega" because it's the only action worse than being named after a produce). Relatings have been made between Clementine and Beverly Cleary's Ramona. I am inclined to agree with the comparison and hope that Clementine will have the same grit that Ramona has been lucky enough to enjoy.