Leaving behind much of the lyricism found in his previous collections, Berry (First Palm Trees, 1997, etc.) pens poems in the voices of a sister, Dreena (who has the magical name), and brother, Delroy, on their experiences in the family with a dour sister, mother (“A teacher, Mom has lots of pens/and home and school jobs”), and father, who “drives a train,/sometimes in a heavy jacket.” This father is not really poem-material: “And, sometimes, Dad brings us gifts./Sometimes, he plays our piano.” The brother, Delroy, who tenders three autobiographical poems, can’t sit still and can’t stop talking about it. There is a good declarative poem, about a strong friendship he shares with another boy. Otherwise, he is dancing like a madman (“doing body-break and body-pop”) or skateboarding under the influence of a fevered imagination (“I want one owl on each my shoulder/hooting out as I leap each river”). In her first book, Hehenberger takes a literal route, anchoring every poem in domestic scenes of family and friends; the deep colors and finely sculpted forms become set pieces for Berry’s earthbound images. (Picture book. 5-9)
Pub Date: April 1, 1999
ISBN: 0-689-80013-4
Page Count: 32
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1999
Prose poems celebrate the feats of young heroines, some of them famous, and some not as well-known. Paul (Hello Toes! Hello Feet!, 1998, etc.) recounts moments in the lives of women such as Rachel Carson, Amelia Earhart, and Wilma Rudolph; these moments don’t necessarily reflect what made them famous as much as they are pivotal events in their youth that influenced the direction of their lives. For Earhart, it was sliding down the roof of the tool shed in a home-made roller coaster: “It’s like flying!” For Rudolph, it was the struggle to learn to walk without her foot brace. Other women, such as Violet Sheehy, who rescued her family from a fire in Hinckley, Minnesota, or Harriet Hanson, a union supporter in the fabric mills of Massachusetts, are celebrated for their brave decisions made under extreme duress. Steirnagle’s sweeping paintings powerfully exude the strength of character exhibited by these young women. A commemorative book, that honors both quiet and noisy acts of heroism. (Picture book/poetry. 6-9)
Pub Date: Nov. 1, 1999
ISBN: 0-15-201477-2
Page Count: 40
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1999
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Sabuda’s interpretation of Mother Goose is a work of moving art, which necessitates that it also be treated like one. This isn’t a volume that will survive the wear and tear of many circulations; some of the paper parts have to be gently coaxed into position. However, the reward for handling with care is great; these feats of paper engineering not only illustrate nursery rhymes in three dimensions, but they also reinterpret them, e.g., “One, two,/Buckle my shoe” is reenvisioned as a woodpecker and a hen preparing for a night out. “Knock on the door” shows the earnest woodpecker tapping on the front entrance with his beak, while “Pick up sticks” shows the hen choosing her lipstick. Glorious colors and elaborate configurations of blackbirds bursting out of pies and peacocks fanning their feathers make this an exhibition of paper prowess that’s unforgettable. (Pop-up. 4-9)
Pub Date: Nov. 1, 1999
ISBN: 0-689-81192-6
Page Count: 12
Publisher: Little Simon/Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1999
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