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KATE SHELLEY

BOUND FOR LEGEND

The gripping, true story of a 15-year-old Iowan who ventured out into a wild storm to give warning of a wrecked railroad bridge. A vivid, exciting narrative is matched to an equally compelling sequence of oilsGinsburg's peaceful, sunlit landscapes darken threateningly as the storm arrives, and, whether leaning into the wind or crawling over a trestle only a few feet above churning floodwaters, Kate's sturdy figure is the very image of an ordinary person rising to face extraordinary circumstances. Her act saved lives, very nearly at the cost of her own, and, as San Souci (Donkey Ears, 1994, etc.) explains in an afterword, earned her a special place in the hearts and lore of railroad workers. A fine alternative to Margaret Wetterer's stiffer, simpler (but no less dramatic) Kate Shelley and the Midnight Express (1990). (Picture book/nonfiction. 8-11)

Pub Date: Sept. 1, 1995

ISBN: 0-8037-1289-8

Page Count: 32

Publisher: Dial Books

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1995

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THE STORY OF SALT

The author of Cod’s Tale (2001) again demonstrates a dab hand at recasting his adult work for a younger audience. Here the topic is salt, “the only rock eaten by human beings,” and, as he engrossingly demonstrates, “the object of wars and revolutions” throughout recorded history and before. Between his opening disquisition on its chemical composition and a closing timeline, he explores salt’s sources and methods of extraction, its worldwide economic influences from prehistoric domestication of animals to Gandhi’s Salt March, its many uses as a preservative and industrial product, its culinary and even, as the source for words like “salary” and “salad,” its linguistic history. Along with lucid maps and diagrams, Schindler supplies detailed, sometimes fanciful scenes to go along, finishing with a view of young folk chowing down on orders of French fries as ghostly figures from history look on. Some of Kurlansky’s claims are exaggerated (the Erie and other canals were built to transport more than just salt, for instance), and there are no leads to further resources, but this salutary (in more ways than one) micro-history will have young readers lifting their shakers in tribute. (Picture book/nonfiction. 8-10)

Pub Date: Sept. 1, 2006

ISBN: 0-399-23998-7

Page Count: 48

Publisher: Putnam

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2006

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CIVIL WAR ARTIST

It took four weeks for illustrations of scenes from the US’s Civil War battles to make it from the front lines to readers’ hands; Morrison (Cheetah, 1998, etc.) explains that process in his uniquely handsome book. Morrison introduces the fictional artist, William Forbes, commissioned by the fictional Burton’s Illustrated News to follow the Union Army into battle at Bull Run. Throughout the day’s fighting Forbes makes quick sketches; it is risky business, and he is often in mortal peril. That night he makes a more complete drawing, which is handed to a courier and taken back to the Burton offices. There, engravers set to work translating Forbes’s drawing to a grid of wood blocks (Morrison includes interesting incidentals along the way, giving the process its due). The images are converted to electrotype, whereafter it is finally ready for the operators and pressman. Shortly after that, the newsboys are seen hawking the illustrated weekly, containing Forbes’s image a mere month after the actual event. Morrison successfully renders the complexities of illustrating newspapers 150 years ago, and just as successfully conveys that in abandoning the wood block for the photograph, some of the art was sacrificed for speed. (glossary) (Picture book. 6-10)

Pub Date: April 1, 1999

ISBN: 0-395-91426-4

Page Count: 32

Publisher: Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 1999

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