"Illustrated books are a natural extension of [the] African oral tradition'' of storytelling, writes Caldecott Award–winning artist Tom Feelings. Here, in 64 powerful black-and-white paintings—some of them harshly realistic, others nightmarishly phantasmagoric—this noted artist tells a neglected part of the story of African-American slavery: the cruel journey known as "the middle passage,'' in which millions, perhaps tens of millions, of Africans died before ever reaching American shores. The soft edges of Feelings's art, the blended grays of his palette, do nothing to mute the violence that permeates these images: the bowed bodies of captured Africans being led away under the whip; rows and rows and rows of bodies crammed side by side, shackled together, in dark, filthy holds beneath deck; the agony of a man remembering a baby viciously murdered. Feelings's purpose here, however, is not vengeful but cathartic. Through remembering and understanding the sources of their continuing pain, he believes that Africans can turn the chains of bondage into "spiritual links that willingly bind us together now and into the future... whether living inside or outside of the continent of Africa.''
Pub Date: Nov. 1, 1995
ISBN: 0-8037-1804-7
Page Count: 80
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1995
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
If Freedman wrote the history textbooks, we would have many more historians. Beginning with an engrossing description of the Boston Tea Party in 1773, he brings the reader the lives of the American colonists and the events leading up to the break with England. The narrative approach to history reads like a good story, yet Freedman tucks in the data that give depth to it. The inclusion of all the people who lived during those times and the roles they played, whether small or large are acknowledged with dignity. The story moves backwards from the Boston Tea Party to the beginning of the European settlement of what they called the New World, and then proceeds chronologically to the signing of the Declaration. “Your Rights and Mine” traces the influence of the document from its inception to the present ending with Martin Luther King and the Civil Rights movement of the 1960s. The full text of the Declaration and a reproduction of the original are included. A chronology of events and an index are helpful to the young researcher. Another interesting feature is “Visiting the Declaration of Independence.” It contains a short review of what happened to the document in the years after it was written, a useful Web site, and a description of how it is displayed and protected today at the National Archives building in Washington, D.C. Illustrations from the period add interest and detail. An excellent addition to the American history collection and an engrossing read. (Nonfiction. 9-13)
Pub Date: Oct. 1, 2000
ISBN: 0-8234-1448-5
Page Count: 112
Publisher: Holiday House
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Oct. 1, 2000
Marrin’s biography of our first president is packed with information, but is problematic in its presentation. In his characteristically epic style, he portrays an intriguing George Washington: militarily inexperienced, socially retreating, but with a hard edge that helped him to gain wisdom through his mistakes and earn respect as a commander. Copiously documented, the narrative should inspire readers to learn more about Washington. But Marrin undercuts his own authority with several stylistic problems. He regularly uses sweeping statements that, without clarification or context, are debatable (“Great Britain ruled the mightiest empire in all of human history”), or illogical, e.g., “Had it not been for Charles Lee, Washington might have won the war that day. Because of Lee, it would drag on for another five years.” (Lee may well have kept the war from ending that day, but he himself did not have anything to do with its ultimate length.) In an unusual comparison he suggests that “a war dance was like a ‘pep rally’ before a college football game.” He relies on the present tense to lend drama to his scenes, in a way that can only be considered fiction (“At once, a plan formed in the British General’s mind”), or that makes an interpretation but presents it as fact (“Someone, undoubtedly without his [Washington’s] permission, had driven a pole into the ground amid the corpses”). Marrin’s style makes for dramatic reading here and there, but his narrative is long and often bogged down in details, and he eventually undermines any dramatic tension by overusing his tricks. The book is well illustrated on nearly every page with black-and-white reproductions of etchings, drawings, and maps; notes, a bibliography, and index (not seen) complete it. Marrin’s book may be useful to young readers for its extent of documented information, but they may find better reading elsewhere. (Nonfiction. 12+)
Pub Date: Jan. 1, 2001
ISBN: 0-525-46268-6
Page Count: 256
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2000
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