This favorite song, written in the 1950s, has been a kid-pleaser for generations, thanks to such song stylists as Danny Kaye, Burl Ives, and more recently, Raffi. It comes as no surprise, then, to find that the real news is the gorgeous new illustrations offered in an oversized format by the creator of other brightly appealing books such as What’s That Sound, Woolly Bear? (1996). Luscious collages in shimmery blues and greens, the lovely pink of the lily pad and the brilliant red of the snake fill the pages. Watercolor washes applied to textured or colored paper create a three-dimensional effect that has one almost reaching out to stroke the duck’s feathers. Set out as a playlet, the actors are introduced on the title page, and then the curtain opens. Readers follow the action and can sing along with the guitar-strumming river-rat narrator. They can quack along with the little white duck, glug with the little green frog (not so little here), buzz with the little black bug or hiss with the little red snake, the villain of the piece. This is a truly spectacular undertaking that deserves a wide audience. Bravo. (Picture book. 4-8)
Pub Date: April 1, 2000
ISBN: 0-316-03227-1
Page Count: 32
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2000
An inspiring story of young boy's compelling desire to read. As a boy of nine, Booker works in a salt mine from the dark of early morning to the gloom of night, hungry for a meal, but even hungrier to learn to read. Readers follow him on his quest in Malden, Virginia, where he finds inspiration in a man ``brown as me'' reading a newspaper on a street corner. An alphabet book helps, but Booker can't make the connection to words. Seeking out ``that brown face of hope'' once again, Booker gains a sense of the sounds represented by letters, and these become his deliverance. Bradby's fine first book is tautly written, with a poetic, spiritual quality in every line. The beautifully executed, luminous illustrations capture the atmosphere of an African-American community post-slavery: the drudgery of days consumed by back- breaking labor, the texture of private lives conducted by lantern- light. There is no other context or historical note about Booker T. Washington's life, leaving readers to piece together his identity. Regardless, this is an immensely satisfying, accomplished work, resonating first with longing and then with joy. (Picture book. 5- 8)
Pub Date: Sept. 1, 1995
ISBN: 0-531-09464-2
Page Count: 32
Publisher: Orchard
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1995
A white youth from Ohio, Sheldon Russell Curtis (Say), and a black youth from Georgia, Pinkus Aylee (Pink), meet as young soldiers with the Union army. Pink finds Say wounded in the leg after a battle and brings him home with him. Pink's mother, Moe Moe Bay, cares for the boys while Say recuperates, feeding and comforting them and banishing the war for a time. Whereas Pink is eager to go back and fight against "the sickness" that is slavery, Say is afraid to return to his unit. But when he sees Moe Moe Bay die at the hands of marauders, he understands the need to return. Pink and Say are captured by Confederate soldiers and brought to the notorious Andersonville prison camp. Say is released months later, ill and undernourished, but Pink is never released, and Polacco reports that he was hanged that very first day because he was black. Polacco (Babushka Baba Yaga, 1993, etc; My Rotten Redheaded Older Brother, above) tells this story, which was passed down for generations in her family (Say was her great-great-grandfather), carefully and without melodrama so that it speaks for itself. The stunning illustrations — reminiscent of the German expressionist Egon Shiele in their use of color and form — are completely heartbreaking. A spectacular achievement. (Nonfiction/Picture book. 4- 8)
Pub Date: Sept. 15, 1994
ISBN: 0-399-22671-0
Page Count: 48
Publisher: Philomel
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1994
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