An intriguing idea that doesn’t quite come together.
A flower’s history links Mexico and the United States.
The poinsettia, originally a wildflower that grew in Mexico, has had many names. The Nahuas called it cuetlaxochitl, or “mortal flower that withers, like all that is pure.” When Spanish friars arrived in Mexico and encountered the flower, a legend rose about “Pepita, a poor mestiza girl with a giving heart,” who was mocked for placing weeds in a Nativity scene until its flowers burst forth, giving it the name flor de nochebuena, or “flower of the holy night.” It was renamed the poinsettia when an American ambassador and botanist, Joel Roberts Poinsett, visited Mexico and sent clippings of the plant back to the United States. Dobbs’ narration alternates awkwardly between printed narration and italicized poetry that ends with the refrain “You just wait and see.” The implied suspense, however, doesn’t manifest. What are we waiting to see? The latter half of the book focuses on the poinsettia’s ubiquitous holiday appearance in American culture from the White House to TV talk shows. Eventually Dobbs encourages readers to find beauty, “then give it back to the world”—a perfectly lovely sentiment that reads like an afterthought. The digital illustrations, showcased as full-page spreads in between the text, have a cartoonish character that feels a bit at odds with the solemnity of the story.
An intriguing idea that doesn’t quite come together. (history of the poinsettia, timeline) (Informational picture book. 4-8)Pub Date: Sept. 2, 2025
ISBN: 9781728297811
Page Count: 40
Publisher: Sourcebooks Jabberwocky
Review Posted Online: Aug. 29, 2025
Kirkus Reviews Issue: Oct. 1, 2025
BOOK REVIEW
BOOK REVIEW
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for.
An overview of the modern African-American holiday.
This book arrives at a time when black people in the United States have had intraracial—some serious, some snarky—conversations about Kwanzaa’s relevance nowadays, from its patchwork inspiration that flattens the cultural diversity of the African continent to a single festive story to, relatedly, the earnest blacker-than-thou pretentiousness surrounding it. Both the author and consultant Keith A. Mayes take great pains—and in painfully simplistic language—to provide a context that attempts to refute the internal arguments as much as it informs its intended audience. In fact, Mayes says in the endnotes that young people are Kwanzaa’s “largest audience and most important constituents” and further extends an invitation to all races and ages to join the winter celebration. However, his “young people represent the future” counterpoint—and the book itself—really responds to an echo of an argument, as black communities have moved the conversation out to listen to African communities who critique the holiday’s loose “African-ness” and deep American-ness and moved on to commemorate holidays that have a more historical base in black people’s experiences in the United States, such as Juneteenth. In this context, the explications of Kwanzaa’s principles and symbols and the smattering of accompanying activities feel out of touch.
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for. (resources, bibliography, glossary, afterword) (Nonfiction. 5-8)Pub Date: Sept. 5, 2017
ISBN: 978-1-4263-2849-7
Page Count: 40
Publisher: National Geographic Kids
Review Posted Online: Oct. 27, 2017
Pass.
The traditions and history of one of Mexico’s most important holidays are introduced in this latest of Eliot’s Celebrate the World series.
From setting up the flower-festooned altars to decorating the calaveras, the preparations depicted involve entire communities over several weeks. Characters in cowboy hats, sombreros, and baseball caps place the final touches on skeletons in full lucha libre regalia or spangled mariachi outfits. However, instead of accurately using Mexico’s name for the holiday, Día de Muertos, Eliot uses the English back-translation, “Día de los Muertos,” as is common in the U.S. even though the story evidently takes place in Mexico. Also, aside from stating that the celebration “is an ancient tradition,” there is no mention of its Indigenous, pre-European/Christian roots nor does the book actively distinguish between Día de Muertos and Halloween. The first-person narration vacillates between child and adult perspectives. “We do all this to celebrate the beauty of life and death rather than mourn it.” Gutierrez’s mixed-media illustrations are convulsive, crowded panes of frenetic activity. Exaggerated facial features border on stereotypical caricatures—snouts and bug eyes abound. Contributing to the crowded page design is the unfortunate choice of board rather than picture-book format. Consequently, the initial perception is that this series is geared toward toddlers, when it is the school-age child who would most benefit from the information in this book.
Pass. (Board book. 4-7)Pub Date: July 24, 2018
ISBN: 978-1-5344-1515-7
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Oct. 15, 2018
Kirkus Reviews Issue: Jan. 1, 2019
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