A searching picture of a pioneering social crusader.
A tribute to the self-taught photographer who sparked real reform by turning faceless masses of abused workers into children with names and histories.
Incorporating Hine’s voice and some of his actual words (signaled with italics) into her free-verse monologue, Hinrichs highlights both his purposes—“I want to show their hard work / their hard lives” and also “their spirit. Because / the human spirit / is the big thing / after all”—and his methods of getting past suspicious factory overseers and of connecting with child workers in settings from cranberry bogs and canneries to coal mines. Garland’s harmoniously toned painted images of a slender, deceptively inoffensive-looking White figure using an awkward box camera to take pictures of solemn children, most but not all White, with downcast eyes and patchy period clothes meld gradually toward the end into Hine’s actual work (he called them “Hineographs”). More than 30 in all, they appear in a gallery that goes to the rear endpapers and are accompanied by a prose recap that downplays but at least mentions his quaint views on gender roles plus the fact that he took relatively few pictures of Black children and almost none of Asians. Russell Freedman’s Kids At Work (1994) explores his life and legacy in greater detail, but there’s enough here to leave even younger readers moved by his mission and his timeless portraits.
A searching picture of a pioneering social crusader. (chronology, source list, endnotes) (Picture book/biography. 8-10)Pub Date: Sept. 14, 2021
ISBN: 978-1-947440-06-7
Page Count: 32
Publisher: Getty Publications
Review Posted Online: June 15, 2021
Kirkus Reviews Issue: July 1, 2021
Apart from the peculiar posthumous narration, a useful addition to the artist-biography shelf.
This Spanish import describes well-known events in van Gogh’s career
Readers first see him as a child and then as an assistant in his uncle’s art dealership, followed by a brief spell as a minister, during which he witnessed and drew mining families living in terrible poverty. Constantly dogged by disapproval and humiliation in the provincial towns, the painter moved to Paris. Here he was exposed to contemporary art movements that were central to the evolution of his distinctive style. His removal to the Arles countryside, the inspiration for many of his most famous works; his complicated friendship with Gauguin; and his eventual descent into madness and suicide are described and illustrated with García’s soft watercolor illustrations and a few reproductions. Sidebars provide background information about art movements, places, and people that influenced van Gogh. The entire book, including the concluding timeline, is in the first person. This is potentially confusing for children who have a limited understanding of chronology. Some of the statements seem particularly jarring owing to this choice of narrative voice. The timeline states: “in a moment of despair, [I] shot myself in the chest. Two days later, I died.” It will be obvious to most readers that he could not be writing when dead, and this adds a layer of absurdity that derails the otherwise factual tone.
Apart from the peculiar posthumous narration, a useful addition to the artist-biography shelf. (list of paintings, websites) (Biography. 8-10)Pub Date: Nov. 1, 2017
ISBN: 978-1-59572-770-1
Page Count: 64
Publisher: Star Bright
Review Posted Online: Sept. 30, 2017
Kirkus Reviews Issue: Oct. 15, 2017
A loving homage to the last baseball clown.
Max Patkin had a very long and rewarding career in baseball, but it wasn’t in the way he originally planned.
He was a good-enough pitcher to earn a place in the minor leagues. In 1942 he was sidelined by an injury and joined the Navy. After surgery he was good to go: to Hawaii to play baseball with other professional players as a way of entertaining the troops. He played with and against the likes of Pee Wee Reese and Joe DiMaggio. When DiMaggio hit a very long home run against him, Max followed him around the bases, mimicking his motions and garnering laughs and cheers from players and spectators. After the war he played in the minors again, but injuries ended his playing days. But his comic routines were remembered, and he was asked to perform at exhibition games all over the country. Everyone seemed to love his over-the-top slapstick and hilarious performances. Vernick displays warm affection for Patkin, describing his antics in amusing anecdotes that are followed by quoting his signature line, “True Story!” Bower’s colorful cartoons manage to capture the essence of Max’s goofy appearance and all-out efforts to elicit every bit of fun he could invent in the game he loved so much. It was a different time.
A loving homage to the last baseball clown. (author’s note, sources) (Picture book/ biography. 8-10)Pub Date: April 3, 2018
ISBN: 978-0-544-81377-9
Page Count: 40
Publisher: Clarion Books
Review Posted Online: Jan. 21, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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