An inspiring and beautifully illustrated tale made all the better by its historical foundation.

READ REVIEW

THE GIRL WHO NAMED PLUTO

THE STORY OF VENETIA BURNEY

It’s 1930, and an 11-year-old girl in Oxford, England, is about to make history.

McGinty first introduces readers to young Venetia Burney attentively listening to a school lesson about the solar system and quickly establishes Venetia’s voracious curiosity across disciplines. The elegant yet accessible text is packed with historical tidbits that contextualize her scientific contribution without overwhelming readers (for example, the fact that her well-connected grandfather had a friend in the Royal Astronomical Society who shared Venetia’s idea with the Lowell Observatory astronomers). Third-person present-tense narration draws readers into the exact moment when, upon hearing that a ninth planet has been discovered, Venetia suggests a name: “she knows that this planet, so far from the sun, must be frozen, dark, and lifeless…like…the underworld ruled in Roman myths by Neptune’s brother, Pluto.” Haidle’s layered, semiopaque washes of blue-gray ink with rusty red accents impart a gravitas that supports the significance of Venetia’s contribution and, echoing sepia-tone photos, emphasizes her place in history. The muted color palette somewhat obfuscates skin tones, but most people, including Venetia, appear white. The constellations on the endpapers immediately introduce the connection between mythology and astronomy that inspired Venetia, while stylized maps and diagrams of the solar system will enthrall readers of all ages.

An inspiring and beautifully illustrated tale made all the better by its historical foundation. (author’s note) (Picture book/biography. 4-8)

Pub Date: May 14, 2019

ISBN: 978-1-5247-6831-7

Page Count: 40

Publisher: Schwartz & Wade/Random

Review Posted Online: Feb. 13, 2019

Kirkus Reviews Issue: March 1, 2019

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Sage, soothing ideas for a busy, loud, sometimes-divisive world.

GRANDMA'S GARDENS

In an inviting picture book, Chelsea and Hillary Clinton share personal revelations on how gardening with a grandmother, a mother, and children shapes and nurtures a love and respect for nature, beauty, and a general philosophy for life.

Grandma Dorothy, the former senator, secretary of state, and presidential candidate’s mother, loved gardens, appreciating the multiple benefits they yielded for herself and her family. The Clinton women reminisce about their beloved forebear and all she taught them in a color-coded, alternating text, blue for Chelsea and green for Hillary. Via brief yet explicit remembrances, they share what they learned, observed, and most of all enjoyed in gardens with her. Each double-page spread culminates in a declarative statement set in italicized red text invoking Dorothy’s wise words. Gardens can be many things: places for celebration, discovery and learning, vehicles for teaching responsibility in creating beauty, home to wildlife large and small, a place to share stories and develop memories. Though operating from very personal experience rooted in class privilege, the mother-daughter duo mostly succeeds in imparting a universally significant message: Whether visiting a public garden or working in the backyard, generations can cultivate a lasting bond. Lemniscates uses an appropriately floral palette to evoke the gardens explored by these three white women. A Spanish edition, Los jardines de la abuela, publishes simultaneously; Teresa Mlawer’s translation is fluid and pleasing, in at least one case improving on the original.

Sage, soothing ideas for a busy, loud, sometimes-divisive world. (Picture book. 5-8)

Pub Date: March 31, 2020

ISBN: 978-0-593-11535-0

Page Count: 40

Publisher: Philomel

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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Blandly laudatory.

I AM WALT DISNEY

From the Ordinary People Change the World series

The iconic animator introduces young readers to each “happy place” in his life.

The tally begins with his childhood home in Marceline, Missouri, and climaxes with Disneyland (carefully designed to be “the happiest place on Earth”), but the account really centers on finding his true happy place, not on a map but in drawing. In sketching out his early flubs and later rocket to the top, the fictive narrator gives Ub Iwerks and other Disney studio workers a nod (leaving his labor disputes with them unmentioned) and squeezes in quick references to his animated films, from Steamboat Willie to Winnie the Pooh (sans Fantasia and Song of the South). Eliopoulos incorporates stills from the films into his cartoon illustrations and, characteristically for this series, depicts Disney as a caricature, trademark mustache in place on outsized head even in childhood years and child sized even as an adult. Human figures default to white, with occasional people of color in crowd scenes and (ahistorically) in the animation studio. One unidentified animator builds up the role-modeling with an observation that Walt and Mickey were really the same (“Both fearless; both resourceful”). An assertion toward the end—“So when do you stop being a child? When you stop dreaming”—muddles the overall follow-your-bliss message. A timeline to the EPCOT Center’s 1982 opening offers photos of the man with select associates, rodent and otherwise. An additional series entry, I Am Marie Curie, publishes simultaneously, featuring a gowned, toddler-sized version of the groundbreaking physicist accepting her two Nobel prizes.

Blandly laudatory. (bibliography) (Picture book/biography. 6-8)

Pub Date: Sept. 10, 2019

ISBN: 978-0-7352-2875-7

Page Count: 40

Publisher: Dial

Review Posted Online: Aug. 18, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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