Young Willie Jerome is up on the roof of a Harlem tenement blowing his horn. The trills and riffs are sweet music to his sister Judy's ears, but no one else in the neighborhood is moved: not the grocer, not the stoop sitters, not his brother, and especially not his mother. Narrator Judy bebops to the melody; she tries to convince others to give his hot rooftop jazz a chance, but all they hear is a lot of noise. Finally the girl coaxes her mother to close her eyes and open her soul to the music (a sentimental, adult idea, perhaps, but Judy's demonstrated sensitivity brings substance to her words). Willie Jerome doesn't let them down. Duncan's sharp, laconic text is appealingly cadenced—a smart prose poem where every word has a purpose: ``I been groovin' to his noonday songs. That's why I got this smile on my face. That's why I got this bop in my stride.'' It's the language of the city, and so too are the voluptuous, moody oil paintings. The artwork pulls readers right in. Here are palpable urban tableaux: readers will feel summer's lazy drift, sense the heat rising off the sidewalk. Judy's pleasure in the music is evident in every gesture; in the depictions of Willie Jerome, his obsession becomes a triumph—and he becomes heroic. A fine tribute to going one's own way. (Picture book. 5-8)
Pub Date: April 1, 1995
ISBN: 0-02-733208-X
Page Count: 32
Publisher: Palgrave Macmillan
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1995
Sloat collaborates with Huffman, a Yu’pik storyteller, to infuse a traditional “origins” tale with the joy of creating. Hearing the old women of her village grumble that they have only tasteless crowberries for the fall feast’s akutaq—described as “Eskimo ice cream,” though the recipe at the end includes mixing in shredded fish and lard—young Anana carefully fashions three dolls, then sings and dances them to life. Away they bound, to cover the hills with cranberries, blueberries, and salmonberries. Sloat dresses her smiling figures in mixes of furs and brightly patterned garb, and sends them tumbling exuberantly through grassy tundra scenes as wildlife large and small gathers to look on. Despite obtrusively inserted pronunciations for Yu’pik words in the text, young readers will be captivated by the action, and by Anana’s infectious delight. (Picture book/folktale. 6-8)
Pub Date: June 1, 2004
ISBN: 0-88240-575-6
Page Count: 32
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2004
Rapunzel, Rapunzel, let down your dreads! Isadora once again plies her hand using colorful, textured collages to depict her fourth fairy tale relocated to Africa. The narrative follows the basic story line: Taken by an evil sorceress at birth, Rapunzel is imprisoned in a tower; Rapunzel and the prince “get married” in the tower and she gets pregnant. The sorceress cuts off Rapunzel’s hair and tricks the prince, who throws himself from the tower and is blinded by thorns. The terse ending states: “The prince led Rapunzel and their twins to his kingdom, where they were received with great joy and lived happily every after.” Facial features, clothing, dreadlocks, vultures and the prince riding a zebra convey a generic African setting, but at times, the mixture of patterns and textures obfuscates the scenes. The textile and grain characteristic of the hewn art lacks the elegant romance of Zelinksy’s Caldecott version. Not a first purchase, but useful in comparing renditions to incorporate a multicultural aspect. (Picture book/fairy tale. 6-8)
Pub Date: Oct. 1, 2008
ISBN: 978-0-399-24772-9
Page Count: 32
Publisher: Putnam
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Sept. 1, 2008
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