Watch a Disney film instead.
A girl grows up to be an instrumental Disney artist.
Mary Blair, nee Mary Browne Robinson, enjoys colors and painting in childhood. She dreams of being an artist and earns a spot at an art school. Later, she accepts a job at Walt Disney Studios. Over the course of her career, she paints Dumbo, creates concept art for iconic animated films (Cinderella, Alice in Wonderland, and Peter Pan), and helps create and design the world-famous Disney park attraction “It’s a small world.” Novesky’s plotline and prose about Blair’s massively influential achievements are oddly lackluster, reporting facts without spirit. Likewise, Lee’s cut-paper and gouache media have a flatness—neither cut paper nor gouache is recognizable on most spreads—and a lack of vitality. Blair’s a generic, tiny-waisted blonde white lady; characters smile almost unceasingly, even when the subject is poverty. This art is styled similarly to Disney art, but it lacks pizzazz. “It’s a small world” is glorified, with no examination of how it stereotypes and exoticizes race, nationality, and ethnicity; Lee’s illustrations reinscribe that very problem while Novesky romantically calls “small world” a celebration of “unity, goodwill, and global peace” leading to “colorful happily ever afters” (for whom?). Amy Guglielmo, Jacqueline Tourville, and Brigette Barrager’s Pocket Full of Colors (2017) is a far livelier Blair biography, although it also ignores racism concerns.
Watch a Disney film instead. (illustrator’s note, note from Mary Blair’s niece, further reading) (Picture book/biography. 5-8)Pub Date: Aug. 13, 2019
ISBN: 978-1-4847-5720-8
Page Count: 40
Publisher: Disney Press
Review Posted Online: May 25, 2019
Kirkus Reviews Issue: June 15, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The many enchanting elements of dance and story in The Sleeping Beauty ballet come alive for young children.
Read! Practice! Perform!
Three girls (Amirah, Violet, and Sahani) and two boys (Joonwon and Alejandro) take ballet class. They clearly demonstrate warm-up moves, basic feet and arm positions executed at the barre, and center-floor movements including jumps. Their facial expressions vary from happy to fretful. When they have performed their “reverence,” or bows, they are ready to move on to a performance of The Sleeping Beauty, a popular story ballet danced to a beautiful score by Tchaikovsky. Violet’s mom, a former dancer, enters to tell the children the story, and they act out the various roles, from the elegant Lilac Fairy to the evil Carabosse. Each role involves steps that they previously learned and very expressive facial and body emoting. Bouder is a principal dancer with the New York City Ballet and writes with enthusiasm and knowledge. The uncluttered cartoon illustrations are lively and colorfully detailed, depicting a multiracial cast (as hinted at by the children’s names). That Violet and her ex-professional mom are white somewhat undermines the egalitarian message. While it may prove challenging for readers to actually try the steps on their own, especially the jumps, they should enjoy practicing. When readers play the score (not included but readily available) in the background, correct ballet movement or simply expressive individual movements can result in a very enjoyable staging.
The many enchanting elements of dance and story in The Sleeping Beauty ballet come alive for young children. (glossary) (Picture book. 5-8)Pub Date: Aug. 4, 2020
ISBN: 978-0-7112-5128-1
Page Count: 64
Publisher: Frances Lincoln
Review Posted Online: June 2, 2020
Kirkus Reviews Issue: June 15, 2020
Read as an ode to Aretha Franklin rather than as a true biography.
The early beginnings and professional life of the prolific singer and activist are presented in this LP–shaped picture book.
The text is presented in rhyming couplets, one per double-page spread, with a spelled-out lead word printed in block letters setting each one up. “B-L-E-S-S-E-D” leads off, and the titular “R-E-S-P-E-C-T” introduces the final couplet. The short stanzas move the book quickly from one point in Franklin’s life to the next, hinting kaleidoscopically at who she was and why she was so important. Children with no previous familiarity with the subject will require context from caregivers to understand most points. (A narrative biographical note sums up the main points in the backmatter.) Weatherford acknowledges that Franklin’s mother left the family when her preacher father was unfaithful: “Clarence and Barbara Franklin can’t seem to agree. / Daddy wasn’t faithful, so Mama chose to flee.” The spread that includes this information is introduced with “S-T-R-I-F-E,” and the illustration is almost identical to one seen earlier symbolically showing the family establishing roots in “D-E-T-R-O-I-T.” Though Barbara is missing from the “S-T-R-I-F-E” illustration, Clarence wears the same grin, and the effect is unsettling. Overall, the striking, richly colored, painterly illustrations work well with the text and perform due homage to Franklin, but the story of Franklin’s life is left wanting. The oversized, 11 ¼-inch-square trim fittingly accommodates its subject.
Read as an ode to Aretha Franklin rather than as a true biography. (discography) (Picture book/biography. 5-8)Pub Date: Aug. 25, 2020
ISBN: 978-1-5344-5228-2
Page Count: 48
Publisher: Atheneum
Review Posted Online: May 2, 2020
Kirkus Reviews Issue: May 15, 2020
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