Inspiring fodder for an electoral—or any other—year.
In spare and elegant free verse, Malaspina shares a vivid act of civil disobedience.
Susan B. Anthony registered to vote in Rochester, N.Y., on November 1, 1872. She and 15 other women cast their ballots four days later, hoping that the new 14th Amendment, which stated that “All persons born or naturalized in the United States…are citizens of the United States,” would permit all women the right to vote. Instead, she was arrested and brought to trial, found guilty because women were not permitted the vote, and fined $100, which she never paid. James fills the pages with strongly modeled images and many close-ups of Susan’s face and the faces of judge, jury, police officers and followers. He makes their faces mobile and intense, so children can feel the force of these ideas as well as hear the words. The refrain, set in larger and alternate type, is “Outrageous. / Unbelievable. / True,” carrying the emotion and idea forward in an accessible and powerful way. The book opens with the text of the 14th and 19th Amendments and closes with facsimiles of a newspaper cartoon, a photograph and Susan B. Anthony’s letter to her close friend Elizabeth Cady Stanton: “Well I have been & gone & done it!!—positively voted.…”
Inspiring fodder for an electoral—or any other—year. (afterword, bibliography) (Picture book/nonfiction. 5-9)Pub Date: Sept. 1, 2012
ISBN: 978-0-8075-3188-4
Page Count: 32
Publisher: Whitman
Review Posted Online: July 21, 2012
Kirkus Reviews Issue: Aug. 1, 2012
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Utterly compelling.
The authors of Fatty Legs (2010) distill that moving memoir of an Inuit child’s residential school experience into an even more powerful picture book.
“Brave, clever, and as unyielding” as the sharpening stone for which she’s named, Olemaun convinces her father to send her from their far-north village to the “outsiders’ school.” There, the 8-year-old receives particularly vicious treatment from one of the nuns, who cuts her hair, assigns her endless chores, locks her in a dark basement and gives her ugly red socks that make her the object of other children’s taunts. In her first-person narration, she compares the nun to the Queen in Alice in Wonderland, a story she has heard from her sister and longs to read for herself, subtly reminding readers of the power of literature to help face real life. Grimard portrays this black-cloaked nun with a scowl and a hooked nose, the image of a witch. Her paintings stretch across the gutter and sometimes fill the spreads. Varying perspectives and angles, she brings readers into this unfamiliar world. Opening with a spread showing the child’s home in a vast, frozen landscape, she proceeds to hone in on the painful school details. A final spread shows the triumphant child and her book: “[N]ow I could read.”
Utterly compelling. (Picture book/memoir. 5-9)Pub Date: April 1, 2013
ISBN: 978-1-55451-490-8
Page Count: 32
Publisher: Annick Press
Review Posted Online: Feb. 17, 2013
Kirkus Reviews Issue: March 1, 2013
Weatherford and Christie dazzlingly salute African-Americans’ drive to preserve their dignity and pride.
Count down the days until Sunday, a day for slaves in New Orleans to gather together and remember their African heritage.
In rhyming couplets, Weatherford vividly describes each day of nonstop work under a “dreaded lash” until Sunday, when slaves and free blacks could assemble in Congo Square, now a part of New Orleans’ Louis Armstrong Park and on the National Register of Historic Places. Musicians “drummed ancestral roots alive” on different traditional instruments, and men and women danced. They also exchanged information and sold wares. The poetry is powerful and evocative, providing a strong and emotional window into the world of the slave. Christie’s full-bleed paintings are a moving accompaniment. His elongated figures toil in fields and in houses with bent backs under the watchful eyes of overseers with whips. Then on Sunday, they greet one another and dance with expressively charged spirits. One brilliant double-page spread portrays African masks and instruments with swirling lines of text; it is followed by another with four dancers moving beautifully—almost ethereally—on a vibrant yellow collage background. As the author notes, jazz would soon follow from the music played in Congo Square.
Weatherford and Christie dazzlingly salute African-Americans’ drive to preserve their dignity and pride. (foreword, glossary, author’s note) (Picture book. 5-9)Pub Date: Jan. 5, 2016
ISBN: 978-1-4998-0103-3
Page Count: 40
Publisher: Little Bee Books
Review Posted Online: Oct. 13, 2015
Kirkus Reviews Issue: Nov. 1, 2015
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