An excellent, child-friendly introduction to a global issue.
This picture-book biography of Jadav Payeng, hailed as “the forest man of India,” details his effort to single-handedly reforest his river island home.
In the opening pages of the book, 14-year-old Payeng is distraught by the destruction that deforestation and erosion are causing in his community, an island on the mighty Brahmaputra River in northeastern India. Every day after taking care of his chores, he plants trees on a sandbar laid bare by erosion. For over 35 years he does this, planting first bamboo trees and then other species. Today, Molai Forest is a lush woodland that is no longer desolate: It is home to elephants, rhinoceroses, deer, wild boars, vultures, and tigers. Widdowson’s simple, brightly colored art unfolds as the text does, showcasing stark, eroded shorelines and stranded animals in the opening pages, then verdant coastal forests and smiling animals at the book’s close. Additional backmatter details Payeng’s continued commitment to the revitalization of this fragile ecosystem along with further biographical information, such as his receiving one of India’s highest civilian awards, the Padma Shri. This is the second such picture book about Payeng, following The Boy Who Grew a Forest, by Sophia Gholz and illustrated by Kayla Harren (2019). Payeng is a member of the Mishing, a marginalized tribal community in India; as climate change greatly affects Indigenous and vulnerable communities, this coverage is both welcome and necessary.
An excellent, child-friendly introduction to a global issue. (fast facts, glossary, further reading) (Picture book/biography. 5-8)Pub Date: April 7, 2020
ISBN: 978-1-4867-1816-0
Page Count: 40
Publisher: Flowerpot Press
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
Sage, soothing ideas for a busy, loud, sometimes-divisive world.
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. 7, 2019
Kirkus Reviews Issue: Jan. 1, 2020
BOOK REVIEW
Blandly laudatory.
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 Books
Review Posted Online: Aug. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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