A bright salutation of a story, with one determined woman at its center.
Pimentel tenders the story of Bobbi Gibb, the first woman to (surreptitiously) run the classic Boston Marathon, with illustrations that pay close attention to the route along the way.
Hot on the heels of Kristina Yee and Frances Poletti’s The Girl Who Ran, illustrated by Susanna Chapman (2017), is another rendering of Gibb’s saga. This time the story pivots less around Gibb’s trick to evade the officials than the sheer joy of running—it is as though Gibb is on one long runner’s high, and it’s good fun to run along with her. Readers learn that Gibb trained in nurse’s shoes, making “her feet feel weightless” when she bought proper running shoes (boys’ size six, as there are none for “girls”). Once she was in the race and doffed her sweatshirt to avoid heat exhaustion, she was cheered on by all but the most curmudgeonly marathon watchers. Archer provides the landscape through which the blonde white woman trains and then the marathon path itself. Her artwork is an eyeful, a deep-dish mixture of oil paint and collage with tissue paper and hand-stamped patterned papers as materials. In addition, she adds mile markers and elevation notes to convey the runners’ toils and why it is called “Heartbreak Hill.” The tiny smattering of African-Americans engaged in the race and in the crowds is sad but true.
A bright salutation of a story, with one determined woman at its center. (Picture book. 4-8)Pub Date: Feb. 6, 2018
ISBN: 978-1-101-99668-3
Page Count: 32
Publisher: Nancy Paulsen Books
Review Posted Online: Oct. 27, 2017
Kirkus Reviews Issue: Nov. 15, 2017
A self-affirming tale with limited appeal.
Actor Kruger embraces her unusual name and bestows her daughter with a name with special significance.
To many, the name Diane doesn’t sound odd, but when the author was growing up in Germany, it didn’t “sound German at all, like Anna, Lena, or Heidi.” In this picture book, Kruger reminisces about the meaning of her name and how she came to appreciate it. Delicately drawn illustrations with a light watercolor wash first depict a young, blond, White-presenting Diane in red patchwork overalls with her blue-kerchiefed pet bunny, Benny. To escape childhood taunting, Diane reads to Benny as Puss in Boots, Little Red Riding Hood, and other fairy-tale characters look on. When her mother explains she was named for a goddess, presumably the Roman goddess Diana, “a fearless huntress, strong-willed, with magical powers,” young Diane begins to wonder what her own special powers will be. After she and her mother travel to London, depicted with diverse citizens, and Diane sees a play for the first time, she realizes her gift is storytelling. Adult readers, especially fans of Kruger, will recognize illustrated scenes from several of her movies. She concludes with a tribute to her daughter and the distinct name she gave her and asks children to ponder their own names and powers. Though the art is attractive, overall, this quiet, understated tale will resonate more with caregiving readers than with children. (This book was reviewed digitally.)
A self-affirming tale with limited appeal. (Picture book. 4-8)Pub Date: Oct. 25, 2022
ISBN: 978-1-66265-091-8
Page Count: 48
Publisher: minedition
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
SEEN & HEARD
Engagingly links the jazz saxophone with its European roots.
This collaboration spotlights the saxophone’s European birth and wide adoption by American jazz musicians.
Adolphe Sax, a 19th-century Belgian instrument maker’s son, both plays and invents instruments. Searching for a new sound—softer than a trumpet, louder than a clarinet—Adolphe tinkers and reassembles until his masterpiece is ready. Belgium’s arbiters reject the new instrument, and Adolphe moves to Paris. While French tastemakers initially pan it, the composer Hector Berlioz champions “le saxophon,” opining, “It cries, sighs, and dreams.” After hard-won integration into French military bands, other European nations adopt it, too. Napoleon III loses France’s war in Mexico accompanied by the instrument’s wails. Florencio Ramos, a musician in a Mexican cavalry band, obtains a sax and settles in New Orleans in 1884. The signature sound of the rechristened “saxophone” spreads there and beyond, inseparable from jazz’s early permutations. (Cline-Ransome avers that after Sidney Bechet picks up the sax, he forsakes his clarinet.) A final spread summarizes jazz’s singular predisposition to musical contagion: “Coleman Hawkins heard Sidney play. / And Lester Young heard Coleman play. / And Charlie Parker heard Lester play.” While the anecdotal narrative adroitly portrays Sax’s perseverance as an innovator, the segue to American jazz gets shorter shrift. Cline-Ransome admirably amends this: Endpapers, a jacket poster, and spot illustrations celebrate over 20 diverse saxophone greats. Rich, sepia-toned spreads showcase the saxophone’s shining complexity.
Engagingly links the jazz saxophone with its European roots. (Informational picture book. 4-8)Pub Date: Feb. 28, 2023
ISBN: 978-0-8234-3702-3
Page Count: 40
Publisher: Holiday House
Review Posted Online: Dec. 13, 2022
Kirkus Reviews Issue: Jan. 1, 2023
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