Never burdened by its message, this exceptional title works on multiple levels; it is both a striking introduction to a...
This first-person account presents Mohandas Gandhi through the eyes of his then–12-year-old grandson.
Arriving at Sevagram, the ashram Gandhi lived in as an old man, young Arun and his family greet their famous relative and start participating in the simple lifestyle of morning prayers, chores and pumpkin mush. It is challenging for the boy, who misses electricity and movies and dreads language lessons. The crux of the story hinges on the moment Arun is tripped and injured during a soccer game. He picks up a rock and feels the weight of familial expectations. Running to his grandfather, he learns the surprising fact that Gandhi gets angry too. Grandfather lovingly explains that anger is like electricity: it “can strike, like lightning, and split a living tree in two…. Or it can be channeled, transformed….Then anger can illuminate. It can turn the darkness into light.” Turk’s complex collages, rich in symbolic meaning and bold, expressive imagery, contribute greatly to the emotional worldbuilding. Watercolor, gouache and cut paper set the scenes, while fabric clothes the primary players. Gandhi’s spinning wheel is a repeated motif; tangled yarn surrounding Arun signals frustration.
Never burdened by its message, this exceptional title works on multiple levels; it is both a striking introduction to a singular icon and a compelling story about the universal experience of a child seeking approval from a revered adult. (authors’ note) (Picture book/memoir. 4-8)Pub Date: March 11, 2014
ISBN: 978-1-4424-2365-7
Page Count: 48
Publisher: Atheneum
Review Posted Online: Jan. 3, 2014
Kirkus Reviews Issue: Jan. 15, 2014
The emphasis on art as something that’s not useful and on holding on to items by branding them as art makes this one to miss.
A broken-toy purge turns into an art-making session in this didactic look at recycling and reuse.
Kenya’s story begins when her mother orders her to get rid of all her broken toys, including the one she is currently playing with, a prize from her art teacher. In a narrative shift, Kenya asks her dad for homework help—she has to tell her class what she did for spring vacation: nothing. A walk to the park only reinforces how much better her classmates’ vacations have been. But a museum tour provides the spark: a quilt made with reused scraps and a sculpture: “This artist recycled used bottles and made something to look at. It’s not useful, it’s art,” says the docent. Kenya labels it a “thingamabob.” The whole family gets in on the act at home, making new things from old and creating art. Kenya makes her own thingamabob that is sure to have parents of packrats cringing: it’s a huge heap of broken toys anchored in a clay base. Mitchell’s detailed watercolor, graphite, and digital illustrations show a loving black family whose expressions are rather static. Kenya’s friends and classmates tick off the other racial and ethnic boxes for a nicely rainbow classroom: white twins, a black trumpet player, an Asian soccer player, a Latina teacher.
The emphasis on art as something that’s not useful and on holding on to items by branding them as art makes this one to miss. (Picture book. 4-8)Pub Date: Jan. 5, 2016
ISBN: 978-1-57091-848-3
Page Count: 32
Publisher: Charlesbridge
Review Posted Online: Nov. 2, 2015
Kirkus Reviews Issue: Nov. 15, 2015
BOOK REVIEW
Tender and affirming.
A father and child bond while camping.
The two awaken in their tent on a chilly morning in the woods. The young narrator is cold, but Daddy says they’ll warm up as they start walking. As the pair hike past trees and over rocks, then bait their hooks and cast their lines, it becomes apparent that Daddy is retracing the path he and his late father, Pop-Pop, once took, re-creating the same moments of wonder and awe. The child ponders: “Are we looking under the same rocks? Weaving through the same trails? Resting beneath the same magnolia tree as we sit still, listen, and breathe?” The narrator becomes overwhelmed with emotion over the loss of Pop-Pop, but Daddy says that he feels the same way and lets the protagonist know that showing emotion is OK—a valuable lesson for young readers coping with grief. This potent, poetic story is complemented by Fisher’s art, which blends soft colors and is full of movement and captures the characters’ expressions. Fisher has a delicate touch, conveying the small pleasures of the great outdoors as well as the importance of giving oneself permission to sit with sadness. Daddy and the child are brown-skinned, while Pop-Pop, seen in flashback, is lighter-skinned. (This book was reviewed digitally.)
Tender and affirming. (Picture book. 5-8)Pub Date: May 2, 2023
ISBN: 9780316055864
Page Count: 40
Publisher: Little, Brown
Review Posted Online: March 28, 2023
Kirkus Reviews Issue: April 15, 2023
BOOK REVIEW
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