DiakitÇ (The Hunterman and the Crocodile, 1997) retells an African folktale—familiar to many children from Slobodkina’s Caps For Sale (1940)—with a combination of charming storyline, cleverly executed theme, inviting illustrations, and unusual sound effects for read-aloud fun. Tiny monkeys border the pages as readers are introduced to hatseller BaMusa. His head piled high with his dibiri and fugulan caps, and too anxious to eat breakfast, BaMusa starts out for a festival to sell his wares. He falls asleep under a mango tree, only to have a mischievous crowd of monkeys swipe his hard work. Hungry, not thinking straight, BaMusa tries to get the caps back but almost despairs. A meal of the mango fruit gives him the strength to trick the monkeys into relinquishing his inventory. The festive, authentic, painted-tile illustrations match the ebullience of the colorful story; preschoolers will love—again—this smart and satisfying tale of monkey-see, monkey-do. (Picture book/folklore. 4-8)
Pub Date: Feb. 1, 1999
ISBN: 0-590-96069-5
Page Count: 32
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1998
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for.
An overview of the modern African-American holiday.
This book arrives at a time when black people in the United States have had intraracial—some serious, some snarky—conversations about Kwanzaa’s relevance nowadays, from its patchwork inspiration that flattens the cultural diversity of the African continent to a single festive story to, relatedly, the earnest blacker-than-thou pretentiousness surrounding it. Both the author and consultant Keith A. Mayes take great pains—and in painfully simplistic language—to provide a context that attempts to refute the internal arguments as much as it informs its intended audience. In fact, Mayes says in the endnotes that young people are Kwanzaa’s “largest audience and most important constituents” and further extends an invitation to all races and ages to join the winter celebration. However, his “young people represent the future” counterpoint—and the book itself—really responds to an echo of an argument, as black communities have moved the conversation out to listen to African communities who critique the holiday’s loose “African-ness” and deep American-ness and moved on to commemorate holidays that have a more historical base in black people’s experiences in the United States, such as Juneteenth. In this context, the explications of Kwanzaa’s principles and symbols and the smattering of accompanying activities feel out of touch.
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for. (resources, bibliography, glossary, afterword) (Nonfiction. 5-8)Pub Date: Sept. 5, 2017
ISBN: 978-1-4263-2849-7
Page Count: 40
Publisher: National Geographic Kids
Review Posted Online: Oct. 27, 2017
Effectively argues that “People are more powerful together.”
Simple, direct statements are paired with watercolor illustrations to highlight some of the rallying causes for organized marches throughout the history of the United States.
The text and art begin with two marches that will reemerge as metaphor later in the book: a long line of ants marching to and from a piece of watermelon, and members of a blue-and-gold–clad marching band following their leader’s baton. As the band recedes on the verso, across the gutter an extremely diverse group of people similar to the crowds marching across the book’s cover advances toward readers on recto. Here the text repeats the book’s title. Next, negative space surrounds a small group of women and children—obviously from an earlier time—holding a protest sign. The text explains that sometimes people march “to resist injustice.” The facing page shows a contemporary family gazing with chagrin at a polluted beach; they will march because they “notice a need for change.” The text continues to offer simple explanations of why people march, eventually moving to other peaceful means of resistance, including signs, boycotts, strikes, sit-ins, and “taking a knee.” Hardship in the form of physical and psychic exhaustion is mentioned, but police and other legally sanctioned violence against protest is not—the general mood is uplifting encouragement to young, potential activists. This timely book combines rudimentary facts about peaceful resistance with art that depicts organized actions from the 19th century through today, and endnotes reveal more specifics about each illustration, including historic figures represented.
Effectively argues that “People are more powerful together.” (Informational picture book. 4-8)Pub Date: Sept. 1, 2020
ISBN: 978-0-06-299118-8
Page Count: 32
Publisher: Balzer + Bray/HarperCollins
Review Posted Online: July 13, 2020
Kirkus Reviews Issue: Aug. 1, 2020
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