It’s Alice Paul versus Woodrow Wilson!
Utilizing the language and structure of a boxing match, this fast-paced selection covers Alice Paul’s activism, ongoing support of women’s suffrage, and continuing advocacy for passage of the 19th Amendment during Woodrow Wilson’s two presidential terms. Illustrations based on Jazz Age lithographs and boxing posters combine nicely with suspenseful, articulate text that includes some of Paul’s ancillary accomplishments (she led both the first pickets of the White House, for example, and a successful hunger strike while incarcerated) along the way to success. Wilson’s befuddlement and confusion at her strength and dedication to the cause are covered here, too, as are the negative responses of men who resisted Paul’s actions and beliefs. Ultimately, the focus is on positive change: the ratification of the amendment, Wilson’s developing viewpoint, and America’s growing acceptance of women’s rights. While the text presents her dedication and accomplishments with verve and excitement, the endnotes provide a timeline, bibliography, and additional historical context in which the white woman’s support of her organization’s discrimination against African American women is explored, presenting a picture of a flawed yet accomplished heroine.
A lively, inspiring depiction of an indomitable fighter for women’s rights. (Picture book/biography. 6-10)Pub Date: Feb. 25, 2020
ISBN: 978-1-62979-908-7
Page Count: 40
Publisher: Calkins Creek/Boyds Mills
Review Posted Online: Dec. 8, 2019
Kirkus Reviews Issue: Jan. 1, 2020
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Shamir offers an investigation of the foundations of freedoms in the United States via its founding documents, as well as movements and individuals who had great impacts on shaping and reshaping those institutions.
The opening pages of this picture book get off to a wobbly start with comments such as “You know that feeling you get…when you see a wide open field that you can run through without worrying about traffic or cars? That’s freedom.” But as the book progresses, Shamir slowly steadies the craft toward that wide-open field of freedom. She notes the many obvious-to-us-now exclusivities that the founding political documents embodied—that the entitled, white, male authors did not extend freedom to enslaved African-Americans, Native Americans, and women—and encourages readers to learn to exercise vigilance and foresight. The gradual inclusion of these left-behind people paints a modestly rosy picture of their circumstances today, and the text seems to give up on explaining how Native Americans continue to be left behind. Still, a vital part of what makes freedom daunting is its constant motion, and that is ably expressed. Numerous boxed tidbits give substance to the bigger political picture. Who were the abolitionists and the suffragists, what were the Montgomery bus boycott and the “Uprising of 20,000”? Faulkner’s artwork conveys settings and emotions quite well, and his drawing of Ruby Bridges is about as darling as it gets. A helpful timeline and bibliography appear as endnotes.
A reasonably solid grounding in constitutional rights, their flexibility, lacunae, and hard-won corrections, despite a few misfires. (Informational picture book. 6-10)Pub Date: May 2, 2017
ISBN: 978-0-399-54728-7
Page Count: 32
Publisher: Philomel
Review Posted Online: March 29, 2017
Kirkus Reviews Issue: April 15, 2017
Categories: CHILDREN'S HISTORY | CHILDREN'S SOCIAL SCIENCES
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BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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