A loving homage to a charismatic baseball hero.

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YOGI

THE LIFE, LOVES, AND LANGUAGE OF BASEBALL LEGEND YOGI BERRA

Lawrence Peter Berra did not resemble a baseball player in any way.

He was a funny-looking, squat-bodied kid from a poor Italian neighborhood in St. Louis, where his baseball team had to improvise with borrowed or jury-rigged equipment. He would often sit with legs and arms crossed, studying the nuances of the game, a posture that earned him the nickname he would have for the rest of his life. From the beginning of his career as a New York Yankee, he was a great hitter, and he gradually became a great catcher, always willing to learn from coaches and mentors. Initially he endured a barrage of hurtful insults from the press and his teammates about his appearance, but his delightful personality, his unique way with words, and, of course, the fact that he was a large reason for the Yankees’ many championships soon made him beloved by all. Rosenstock covers all the bases, focusing on Yogi’s great love of baseball, his determination to succeed, and, most of all, his longing for baseball to love him back. His perplexing, witty, and wise “Yogi-isms” are incorporated in the text as well as appearing in large, hand-lettered blurbs within the illustrations. Widener’s colorful, muscular acrylic cartoons are not lifelike portraits of Berra but beautifully capture his essence.

A loving homage to a charismatic baseball hero. (author’s note, photographs, statistics, quotes, sources) (Picture book/biography. 6-10)

Pub Date: Feb. 5, 2019

ISBN: 978-1-62979-824-0

Page Count: 48

Publisher: Calkins Creek/Boyds Mills

Review Posted Online: Dec. 16, 2018

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A galloping marvel—enlightening and entertaining.

DR. SEUSS'S HORSE MUSEUM

A succinct introduction to art history via a Seussian museum of equine art.

This posthumously published text recently discovered in Ted Geisel’s studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner’s playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss’ legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript’s history and Seuss’ artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat’s antecedents in minstrelsy and Seuss’ other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.

A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)

Pub Date: Sept. 3, 2019

ISBN: 978-0-399-55912-9

Page Count: 80

Publisher: Random House

Review Posted Online: June 10, 2019

Kirkus Reviews Issue: July 1, 2019

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A solid introduction to fascinating artists, some familiar, others less so.

WOMEN ARTISTS A TO Z

Contemporary and historical female artists are showcased for younger readers.

The artists’ names aren’t presented in A-to-Z order. The alphabetical arrangement actually identifies signature motifs (“D is for Dots” for Yayoi Kusama); preferred media (“I is for Ink” for Elizabeth Catlett); or cultural, natural, or personal motives underlying artworks (“N is for Nature” for Maya Lin). Various media are covered, such as painting, box assemblage, collage, photography, pottery, and sculpture. One artist named isn’t an individual but rather the Gee’s Bend Collective, “generations of African American women in Gee’s Bend, Alabama,” renowned for quilting artistry. Each artist and her or their work is introduced on a double-page spread that features succinct descriptions conveying much admiring, easily comprehensible information. Colorful illustrations include graphically simplified representations of the women at work or alongside examples of their art; the spreads provide ample space for readers to understand what the artists produced. Several women were alive when this volume was written; some died in the recent past or last century; two worked several hundred years ago, when female artists were rare. Commendably, the profiled artists are very diverse: African American, Latina, Native American, Asian, white, and multiethnic women are represented; this diversity is reflected in their work, as explained via texts and illustrations.

A solid introduction to fascinating artists, some familiar, others less so. (minibiographies, discussion questions, art suggestions) (Informational picture book. 6-9)

Pub Date: Feb. 11, 2020

ISBN: 978-0-593-10872-7

Page Count: 64

Publisher: Dial Books

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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