An interesting, informative account of a little-known woman of great achievement.
Even as a child, Hannah Greenebaum knew she was destined to spend her life helping those in need.
Her parents were responsible for many milestones in Chicago’s Jewish community, including the founding of the first Reform synagogue. Her father also helped new immigrants find jobs and was instrumental in aiding runaway slaves. Her mother started a Jewish women’s sewing group that made clothes for the poor. As an adult Hannah was the first Jewish woman admitted to the Chicago Women’s Club. She fought tirelessly for women’s advancements against male domination both within Orthodox Judaism and in the general society. From a conference of Jewish women that she organized came the National Council of Jewish Women, an organization that worked directly with people in need and pushed for new laws to address poverty, housing, and education. She also expanded her activism to the women’s suffrage movement. Lindauer presents Solomon’s groundbreaking accomplishments in clear, concise language with great admiration, stressing her persistence and determination. Statements attributed to Solomon seem to be based on her remembrances, presumably from her memoir or archived papers as mentioned on the copyright page, but no sources are cited specifically. Many of Moore’s illustrations have a 3-D effect with black-line sketched backgrounds from which brightly colored foregrounds and people emerge. Solomon mostly appears as a part of groups, with little seen of her emotions or facial expressions. Her spouse, Henry Solomon, appears only in the closing timeline.
An interesting, informative account of a little-known woman of great achievement. (photos, author’s note, timeline) (Picture book/biography. 6-10)Pub Date: Sept. 1, 2021
ISBN: 978-1-72841-573-4
Page Count: 32
Publisher: Kar-Ben
Review Posted Online: July 26, 2021
Kirkus Reviews Issue: Aug. 15, 2021
Blandly inspirational fare made to evoke equally shrink-wrapped responses.
An NBA star pays tribute to the influence of his grandfather.
In the same vein as his Long Shot (2009), illustrated by Frank Morrison, this latest from Paul prioritizes values and character: “My granddad Papa Chilly had dreams that came true,” he writes, “so maybe if I listen and watch him, / mine will too.” So it is that the wide-eyed Black child in the simply drawn illustrations rises early to get to the playground hoops before anyone else, watches his elder working hard and respecting others, hears him cheering along with the rest of the family from the stands during games, and recalls in a prose afterword that his grandfather wasn’t one to lecture but taught by example. Paul mentions in both the text and the backmatter that Papa Chilly was the first African American to own a service station in North Carolina (his presumed dream) but not that he was killed in a robbery, which has the effect of keeping the overall tone positive and the instructional content one-dimensional. Figures in the pictures are mostly dark-skinned. (This book was reviewed digitally.)
Blandly inspirational fare made to evoke equally shrink-wrapped responses. (Picture book. 6-8)Pub Date: Jan. 10, 2023
ISBN: 978-1-250-81003-8
Page Count: 32
Publisher: Roaring Brook Press
Review Posted Online: Sept. 27, 2022
Kirkus Reviews Issue: Oct. 15, 2022
BOOK REVIEW
Blandly laudatory.
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. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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