An interesting, informative account of a little-known woman of great achievement.

HANNAH G. SOLOMON DARED TO MAKE A DIFFERENCE

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 27, 2021

Kirkus Reviews Issue: Aug. 15, 2021

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An important and inspiring tale well told.

CARTER READS THE NEWSPAPER

This biography of the “father of Black History,” Dr. Carter G. Woodson, highlights experiences that shaped his passion.

Carter was born after the Civil War, but his parents had been slaves, and he grew up hearing the stories of their lives. With six siblings, Carter experienced lean times as a boy. Carter’s father, who couldn’t read or write, had Carter read the newspaper aloud. As a teenager, Carter had to work to help his family. In the coal mines, he met Oliver Jones, a Civil War veteran who opened his small home to the other men as a reading room. There, Carter once again took on the role of reader, informing Oliver and his friends of what was in the paper—and then researching to tell them more. After three years in the mines, he moved home to continue his education, eventually earning a Ph.D. from Harvard, where a professor challenged him to prove that his people had a history. In 1926 he established Negro History Week, which later became Black History Month. Hopkinson skillfully shapes Carter’s childhood, family history, and formative experiences into a cohesive story. The soft curves and natural palette of Tate’s illustrations render potentially scary episodes manageable for young readers, and portraits of historical figures offer an opening to further discovery. The incorporation of newsprint into many page backgrounds artfully echoes the title, and the inclusion of notable figures from black history reinforces the theme (a key is in the backmatter).

An important and inspiring tale well told. (author’s note, illustrator’s note, resources, bibliography) (Picture book/biography. 6-10)

Pub Date: Feb. 1, 2019

ISBN: 978-1-56145-934-6

Page Count: 36

Publisher: Peachtree

Review Posted Online: Sept. 30, 2018

Kirkus Reviews Issue: Nov. 1, 2018

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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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