Doesn’t quite do its subject justice.
A biography of Ruth Krauss, doyen of children’s literature, told, aptly, in picture-book format.
Higgins chronicles Krauss’ life from childhood to early adulthood, covering the illnesses she endured, her experiences at summer camp, and her forays into painting and writing. For Krauss fans, the book may be heralded as a welcome acknowledgement of her work. However, for those less familiar with her and her canon, the title does little to introduce or discuss her creativity in a meaningful way; the book repeatedly states that she was a free thinker but only vaguely addresses how that was channeled into her writing. It’s not clear why others initially said “No that’s not good” about her work or how interacting with a young neighbor and other small children (depicted as racially diverse) helped her “[find] another way to tell a tale.” At times, the poetic language works against the biographical elements, such as when the book discusses Krauss’ childhood: “But sickness sticks around a lot / and steals her voice away— / so she wiggles-wiggles little fingers / that’s how she says hi / Like this.” The verse is elegant—as is Arsenault’s graceful, scribbly artwork—but implies a physical loss of voice and a sign-language skill that is not explained in the book’s author’s note (though her illnesses are briefly discussed there). The author’s note, a bibliography, and a list of Krauss’ work attempt to provide more substance but fall short. (This book was reviewed digitally.)
Doesn’t quite do its subject justice. (Picture-book biography. 6-8)Pub Date: Oct. 11, 2022
ISBN: 978-1-4197-4993-3
Page Count: 40
Publisher: Abrams
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
A unique angle on a watershed moment in the civil rights era.
The New Orleans school child who famously broke the color line in 1960 while surrounded by federal marshals describes the early days of her experience from a 6-year-old’s perspective.
Bridges told her tale to younger children in 2009’s Ruby Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes. “I didn’t find out what being ‘the first’ really meant until the day I arrived at this new school,” she writes. Unfrightened by the crowd of “screaming white people” that greets her at the school’s door (she thinks it’s like Mardi Gras) but surprised to find herself the only child in her classroom, and even the entire building, she gradually realizes the significance of her act as (in Smith’s illustration) she compares a small personal photo to the all-White class photos posted on a bulletin board and sees the difference. As she reflects on her new understanding, symbolic scenes first depict other dark-skinned children marching into classes in her wake to friendly greetings from lighter-skinned classmates (“School is just school,” she sensibly concludes, “and kids are just kids”) and finally an image of the bright-eyed icon posed next to a soaring bridge of reconciliation. (This book was reviewed digitally.)
A unique angle on a watershed moment in the civil rights era. (author and illustrator notes, glossary) (Autobiographical picture book. 6-8)Pub Date: Sept. 6, 2022
ISBN: 978-1-338-75388-2
Page Count: 48
Publisher: Orchard/Scholastic
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
This view into Procter’s brief life connects her early passion for reptiles with her innovative career combining scientific...
Valdez introduces Joan Procter, whose lifelong love of reptiles yielded a career at London’s Natural History Museum and the London Zoo.
Avid for reptiles from childhood, Joan received a crocodile for her 16th birthday. First assisting, then succeeding the museum’s curator of reptiles, Joan surveyed the collections, published papers, and made models for exhibits. Her designs for the zoo’s reptile house incorporated innovative lighting and heating as well as plants and artwork evoking the reptiles’ habitats. Joan’s reputation soared with the arrival of two 7-foot-long Komodo dragons, coinciding with the reptile house’s opening. Presenting a paper at the Zoological Society, Joan brought along one of them, Sumbawa, who ate a pigeon whole and strolled among attendees. Valdez’s narrative alludes to Procter’s poor health obliquely: pet reptiles cheered her “on the days Joan was too sick to attend school,” and a later spread depicts her “riding through the zoo” in a wheelchair. (An appended note explains that a “chronic intestinal illness” led to Joan’s death at just 34.) Sala portrays stylized reptiles and 1920s-era British clothing. People’s skin tones range from stark white to various tans and browns. Indeed, although she was white, Joan’s skin varies throughout, sometimes appearing white and pink and others times various shades of beige.
This view into Procter’s brief life connects her early passion for reptiles with her innovative career combining scientific research, practice, art, and design. (author’s note, bibliography of primary sources, photographs) (Picture book/biography. 6-8)Pub Date: March 13, 2018
ISBN: 978-0-399-55725-5
Page Count: 40
Publisher: Knopf
Review Posted Online: Nov. 26, 2017
Kirkus Reviews Issue: Dec. 15, 2017
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