Wiles draws on memories of her childhood summers in Mississippi in her first picture book, a slice-of-life story about Joe, a Caucasian boy, and his best friend, John Henry, an African-American boy whose mother works as a housekeeper for Joe’s family. The setting is the Deep South in the summer of 1964, the period called Freedom Summer for its wide-ranging social changes following passage of the Civil Rights Act. Joe and John Henry have spent all their summers together, working around the rampant prejudice of the era and maintaining their friendship even though they can’t swim in the public pool together or walk into the local store to buy a pair of ice pops. When the new law takes effect, the boys race together to the public pool only to find it being filled in with asphalt by city workers. John Henry’s hurt and shame ring true in the text, but Joe’s precocious understanding of the situation outstrips his age. (“I want to see this town with John Henry’s eyes.”) An author’s note at the beginning of the book describes her experiences and the atmosphere in her own hometown during this era, when some white business owners preferred to close down rather than open their doors to African-Americans. Younger children will need this background explanation to understand the story’s underlying layers of meaning, or the filling-in of the swimming pool will seem like a mindless bureaucratic blunder rather than concrete prejudice in action. Teachers and parents could use this book as a quiet but powerful introduction to the prejudice experienced by many Americans, and of course the book is a natural to pair with the story of another, more-famous John Henry. Vibrant full-page paintings by talented French-born artist Lagarrigue capture both the palpable heat of southern summer days and the warmth of the boys’ friendship. (Picture book. 6-12)
Pub Date: Jan. 1, 2001
ISBN: 0-689-83016-5
Page Count: 32
Publisher: Atheneum
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Jan. 1, 2001
This tender version of the Cinderella story comes from the American Southwest. A widow and her two daughters pressure the shepherd Tomás into marriage, and while he spends more and more time with the flocks, his daughter Teresa gets more and more of the chores. When Tomás brings Teresa the gift of a lamb, her stepmother kills it and orders her to wash the fleece. A fish steals the fleece, but Blessed Mary appears to her, and asks her to care for Joseph and the Child for a day. Teresa is rewarded for her kindness by the return of the fleece, and the Virgin touches her forehead so a gold star appears there. When Teresa returns home, the stepsisters are fierce with jealousy, mocking her with the name Estrellita de Oro (Little Gold Star), but when each of them in turn tries for the fleece and the gold star, they fail the kindness test and get horns and donkey’s ears instead. Still, when Don Miguel gives a fine party, the sisters vie for his attention, mantillas over their protuberances. As is to be expected he has eyes only for Teresa, who is then sent home by her stepmother. Don Miguel finds her through the offices of their cat, but the stepmother sets three impossible tasks for Teresa before she will give permission for the marriage. Mary blesses Teresa again, the tasks completed, Teresa and Don Miguel marry, and even the stepsisters learn kindness until their donkey ears and horns disappear. There’s a wonderful translucence to Martínez’s watercolors: light seems to shine through the roses in the Virgin’s path, the candles at Don Miguel’s, even the stepsisters’ black lace mantillas. Little Gold Star has a lovely face, and the stepmother and sisters are properly grumpy. In a year full of Cinderella variations, this one is a welcome addition. (Fairy tale. 6-9)
Pub Date: Oct. 31, 2000
ISBN: 0-688-14780-1
Page Count: 32
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2000
This is a comprehensive, fact-filled, and stunningly illustrated history of the Statue of Liberty. It begins with an explanation of why the French came up with the idea in the first place, and how the brilliant young sculptor Frederic-Auguste Bartholdi became interested in the project that was to be his obsession for the next 15 years. Bartholdi decided where the statue must stand as soon as he laid eyes on what is now Liberty Island. “Here . . . my statue must rise; here where people get their first view of the New World.” A brief description of neoclassicism is followed by the history of the statue’s construction and the engineering feats it required. The statue was constructed in separate stages and, after the head was built, it was exhibited in the Paris Universal Exposition of 1878. The head was pulled through the streets of Paris in a cart pulled by 13 horses (the double-page spread of Liberty’s head crossing a bridge in Paris is alone worth the price of the book). There are hardly any women mentioned or pictured in the book, and Curlee addresses this by pointing out the irony that the statue exemplifying the spirit of liberty was erected at a time when women didn’t even have the right to vote. Acrylic paintings reproduced in full color from photographic transparencies are the artistic medium, and the appealing, interesting palette of blues, blacks, and bronzes captures the ambition and majesty of the project. While the text is occasionally pompous, and perhaps not as much fun as the Betsy and Guilio Maestro book on the same subject, Liberty is an engaging and useful resource for the classroom and library. (specifications, timeline, bibliography) (Picture book/nonfiction. 8-12)
Pub Date: May 1, 2000
ISBN: 0-689-82823-3
Page Count: 42
Publisher: Atheneum
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2000
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