Beginning with the startling cover, which contains only the face of Martin Luther King Jr., with his smile broad, and his eyes crinkled in laughter, this title intrigues. It’s an homage in words and pictures, in which the author weaves King’s words with her own to present a brief but stately portrait of the American hero. Rappaport explains that as a child King was determined to use “big words,” no doubt the result of listening to his father preach. On many subsequent spreads, King is pictured as an adult, and a direct quote is reproduced in bold type. In fact, King’s words were huge in idealism, delivering a message that was big in simple yet profound ways that can be understood by young readers. In smaller print, Rappaport gives historical context. Her sentences have a directness and symmetry that sets off King’s more transcendent, poetic quotes. Collier’s watercolor and cut-paper-collage illustrations express deep feeling. On the cover and final two portraits, King is depicted with a subtle monochromatic technique, which alludes strongly to a stained-glass metaphor, represented in portraits of King’s church. In other spreads featuring King himself, his face is lit, giving it a powerful visual weight and compelling readers to pay attention. While the cover portrait shows his eyes glancing to the side, in the final portrait he looks directly at the reader, his eyes offering an unmistakable challenge. Author and Illustrator Notes are moving as well as informative, and quotes are attributed. Readers will hear his voice echo in this presentation. (timeline, bibliography) (Nonfiction. 5-9)
Pub Date: Sept. 1, 2001
ISBN: 0-7868-0714-8
Page Count: 32
Publisher: Disney-Jump at the Sun
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: Aug. 15, 2001
Categories: CHILDREN'S BIOGRAPHY & MEMOIR
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The legions of fans who over the years have enjoyed dePaola’s autobiographical picture books will welcome this longer gathering of reminiscences. Writing in an authentically childlike voice, he describes watching the new house his father was building go up despite a succession of disasters, from a brush fire to the hurricane of 1938. Meanwhile, he also introduces family, friends, and neighbors, adds Nana Fall River to his already well-known Nana Upstairs and Nana Downstairs, remembers his first day of school (“ ‘ When do we learn to read?’ I asked. ‘Oh, we don’t learn how to read in kindergarten. We learn to read next year, in first grade.’ ‘Fine,’ I said. ‘I’ll be back next year.’ And I walked right out of school.”), recalls holidays, and explains his indignation when the plot of Disney’s “Snow White” doesn’t match the story he knows. Generously illustrated with vignettes and larger scenes, this cheery, well-knit narrative proves that an old dog can learn new tricks, and learn them surpassingly well. (Autobiography. 7-9)
Pub Date: April 1, 1999
ISBN: 0-399-23246-X
Page Count: 58
Publisher: Putnam
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: April 15, 1999
Categories: CHILDREN'S BIOGRAPHY & MEMOIR
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A first introduction to the iconic civil rights activist.
“She was very little and very brave, and she always tried to do what was right.” Without many names or any dates, Kaiser traces Parks’ life and career from childhood to later fights for “fair schools, jobs, and houses for black people” as well as “voting rights, women’s rights and the rights of people in prison.” Though her refusal to change seats and the ensuing bus boycott are misleadingly presented as spontaneous acts of protest, young readers will come away with a clear picture of her worth as a role model. Though recognizable thanks to the large wire-rimmed glasses Parks sports from the outset as she marches confidently through Antelo’s stylized illustrations, she looks childlike throughout (as characteristic of this series), and her skin is unrealistically darkened to match the most common shade visible on other African-American figures. In her co-published Emmeline Pankhurst (illustrated by Ana Sanfelippo), Kaiser likewise simplistically implies that Great Britain led the way in granting universal women’s suffrage but highlights her subject’s courageous quest for justice, and Isabel Sánchez Vegara caps her profile of Audrey Hepburn (illustrated by Amaia Arrazola) with the moot but laudable claim that “helping people across the globe” (all of whom in the pictures are dark-skinned children) made Hepburn “happier than acting or dancing ever had.” All three titles end with photographs and timelines over more-detailed recaps plus at least one lead to further information.
It’s a bit sketchy of historical detail, but it’s coherent, inspirational, and engaging without indulging in rapturous flights of hyperbole. (Picture book/biography. 5-7)Pub Date: Sept. 7, 2017
ISBN: 978-1-78603-018-4
Page Count: 32
Publisher: Frances Lincoln
Review Posted Online: May 10, 2017
Kirkus Reviews Issue: June 1, 2017
Categories: CHILDREN'S BIOGRAPHY & MEMOIR | CHILDREN'S HISTORY
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