A shiny but veneer-thin profile.
A hagiographical account of the great animator’s early years and later triumphs.
Next to the rest of the inspirational and aspirational entries in the Big Words series (Martin’s Big Words, 2001, etc.) this carries a muddled message. Rappaport gives the nod to many of Disney’s creative innovations, but, particularly toward the abrupt end, Disney comes off as more control freak than genius. Efforts to sanitize his classic rags-to-riches career include a weaselly claim that he “felt betrayed” when his animators went on strike for proper pay and film credit (the accompanying picture shows him sulking in a chair as picketers march outside). Even in her afterword she neglects to mention some of his less-stellar achievements, such as his testimony before the House Un-American Activities Committee (and, for that matter, Song of the South). Several of the large-type taglines interspersed throughout are likewise bland (“Music has always had a prominent part in all our products”), and a closing reference to Disney’s legacy in the modern theme parks’ “many rides and many stores” sheds a rather commercial light on Walt’s characterization of Disneyland as an organic tribute to all imagination. In the illustrations, Pomeroy, a Disney Studios veteran, supplies big, vivacious views of his subject at various ages, often surrounded by versions or sketches of Mickey and other cartoon creations as well as a largely white workforce.
A shiny but veneer-thin profile. (timeline, illustrator’s note, bibliography, source notes) (Picture book/biography. 6-8)Pub Date: July 10, 2018
ISBN: 978-1-4231-8470-6
Page Count: 48
Publisher: Disney-Hyperion
Review Posted Online: May 19, 2018
Kirkus Reviews Issue: June 1, 2018
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Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes.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
A perfectly pitched celebration of an esteemed author that may nevertheless struggle somewhat to find an audience.
A simple introduction to Jane Austen’s life and work.
Hopkinson’s light, conversational tone and obvious appreciation for her subject combine with Qin’s lively ink-and-watercolor illustrations to create an engaging portrait of this talented writer. The relatively brisk recital of the events of Jane Austen’s life is leavened by insights into her personality and childhood experiences. Realistic vignettes, single-page illustrations, and double-page spreads of Jane and her family accompany and expand the text; generous use of white space and delicate linework give the pictures an airy feel. Unlike Lisa Pliscou and Jen Corace’s practically simultaneously publishing biography (Brave Jane Austen, 2018), potentially distressing details are glossed over, and the narrative focuses on Austen’s early years. No mention is made of Jane’s serious illness as a child or of the Austen family’s financial difficulties. Rather, the focus is on Jane’s appreciation for her father’s extensive library, her pleasure in writing amusing stories for her family to enjoy, and the fun of family theatricals and games. This approach brings Jane endearingly to life for an audience that has likely never heard of her and provides context for the description of her later experiences and lauded writing style. Several pages of backmatter, including a timeline, summaries of Austen’s major works, and additional resources, may be beyond the interest and abilities of most young listeners but share the accessible tone of the text.
A perfectly pitched celebration of an esteemed author that may nevertheless struggle somewhat to find an audience. (bibliography) (Picture book/biography. 6-8)Pub Date: Jan. 23, 2018
ISBN: 978-0-06-237330-4
Page Count: 40
Publisher: Balzer + Bray/HarperCollins
Review Posted Online: Oct. 9, 2017
Kirkus Reviews Issue: Nov. 1, 2017
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