Drawing from Knud Rasmussen’s writings of the Inuit people and their legends, Field primal, earthy images in exceptional poetry. “I hope that the reader can imagine real people speaking—in this case the Inuit, in all their history and humanity,” he writes in an introductory note. His hope is realized in the powerful and simple legends he presents of the Inuit and their world. The verses about the creation of day, night, sun, moon, stars, thunder, lightning, heaven, earth, and hell resound with wonder, vengeance, and bravery, offering a keen sense of the people. Vitale’s illustrations are a perfect accompaniment, fittingly of the earth in renderings on bark, wood, and stone. Rough shapes and textures combine with the brilliant, primitive paintings that are in sharp contrast to the background that conjures icy terrain. The title is just as fitting; readers will marvel at the magic of the words and images in this thoughtful fusion of culture, poetry, and art. (Picture book. 4-9)
Pub Date: Oct. 1, 1998
ISBN: 0-15-201498-5
Page Count: 32
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1998
This heavily earnest celebration of multi-ethnicity combines full-bleed paintings of smiling children, viewed through a golden haze dancing, playing, planting seedlings, and the like, with a hyperbolic, disconnected text—``Dark as leopard spots, light as sand,/Children buzz with laughter that kisses our land...''— printed in wavy lines. Literal-minded readers may have trouble with the author's premise, that ``Children come in all the colors of the earth and sky and sea'' (green? blue?), and most of the children here, though of diverse and mixed racial ancestry, wear shorts and T-shirts and seem to be about the same age. Hamanaka has chosen a worthy theme, but she develops it without the humor or imagination that animates her Screen of Frogs (1993). (Picture book. 5-7)
Pub Date: Aug. 1, 1994
ISBN: 0-688-11131-9
Page Count: 32
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1994
A superlative union of verse and visual art.
The Pulitzer Prize–winning poet’s tribute to the relationship between goldfinches and thistles finds new life in picture-book form.
In languorously unfolding phrases, Oliver, who died in 2019, notes that the birds wait all summer for the thistle flowers to disseminate their seeds. The finches then use the fluffy, silky pappus—which, attached to the seeds, helps them disperse in the wind—to line their nests, while the seeds themselves feed both parents and young. Sweet ingeniously nestles hand-lettered finch facts into spreads that teem with vibrant color charts keyed to the poem’s imagery. She depicts the poet as a young woman, wandering fields and woods, notebook at hand and trailed by a dog, as a diverse group of birdwatchers look on. Using vintage papers, old maps, and photographed objects including a nest, the artist subdivides her layered compositions into multiple rectangles, inviting close observation and delighted discovery, while reserving plenty of airy space for Oliver’s poem to shine. Sweet’s palette, rich in pinks and yellows, derives from the bright plumage of male goldfinches and the brilliance of flowering thistles, “each bud / a settlement of riches— / a coin of reddish fire.” Oliver concludes: “Is it necessary to say any more? / Have you heard them singing in the wind…? // Have you ever been so happy in your life?”
A superlative union of verse and visual art. (text of poem, Oliver’s handwritten bird list, illustrator’s note, quote from Oliver, sources) (Picture book/poetry. 5-9)Pub Date: March 3, 2026
ISBN: 9780593692417
Page Count: 40
Publisher: Viking
Review Posted Online: Nov. 22, 2025
Kirkus Reviews Issue: Jan. 1, 2026
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