A tip of the stovepipe hat for making a poetry biography so much fun.

READ REVIEW

THE SUPERLATIVE A. LINCOLN

POEMS ABOUT OUR 16TH PRESIDENT

Telling Abraham Lincoln’s story in poetry is a tall order, but Meyer pulls it off.

“Come read about a legend— / the greatest of the greats; / from a poor boy in the backwoods / to a president, first-rate.” The title of each celebratory poem offers a yearbook-style superlative about our 16th president: “Best Wrestler,” “Best Lumberjack,” “Who’s Tallest?” Each poem is accompanied by a brief paragraph providing context for the poem. The rhyming poems are mostly in third person, though one is in the voice of Lincoln’s stovepipe hat, and there’s another from Grace Bedell, who wrote to the president encouraging him to grow a beard. The upbeat poems and string of superlatives, however, leave little room for more nuanced explanations, as in “Strongest Conviction: Signing the Emancipation,” from which readers learn that Lincoln freed the slaves but not that they weren’t really free yet nor that his commitment to abolition was limited. The portrait orientation of the volume is the right choice for our tall president, and Szalay’s attractive, folksy art manages to capture the homespun spirit of the poems. Brown faces appear in the crowd at the Lincoln Memorial, and President Barack Obama and Frederick Douglass make appearances. The collection will make excellent reading aloud in the classroom, a few a day.

A tip of the stovepipe hat for making a poetry biography so much fun. (author’s note, superlative words, timeline, resources, quotation sources, bibliography) (Picture book/poetry. 6-9)

Pub Date: Nov. 5, 2019

ISBN: 978-1-58089-937-6

Page Count: 48

Publisher: Charlesbridge

Review Posted Online: Aug. 26, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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Blandly laudatory.

I AM WALT DISNEY

From the Ordinary People Change the World series

The iconic animator introduces young readers to each “happy place” in his life.

The tally begins with his childhood home in Marceline, Missouri, and climaxes with Disneyland (carefully designed to be “the happiest place on Earth”), but the account really centers on finding his true happy place, not on a map but in drawing. In sketching out his early flubs and later rocket to the top, the fictive narrator gives Ub Iwerks and other Disney studio workers a nod (leaving his labor disputes with them unmentioned) and squeezes in quick references to his animated films, from Steamboat Willie to Winnie the Pooh (sans Fantasia and Song of the South). Eliopoulos incorporates stills from the films into his cartoon illustrations and, characteristically for this series, depicts Disney as a caricature, trademark mustache in place on outsized head even in childhood years and child sized even as an adult. Human figures default to white, with occasional people of color in crowd scenes and (ahistorically) in the animation studio. One unidentified animator builds up the role-modeling with an observation that Walt and Mickey were really the same (“Both fearless; both resourceful”). An assertion toward the end—“So when do you stop being a child? When you stop dreaming”—muddles the overall follow-your-bliss message. A timeline to the EPCOT Center’s 1982 opening offers photos of the man with select associates, rodent and otherwise. An additional series entry, I Am Marie Curie, publishes simultaneously, featuring a gowned, toddler-sized version of the groundbreaking physicist accepting her two Nobel prizes.

Blandly laudatory. (bibliography) (Picture book/biography. 6-8)

Pub Date: Sept. 10, 2019

ISBN: 978-0-7352-2875-7

Page Count: 40

Publisher: Dial Books

Review Posted Online: Aug. 18, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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A solid introduction to fascinating artists, some familiar, others less so.

WOMEN ARTISTS A TO Z

Contemporary and historical female artists are showcased for younger readers.

The artists’ names aren’t presented in A-to-Z order. The alphabetical arrangement actually identifies signature motifs (“D is for Dots” for Yayoi Kusama); preferred media (“I is for Ink” for Elizabeth Catlett); or cultural, natural, or personal motives underlying artworks (“N is for Nature” for Maya Lin). Various media are covered, such as painting, box assemblage, collage, photography, pottery, and sculpture. One artist named isn’t an individual but rather the Gee’s Bend Collective, “generations of African American women in Gee’s Bend, Alabama,” renowned for quilting artistry. Each artist and her or their work is introduced on a double-page spread that features succinct descriptions conveying much admiring, easily comprehensible information. Colorful illustrations include graphically simplified representations of the women at work or alongside examples of their art; the spreads provide ample space for readers to understand what the artists produced. Several women were alive when this volume was written; some died in the recent past or last century; two worked several hundred years ago, when female artists were rare. Commendably, the profiled artists are very diverse: African American, Latina, Native American, Asian, white, and multiethnic women are represented; this diversity is reflected in their work, as explained via texts and illustrations.

A solid introduction to fascinating artists, some familiar, others less so. (minibiographies, discussion questions, art suggestions) (Informational picture book. 6-9)

Pub Date: Feb. 11, 2020

ISBN: 978-0-593-10872-7

Page Count: 64

Publisher: Dial Books

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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