An appealing snapshot of rough-hewn life that might well make kids appreciate washing machines.

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WASHDAY

It’s washday. That doesn’t mean putting clothes in the washing machine and turning the knob or driving to the laundromat; it’s 1889, when it’s the old-fashioned way of getting clothes clean.

Lizzie and her doll, Amelia Cordelia, walk to her grandmother’s house to help because her Ma is soon to have a baby. The work is hard: boiling water in a big copper kettle; adding shavings of lye soap; sorting the clothes by color (whites for Sunday “go-to-meeting” clothes); using the broom handle to lift the hot clothing into rinse water; putting them through the wringer; and drying them on the outdoor clothesline. Taking a break with a glass of buttermilk, Lizzie is sad thinking about the doll tea party she was supposed to have with her friend that day. Surprise! Grandma has set the table for a tea party with special dishes and doll-size snickerdoodles and places for her best friend and her doll. Bunting evokes a homespun experience with emotions and details that the pencil-and-watercolor illustrations adroitly augment. Sneed neither whitewashes nor prettifies the harshness of the time; Grandma is a robust woman with hair in a bun and a big nose. Historical details like hairstyles and sturdy black shoes combine with phrases like “Grandma’s dog…has the misery in his back” to make the story feel genuine.

An appealing snapshot of rough-hewn life that might well make kids appreciate washing machines. (Picture book. 5-8)

Pub Date: April 1, 2014

ISBN: 978-0-8234-2868-7

Page Count: 32

Publisher: Holiday House

Review Posted Online: Jan. 29, 2014

Kirkus Reviews Issue: Feb. 15, 2014

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A life devoted to freedom and dignity, worthy of praise and remembrance.

MUMBET'S DECLARATION OF INDEPENDENCE

With the words of Massachusetts colonial rebels ringing in her ears, a slave determines to win her freedom.

In 1780, Mumbet heard the words of the new Massachusetts constitution, including its declaration of freedom and equality. With the help of a young lawyer, she went to court and the following year, won her freedom, becoming Elizabeth Freeman. Slavery was declared illegal and subsequently outlawed in the state. Woelfle writes with fervor as she describes Mumbet’s life in the household of John Ashley, a rich landowner and businessman who hosted protest meetings against British taxation. His wife was abrasive and abusive, striking out with a coal shovel at a young girl, possibly Mumbet’s daughter. Mumbet deflected the blow and regarded the wound as “her badge of bravery.” Ironically, the lawyer who took her case, Theodore Sedgwick, had attended John Ashley’s meetings. Delinois’ full-bleed paintings are heroic in scale, richly textured and vibrant. Typography becomes part of the page design as the font increases when the text mentions freedom. Another slave in the Ashley household was named in the court case, but Woelfle, keeping her young audience in mind, keeps it simple, wisely focusing on Mumbet.

A life devoted to freedom and dignity, worthy of praise and remembrance. (author’s note, selected bibliography, further reading) (Picture book/biography. 5-8)

Pub Date: Feb. 1, 2014

ISBN: 978-0-7613-6589-1

Page Count: 32

Publisher: Carolrhoda

Review Posted Online: Oct. 9, 2013

Kirkus Reviews Issue: Nov. 1, 2013

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Together, Díaz and Espinosa present an imaginative, purposeful narrative about identity and belonging.

ISLANDBORN

A young girl’s homework assignment unravels the history and beauty of her homeland.

Lola and her classmates are assigned to draw pictures of their respective origin countries. With excitement, the others begin sharing what they will draw: pyramids, a long canal, a mongoose. Lola, concerned, doesn’t remember what life was like on the Island, and so she recruits her whole neighborhood. There is Leticia, her cousin; Mrs. Bernard, who sells the crispy empanadas; Leticia’s brother Jhonathan, a barber; her mother; her abuela; and their gruff building superintendent. With every description, Lola learns something new: about the Island’s large bats, mangoes, colorful people, music and dancing everywhere, the beaches and sea life, and devastating hurricanes. Espinosa’s fine, vibrant illustrations dress the story in colorful cacophony and play with texture (hair especially) as Lola conjures images of her homeland. While the story does not identify the Island by name, readers familiar with Díaz’s repertoire will instantly identify it as the Dominican Republic, a conclusion that’s supported when the super recalls the Monster (Dominican dictator Rafael Trujillo), and sharp-eyed readers should look at the magnets on Lola’s refrigerator. Lola, Teresa Mlawer’s translation, is just as poignant as the original.

Together, Díaz and Espinosa present an imaginative, purposeful narrative about identity and belonging. (Picture book. 5-8)

Pub Date: March 13, 2018

ISBN: 978-0-7352-2986-0

Page Count: 48

Publisher: Dial Books

Review Posted Online: Feb. 3, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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