At its best when the emphasis is on the skill and artistry of Mime’s most accomplished practitioner—alas, too much of the...
The legendary mime is introduced to a new generation, though not entirely successfully.
As a child, Marceau loved to silently entertain his friends, like his idol, Charlie Chaplin. During the Nazi occupation of France, Marcel and his brother took on new identities in the French Underground, where they forged documents for Jewish children and helped many to escape to Switzerland. Spielman assumes that her young audience will understand references to deportation and concentration camps; unfortunately for those that don't, her matter-of-fact tone speaks more of adventure than deadly peril. Her tone subtly changes when she lovingly describes Marceau’s training and development as a mime and his stage persona of Bip the clown, admiring his skills in the “art of silence” that won him international renown. But here too, comparisons to the Little Tramp and Pierrot may be outside readers’ frame of reference. Though the illustrations carefully complement the textual content with period details, Gauthier’s cartoon faces are all nearly identical, with only the screen image of Chaplin and Marceau’s Bip having distinctive features. A double-page spread at the conclusion provides photographs of Bip in action and is the only clear indication of Marceau’s stagecraft.
At its best when the emphasis is on the skill and artistry of Mime’s most accomplished practitioner—alas, too much of the book looks elsewhere. (Picture book/biography. 8-10)Pub Date: Sept. 1, 2011
ISBN: 978-0-7613-3961-8
Page Count: 32
Publisher: Kar-Ben
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: Aug. 15, 2011
BOOK REVIEW
An optimistic if somewhat superficial tale of persevering and thriving with a disability.
Clark, who was born without legs, presents snapshots of his journey from foster child to talented athlete.
After being given up at birth, Clark experienced abuse and neglect in foster care. Fortunately, at 17, he was adopted. His adoptive mother, “a woman of great faith,” encouraged him to succeed: “If they’re going to look at you, make sure they remember your name.” And succeed he did, becoming an elite high school wrestler and an Ohio state champion in seated racing. Vivid color photos depict Clark wrestling nondisabled opponents and racing via wheelchair and handcycle. Accenting the photos, bold, uppercase quotes from family members and coaches affirm his talent and determination. An early foster mother encourages him to “fly.” His high school track coach remarks, “After coaching Zion, I no longer have any excuses in my life”—a sentiment echoed by the stark “NO EXCUSES” tattoo spanning Clark’s shoulders. Though readers will appreciate Clark’s advice to “work with what you got,” his clichéd suggestion that “you just have to follow your dreams” falls flat; kids may find themselves wanting more information. How did he adapt his wrestling technique? How did he cope with the “dual stigma of Blackness and disability”? Without concrete examples, readers struggling with similar challenges may find his assertion that “if I can do it, so can you” frustrating rather than inspiring.
An optimistic if somewhat superficial tale of persevering and thriving with a disability. (Picture book/memoir. 8-10)Pub Date: Aug. 3, 2021
ISBN: 978-1-5362-2418-4
Page Count: 32
Publisher: Candlewick
Review Posted Online: June 15, 2021
Kirkus Reviews Issue: July 1, 2021
BOOK REVIEW
A searching picture of a pioneering social crusader.
A tribute to the self-taught photographer who sparked real reform by turning faceless masses of abused workers into children with names and histories.
Incorporating Hine’s voice and some of his actual words (signaled with italics) into her free-verse monologue, Hinrichs highlights both his purposes—“I want to show their hard work / their hard lives” and also “their spirit. Because / the human spirit / is the big thing / after all”—and his methods of getting past suspicious factory overseers and of connecting with child workers in settings from cranberry bogs and canneries to coal mines. Garland’s harmoniously toned painted images of a slender, deceptively inoffensive-looking White figure using an awkward box camera to take pictures of solemn children, most but not all White, with downcast eyes and patchy period clothes meld gradually toward the end into Hine’s actual work (he called them “Hineographs”). More than 30 in all, they appear in a gallery that goes to the rear endpapers and are accompanied by a prose recap that downplays but at least mentions his quaint views on gender roles plus the fact that he took relatively few pictures of Black children and almost none of Asians. Russell Freedman’s Kids At Work (1994) explores his life and legacy in greater detail, but there’s enough here to leave even younger readers moved by his mission and his timeless portraits.
A searching picture of a pioneering social crusader. (chronology, source list, endnotes) (Picture book/biography. 8-10)Pub Date: Sept. 14, 2021
ISBN: 978-1-947440-06-7
Page Count: 32
Publisher: Getty Publications
Review Posted Online: June 15, 2021
Kirkus Reviews Issue: July 1, 2021
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