A spectacular story about a little-known eco-warrior whose story should be told and retold.
An unsung American hero who used her voice to preserve the natural spaces she loved.
MaVynee Betsch grew up in the Jim Crow South, where she and other Black kids couldn’t swim with the White kids. An orange rope even segregated the ocean. Wanting beaches for all, MaVynee’s wealthy great-grandfather, Abraham Lincoln Lewis, bought a beach in Florida and welcomed African Americans, calling it American Beach. This “ocean paradise” entertained both regular folk and greats like Ray Charles, Zora Neale Hurston, and Ella Fitzgerald. MaVynee herself became a successful opera singer, but when her mother got sick and died, MaVynee abandoned her musical career and returned to Florida only to find her beloved beach in disrepair. Developers wanted to buy it to build condos. Holmes’ stunning, intricately composed paint-and-collage images bring MaVynee to life in full color and capture her eccentricities: She grew her locked hair to 7 feet long, decorating it with seashells, sometimes styling it into a high topknot and other times draping the end over her arm. Holmes uses a brilliant cerulean for ocean and sky and peppers the vibrantly patterned illustrations with found items such as torn raffle tickets, newspaper clippings, promotional posters, and sheet music, making each spread visually rich, realistic, and fascinating. King’s storytelling, Holmes’ artwork, and informative backmatter portray MaVynee Betsch as the larger-than-life Black environmentalist she was. (This book was reviewed digitally with 9.5-by-21-inch double-page spreads viewed at 27.6% of actual size.)
A spectacular story about a little-known eco-warrior whose story should be told and retold. (author's note, illustrator's note) (Picture book/biography. 6-12)Pub Date: April 13, 2021
ISBN: 978-1-101-99629-4
Page Count: 40
Publisher: Putnam
Review Posted Online: March 1, 2021
Kirkus Reviews Issue: March 15, 2021
Blandly laudatory.
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. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
A pivotal moment in a child’s life, at once stirring and authentically personal.
Before growing up to become a major figure in the civil rights movement, a boy finds a role model.
Buffing up a childhood tale told by her renowned father, Young Shelton describes how young Andrew saw scary men marching in his New Orleans neighborhood (“It sounded like they were yelling ‘Hi, Hitler!’ ”). In response to his questions, his father took him to see a newsreel of Jesse Owens (“a runner who looked like me”) triumphing in the 1936 Olympics. “Racism is a sickness,” his father tells him. “We’ve got to help folks like that.” How? “Well, you can start by just being the best person you can be,” his father replies. “It’s what you do that counts.” In James’ hazy chalk pastels, Andrew joins racially diverse playmates (including a White child with an Irish accent proudly displaying the nickel he got from his aunt as a bribe to stop playing with “those Colored boys”) in tag and other games, playing catch with his dad, sitting in the midst of a cheering crowd in the local theater’s segregated balcony, and finally visualizing himself pelting down a track alongside his new hero—“head up, back straight, eyes focused,” as a thematically repeated line has it, on the finish line. An afterword by Young Shelton explains that she retold this story, told to her many times growing up, drawing from conversations with Young and from her own research; family photos are also included. (This book was reviewed digitally.)
A pivotal moment in a child’s life, at once stirring and authentically personal. (illustrator’s note) (Autobiographical picture book. 7-9)Pub Date: Aug. 2, 2022
ISBN: 978-0-545-55465-7
Page Count: 40
Publisher: Scholastic
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
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