If Gadot is less of a heroine than the character she portrays, this book may convince readers she’s close enough.




From the Gateway Biographies series

Some authors would find it a challenge to write an entire book about an actress who’s played only one really big role, but Sherman makes a case that Gal Gadot has spent her whole life preparing to play Wonder Woman.

Gadot’s parents taught her to be confident. When she was 3, she sneaked into their rooftop party, late at night, and when no one paid attention to her, she started spraying the guests with water. At 20, she trained soldiers in the Israeli military. And when she became Miss Israel, as a teenager, she felt uncomfortable with the role and often refused to wear the makeup and gowns required of a Miss Universe contestant, showing up at many events in casual outfits. If these details aren’t genuinely heroic, the book frames them to sound like an origin story. It makes her sound assured and rebellious, two of the main requirements for a superheroine. But when the biography isn’t talking about Wonder Woman, it sometimes feels padded. It indulges in plot summaries of some of the movies she’s appeared in, and there’s a description of the hotel she ran with her husband that reads like promotional copy: “Guests appreciate the quiet privacy as well as the views of the nearby Mediterranean Sea.” But there is a fair amount of information about her audition for the role of Wonder Woman, which is what kids really want.

If Gadot is less of a heroine than the character she portrays, this book may convince readers she’s close enough. (Biography. 6-12)

Pub Date: April 1, 2018

ISBN: 978-1-5415-2358-6

Page Count: 52

Publisher: Millbrook/Lerner

Review Posted Online: Feb. 4, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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A galloping marvel—enlightening and entertaining.


A succinct introduction to art history via a Seussian museum of equine art.

This posthumously published text recently discovered in Ted Geisel’s studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner’s playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss’ legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript’s history and Seuss’ artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat’s antecedents in minstrelsy and Seuss’ other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.

A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)

Pub Date: Sept. 3, 2019

ISBN: 978-0-399-55912-9

Page Count: 80

Publisher: Random House

Review Posted Online: June 10, 2019

Kirkus Reviews Issue: July 1, 2019

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An apt choice for collections that already have stronger alternatives, such as R.J. Palacio's Wonder (2012).


A memoir of the first 14 years in the life of Australian Robert Hoge, born with stunted legs and a tumor in the middle of his face.

In 1972, Robert is born, the youngest of five children, with fishlike eyes on the sides of his face, a massive lump in place of his nose, and malformed legs. As baby Robert is otherwise healthy, the doctors convince his parents to approve the first of many surgeries to reduce his facial difference. One leg is also amputated, and Robert comes home to his everyday white, working-class family. There's no particular theme to the tale of Robert's next decade and a half: he experiences school and teasing, attempts to participate in sports, and is shot down by a girl. Vignette-driven choppiness and the lack of an overarching narrative would make the likeliest audience be those who seek disability stories. However, young Robert's ongoing quest to identify as "normal"—a quest that remains unchanged until a sudden turnaround on the penultimate page—risks alienating readers comfortable with their disabilities. Brief lyrical moments ("as compulsory as soggy tomato sandwiches at snack time") appeal but are overwhelmed by the dry, distant prose dominating this autobiography.

An apt choice for collections that already have stronger alternatives, such as R.J. Palacio's Wonder (2012). (Memoir. 8-12)

Pub Date: Sept. 6, 2016

ISBN: 978-0-425-28775-0

Page Count: 208

Publisher: Viking

Review Posted Online: May 18, 2016

Kirkus Reviews Issue: June 1, 2016

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