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THE LEGEND OF MEXICATL

The story of a young man destined to be a leader of his people is also the story of the founding of Mexico. A young boy who lives “under the blazing desert sun” is called Mexicatl, after the mescal plant used to make his cradle. The strong child is told that the Morning Star will speak to one who will rise up among their people and resettle them. One day in the desert, the young man hears his name. A voice calls him to a mountaintop where he sees the vision of a cactus and an eagle. He leads some of his people to a new land. He reigns, but does not contribute to the good of the community until his mother offers her advice: “You have set yourself above the people. This is not the way of harmony.” Lesson learned, Mexicatl changes his ways and the people prosper. A note describes the Mexican legend’s history. The illustrator chooses to make the scenes very simple: the realistic depiction of a young man against a background of color that is the stylized landscape; uncluttered vistas and several portraits of Mexicatl—with movie-star good looks—at various ages. The overall effect is to enhance the legend with timeless pictures of strength and beauty. There is food for thought in Harper’s recasting of the legend, which locates the humanity at the center of true leadership. (Picture book/folklore. 5-8)

Pub Date: April 1, 1998

ISBN: 1-890515-05-1

Page Count: 32

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 1998

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BERRY MAGIC

Sloat collaborates with Huffman, a Yu’pik storyteller, to infuse a traditional “origins” tale with the joy of creating. Hearing the old women of her village grumble that they have only tasteless crowberries for the fall feast’s akutaq—described as “Eskimo ice cream,” though the recipe at the end includes mixing in shredded fish and lard—young Anana carefully fashions three dolls, then sings and dances them to life. Away they bound, to cover the hills with cranberries, blueberries, and salmonberries. Sloat dresses her smiling figures in mixes of furs and brightly patterned garb, and sends them tumbling exuberantly through grassy tundra scenes as wildlife large and small gathers to look on. Despite obtrusively inserted pronunciations for Yu’pik words in the text, young readers will be captivated by the action, and by Anana’s infectious delight. (Picture book/folktale. 6-8)

Pub Date: June 1, 2004

ISBN: 0-88240-575-6

Page Count: 32

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 2004

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RAPUNZEL

Rapunzel, Rapunzel, let down your dreads! Isadora once again plies her hand using colorful, textured collages to depict her fourth fairy tale relocated to Africa. The narrative follows the basic story line: Taken by an evil sorceress at birth, Rapunzel is imprisoned in a tower; Rapunzel and the prince “get married” in the tower and she gets pregnant. The sorceress cuts off Rapunzel’s hair and tricks the prince, who throws himself from the tower and is blinded by thorns. The terse ending states: “The prince led Rapunzel and their twins to his kingdom, where they were received with great joy and lived happily every after.” Facial features, clothing, dreadlocks, vultures and the prince riding a zebra convey a generic African setting, but at times, the mixture of patterns and textures obfuscates the scenes. The textile and grain characteristic of the hewn art lacks the elegant romance of Zelinksy’s Caldecott version. Not a first purchase, but useful in comparing renditions to incorporate a multicultural aspect. (Picture book/fairy tale. 6-8)

Pub Date: Oct. 1, 2008

ISBN: 978-0-399-24772-9

Page Count: 32

Publisher: Putnam

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Sept. 1, 2008

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