Beauty will always find a way to rise from violence, but this is a reminder all readers need.
A fictionalized account of a true story, published for the 25th anniversary of the Bosnian War, in which a young boy learns the healing power of music.
Drasko and his father sell flowers in a Sarajevo marketplace. Drasko marvels at the way his father has a kind word (and sometimes even a free flower) for everyone, regardless of race, religion, scowl, or smile. But seemingly overnight, the country is suddenly at war, and Drasko’s father must go play a part. Drasko takes over the flower stand, but now people are harried and rushed. One fateful morning, a whistling sound pierces the air. The bakery in the square is bombed, and 22 innocents are killed. The next day the square is silent, until a lone man in a tuxedo carries a chair and cello to the middle of the rubble and begins to play. He does this for 22 consecutive days, one for each of the lives that were lost. McCutcheon frames this story not around the unnamed cellist but around Drasko and the welling spirit of hope that one tiny, unexpected action can inspire. Critically, he does not identify Drasko’s ethnicity or religion, emphasizing that “Serb and Croat, Muslim and Christian” are all affected. Smudged, faded backdrops highlight key moments in the framed foregrounds, with deep, jewel-toned roses standing out all the more. An included CD allows readers to hear the story narrated by the author, with an accompanying musical performance by Vedran Smailovic, the story’s cellist.
Beauty will always find a way to rise from violence, but this is a reminder all readers need. (historical note, further reading, author’s note, musical score) (Picture book. 7-10)Pub Date: April 1, 2017
ISBN: 978-1-56145-943-8
Page Count: 32
Publisher: Peachtree
Review Posted Online: Jan. 16, 2017
Kirkus Reviews Issue: Feb. 1, 2017
BOOK REVIEW
BOOK REVIEW
A welcome, well-researched reflection of cultural pride in the early-reader landscape.
The fourth installment in Delacre’s early-reader series centers on the rich musical traditions of Puerto Rico, once again featuring sibling tree frogs Rafi and Rosi Coquí.
Readers learn along with Rafi and Rosi as they explore bomba, plena, and salsa in three chapters. A glossary at the beginning sets readers up well to understand the Spanish vocabulary, including accurate phoneticization for non-Spanish speakers. The stories focus on Rafi and Rosi’s relationship within a musical context. For example, in one chapter Rafi finds out that he attracts a larger audience playing his homemade güiro with Rosi’s help even though he initially excluded her: “Big brothers only.” Even when he makes mistakes, as the older brother, Rafi consoles Rosi when she is embarrassed or angry at him. In each instance, their shared joy for music and dance ultimately shines through any upsets—a valuable reflection of unity. Informational backmatter and author’s sources are extensive. Undoubtedly these will help teachers, librarians, and parents to develop Puerto Rican cultural programs, curriculum, or home activities to extend young readers’ learning. The inclusion of instructions to make one’s own homemade güiro is a thoughtful addition. The Spanish translation, also by Delacre and published simultaneously, will require a more advanced reader than the English one to recognize and comprehend contractions (“pa’bajo-pa-pa’rriba”) and relatively sophisticated vocabulary.
A welcome, well-researched reflection of cultural pride in the early-reader landscape. (Early reader. 7-9)Pub Date: Sept. 17, 2019
ISBN: 978-0-89239-429-6
Page Count: 64
Publisher: Children's Book Press
Review Posted Online: July 27, 2019
Kirkus Reviews Issue: Aug. 15, 2019
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look...
Winning actually isn’t everything, as jazz-happy Rooster learns when he goes up against the legendary likes of Mules Davis and Ella Finchgerald at the barnyard talent show.
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look good—particularly after his “ ‘Hen from Ipanema’ [makes] / the barnyard chickies swoon.”—but in the end the competition is just too stiff. No matter: A compliment from cool Mules and the conviction that he still has the world’s best band soon puts the strut back in his stride. Alexander’s versifying isn’t always in tune (“So, he went to see his cousin, / a pianist of great fame…”), and despite his moniker Rooster plays an electric bass in Bower’s canted country scenes. Children are unlikely to get most of the jokes liberally sprinkled through the text, of course, so the adults sharing it with them should be ready to consult the backmatter, which consists of closing notes on jazz’s instruments, history and best-known musicians.Pub Date: Sept. 1, 2011
ISBN: 978-1-58536-688-0
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
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