A perfect, well-rounded historical story that will engage readers of all ages.

READ REVIEW

CHESTER NEZ AND THE UNBREAKABLE CODE

A NAVAJO CODE TALKER'S STORY

For young readers, a nuanced, compassionate biography of a Navajo Code Talker.

Like many Native American children, Betoli, a Navajo boy, was taken from his family to a missionary boarding school, where he was forbidden to speak Navajo and forced to change his name to Chester. He endured the painful process of having his long hair shaved, forlornly depicted in a stark image in which black crows with outspread wings carry away the strips of his hair. Summers spent at home, immersed once again in the love, language, and culture of his people, gave him the strength to carry on. As he got older, Chester adapted as best he could to the forced assimilation. He joined the military during World War II and became one of the first Code Talkers, who used their own language to undermine the Japanese, efforts that helped to end the war. Bruchac’s story dares to go beyond the war in highlighting the postwar trauma that Chester experienced, demonstrated in a beautiful yet haunting illustration that symbolically captures his pain. This tale of a real-life Code Talker humanizes the main character by giving readers the whole picture of his connectedness to home and family, which is reinforced in Amini-Holmes’ textured paintings, which resonate on an almost ethereal level.

A perfect, well-rounded historical story that will engage readers of all ages. (author’s note, partial code key, timeline) (Picture book/biography. 6-10)

Pub Date: April 3, 2018

ISBN: 978-0-8075-0007-1

Page Count: 32

Publisher: Whitman

Review Posted Online: Feb. 13, 2018

Kirkus Reviews Issue: March 1, 2018

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Blandly laudatory.

I AM WALT DISNEY

From the Ordinary People Change the World series

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

Review Posted Online: Aug. 18, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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A galloping marvel—enlightening and entertaining.

DR. SEUSS'S HORSE MUSEUM

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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