Buoyantly told, rich in insights into the creative process as well as the crafts of writing, illustrating, and storytelling.
How a masterpiece was cooked up, with Green Eggs and Ham for dessert.
Breaking occasionally into verse herself—“Dr. Seuss, we insist! / Won’t you please write a book that no kid can resist? / P.S. Use the words on this No-Nonsense List”—Sierra explains how the author of Thidwick the Big-Hearted Moose and other favorites put aside his love of made-up words for a set, 236-item vocabulary, spun a “whiz-bang story” out of the elemental rhyme of “cat” with “hat,” and after work followed by inspiration followed by more work released a classic. Nor did “Ted” stop there; he went on to pen and publish a whole line of early readers and also answered Bennett Cerf’s challenge to produce a tale using only 50 different words (“Could he? Would he?”) with another game-changer. Hawkes opens with an integrated 1954 street scene (“a great year to be a kid, unless you were trying to learn how to read”) and closes with hat tips from the Cat and Sam-I-Am. In between he shows the then–clean-shaven Geisel (sometimes in “outlandish” hats of his own) hard at work surrounded by fantastical creatures drawn in Seussian cartoon style and placed against more-realistic, painterly scenes. He plays his typewriter like a magisterial pipe organist in one picture and bears that distinctive elfin grin throughout. Notes from Sierra, Hawkes, and the master himself bring up the rear.
Buoyantly told, rich in insights into the creative process as well as the crafts of writing, illustrating, and storytelling. (book list) (Picture book/biography. 7-10)Pub Date: Sept. 12, 2017
ISBN: 978-0-553-51097-3
Page Count: 48
Publisher: Random House
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
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
Visuals dominate on the page. Harris adds to large photos and samples of Parrish’s adult work an elaborately detailed dragon...
The generous (if selective and unfocused) array of pictures don’t quite compensate for a vague, sketchy accompanying narrative in this biography, the first about the influential painter aimed at young people.
Visuals dominate on the page. Harris adds to large photos and samples of Parrish’s adult work an elaborately detailed dragon he drew at age 7, a letter from his teens festooned with funny caricatures and a page of college chemistry notes tricked out with Palmer Cox–style brownies. Rather than include “Daybreak” (his most famous work) or any of Parrish’s characteristically androgynous figures, though, she tucks in semi-relevant but innocuous images from other artists of places Parrish visited and—just because in his prime he was grouped with them for the wide popularity of his reproduced art—a Van Gogh and a Cézanne. Along with steering a careful course in her account of Parrish’s private life (avoiding any reference to his lifelong mistress and frequent model Sue Lewin, for instance), the author makes only a few vague comments about the artist’s distinctive style and technique. In the same vein, she passes quickly over his influences, reduces all of his book-illustration work to one brief mention and closes with the laughable claim that he was the first artist in history who “created for more than a few.”Pub Date: Sept. 1, 2011
ISBN: 978-1-4556-1472-1
Page Count: 32
Publisher: Pelican
Review Posted Online: July 5, 2011
Kirkus Reviews Issue: July 15, 2011
BOOK REVIEW
© Copyright 2023 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
