POEMS IN BLACK AND WHITE

Miller pairs lovely images with monotypes in different hues, including inky black and cool white. Sometimes the titular theme examines the colors directly, celebrating in “First Steps” a new baby’s inked footprints and in the clever “Dog-eyed,” both a canine’s black-and-white eyesight and his Border Collie coat, which, “among his doggy friends / is just as grand as / Irish Setter red.” Other poems tease out the theme more obliquely: “Dandelion Dreams” contrasts the plant’s tenacious root with “her head . . . filled with / winged seeds—her fluffy cloud-white dreams. . . . ” Short lines beautifully integrate assonance and near rhyme in unselfconscious verse that plumbs the natural world and occasionally reflects on a child’s familial connections. Miller’s often exquisite exploitation of the monotype medium (as in illustrations for “King Crow” and “Comet”) falls short in pictures for “Dad’s Closet” and “Almost Perfect,” wherein a doctor’s coat, stethoscope and buttoned shirt, flatly depicted, lack the lush nuance found elsewhere. Worthwhile overall, with glimmers of brilliance; an artist to watch. (note on illustrations) (Poetry. 6-12)

Pub Date: March 1, 2007

ISBN: 978-1-59078-412-9

Page Count: 40

Publisher: Wordsong/Boyds Mills

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 2007

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VISITING LANGSTON

A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)

Pub Date: Feb. 1, 2001

ISBN: 0-8050-6744-2

Page Count: 32

Publisher: Henry Holt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2002

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DINOSAURS GALORE!

A dozen familiar dinosaurs introduce themselves in verse in this uninspired, if colorful, new animal gallery from the authors of Commotion in the Ocean (2000). Smiling, usually toothily, and sporting an array of diamonds, lightning bolts, spikes and tiger stripes, the garishly colored dinosaurs make an eye-catching show, but their comments seldom measure up to their appearance: “I’m a swimming reptile, / I dive down in the sea. / And when I spot a yummy squid, / I eat it up with glee!” (“Ichthyosaurus”) Next to the likes of Kevin Crotty’s Dinosongs (2000), illustrated by Kurt Vargo, or Jack Prelutsky’s classic Tyrannosaurus Was A Beast (1988), illustrated by Arnold Lobel, there’s not much here to roar about. (Picture book/poetry. 7-9)

Pub Date: March 1, 2005

ISBN: 1-58925-044-3

Page Count: 32

Publisher: Tiger Tales

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 2005

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