Fearless indeed. A biography that goes the distance! (author’s note, women and the Boston Marathon, bibliography) (Picture...
Kathrine Switzer, the first woman to run the Boston Marathon as an officially registered runner, is highlighted in this debut for both author and illustrator.
Each time she races past the tree in her backyard, 12-year-old Kathrine marks its trunk with chalk to record her laps. “One lap to go…just a few more feet…a few steps…1 MILE!” Though she’s proud of her accomplishment, other people stare or wonder if something is wrong, because girls aren’t supposed to sport. But for Kathrine, “running [is] magic.” As she grows up, she continues to challenge her physical limits. Yet despite her running prowess, society still believes women are “too weak, too fragile,” to compete. However, no rules bar women from running the Boston Marathon, so Switzer signs up for the race. As if training weren’t difficult enough, what Switzer encounters during the 26.2 miles will take more than passion and endurance for her to finish. Readers eager to chase down biographies that feel like stories will appreciate how this book achieves that expectation. Chaffee’s text balances thorough research with strong prose that breaks through the wall that stops some nonfiction in its tracks. Additionally, Rooney’s collagelike paint, paper, and pencil illustrations are rich in texture and vibrant in color, capturing both the motion of running and emotion of persevering. They include some people of color to background the mostly white primary cast.
Fearless indeed. A biography that goes the distance! (author’s note, women and the Boston Marathon, bibliography) (Picture book/biography. 6-12)Pub Date: April 2, 2019
ISBN: 978-1-62414-654-1
Page Count: 40
Publisher: Page Street
Review Posted Online: Jan. 27, 2019
Kirkus Reviews Issue: Feb. 15, 2019
BOOK REVIEW
BOOK REVIEW
A unique angle on a watershed moment in the civil rights era.
The New Orleans school child who famously broke the color line in 1960 while surrounded by federal marshals describes the early days of her experience from a 6-year-old’s perspective.
Bridges told her tale to younger children in 2009’s Ruby Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes. “I didn’t find out what being ‘the first’ really meant until the day I arrived at this new school,” she writes. Unfrightened by the crowd of “screaming white people” that greets her at the school’s door (she thinks it’s like Mardi Gras) but surprised to find herself the only child in her classroom, and even the entire building, she gradually realizes the significance of her act as (in Smith’s illustration) she compares a small personal photo to the all-White class photos posted on a bulletin board and sees the difference. As she reflects on her new understanding, symbolic scenes first depict other dark-skinned children marching into classes in her wake to friendly greetings from lighter-skinned classmates (“School is just school,” she sensibly concludes, “and kids are just kids”) and finally an image of the bright-eyed icon posed next to a soaring bridge of reconciliation. (This book was reviewed digitally.)
A unique angle on a watershed moment in the civil rights era. (author and illustrator notes, glossary) (Autobiographical picture book. 6-8)Pub Date: Sept. 6, 2022
ISBN: 978-1-338-75388-2
Page Count: 48
Publisher: Orchard/Scholastic
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
A galloping marvel—enlightening and entertaining.
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 9, 2019
Kirkus Reviews Issue: July 1, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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