An incomplete but appealing and informative depiction of cryptographer Elizebeth Friedman.
From Shakespeare to secrets and spies.
When Elizebeth Smith Friedman graduated college in 1915 with a degree in English literature, she had no idea that the future held secret government work in store—she was initially hired by a wealthy eccentric to find messages in Shakespeare’s plays to reveal his “true” identity. Eventually, her talent with language and analysis led to her selection, with her husband, to set up the first code-breaking unit in the U.S. Over her career she unraveled thousands of secret messages, working for the military through two world wars, preventing countless deaths, catching smugglers and spies, and training others to do all of the above. Her work was classified Top Secret Ultra. Concise description with interesting details combines with evocative illustrations that frequently incorporate Friedman’s own words to portray the life of this extraordinary White woman. With the exception of a single quote worked into the illustrations—“Many times I’ve been asked as to how my direction, that is the direction and superior status of a woman as instructor, teacher, mentor…how these men accepted my authority”—no mention is made of how unusual her position was as a woman of the time and, indeed, how her authority was accepted. Still, youngsters will be fascinated by this engaging biographical selection of an original thinker, which includes elements of STEM and history and provides a picture of a dedicated, resilient woman. (This book was reviewed digitally with 10.5-by-17-inch double-page spreads viewed at 67% of actual size.)
An incomplete but appealing and informative depiction of cryptographer Elizebeth Friedman. (notes, timeline, bibliography) (Picture book/biography. 6-10)Pub Date: March 2, 2021
ISBN: 978-1-4197-3963-7
Page Count: 48
Publisher: Abrams
Review Posted Online: Dec. 14, 2020
Kirkus Reviews Issue: Jan. 1, 2021
Blandly laudatory.
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 Books
Review Posted Online: Aug. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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
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