Heartwarming Americana.

READ REVIEW

WRITE ON, IRVING BERLIN!

A Jewish immigrant’s passage from pogroms in Russia to “God Bless America”—written 100 years ago to celebrate his beloved adopted home.

Irving Berlin, born in 1888, was just a child when his family and so many others fled terror directed at Jews in czarist Russia for New York City’s Lower East Side. It was a crowded, dirty, and very poor neighborhood of immigrants, but it allowed a musical boy who had never studied music to grow up and write songs. Israel, his given name, was not a good student in school, but, a cantor’s son, he had a head full of tunes. Early success led to music composed for fellow soldiers during World War I and then music written for Broadway and the movies. It was during World War II that he “took out and polished up a song he’d written long ago.” That song was “God Bless America,” which is still sung and loved—albeit over the initial protests of those who were not pleased that a Jewish immigrant was the composer and lyricist. “White Christmas,” written during World War II, was also immediately taken to heart despite the same racist, anti-Semitic objections. More success and many more great and still popular songs followed. Gardner’s illustrations are colorful and soft-textured, displaying many smiling faces of Berlin as he ages. Musical notes swirl through the pages.

Heartwarming Americana. (author’s note, selected songs, further reading) (Picture book/biography. 6-9)

Pub Date: May 15, 2018

ISBN: 978-1-58536-380-3

Page Count: 32

Publisher: Sleeping Bear Press

Review Posted Online: March 27, 2018

Kirkus Reviews Issue: April 15, 2018

Did you like this book?

No Comments Yet

A solid introduction to fascinating artists, some familiar, others less so.

WOMEN ARTISTS A TO Z

Contemporary and historical female artists are showcased for younger readers.

The artists’ names aren’t presented in A-to-Z order. The alphabetical arrangement actually identifies signature motifs (“D is for Dots” for Yayoi Kusama); preferred media (“I is for Ink” for Elizabeth Catlett); or cultural, natural, or personal motives underlying artworks (“N is for Nature” for Maya Lin). Various media are covered, such as painting, box assemblage, collage, photography, pottery, and sculpture. One artist named isn’t an individual but rather the Gee’s Bend Collective, “generations of African American women in Gee’s Bend, Alabama,” renowned for quilting artistry. Each artist and her or their work is introduced on a double-page spread that features succinct descriptions conveying much admiring, easily comprehensible information. Colorful illustrations include graphically simplified representations of the women at work or alongside examples of their art; the spreads provide ample space for readers to understand what the artists produced. Several women were alive when this volume was written; some died in the recent past or last century; two worked several hundred years ago, when female artists were rare. Commendably, the profiled artists are very diverse: African American, Latina, Native American, Asian, white, and multiethnic women are represented; this diversity is reflected in their work, as explained via texts and illustrations.

A solid introduction to fascinating artists, some familiar, others less so. (minibiographies, discussion questions, art suggestions) (Informational picture book. 6-9)

Pub Date: Feb. 11, 2020

ISBN: 978-0-593-10872-7

Page Count: 64

Publisher: Dial

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

Did you like this book?

No Comments Yet

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

Did you like this book?

more