A sturdy portrayal of Victorian scientist Mary Anning that showcases her accomplishments, intelligence, and perseverance.

DINOSAUR LADY

A new picture-book biography of the pioneering scientist and finder of bones.

Armed with both a hammer and chisel and a spirit of inquiry, young Mary Anning searched the beach and cliffs of Lyme Regis, England, eventually unearthing the bones of an enormous, heretofore-unknown creature. Action-filled illustrations and straightforward text allow Anning’s determination to shine through and show how her knowledge as well as the fossils she found were initially dismissed because of the sexism of the time yet nevertheless led to the study of fossils, the invention of paleontology, the understanding that animals could become extinct, and the discovery of dinosaurs. Though her financial struggles as a white woman of the time are made evident, portions of her story, including the facts that she was struck by lightning as a baby and that her father died when she was around 11, go unmentioned before the informative backmatter, which seems a lost opportunity. Readers likely to ask questions—her age when she made various discoveries, why she began searching the cliffs, the specific time period in which she lived—will have to wait for the timeline and author’s note. (An additional spread offers a smattering of paleontology facts.) Still, Anning is clearly a worthy subject, and this tale of her accomplishments is sure to elicit excitement and curiosity.

A sturdy portrayal of Victorian scientist Mary Anning that showcases her accomplishments, intelligence, and perseverance. (Picture book/biography. 6-9)

Pub Date: July 1, 2020

ISBN: 978-1-7282-0951-7

Page Count: 40

Publisher: Sourcebooks eXplore

Review Posted Online: March 25, 2020

Kirkus Reviews Issue: April 15, 2020

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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 Books

Review Posted Online: Aug. 18, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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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 Books

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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