Black pilot James Herman Banning makes history with a cross-country flight in 1932.
Banner wanted wings from the time he was a child. He read widely as a child and young man, and he attended college for one year—as one of only seven Black students accepted—but was forced to leave for financial reasons. As he opened a mechanic shop, he continued to dream of flying. But no flight schools would take on a Black student. One day, a pilot came into his shop with a motorcycle, and Banning asked him for lessons. This time, the answer was yes. Banning finally got his chance to learn to fly. He earned his pilot’s license and continued teaching himself. He moved to California to teach at a new aviation school for Black men and women. Then he set out to pursue a new dream: to fly from Los Angeles to Long Island. With a partner, a cobbled-together airplane, and the support of many, both individuals and whole communities where they stopped on the way, Banning achieved this goal. Long paragraphs of text on each spread detail dates and locations of the duo’s flight. The level of detail provided makes this book suitable for older readers, particularly those interested in flight. Cooper’s softly painted artwork creates a lovely period feel to complement the story. Banning’s determination in overcoming obstacles is impressive, and the realistic ways in which supporters and refusers influenced his path paint an accurate portrait of the United States. (This book was reviewed digitally with 11-by-16-inch double-page spreads viewed at 67.5% of actual size.)
A story well worth sharing. (note, sources, further reading) (Picture book/biography. 6-10)Pub Date: Jan. 5, 2021
ISBN: 978-1-984847-62-1
Page Count: 40
Publisher: Crown
Review Posted Online: Nov. 18, 2020
Kirkus Reviews Issue: Dec. 1, 2020
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Shamir offers an investigation of the foundations of freedoms in the United States via its founding documents, as well as movements and individuals who had great impacts on shaping and reshaping those institutions.
The opening pages of this picture book get off to a wobbly start with comments such as “You know that feeling you get…when you see a wide open field that you can run through without worrying about traffic or cars? That’s freedom.” But as the book progresses, Shamir slowly steadies the craft toward that wide-open field of freedom. She notes the many obvious-to-us-now exclusivities that the founding political documents embodied—that the entitled, white, male authors did not extend freedom to enslaved African-Americans, Native Americans, and women—and encourages readers to learn to exercise vigilance and foresight. The gradual inclusion of these left-behind people paints a modestly rosy picture of their circumstances today, and the text seems to give up on explaining how Native Americans continue to be left behind. Still, a vital part of what makes freedom daunting is its constant motion, and that is ably expressed. Numerous boxed tidbits give substance to the bigger political picture. Who were the abolitionists and the suffragists, what were the Montgomery bus boycott and the “Uprising of 20,000”? Faulkner’s artwork conveys settings and emotions quite well, and his drawing of Ruby Bridges is about as darling as it gets. A helpful timeline and bibliography appear as endnotes.
A reasonably solid grounding in constitutional rights, their flexibility, lacunae, and hard-won corrections, despite a few misfires. (Informational picture book. 6-10)Pub Date: May 2, 2017
ISBN: 978-0-399-54728-7
Page Count: 32
Publisher: Philomel
Review Posted Online: March 29, 2017
Kirkus Reviews Issue: April 15, 2017
Categories: CHILDREN'S HISTORY | CHILDREN'S SOCIAL SCIENCES
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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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