by Lowey Bundy Sichol ; illustrated by C.S. Jennings ‧ RELEASE DATE: Feb. 12, 2019
Inspirational fare for uncritical younger capitalists and entrepreneurs.
A history of the Walt Disney Co., from Mickey to megacorporation.
Sichol folds in a highlights-reel profile of Walt Disney himself, noting that he started smoking as a teenager and died relatively young of lung cancer but avoiding any mention of racism, anti-Semitism, sexism, or other controversial topics. Her real focus is his commercial offspring—beginning with the failed Laugh-O-Grams Films and chronicling the subsequent, more-or-less continual string of spectacular successes and major acquisitions that has led to Disney’s contemporary status as the world’s largest entertainment company. Along the way she points to at least some things that make Disney products and properties distinctive, and she also introduces a basic vocabulary of business terms and concepts, including bankruptcy, mortgages, market value, branding, and (ironically, since Disney’s profound influence on current copyright law goes unmentioned) intellectual property rights. In common with the co-published From an Idea to Nike, the author also inserts a boilerplate section explaining the significance of “Going Public.” Jennings adds quickly sketched cartoon line drawings to the pull quotes, definitions, and lists of “Fun Facts” that punctuate the well-leaded lines of both sunny tales of corporate expansion.
Inspirational fare for uncritical younger capitalists and entrepreneurs. (bibliography, source notes, timeline) (Nonfiction. 8-10)Pub Date: Feb. 12, 2019
ISBN: 978-1-328-45360-0
Page Count: 112
Publisher: HMH Books
Review Posted Online: Sept. 16, 2018
Kirkus Reviews Issue: Oct. 1, 2018
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by Lowey Bundy Sichol ; illustrated by C.S. Jennings
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by Gabriel Martín Roig ; illustrated by Fátima García ‧ RELEASE DATE: Nov. 1, 2017
Apart from the peculiar posthumous narration, a useful addition to the artist-biography shelf.
This Spanish import describes well-known events in van Gogh’s career
Readers first see him as a child and then as an assistant in his uncle’s art dealership, followed by a brief spell as a minister, during which he witnessed and drew mining families living in terrible poverty. Constantly dogged by disapproval and humiliation in the provincial towns, the painter moved to Paris. Here he was exposed to contemporary art movements that were central to the evolution of his distinctive style. His removal to the Arles countryside, the inspiration for many of his most famous works; his complicated friendship with Gauguin; and his eventual descent into madness and suicide are described and illustrated with García’s soft watercolor illustrations and a few reproductions. Sidebars provide background information about art movements, places, and people that influenced van Gogh. The entire book, including the concluding timeline, is in the first person. This is potentially confusing for children who have a limited understanding of chronology. Some of the statements seem particularly jarring owing to this choice of narrative voice. The timeline states: “in a moment of despair, [I] shot myself in the chest. Two days later, I died.” It will be obvious to most readers that he could not be writing when dead, and this adds a layer of absurdity that derails the otherwise factual tone.
Apart from the peculiar posthumous narration, a useful addition to the artist-biography shelf. (list of paintings, websites) (Biography. 8-10)Pub Date: Nov. 1, 2017
ISBN: 978-1-59572-770-1
Page Count: 64
Publisher: Star Bright
Review Posted Online: Sept. 30, 2017
Kirkus Reviews Issue: Oct. 15, 2017
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by Daniel Nayeri ; illustrated by Anna-Maria Jung ‧ RELEASE DATE: Oct. 31, 2017
The historical narrative is of mild interest, but the incorporated toy is off-target in several ways.
A historical overview of archery with a cut-in grip and sturdy plastic wings that unfold to form an actual bow—punch-out cardboard arrows and targets included.
Nayeri opens what he optimistically calls his “weapon of mass instruction” by arguing—rightly, if not exactly cogently—that a bow-shaped book is less dangerous than a bad or careless idea. He continues with a worldwide survey of archery in, mostly, war from ancient times on. Along with cartoon portraits of single archers and battle scenes featuring comically pin-cushioned soldiers, all diverse of skin color and in period dress, Jung adds simple depictions of various types of bows and arrows from many lands and eras. Following a final chapter on Robin Hood and other archers of both myth and legend, 43 blunt, lightweight, detachable arrows, each about 1 ½ inches long, and 10 chicken butts or other small targets of diminishing size offer would-be Katniss Everdeens immediate opportunities to develop their skills on a tabletop or similarly confined range. But as the author admits, this is more a slingshot than a true bow, as the recurved arms don’t actually bend, and all of the propulsive force is provided by the elastic string. Also, enterprising young felons will doubtless ignore his prohibition against shooting at live targets, so even though the “draw” is (probably) too weak to actually drive the provided missiles into, say, an eyeball, there is still some small potential for mayhem.
The historical narrative is of mild interest, but the incorporated toy is off-target in several ways. (bibliography) (Informational novelty. 8-10)Pub Date: Oct. 31, 2017
ISBN: 978-1-5235-0119-9
Page Count: 89
Publisher: Workman
Review Posted Online: Nov. 12, 2017
Kirkus Reviews Issue: Dec. 1, 2017
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