Will provide some inspiration for budding architects.

READ REVIEW

FALLINGWATER

Late in his career, architect Frank Lloyd Wright designed one of the world’s most famous houses.

In 1934, Pittsburgh retail magnate Edgar Kaufmann hired Wright to build a house near the waterfalls of Bear Run, Pennsylvania. This book traces Wright’s steps through planning, construction, and successful completion of the unusual house nestled in a hillside. The illustrations echo the Japanese print style that inspired Wright’s design in spreads paced to underscore the tranquil setting. One vertical double-page spread emphasizes the height of the house jutting over the waterfalls. The book’s effectiveness, however, is marred by inconsistencies in text and illustration that seem to be a result of an attempt to appeal to both younger and older children. Languid prose alternates with short, choppy sentences throughout. For instance, the narrative recounts Wright’s dreams in stately free verse: “In dreaming this house he will use everything / he has ever seen: stone walls from Wisconsin, / sand and adobe from the Southwest, / towers and trellises from Italy.” His client’s desire for speed comes in jarringly clipped sentences: “Mr. Kaufmann calls. He is in Wisconsin. / He is coming to visit. / He wants to see the plans. / He will arrive in two hours. / He is coming to see his new house!” This, coupled with the flat, cartoonish depiction of some characters (mostly though not exclusively white), detracts from an otherwise pleasant book.

Will provide some inspiration for budding architects. (authors’ note, artist’s note, bibliography, notes) (Informational picture book. 6-9)

Pub Date: Oct. 17, 2017

ISBN: 978-1-59643-718-0

Page Count: 40

Publisher: Roaring Brook

Review Posted Online: Aug. 27, 2017

Kirkus Reviews Issue: Sept. 15, 2017

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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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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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