A measured, well-researched winner.

READ REVIEW

ALTHEA GIBSON

THE STORY OF TENNIS' FLEET-OF-FOOT GIRL

Reid and Freeman celebrate the life of tennis champion Althea Gibson.

Debut author Reid takes readers from 1940s Harlem, where “fleet-of-foot” Althea Gibson is the “quickest, tallest and most fearless athlete,” all the way to 1957, when she becomes the first black player to win the championship at Wimbledon. Readers get to see Gibson’s development from a young athlete, cocksure, assertive, and focused only on winning, to a considerate sportswoman in a league of her own, paving the way for generations of young tennis players coming after her. Framing transitional moments in Gibson’s life in medallions, Freeman’s somewhat static illustrations encourage the narrative along, keeping pace with the text. The clever placement of Gibson’s form playing tennis on top of maps or with the globe represents the reach of her influence across the U.S. and the world. Other double-page spreads emphasize the enormity of the difficulties, specifically racism, Gibson faced while pursuing her dreams. One levels a “WHITES ONLY” sign on one page ever so slightly below Gibson’s determined gaze on the other. An author’s note fills in more historical and personal context for Gibson’s early and later life, and a timeline of important dates with a short bibliography of recommended texts rounds out the exploration of Gibson’s remarkable rise to tennis stardom.

A measured, well-researched winner. (Picture book/biography. 6-12)

Pub Date: Jan. 21, 2020

ISBN: 978-0-06-285109-3

Page Count: 40

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: Oct. 27, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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A galloping marvel—enlightening and entertaining.

DR. SEUSS'S HORSE MUSEUM

A succinct introduction to art history via a Seussian museum of equine art.

This posthumously published text recently discovered in Ted Geisel’s studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner’s playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss’ legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript’s history and Seuss’ artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat’s antecedents in minstrelsy and Seuss’ other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.

A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)

Pub Date: Sept. 3, 2019

ISBN: 978-0-399-55912-9

Page Count: 80

Publisher: Random House

Review Posted Online: June 10, 2019

Kirkus Reviews Issue: July 1, 2019

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An apt choice for collections that already have stronger alternatives, such as R.J. Palacio's Wonder (2012).

UGLY

A memoir of the first 14 years in the life of Australian Robert Hoge, born with stunted legs and a tumor in the middle of his face.

In 1972, Robert is born, the youngest of five children, with fishlike eyes on the sides of his face, a massive lump in place of his nose, and malformed legs. As baby Robert is otherwise healthy, the doctors convince his parents to approve the first of many surgeries to reduce his facial difference. One leg is also amputated, and Robert comes home to his everyday white, working-class family. There's no particular theme to the tale of Robert's next decade and a half: he experiences school and teasing, attempts to participate in sports, and is shot down by a girl. Vignette-driven choppiness and the lack of an overarching narrative would make the likeliest audience be those who seek disability stories. However, young Robert's ongoing quest to identify as "normal"—a quest that remains unchanged until a sudden turnaround on the penultimate page—risks alienating readers comfortable with their disabilities. Brief lyrical moments ("as compulsory as soggy tomato sandwiches at snack time") appeal but are overwhelmed by the dry, distant prose dominating this autobiography.

An apt choice for collections that already have stronger alternatives, such as R.J. Palacio's Wonder (2012). (Memoir. 8-12)

Pub Date: Sept. 6, 2016

ISBN: 978-0-425-28775-0

Page Count: 208

Publisher: Viking

Review Posted Online: May 18, 2016

Kirkus Reviews Issue: June 1, 2016

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