A likable, meaningful addition to the She Persisted collection.


From the She Persisted series

In the latest installment in the She Persisted chapter-biography series, Knudsen and Flint bring to life a woman with whom many have some familiarity.

However, young readers—as well as not-so-young—will delight in discovering the many tiny details of Nellie Bly’s life. For example, her nickname was Pink because she loved the color so much. But her real name wasn’t Nellie; it was Elizabeth Jane Cochran. When her father died without a will, his estate was divided among Bly’s birth family and her 10 older half siblings, leaving Bly’s mother in straitened circumstances that led to her marriage to a violent second husband. Bly persevered possibly because of the hardships of her young life. Seeing her mother struggle fueled her determination to be self-sufficient. The book shines the most when it outlines how Elizabeth Jane transformed into Nellie Bly—women journalists were not allowed to use their proper names in print—and defied the norms of fashion journalism and society writing usually set aside for women. Bly became an internationally celebrated journalist based on her courageous, daring investigative journalism. This is a fast read, sure to engage transitioning independent readers or older reluctant readers. However, the information included will certainly hold the attention of more sophisticated readers. Flint’s delicate illustrations depict her White protagonist with confident, eager expressions. Per series formula, tips on how readers can persist close the title.

A likable, meaningful addition to the She Persisted collection. (bibliography) (Biography. 6-9)

Pub Date: May 4, 2021

ISBN: 978-0-593-11574-9

Page Count: 80

Publisher: Philomel

Review Posted Online: March 17, 2021

Kirkus Reviews Issue: April 1, 2021

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A unique angle on a watershed moment in the civil rights era.


The New Orleans school child who famously broke the color line in 1960 while surrounded by federal marshals describes the early days of her experience from a 6-year-old’s perspective.

Bridges told her tale to younger children in 2009’s Ruby Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes. “I didn’t find out what being ‘the first’ really meant until the day I arrived at this new school,” she writes. Unfrightened by the crowd of “screaming white people” that greets her at the school’s door (she thinks it’s like Mardi Gras) but surprised to find herself the only child in her classroom, and even the entire building, she gradually realizes the significance of her act as (in Smith’s illustration) she compares a small personal photo to the all-White class photos posted on a bulletin board and sees the difference. As she reflects on her new understanding, symbolic scenes first depict other dark-skinned children marching into classes in her wake to friendly greetings from lighter-skinned classmates (“School is just school,” she sensibly concludes, “and kids are just kids”) and finally an image of the bright-eyed icon posed next to a soaring bridge of reconciliation. (This book was reviewed digitally.)

A unique angle on a watershed moment in the civil rights era. (author and illustrator notes, glossary) (Autobiographical picture book. 6-8)

Pub Date: Sept. 6, 2022

ISBN: 978-1-338-75388-2

Page Count: 48

Publisher: Orchard/Scholastic

Review Posted Online: June 22, 2022

Kirkus Reviews Issue: July 15, 2022

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Blandly laudatory.


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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