An engaging account of a man who dedicated his life to telling Peru’s long history.

SHARUKO

EL ARQUEÓLOGO PERUANO JULIO C. TELLO / PERUVIAN ARCHAEOLOGIST JULIO C. TELLO

An introduction to the life of Julio C. Tello, one of the most important Peruvian archaeologists and the first Indigenous archaeologist in the Americas.

Born in the highlands of Peru in 1880, Julio and his family were Quechua-speaking Indigenous people. His fearlessness and curiosity as a child earned him the nickname Sharuko, the Quechua word for “brave.” Presented in both Domínguez’s Spanish translation and in English, Brown’s account goes on to tell about Tello’s childhood and eventual move to Lima to further his education, ultimately in medicine. Pride in his heritage and a curiosity sparked by childhood discoveries of skulls and artifacts led him to apply his medical skills to interpreting the Indigenous history of Peru. Brown’s account of Tello’s life and achievements is compelling and engaging, and the accompanying artwork goes a long way toward giving a real sense of place to the narration, starting with the endpapers that show carved stone heads from the Chavín de Huántar, one of the sites explored by Tello. Children unfamiliar with Peru and its geography will find a helpful map at the beginning that not only indicates the places mentioned in the narrative, but also helps them locate Peru within South America.

An engaging account of a man who dedicated his life to telling Peru’s long history. (afterword, illustrator’s note, author’s sources) (Picture book/biography. 6-10)

Pub Date: Aug. 18, 2020

ISBN: 978-0-89239-423-4

Page Count: 40

Publisher: Children's Book Press

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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A reasonably solid grounding in constitutional rights, their flexibility, lacunae, and hard-won corrections, despite a few...

WHAT'S THE BIG DEAL ABOUT FREEDOM

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

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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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