An incredibly powerful story that offers real hope for the future.
An inspirational memoir from a human rights activist who has devoted her life to fighting female genital mutilation.
The author is a member of the Maasai tribe, born in the small Kenyan town of Kimana, and she evocatively explores the culture of her people. Historically, Maasai men are known as fierce warriors who protect their people and animals, while Maasai women serve as the caregivers of the house and children. A community bound by tradition, they live in hand-built circular homes and raise cattle as the primary food source. When they are young, children have one of their cheeks branded by a hot coil of wire; the scab creates a circle that serves as “a special symbol to mark us as Maasai.” When it was Leng’ete’s turn, she ran away, and she “still [has] no marks.” Another tradition is referred to as “the cut.” During this ceremony, the women subject the young females to a procedure in which their clitoris is either cut or removed completely—without anesthesia. Leng’ete refused to undergo FGM. “I loved my family. I loved my people. But this, I thought, was wrong,” she explains. “Tradition can be good. Tradition can be beautiful. But some traditions deserve to die.” Following her defiant act, she was shunned. With urgent, shocking, and heartbreaking detail, Leng’ete brings readers into her life. Beginning her work with the African Medical and Research Foundation when she was still a teenager, she found her calling. Armed with scientific evidence about the significant health risks associated with FGM, Leng’ete returned to her community in hopes of instilling change. Due in part to her relentless efforts, tribal leaders “changed the Maasai constitution to reflect our commitment to end FGM.” Leng’ete was also awarded the black walking stick, a symbol of leadership not normally given to women. She went on to campaign globally, including building A Nice Place in Kimana, “a safe haven for girls fleeing FGM."
An incredibly powerful story that offers real hope for the future.Pub Date: Sept. 14, 2021
ISBN: 978-0-316-46335-5
Page Count: 240
Publisher: Little, Brown
Review Posted Online: July 19, 2021
Kirkus Reviews Issue: Aug. 15, 2021
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
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