A soaring portrait of a “Black girl whose voice / chased away darkness, ushered in light.”
A loving tribute in free verse to a writer who found her home, and herself, in her words.
“Once you start speaking again, / ain’t nobody gonna be able to shut you up.” Filling out a biographical framework that begins in 1928 with the birth of Marguerite Annie Johnson into a loving family and ends in 1993 with her reading at President Bill Clinton’s first inauguration, Watson chronicles poet Maya Angelou’s travels from St. Louis to California, Ghana to Harlem and links with friends like “Jimmy” Baldwin, as well as the way she gathered “word-seeds” even through the years of silence after “her mother’s boyfriend / hurt her body, hurt her soul.” In his painted collages, Collier alludes to that silence with a broad, striped ribbon across closed lips in the course of portraying his subject with the same look of dignified reserve throughout her growth from infancy to adulthood. Using a slowly brightening palette, he surrounds her throughout with similarly brown faces until closing with a final bright, smiling solo close-up: “No holding her head down, no hiding. No more silence. / She didn’t have the pitch-perfect voice others had, / but she had her songs, her stories.” In their notes, Watson and Collier both speak to the inspirational power of Angelou’s persistence and courage. (This book was reviewed digitally.)
A soaring portrait of a “Black girl whose voice / chased away darkness, ushered in light.” (timeline) (Picture-book biography. 7-10)Pub Date: Sept. 20, 2022
ISBN: 978-0-06-287158-9
Page Count: 48
Publisher: Harper/HarperCollins
Review Posted Online: July 12, 2022
Kirkus Reviews Issue: Aug. 1, 2022
Visuals dominate on the page. Harris adds to large photos and samples of Parrish’s adult work an elaborately detailed dragon...
The generous (if selective and unfocused) array of pictures don’t quite compensate for a vague, sketchy accompanying narrative in this biography, the first about the influential painter aimed at young people.
Visuals dominate on the page. Harris adds to large photos and samples of Parrish’s adult work an elaborately detailed dragon he drew at age 7, a letter from his teens festooned with funny caricatures and a page of college chemistry notes tricked out with Palmer Cox–style brownies. Rather than include “Daybreak” (his most famous work) or any of Parrish’s characteristically androgynous figures, though, she tucks in semi-relevant but innocuous images from other artists of places Parrish visited and—just because in his prime he was grouped with them for the wide popularity of his reproduced art—a Van Gogh and a Cézanne. Along with steering a careful course in her account of Parrish’s private life (avoiding any reference to his lifelong mistress and frequent model Sue Lewin, for instance), the author makes only a few vague comments about the artist’s distinctive style and technique. In the same vein, she passes quickly over his influences, reduces all of his book-illustration work to one brief mention and closes with the laughable claim that he was the first artist in history who “created for more than a few.”Pub Date: Sept. 1, 2011
ISBN: 978-1-4556-1472-1
Page Count: 32
Publisher: Pelican
Review Posted Online: July 5, 2011
Kirkus Reviews Issue: July 15, 2011
BOOK REVIEW
A squeaky-clean biography of the original Mouseketeer.
Scollon begins with the (to say the least) arguable claim that Disney grew up to “define and shape what would come to be known as the American Century.” Following this, he retraces Disney’s life and career, characterizing him as a visionary whose only real setbacks came from excess ambition or at the hands of unscrupulous film distributors. Disney’s brother Roy appears repeatedly to switch between roles as encourager and lead doubter, but except in chapters covering his childhood, the rest of his family only puts in occasional cameos. Unsurprisingly, there is no mention of Disney’s post–World War II redbaiting, and his most controversial film, Song of the South, gets only a single reference (and that with a positive slant). More puzzling is the absence of Mary Poppins from the tally of Disney triumphs. Still, readers will come away with a good general picture of the filmmaking and animation techniques that Disney pioneered, as well as a highlight history of his studio, television work and amusement parks. Discussion questions are appended: “What do you think were Walt Disney’s greatest accomplishments and why?” Brown’s illustrations not seen. An iconic success story that has often been told before but rarely so one-dimensionally or with such firm adherence to the company line. (bibliography) (Biography. 8-10)
Pub Date: July 15, 2014
ISBN: 978-1-4231-9647-1
Page Count: 144
Publisher: Disney Press
Review Posted Online: May 3, 2014
Kirkus Reviews Issue: May 15, 2014
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