Not really a cumulative verse and not quite a circular tale the rhythm of this story brings to mind “This is the House that Jack Built.” Greene and Graber collaborated earlier on The Stable Where Jesus Was Born (not reviewed), which had a similar lyrical pattern. Greene tells her tale from the very first Thanksgiving Day, through the interaction with the Indians, the settling of the village, and to the Mayflower, and across the ocean and back again to that first gathering. Though the author cites specific resources, the illustrator does not; she does, however, speak of the interesting things that she learned while researching the pictures. Authenticity concerns will cause readers to question whether nine Pilgrims (dressed in spotless clothing, white aprons, collars, and such) would have gathered around a squatting “Indian” as he planted three fish around a hill of corn. And while it is picturesque to have a young girl hand him the kernel of corn, would she have done so while holding a doll? Although well executed and in a colorful palette, these illustrations seem to miss their mark. No contemporary historic records to a rock in the harbor have been found, so one must also wonder if a verse that refers twice to the harbor being marked by a huge stone doesn’t perpetuate a romantic interpretation of this event in other ways as well. There are plenty of offerings that perpetuate the myth of this day; libraries don’t need another. (Poetry. 5-9)
Pub Date: Oct. 1, 2002
ISBN: 0-689-83301-6
Page Count: 40
Publisher: Atheneum
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2002
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for.
An overview of the modern African-American holiday.
This book arrives at a time when black people in the United States have had intraracial—some serious, some snarky—conversations about Kwanzaa’s relevance nowadays, from its patchwork inspiration that flattens the cultural diversity of the African continent to a single festive story to, relatedly, the earnest blacker-than-thou pretentiousness surrounding it. Both the author and consultant Keith A. Mayes take great pains—and in painfully simplistic language—to provide a context that attempts to refute the internal arguments as much as it informs its intended audience. In fact, Mayes says in the endnotes that young people are Kwanzaa’s “largest audience and most important constituents” and further extends an invitation to all races and ages to join the winter celebration. However, his “young people represent the future” counterpoint—and the book itself—really responds to an echo of an argument, as black communities have moved the conversation out to listen to African communities who critique the holiday’s loose “African-ness” and deep American-ness and moved on to commemorate holidays that have a more historical base in black people’s experiences in the United States, such as Juneteenth. In this context, the explications of Kwanzaa’s principles and symbols and the smattering of accompanying activities feel out of touch.
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for. (resources, bibliography, glossary, afterword) (Nonfiction. 5-8)Pub Date: Sept. 5, 2017
ISBN: 978-1-4263-2849-7
Page Count: 40
Publisher: National Geographic Kids
Review Posted Online: Oct. 27, 2017
The leaves have changed, Thanksgiving nears—and the canny turkeys of Squawk Valley have decamped, leaving local residents to face the prospect of a birdless holiday. What to do? They decide to lure a bird back by appealing to its vanity, placing a want ad for a model to help sculptors creating turkey art, then “inviting” the bird to dinner. The ploy works, too, for out of the woods struts plump and perky Pete to take on the job. Shelly debuts with brightly hued cartoon scenes featuring pop-eyed country folk and deceptively silly-looking gobblers. Pete may be vain, but he hasn’t lost the wiliness of his wild ancestors; when the townsfolk come for him, he hides amidst a flock of sculpted gobblers—“There were turkeys made of spuds, / there were turkeys made of rope. / There were turkeys made of paper, / there were turkeys made of soap. / The room was full of turkeys / in a wall to wall collage. / For a clever bird like Pete / it was perfect camouflage.” He makes his escape, and is last seen lounging on a turkey-filled tropical beach as the disappointed Squawk Valleyites gather round the table for a main course of . . . shredded wheat. Good for a few giggles. (Picture book. 6-8)
Pub Date: Sept. 1, 2001
ISBN: 1-890817-91-0
Page Count: 40
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2001
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