THE ADVENTURES OF MARK TWAIN BY HUCKLEBERRY FINN

“Sam was born excited. He did stuff. He tramped and skylarked and poked his shovel into whatever tripped his fancy.” If that sounds like how the fictional character Huckleberry Finn would describe his creator, Samuel Clemens (Mark Twain), then author Burleigh has at least nailed Huck-speak in this unorthodox picture-book biography for older Twainophiles. The “editors’ ” “Warning to the Reader” about the impending “ain’ts” and potentially confusing folksy expressions only calls attention to the dicey premise and begs the question, “Who is this for?” That said, Blitt’s lovely, lively pen, ink and watercolors inventively illustrate Huck’s affectionate, time-traveling, tour guide’s view of Twain’s life. A giant-headed Huck looks through a window, Ghost of Christmas Past–style, examining 11-year-old Sam, who’s gazing forlornly at a picture of his late Pap, for instance. Huck journeys from Twain’s Mississippi-loving, school-phobic boyhood years to his steamboat days to his “honest-to-goodness writer” career, to his family life, through hard times when he was “dead-for-earnest broke,” to his death. At the end is another “editor’s” note and timeline: “Since Mr. Finn’s manuscript contains no dates and leaves out some important details.” Huck says this “ain’t intendin’ to be some windy bioografy,” and it isn’t. It’s a breezy homage to Twain’s life and literary world that will please some, aggravate some and utterly baffle others. (Picture book/biography. 10 & up)

Pub Date: March 8, 2011

ISBN: 978-0-689-83041-9

Page Count: 48

Publisher: Atheneum

Review Posted Online: Jan. 26, 2011

Kirkus Reviews Issue: Feb. 1, 2011

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A beautiful, powerful reflection on a tragic history.

ON THE HORIZON

In spare verse, Lowry reflects on moments in her childhood, including the bombings of Pearl Harbor and Hiroshima. 

When she was a child, Lowry played at Waikiki Beach with her grandmother while her father filmed. In the old home movie, the USS Arizona appears through the mist on the horizon. Looking back at her childhood in Hawaii and then Japan, Lowry reflects on the bombings that began and ended a war and how they affected and connected everyone involved. In Part 1, she shares the lives and actions of sailors at Pearl Harbor. Part 2 is stories of civilians in Hiroshima affected by the bombing. Part 3 presents her own experience as an American in Japan shortly after the war ended. The poems bring the haunting human scale of war to the forefront, like the Christmas cards a sailor sent days before he died or the 4-year-old who was buried with his red tricycle after Hiroshima. All the personal stories—of sailors, civilians, and Lowry herself—are grounding. There is heartbreak and hope, reminding readers to reflect on the past to create a more peaceful future. Lowry uses a variety of poetry styles, identifying some, such as triolet and haiku. Pak’s graphite illustrations are like still shots of history, adding to the emotion and somber feeling. He includes some sailors of color among the mostly white U.S. forces; Lowry is white.

A beautiful, powerful reflection on a tragic history. (author’s note, bibliography) (Memoir/poetry. 10-14)

Pub Date: April 7, 2020

ISBN: 978-0-358-12940-0

Page Count: 80

Publisher: HMH Books

Review Posted Online: Jan. 12, 2020

Kirkus Reviews Issue: Feb. 1, 2020

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An arbitrary assortment of relics not likely to furnish either the insight or the glimpses of wonder that elevate companion...

HISTORIUM

From the Welcome to the Museum series

An oversized album of archaeological treasures, from an early Stone Age hand ax to a 19th-century tiki pendant.

Inviting readers to take a sort of virtual museum tour, Nelson gathers over 140 representative artifacts into geographical “galleries.” She presents them with both broad opening overviews of their cultural contexts and individual descriptive notes on their features and anthropological significance. The large illustrations are not photos but digital images that are drawn in painstaking detail, colored in subdued or neutral hues, and reproduced on smooth but not polished paper. With further antique formality of design, the dimly but evenly lit objects are suspended against monochrome backgrounds, often several to a “plate,” and well-separated from the text. Though the focus is largely on defunct civilizations—Egypt and Mesopotamia to Olmec, Korean Silla, and the Vikings—the author acknowledges survivors such as the Pueblo and indigenous Australians. Readers on this side of the pond may feel slighted, as the gallery devoted to the Americas is the smallest and contains nothing from South America, but both the Torres Strait Islanders and several Polynesian cultures receive nods in the Oceania section. Moreover, rather than usual suspects like the Rosetta Stone or the so-called “Mask of Agamemnon,” the objects on display are often less familiar funerary, religious, or decorative objects. Many of the artifacts, particularly the gold ones, look drab, though, and none are either shown to scale or consistently accompanied by measurements. Furthermore, there are no maps or leads to further information.

An arbitrary assortment of relics not likely to furnish either the insight or the glimpses of wonder that elevate companion volume Animalium (2014). (timeline, index) (Nonfiction. 10-14)

Pub Date: Sept. 1, 2015

ISBN: 978-0-7636-7984-2

Page Count: 112

Publisher: Big Picture/Candlewick

Review Posted Online: July 27, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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