A joyfully imaginative take on a key biblical tale.
Sasso and Rothenberg’s creative interpretation of the Exodus story focuses on Miriam, Moses’ spirited sister.
Preparing to lead the Israelites out of slavery in Egypt, Moses tells them to bring only what is necessary. To his annoyance, Miriam puts on her bejeweled dancing shoes and brings her timbrel, an instrument similar to a tambourine. Adding a refreshing layer of humor to the familiar story, the Israelites immediately start complaining: “The journey will be long!” “We’re lost.” “This mud is smelly!” But each time the people seem ready to give up, Miriam begins to dance. Those who are lost follow her shining shoes and the jingle of her music. As they dance, they lift their feet out of the slippery mud. Everyone stops complaining and joins in, singing and dancing their way to freedom. When Moses wonders why he never heard this beautiful song in Egypt, Miriam tells him it is the sound of hope. Illustrations imply that the song is the Mi Chamocha (“Who Is Like You?”) prayer. Saturated jewel tones echoing the colors of Miriam’s sandals cover the pages; the text itself is one of the few uses of white. Fluid, abstract backgrounds impart emotion, movement, and musicality. Extensive backmatter includes an author’s note, a song (sheet music, lyrics, and a link to listen), a tambourine-making craft, a scene for dramatic play, a summary of the Exodus story, and more information about Miriam’s story and symbols.
A joyfully imaginative take on a key biblical tale. (Picture book. 4-8)Pub Date: March 3, 2026
ISBN: 9781681157276
Page Count: 32
Publisher: Apples & Honey Press
Review Posted Online: March 23, 2026
Kirkus Reviews Issue: April 15, 2026
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
Pass.
The traditions and history of one of Mexico’s most important holidays are introduced in this latest of Eliot’s Celebrate the World series.
From setting up the flower-festooned altars to decorating the calaveras, the preparations depicted involve entire communities over several weeks. Characters in cowboy hats, sombreros, and baseball caps place the final touches on skeletons in full lucha libre regalia or spangled mariachi outfits. However, instead of accurately using Mexico’s name for the holiday, Día de Muertos, Eliot uses the English back-translation, “Día de los Muertos,” as is common in the U.S. even though the story evidently takes place in Mexico. Also, aside from stating that the celebration “is an ancient tradition,” there is no mention of its Indigenous, pre-European/Christian roots nor does the book actively distinguish between Día de Muertos and Halloween. The first-person narration vacillates between child and adult perspectives. “We do all this to celebrate the beauty of life and death rather than mourn it.” Gutierrez’s mixed-media illustrations are convulsive, crowded panes of frenetic activity. Exaggerated facial features border on stereotypical caricatures—snouts and bug eyes abound. Contributing to the crowded page design is the unfortunate choice of board rather than picture-book format. Consequently, the initial perception is that this series is geared toward toddlers, when it is the school-age child who would most benefit from the information in this book.
Pass. (Board book. 4-7)Pub Date: July 24, 2018
ISBN: 978-1-5344-1515-7
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Oct. 15, 2018
Kirkus Reviews Issue: Jan. 1, 2019
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