Pair with Nelson’s Gift Horse (1999) for a broad vision of Plains Indian childhood.

BUFFALO BIRD GIRL

A HIDATSA STORY

A noted Native American artist interprets the early life of Buffalo Bird Woman, Waheenee-wea, one of the last of the Hidatsa to live according to old traditions.

Using material from his subject’s own reminiscences, published by an anthropologist in the early 20th century, Lakota painter and biographer Nelson describes Buffalo Bird’s village childhood. Each section begins with a quote from her own story. Born around 1840, “three years after the smallpox winter,” the girl grew up in Like-a-Fishhook Village high over the Missouri River in what is now North Dakota. There, for nine months of each year, she lived with her family in an earth-mound lodge. She describes helping her aunts and grandmother with traditional household and garden tasks, visiting a trading center, playing with other children and her dog, and a Lakota attack. During winter’s worst weather, villagers retreated to temporary lodges in the woodlands, where they ate stored food. The extraordinary illustration of this handsome volume begins with the endpaper maps and features acrylic paintings of the Hidatsa world reminiscent of traditional Plains Indian art. Pencil drawings and relevant, carefully labeled photographs round out the exquisite design. All the artwork both supports and adds to the text. An extensive author’s note and timeline supplement this beautiful tribute.

Pair with Nelson’s Gift Horse (1999) for a broad vision of Plains Indian childhood. (notes, bibliography, index) (Informational picture book. 7-12)

Pub Date: Oct. 1, 2012

ISBN: 978-1-4197-0355-3

Page Count: 56

Publisher: Abrams

Review Posted Online: Aug. 22, 2012

Kirkus Reviews Issue: Sept. 15, 2012

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Involving from "the end of my lovely world" to the end of exile (when the Rudomins, as Jews, were jeered in Poland), this is...

THE ENDLESS STEPPE

GROWING UP IN SIBERIA

To Esther Rudomin at eleven Siberia meant the metaphor: isolation, criminals and cruel punishment, snow and wolves; but even in Siberia there is satisfaction from making a friend of a prickly classmate, from seeing a Deanna Durbin movie four times, from earning and studying and eventually belonging.

Especially in Siberia, where not wolves but hunger and dirt and cold are endemic, where shabbiness and overcrowding are taken for granted, where unselfishness is exceptional. At the heart of Mrs. Hautzig's memoir of four years as a Polish deportee in Russia during World War II is not only hardihood and adaptability but uniquely a girl like any other. Abruptly seized in their comfortable home in Vilna, Esther and her family, are shipped in cattle cars to Rubtsovsk in the Altai Territory, work as slave laborers in a gypsum mine until amnesty, then are "permitted" lobs and lodging in the village--if someone will take them in. After sleeping on the floor, a wooden platform is very welcome; after sharing a room with two other families, a separate dung hut seems a homestead. Then Esther goes to school, the greatest boon, and, to her mother's horror, wants to be like the Siberians....Deprivation does not make Esther grim: the saddest day of her life is her father's departure for a labor brigade at the front, her sharpest bitterness is for the bland viciousness of individuals.

Involving from "the end of my lovely world" to the end of exile (when the Rudomins, as Jews, were jeered in Poland), this is a beautiful book with no bar to wide acceptance (and a rich non-juvenile jacket by Nonny Hogrogian). (Memoir. 8-12)

Pub Date: April 15, 1968

ISBN: 978-0-06-447027-8

Page Count: 256

Publisher: T.Y. Crowell

Review Posted Online: Sept. 30, 2020

Kirkus Reviews Issue: April 1, 1968

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The car gets shortchanged, but comparing the divergent career paths of its (putative) two riders may give readers food for...

TWO MEN AND A CAR

FRANKLIN ROOSEVELT, AL CAPONE, AND A CADILLAC V-8

A custom-built, bulletproof limo links two historical figures who were pre-eminent in more or less different spheres.

Garland admits that a claim that FDR was driven to Congress to deliver his “Day of Infamy” speech in a car that once belonged to Capone rests on shaky evidence. He nonetheless uses the anecdote as a launchpad for twin portraits of contemporaries who occupy unique niches in this country’s history but had little in common. Both were smart, ambitious New Yorkers and were young when their fathers died, but they definitely “headed in opposite directions.” As he fills his biographical sketches with standard-issue facts and has disappointingly little to say about the car itself (which was commissioned by Capone in 1928 and still survives), this outing seems largely intended to be a vehicle for the dark, heavy illustrations. These are done in muted hues with densely scratched surfaces and angled so that the two men, the period backgrounds against which they are posed, and the car have monumental looks. It’s a reach to bill this, as the author does, a “story about America,” but it does at least offer a study in contrasts featuring two of America’s most renowned citizens. Most of the human figures are white in the art, but some group scenes include a few with darker skin.

The car gets shortchanged, but comparing the divergent career paths of its (putative) two riders may give readers food for thought. (timeline, bibliography) (Picture book/biography. 10-12)

Pub Date: March 12, 2019

ISBN: 978-0-88448-620-6

Page Count: 64

Publisher: Tilbury House

Review Posted Online: Jan. 15, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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