Less rhapsody than lost opportunity. Let this one bite the dust or risk going stone-cold crazy.
An illustrated exploration of the iconic British rockers.
In a tongue-in-cheek “Recipe for Queen,” this picture book describes its subject as “an intense, sophisticated dish with surprising ingredients.” Despite an equally startling formula, Romero Mariño’s account will leave readers who want it all from their band biographies yearning to break free. Though the narrative follows a roughly chronological sequence, it can’t seem to decide whether it’s focused on Freddie Mercury, who dominates its pages, or the entire band. An opening spread sharing key dates from Mercury’s life gives way to a timeline of the band’s career, then careens into a full 10 pages solely devoted to the legendary frontman. (Excepting the ethnically Parsi Mercury, all band members are white.) Brief profiles of each band member separate a section conveying their origin story from a capsule history of their early years. The text—an uncredited Google Translate–esque interpretation of a Spanish-language original—stumbles along, rife with passive voice, strange syntax, and awkward phrasing. Imagined scenes depicting key moments in Queen’s history suffer from stilted dialogue while pull quotes seem more filler than enticing highlight. The book concludes with the radio debut of “Bohemian Rhapsody,” but images ostensibly intended as appendices drag this chronicle beyond its obvious terminus. Despite it all, Castelló’s whimsical illustrations shine, offering die-hard fans a reason to keep themselves alive.
Less rhapsody than lost opportunity. Let this one bite the dust or risk going stone-cold crazy. (Informational picture book. 6-10)Pub Date: Aug. 1, 2020
ISBN: 978-1-7282-1091-9
Page Count: 64
Publisher: Sourcebooks eXplore
Review Posted Online: May 2, 2020
Kirkus Reviews Issue: May 15, 2020
BOOK REVIEW
BOOK REVIEW
Blandly laudatory.
The iconic animator introduces young readers to each “happy place” in his life.
The tally begins with his childhood home in Marceline, Missouri, and climaxes with Disneyland (carefully designed to be “the happiest place on Earth”), but the account really centers on finding his true happy place, not on a map but in drawing. In sketching out his early flubs and later rocket to the top, the fictive narrator gives Ub Iwerks and other Disney studio workers a nod (leaving his labor disputes with them unmentioned) and squeezes in quick references to his animated films, from Steamboat Willie to Winnie the Pooh (sans Fantasia and Song of the South). Eliopoulos incorporates stills from the films into his cartoon illustrations and, characteristically for this series, depicts Disney as a caricature, trademark mustache in place on outsized head even in childhood years and child sized even as an adult. Human figures default to white, with occasional people of color in crowd scenes and (ahistorically) in the animation studio. One unidentified animator builds up the role-modeling with an observation that Walt and Mickey were really the same (“Both fearless; both resourceful”). An assertion toward the end—“So when do you stop being a child? When you stop dreaming”—muddles the overall follow-your-bliss message. A timeline to the EPCOT Center’s 1982 opening offers photos of the man with select associates, rodent and otherwise. An additional series entry, I Am Marie Curie, publishes simultaneously, featuring a gowned, toddler-sized version of the groundbreaking physicist accepting her two Nobel prizes.
Blandly laudatory. (bibliography) (Picture book/biography. 6-8)Pub Date: Sept. 10, 2019
ISBN: 978-0-7352-2875-7
Page Count: 40
Publisher: Dial Books
Review Posted Online: Aug. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
A pivotal moment in a child’s life, at once stirring and authentically personal.
Before growing up to become a major figure in the civil rights movement, a boy finds a role model.
Buffing up a childhood tale told by her renowned father, Young Shelton describes how young Andrew saw scary men marching in his New Orleans neighborhood (“It sounded like they were yelling ‘Hi, Hitler!’ ”). In response to his questions, his father took him to see a newsreel of Jesse Owens (“a runner who looked like me”) triumphing in the 1936 Olympics. “Racism is a sickness,” his father tells him. “We’ve got to help folks like that.” How? “Well, you can start by just being the best person you can be,” his father replies. “It’s what you do that counts.” In James’ hazy chalk pastels, Andrew joins racially diverse playmates (including a White child with an Irish accent proudly displaying the nickel he got from his aunt as a bribe to stop playing with “those Colored boys”) in tag and other games, playing catch with his dad, sitting in the midst of a cheering crowd in the local theater’s segregated balcony, and finally visualizing himself pelting down a track alongside his new hero—“head up, back straight, eyes focused,” as a thematically repeated line has it, on the finish line. An afterword by Young Shelton explains that she retold this story, told to her many times growing up, drawing from conversations with Young and from her own research; family photos are also included. (This book was reviewed digitally.)
A pivotal moment in a child’s life, at once stirring and authentically personal. (illustrator’s note) (Autobiographical picture book. 7-9)Pub Date: Aug. 2, 2022
ISBN: 978-0-545-55465-7
Page Count: 40
Publisher: Scholastic
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
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