ANDY WARHOL

POP ART PAINTER

A Mondrian-like design provides a pleasing backdrop for this lavishly illustrated biography. Primary sources—many obtained from interviews conducted by the author—augment the flow of the account, which concentrates on Warhol’s development and career as a painter. Rubin’s compact narrative moves easily from biography to art history, explaining both the context of his work and his technique, drawing comparisons between his methodology and the workshops of the Renaissance. Although Warhol clearly comes across as a bizarre character—a picture of the silver-and-tinfoil Factory features the artist lounging on a couch with a toy car on the floor—his sexuality receives no mention, and his “offbeat underground” filmmaking and the attempt on his life appear only in the narrative timeline that follows the body of the text. It’s a pleasingly respectful treatment for younger readers that will help to prepare them for Jan Greenberg and Sandra Jordan’s Andy Warhol: Prince of Pop (2004) a few years down the line. A glossary, notes, references, illustration credits, author’s note and a list of museums where Warhol’s work can be found round out the book. (Biography. 9-12)

Pub Date: Nov. 1, 2006

ISBN: 0-8109-5477-X

Page Count: 48

Publisher: Abrams

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Oct. 15, 2006

Did you like this book?

No Comments Yet

A mighty portrait of poverty amid cruelty and optimism.

FREE LUNCH

Recounting his childhood experiences in sixth grade, Ogle’s memoir chronicles the punishing consequences of poverty and violence on himself and his family.

The start of middle school brings about unwanted changes in young Rex’s life. His old friendships devolve as his school friends join the football team and slowly edge him out. His new English teacher discriminates against him due to his dark skin (Rex is biracial, with a white absentee dad and a Mexican mom) and secondhand clothes, both too large and too small. Seemingly worse, his mom enrolls him in the school’s free-lunch program, much to his embarrassment. “Now everyone knows I’m nothing but trailer trash.” His painful home life proffers little sanctuary thanks to his mom, who swings from occasional caregiver to violent tyrant at the slightest provocation, and his white stepdad, an abusive racist whose aggression outrivals that of Rex’s mom. Balancing the persistent flashes of brutality, Ogle magnificently includes sprouts of hope, whether it’s the beginnings of a friendship with a “weird” schoolmate, joyful moments with his younger brother, or lessons of perseverance from Abuela. These slivers of relative levity counteract the toxic relationship between young Rex, a boy prone to heated outbursts and suppressed feelings, and his mother, a fully three-dimensional character who’s viciously thrashing against the burden of poverty. It’s a fine balance carried by the author’s outstanding, gracious writing and a clear eye for the penetrating truth.

A mighty portrait of poverty amid cruelty and optimism. (author’s note, author Q&A, discussion guide, writing guide, resources) (Memoir. 9-12)

Pub Date: Sept. 10, 2019

ISBN: 978-1-324-00360-1

Page Count: 208

Publisher: Norton Young Readers

Review Posted Online: June 16, 2019

Kirkus Reviews Issue: July 1, 2019

Did you like this book?

No Comments Yet

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

Did you like this book?

No Comments Yet
more