Newman recounts the childhood of renowned Israeli American violinist and polio survivor Itzhak Perlman.
In his family’s tiny Tel Aviv apartment, the “graceful classical symphonies” and “lively klezmer folk tunes” pouring from the radio enchanted Itzhak; at 3, he begged for a violin. But at 4, polio left him paralyzed. Though “other four-year-olds might have given up,” a “steady melody played inside Itzhak,” spurring him to relearn everyday tasks. But his legs remained paralyzed, requiring him to walk with forearm crutches and play his violin seated. Undaunted, he made the “extraordinary choice” of being neither sad nor angry; barriers, such as stairs, were “ordinary things Itzhak just had to get used to.” After joining Israeli orchestras at 6 and playing solos at 10, he performed on The Ed Sullivan Show in New York at 13 despite knowing little English. The upbeat text, interspersed with quotes from the adult Perlman, amplifies his resilience and passion. But Halpin’s vibrant illustrations take center stage. Bars of Bach and Mendelssohn adorn the pages, bursts of red, yellow, blue, and green reflecting the musical “rainbow” in Itzhak’s mind; tender facial expressions convey Itzhak’s passion and his family’s love. An author’s note mentions Perlman’s advocacy for people with disabilities (jarringly and anachronistically referred to as “the handicapped” and “wheelchair-bound”); a timeline charts Perlman’s extensive career. Most characters, including Itzhak, present white.
An eye-catching tale of music and perseverance. (illustrator’s note, notes, links, bibliography) (Picture book/biography. 6-10)Pub Date: May 12, 2020
ISBN: 978-1-4197-4110-4
Page Count: 40
Publisher: Abrams
Review Posted Online: Feb. 26, 2020
Kirkus Reviews Issue: March 15, 2020
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BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A succinct introduction to art history via a Seussian museum of equine art.
This posthumously published text recently discovered in Ted Geisel’s studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner’s playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss’ legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript’s history and Seuss’ artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat’s antecedents in minstrelsy and Seuss’ other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.
A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)Pub Date: Sept. 3, 2019
ISBN: 978-0-399-55912-9
Page Count: 80
Publisher: Random House
Review Posted Online: June 10, 2019
Kirkus Reviews Issue: July 1, 2019
Categories: CHILDREN'S BIOGRAPHY & MEMOIR
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BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
This biography of the “father of Black History,” Dr. Carter G. Woodson, highlights experiences that shaped his passion.
Carter was born after the Civil War, but his parents had been slaves, and he grew up hearing the stories of their lives. With six siblings, Carter experienced lean times as a boy. Carter’s father, who couldn’t read or write, had Carter read the newspaper aloud. As a teenager, Carter had to work to help his family. In the coal mines, he met Oliver Jones, a Civil War veteran who opened his small home to the other men as a reading room. There, Carter once again took on the role of reader, informing Oliver and his friends of what was in the paper—and then researching to tell them more. After three years in the mines, he moved home to continue his education, eventually earning a Ph.D. from Harvard, where a professor challenged him to prove that his people had a history. In 1926 he established Negro History Week, which later became Black History Month. Hopkinson skillfully shapes Carter’s childhood, family history, and formative experiences into a cohesive story. The soft curves and natural palette of Tate’s illustrations render potentially scary episodes manageable for young readers, and portraits of historical figures offer an opening to further discovery. The incorporation of newsprint into many page backgrounds artfully echoes the title, and the inclusion of notable figures from black history reinforces the theme (a key is in the backmatter).
An important and inspiring tale well told. (author’s note, illustrator’s note, resources, bibliography) (Picture book/biography. 6-10)Pub Date: Feb. 1, 2019
ISBN: 978-1-56145-934-6
Page Count: 36
Publisher: Peachtree
Review Posted Online: Sept. 30, 2018
Kirkus Reviews Issue: Nov. 1, 2018
Categories: CHILDREN'S BIOGRAPHY & MEMOIR
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