A champion indeed

READ REVIEW

LET 'ER BUCK!

GEORGE FLETCHER, THE PEOPLE'S CHAMPION

Honing skills first learned from Umatilla, Walla Walla, and Cayuse friends in eastern Oregon, African-American cowboy George Fletcher bucked his way into legend at the 1911 Pendleton Round-Up.

Nelson introduces readers to George as a boy learning his craft on the Umatilla Indian Reservation near Pendleton, where his family settled after moving from Kansas. Racism from the local whites cemented his friendship with the Native kids, and he absorbed their lessons in horsemanship. From the age of 16, he competed in rodeos that didn’t exclude black competitors. Nelson plaits her narrative with Western lingo and homespun similes: “Ranching fit George like made-to-measure boots.” The centerpiece of her narrative is the 1911 Pendleton Round-Up, where 21-year-old George competed against Nez Perce cowboy Jackson Sundown and white rancher John Spain. Here, Nelson puts as much effort into developing their broncs as characters as she does the humans, drawing from meticulous primary-source research to place readers in the moment. Although George mesmerized the audience with his skill, Spain was awarded first place—an act of unfairness recognized by the local sheriff, a decent white man, who spontaneously led a successful effort to anoint George “People’s Champion.” James’ painterly oils swirl with energy, visible daubs creating the dusty, monumental landscape and equally monumental horses and humans. Six pages of backmatter include a glossary, bibliography, further information on Fletcher and other key players, and a fascinating discussion of the research challenges Nelson encountered.

A champion indeed . (Picture book/biography. 6-10)

Pub Date: Feb. 5, 2019

ISBN: 978-1-5124-9808-0

Page Count: 40

Publisher: Carolrhoda

Review Posted Online: Oct. 15, 2018

Kirkus Reviews Issue: Nov. 1, 2018

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A galloping marvel—enlightening and entertaining.

DR. SEUSS'S HORSE MUSEUM

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

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A solid introduction to fascinating artists, some familiar, others less so.

WOMEN ARTISTS A TO Z

Contemporary and historical female artists are showcased for younger readers.

The artists’ names aren’t presented in A-to-Z order. The alphabetical arrangement actually identifies signature motifs (“D is for Dots” for Yayoi Kusama); preferred media (“I is for Ink” for Elizabeth Catlett); or cultural, natural, or personal motives underlying artworks (“N is for Nature” for Maya Lin). Various media are covered, such as painting, box assemblage, collage, photography, pottery, and sculpture. One artist named isn’t an individual but rather the Gee’s Bend Collective, “generations of African American women in Gee’s Bend, Alabama,” renowned for quilting artistry. Each artist and her or their work is introduced on a double-page spread that features succinct descriptions conveying much admiring, easily comprehensible information. Colorful illustrations include graphically simplified representations of the women at work or alongside examples of their art; the spreads provide ample space for readers to understand what the artists produced. Several women were alive when this volume was written; some died in the recent past or last century; two worked several hundred years ago, when female artists were rare. Commendably, the profiled artists are very diverse: African American, Latina, Native American, Asian, white, and multiethnic women are represented; this diversity is reflected in their work, as explained via texts and illustrations.

A solid introduction to fascinating artists, some familiar, others less so. (minibiographies, discussion questions, art suggestions) (Informational picture book. 6-9)

Pub Date: Feb. 11, 2020

ISBN: 978-0-593-10872-7

Page Count: 64

Publisher: Dial Books

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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