Quibbles aside, this will find a receptive audience with trivia buffs, tourists, and residents of all ages.
As with Ben Franklin (2011) and Abe Lincoln (2015), Schroeder and O’Brien employ the alphabet to pair lesser-known tidbits with humorous ink-and-watercolor caricatures to, in this case, present some of the people, places, and politics associated with the nation’s capital.
Although each letter has multiple entries, some are relegated to a half page while others are assigned two. There are interesting choices for “X,” such as the panda Mei Xiang, and the X-1 and X-15 planes in the Air and Space Museum. Humans include Benjamin Banneker, the African-American surveyor of the district’s boundaries, and Glenn Sundby, the white acrobat who descended the Washington Monument steps on his hands. A claw-footed, Capitol-shaped bathtub whimsically highlights 1860 amenities in the dusty building’s basement. Some details are summarized to the point of misleading; for instance, the statement that when black contralto Marian Anderson was barred from singing in Constitution Hall, she “simply changed the venue” is not accurate. (Eleanor Roosevelt and her husband intervened to procure the Lincoln Memorial.) Also, it is not possible to verify the rumor that underground tunnels stretch from the Capitol to the White House, as O’Brien depicts them. Quotes from figures as diverse as Shirley Chisholm, Groucho Marx, and Dan Quayle provide additional perspectives.
Quibbles aside, this will find a receptive audience with trivia buffs, tourists, and residents of all ages. (Informational picture book. 6-12)Pub Date: March 13, 2018
ISBN: 978-0-8234-3678-1
Page Count: 32
Publisher: Holiday House
Review Posted Online: Jan. 12, 2018
Kirkus Reviews Issue: Feb. 1, 2018
A reasonably solid grounding in constitutional rights, their flexibility, lacunae, and hard-won corrections, despite a few...
Shamir offers an investigation of the foundations of freedoms in the United States via its founding documents, as well as movements and individuals who had great impacts on shaping and reshaping those institutions.
The opening pages of this picture book get off to a wobbly start with comments such as “You know that feeling you get…when you see a wide open field that you can run through without worrying about traffic or cars? That’s freedom.” But as the book progresses, Shamir slowly steadies the craft toward that wide-open field of freedom. She notes the many obvious-to-us-now exclusivities that the founding political documents embodied—that the entitled, white, male authors did not extend freedom to enslaved African-Americans, Native Americans, and women—and encourages readers to learn to exercise vigilance and foresight. The gradual inclusion of these left-behind people paints a modestly rosy picture of their circumstances today, and the text seems to give up on explaining how Native Americans continue to be left behind. Still, a vital part of what makes freedom daunting is its constant motion, and that is ably expressed. Numerous boxed tidbits give substance to the bigger political picture. Who were the abolitionists and the suffragists, what were the Montgomery bus boycott and the “Uprising of 20,000”? Faulkner’s artwork conveys settings and emotions quite well, and his drawing of Ruby Bridges is about as darling as it gets. A helpful timeline and bibliography appear as endnotes.
A reasonably solid grounding in constitutional rights, their flexibility, lacunae, and hard-won corrections, despite a few misfires. (Informational picture book. 6-10)Pub Date: May 2, 2017
ISBN: 978-0-399-54728-7
Page Count: 32
Publisher: Philomel
Review Posted Online: March 28, 2017
Kirkus Reviews Issue: April 15, 2017
An incredible connector text for young readers eager to graduate to weighty conversations about our yesterday, our now, and...
Past and present are quilted together in this innovative overview of black Americans’ triumphs and challenges in the United States.
Alexander’s poetry possesses a straightforward, sophisticated, steady rhythm that, paired with Nelson’s detail-oriented oil paintings, carries readers through generations chronicling “the unforgettable,” “the undeniable,” “the unflappable,” and “the righteous marching ones,” alongside “the unspeakable” events that shape the history of black Americans. The illustrator layers images of black creators, martyrs, athletes, and neighbors onto blank white pages, patterns pages with the bodies of slaves stolen and traded, and extends a memorial to victims of police brutality like Sandra Bland and Michael Brown past the very edges of a double-page spread. Each movement of Alexander’s poem is a tribute to the ingenuity and resilience of black people in the U.S., with textual references to the writings of Gwendolyn Brooks, Martin Luther King Jr., Langston Hughes, and Malcolm X dotting stanzas in explicit recognition and grateful admiration. The book ends with a glossary of the figures acknowledged in the book and an afterword by the author that imprints the refrain “Black. Lives. Matter” into the collective soul of readers, encouraging them, like the cranes present throughout the book, to “keep rising.”
An incredible connector text for young readers eager to graduate to weighty conversations about our yesterday, our now, and our tomorrow. (Picture book/poetry. 6-12)Pub Date: April 2, 2019
ISBN: 978-1-328-78096-6
Page Count: 40
Publisher: Versify/HMH
Review Posted Online: Jan. 14, 2019
Kirkus Reviews Issue: Feb. 1, 2019
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