A veneration of Black women’s work and a celebration of survival, determination, and joy.
A Black child reflects on the resilience, vision, and hope of women in this picture book that explores a family’s history.
A Black youngster studies sepia family photographs on a table. The text refers to the “wildest dreams” of the kid’s “Mothers.” On the next page, a Black mother and child in 19th-century clothing hold flowers as they load wood into a cabin’s cast-iron stove. “I am the wish Grandma Hanna made as she labored to make her home safe and warm in the Old Dominion,” the narrator says. “I am Mama Mamie’s desire for her children to always find their way back to each other.” Light tracks multiple lineages of mothers through farming, moves into cities, and family gatherings. Each woman is represented by a flower. The struggles of raising families during slavery, Reconstruction, and Jim Crow are implicit. Wu Wa hopes that her children will pull down “pillars of hate” (a kid points to a Confederate monument). Explanations of historical details are left to adult readers’ discretion and children’s developmental readiness. Rather than focus on hardships, Mikai’s illustrations show seven mothers in moments of communion with their families. Beautiful digital paintings contrast the warm browns of skin, wood, and earth with the bright jewel tones of cloth, flowers, and food. Finally, the child from the first page appears again, thrown into the air by the kid’s own mother in a field of symbolic flowers.
A veneration of Black women’s work and a celebration of survival, determination, and joy.Pub Date: Feb. 2, 2021
ISBN: 978-1-73472-634-3
Page Count: 26
Publisher: They Lived Happily Ever After
Review Posted Online: Feb. 18, 2021
Kirkus Reviews Issue: April 1, 2021
Review Program: Kirkus Indie
BOOK REVIEW
A validating and breathtaking next chapter of a Mother Goose favorite.
Humpty Dumpty, classically portrayed as an egg, recounts what happened after he fell off the wall in Santat’s latest.
An avid ornithophile, Humpty had loved being atop a high wall to be close to the birds, but after his fall and reassembly by the king’s men, high places—even his lofted bed—become intolerable. As he puts it, “There were some parts that couldn’t be healed with bandages and glue.” Although fear bars Humpty from many of his passions, it is the birds he misses the most, and he painstakingly builds (after several papercut-punctuated attempts) a beautiful paper plane to fly among them. But when the plane lands on the very wall Humpty has so doggedly been avoiding, he faces the choice of continuing to follow his fear or to break free of it, which he does, going from cracked egg to powerful flight in a sequence of stunning spreads. Santat applies his considerable talent for intertwining visual and textual, whimsy and gravity to his consideration of trauma and the oft-overlooked importance of self-determined recovery. While this newest addition to Santat’s successes will inevitably (and deservedly) be lauded, younger readers may not notice the de-emphasis of an equally important part of recovery: that it is not compulsory—it is OK not to be OK.
A validating and breathtaking next chapter of a Mother Goose favorite. (Picture book. 4-8)Pub Date: Oct. 3, 2017
ISBN: 978-1-62672-682-6
Page Count: 45
Publisher: Roaring Brook Press
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Give this child’s-eye view of a day at the beach with an attentive father high marks for coziness: “When your ball blows across the sand and into the ocean and starts to drift away, your daddy could say, Didn’t I tell you not to play too close to the waves? But he doesn’t. He wades out into the cold water. And he brings your ball back to the beach and plays roll and catch with you.” Alley depicts a moppet and her relaxed-looking dad (to all appearances a single parent) in informally drawn beach and domestic settings: playing together, snuggling up on the sofa and finally hugging each other goodnight. The third-person voice is a bit distancing, but it makes the togetherness less treacly, and Dad’s mix of love and competence is less insulting, to parents and children both, than Douglas Wood’s What Dads Can’t Do (2000), illus by Doug Cushman. (Picture book. 5-7)
Pub Date: May 23, 2005
ISBN: 0-618-00361-4
Page Count: 32
Publisher: Clarion Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2005
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