In this collection, a wide variety of mostly everyday items are described in terms of their motion. Cereal, scissors, and rubber bands, as well as carousels, waterfalls, and helicopters are examined and described visually and aurally. The reader is presented with vivid visual images, but it is the sounds that the objects make as they move that give life to the poems. The wind chimes are “tin ballerinas on a tangle of string,” but they are also “sweet voices of chattering ghosts.” Ice cubes plop and make a “crackling, clinking chime” as we “watch them bounce and belly flop.” Most of the poems are on a single illustrated page and there are a few double-page spreads. Dugan selects just the right perspective to spotlight each subject’s motion. Colors are bright without being garish and there’s a sense of joy throughout. A different way of viewing the world around us. (Poetry. 6-10)
Pub Date: March 1, 2003
ISBN: 1-56397-145-3
Page Count: 32
Publisher: Boyds Mills
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2003
A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)
Pub Date: Feb. 1, 2001
ISBN: 0-8050-6744-2
Page Count: 32
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2002
BOOK REVIEW
With an eye toward easy memorization, Katz gathers over 50 short poems from the likes of Emily Dickinson, Valerie Worth, Jack Prelutsky, and Lewis Carroll, to such anonymous gems as “The Burp”—“Pardon me for being rude. / It was not me, it was my food. / It got so lonely down below, / it just popped up to say hello.” Katz includes five of her own verses, and promotes an evident newcomer, Emily George, with four entries. Hafner surrounds every selection with fine-lined cartoons, mostly of animals and children engaged in play, reading, or other familiar activities. Amid the ranks of similar collections, this shiny-faced newcomer may not stand out—but neither will it drift to the bottom of the class. (Picture book/poetry. 7-9)
Pub Date: March 1, 2004
ISBN: 0-525-47172-3
Page Count: 32
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2004
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