A powerful union of text and image transmutes itself into a work of art—and it explains what the blues is, besides. Walter Dean Myers takes fragments of blues songs and creates an arc of poetry with them. His son, Christopher, using only brown paper, blue ink, and white paint, creates a visual counterpoint to the words that sometimes reflects them and other times goes to a different but related place. In his one-page introduction, the elder Myers describes the blues as coming from the encounter between the five-tone scale and the call-and-response singing of African music, and the American idiom. This volume comes as close as you can in print to reproducing the feeling of the blues, even as Chris Raschka did for Bird in Charlie Parker Played Be Bop (1992), and does it in a way that small children can grasp. “Hollered to my woman, / she was across the way” shows a boy and his grandmother hovering over an open book; “Misery loves company, / blues can live alone” shows two boys sitting on a curb, one turns from the other. “If you see a dollar, tell it my full name” faces a portrait of a young man against a wrought iron fence. He holds his shoe up to his face and looks steadily through the hole in its sole to gaze at the viewer. Myers fils wields his limited palette in extraordinary ways: figures are blue and blue-black and brown, they have a sculptural presence against dark or light backgrounds, and their postures respond strongly to the words. “Blues, what you mean to me? / Are you my pain and misery, / or my sweet, sweet company?” Children will see both replies in the pictures and in the sweet dark rhythm of the words. (Picture book. 6-11)
Pub Date: March 15, 2003
ISBN: 0-8234-1613-5
Page Count: 48
Publisher: Holiday House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2003
Broad and subtle in turn—verse to stay with readers for years to come.
A tasty mix of visionary and nonsense verses, lavishly illustrated by a recent Caldecott Medalist.
Systematically gathered into seven loosely thematic groups, the poems, likewise tidy of rhyme and scansion, range from meditations on “Zero” and the many colors of the sky to silly wordplay (“What kind of pizza / do you like to eatsa?”) and a droll paean to pasta that rhymes spaghetti with yeti. The notion of flying away almost serves as a running theme; in various entries, a piñata, a child on “Jetpack Sneakers,” a breaching whale, and, for a moment, a boy waking to a sparrow’s song take off into the sky. Salati depicts a menagerie of creatures both real and imaginary that share space with a rich and racially diverse assortment of small figures who often resemble Maurice Sendak’s Nutshell Library outtakes for their large-headed, stubby-limbed looks and balletic poses. The entries are lighthearted overall; several read like nursery rhymes. Burgess displays a keen intuition for what will get kids laughing—and what will make them think. One poem, perhaps a reference to current politics, invites them to “leave the shouters with their schemes / while we continue with our dreams,” while another urges them to “live your dream / Reign supreme / King or queen / or something / delightfully / in between.”
Broad and subtle in turn—verse to stay with readers for years to come. (index) (Poetry. 7-11)Pub Date: March 18, 2025
ISBN: 9781774880289
Page Count: 128
Publisher: Tundra Books
Review Posted Online: Dec. 14, 2024
Kirkus Reviews Issue: Jan. 15, 2025
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
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