An eminently enjoyable biography, not just for hockey fans, but for all who love stories of pioneering women.

BREAKING THE ICE

THE TRUE STORY OF THE FIRST WOMAN TO PLAY IN THE NATIONAL HOCKEY LEAGUE

Manon Rhéaume breaks the ice and the glass ceiling in this new biography of one of hockey’s trailblazing women.

Though women have been playing hockey for almost as long as the sport has been in existence, for Manon and other girls growing up in the 1970s and ’80s, playing with the boys was practically unheard of. As a young player Manon got her break because the team needed a goalie, and since her brothers always made her play goal at home, she was eager to volunteer. She thrived in the position, becoming the first female to play in the Quebec International Pee-Wee Hockey Tournament, the first female to play a game in the Quebec Major Junior Hockey League, and ultimately the first female to play in an NHL game, for the Tampa Bay Lightning in 1992. Along the way Rhéaume also earned championships and Olympic medals with the Canadian National Women’s Hockey Team. Bullaro keeps the pace in this highlight reel of a biography. Payne’s illustrations, despite some anachronistic depictions of modern equipment, truly capture the velocity and scale of hockey and Manon’s unique position in it. With the exception of a couple of journalists of color, the White French Canadian woman is surrounded by White players and fans. Rhéaume herself contributes an afterword. (This book was reviewed digitally with 11-by-17-inch double-page spreads viewed at 20.7% of actual size.)

An eminently enjoyable biography, not just for hockey fans, but for all who love stories of pioneering women. (timeline, additional facts) (Picture book/biography. 6-10)

Pub Date: Sept. 22, 2020

ISBN: 978-1-5344-2557-6

Page Count: 40

Publisher: Paula Wiseman/Simon & Schuster

Review Posted Online: Sept. 1, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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Blandly laudatory.

I AM WALT DISNEY

From the Ordinary People Change the World series

The iconic animator introduces young readers to each “happy place” in his life.

The tally begins with his childhood home in Marceline, Missouri, and climaxes with Disneyland (carefully designed to be “the happiest place on Earth”), but the account really centers on finding his true happy place, not on a map but in drawing. In sketching out his early flubs and later rocket to the top, the fictive narrator gives Ub Iwerks and other Disney studio workers a nod (leaving his labor disputes with them unmentioned) and squeezes in quick references to his animated films, from Steamboat Willie to Winnie the Pooh (sans Fantasia and Song of the South). Eliopoulos incorporates stills from the films into his cartoon illustrations and, characteristically for this series, depicts Disney as a caricature, trademark mustache in place on outsized head even in childhood years and child sized even as an adult. Human figures default to white, with occasional people of color in crowd scenes and (ahistorically) in the animation studio. One unidentified animator builds up the role-modeling with an observation that Walt and Mickey were really the same (“Both fearless; both resourceful”). An assertion toward the end—“So when do you stop being a child? When you stop dreaming”—muddles the overall follow-your-bliss message. A timeline to the EPCOT Center’s 1982 opening offers photos of the man with select associates, rodent and otherwise. An additional series entry, I Am Marie Curie, publishes simultaneously, featuring a gowned, toddler-sized version of the groundbreaking physicist accepting her two Nobel prizes.

Blandly laudatory. (bibliography) (Picture book/biography. 6-8)

Pub Date: Sept. 10, 2019

ISBN: 978-0-7352-2875-7

Page Count: 40

Publisher: Dial Books

Review Posted Online: Aug. 18, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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A visually striking, compelling recollection.

FROM THE TOPS OF THE TREES

The author recounts a formative childhood experience that continues to inspire her today.

Born to Hmong refugees, Kalia has only ever known the confines of the Ban Vinai refugee camp in Thailand. Even while playing with her cousins, reminders of the hardships of their life are always present. She overhears the aunties sharing their uncertainty and fear of the future. They are a people with no home country and are still trying to find peace. Kalia asks her father why they live behind a gate and wonders what lies beyond the fences that surround the camp. The next day they climb a tall tree, and he shows her the vast expanse around them, from familiar camp landmarks to distant mountains “where the sky meets earth.” This story of resilience and generational hope is told in an expressive, straightforward narrative style. The simplicity of the text adds a level of poignancy that moves readers to reflection. The layered and heavily textured illustrations complement the text while highlighting the humanity of the refugees and providing a quiet dignity to camp life. The militarylike color palette of olive greens, golden yellows, and rich browns reinforces the guarded atmosphere but also represents the transitional period from winter to spring, a time ripe with anticipation and promise.

A visually striking, compelling recollection. (author's note, glossary, map.) (Picture book/memoir. 5-9)

Pub Date: Oct. 5, 2021

ISBN: 978-1-5415-8130-2

Page Count: 32

Publisher: Carolrhoda

Review Posted Online: June 29, 2021

Kirkus Reviews Issue: July 15, 2021

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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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