A loving homage to a charismatic baseball hero.

YOGI

THE LIFE, LOVES, AND LANGUAGE OF BASEBALL LEGEND YOGI BERRA

Lawrence Peter Berra did not resemble a baseball player in any way.

He was a funny-looking, squat-bodied kid from a poor Italian neighborhood in St. Louis, where his baseball team had to improvise with borrowed or jury-rigged equipment. He would often sit with legs and arms crossed, studying the nuances of the game, a posture that earned him the nickname he would have for the rest of his life. From the beginning of his career as a New York Yankee, he was a great hitter, and he gradually became a great catcher, always willing to learn from coaches and mentors. Initially he endured a barrage of hurtful insults from the press and his teammates about his appearance, but his delightful personality, his unique way with words, and, of course, the fact that he was a large reason for the Yankees’ many championships soon made him beloved by all. Rosenstock covers all the bases, focusing on Yogi’s great love of baseball, his determination to succeed, and, most of all, his longing for baseball to love him back. His perplexing, witty, and wise “Yogi-isms” are incorporated in the text as well as appearing in large, hand-lettered blurbs within the illustrations. Widener’s colorful, muscular acrylic cartoons are not lifelike portraits of Berra but beautifully capture his essence.

A loving homage to a charismatic baseball hero. (author’s note, photographs, statistics, quotes, sources) (Picture book/biography. 6-10)

Pub Date: Feb. 5, 2019

ISBN: 978-1-62979-824-0

Page Count: 48

Publisher: Calkins Creek/Boyds Mills

Review Posted Online: Dec. 16, 2018

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A reasonably solid grounding in constitutional rights, their flexibility, lacunae, and hard-won corrections, despite a few...

WHAT'S THE BIG DEAL ABOUT FREEDOM

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 29, 2017

Kirkus Reviews Issue: April 15, 2017

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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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