Readers will be inspired by one man’s guiding ethic: forward ever, backward never.



This solid, though somewhat didactic, biography rescues an influential civil rights activist from relative obscurity.

Growing up in the Jim Crow South, Alton Yates witnessed the indignities suffered by Black war veterans due to racism. Still, young Alton longed to join the Air Force and advance his education, so he enlisted in 1955. At Holloman Air Force Base in New Mexico, he met Paul Stapp, a White lieutenant colonel known as the “Fastest Human on Earth” because of record-breaking speed tests he’d endured. Dr. Stapp was conducting pioneering studies examining human tolerance to extreme acceleration and deceleration and was recruiting research volunteers. Alton stepped up immediately. For four years, he submitted himself to physically punishing experiments, risking his life in the name of scientific progress, until his father’s illness drew him away from military service. Upon returning home to Jacksonville, Florida, Alton, emboldened by the respect and dignity he had been afforded at Holloman, committed himself to the battle for racial justice. The story relates his involvement in Jacksonville’s NAACP Youth Council and the dangers he encountered while participating in civil rights protests en route to its soberly triumphal ending summarizing Yates’ legacy. The digitally rendered illustrations are historically accurate but somewhat unoriginal and depict White characters and Black characters of various skin tones. The backmatter, including the author’s photograph with Alton Yates, is informative. (This book was reviewed digitally.)

Readers will be inspired by one man’s guiding ethic: forward ever, backward never. (timeline, author's note, illustrator's note, selected sources) (Picture book biography. 6-9)

Pub Date: Jan. 11, 2022

ISBN: 978-1-5344-7365-2

Page Count: 48

Publisher: Beach Lane/Simon & Schuster

Review Posted Online: Nov. 16, 2021

Kirkus Reviews Issue: Dec. 1, 2021

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Blandly laudatory.


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 solid introduction to fascinating artists, some familiar, others less so.


Contemporary and historical female artists are showcased for younger readers.

The artists’ names aren’t presented in A-to-Z order. The alphabetical arrangement actually identifies signature motifs (“D is for Dots” for Yayoi Kusama); preferred media (“I is for Ink” for Elizabeth Catlett); or cultural, natural, or personal motives underlying artworks (“N is for Nature” for Maya Lin). Various media are covered, such as painting, box assemblage, collage, photography, pottery, and sculpture. One artist named isn’t an individual but rather the Gee’s Bend Collective, “generations of African American women in Gee’s Bend, Alabama,” renowned for quilting artistry. Each artist and her or their work is introduced on a double-page spread that features succinct descriptions conveying much admiring, easily comprehensible information. Colorful illustrations include graphically simplified representations of the women at work or alongside examples of their art; the spreads provide ample space for readers to understand what the artists produced. Several women were alive when this volume was written; some died in the recent past or last century; two worked several hundred years ago, when female artists were rare. Commendably, the profiled artists are very diverse: African American, Latina, Native American, Asian, white, and multiethnic women are represented; this diversity is reflected in their work, as explained via texts and illustrations.

A solid introduction to fascinating artists, some familiar, others less so. (minibiographies, discussion questions, art suggestions) (Informational picture book. 6-9)

Pub Date: Feb. 11, 2020

ISBN: 978-0-593-10872-7

Page Count: 64

Publisher: Dial Books

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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