Graphite wizardry notwithstanding, a showcase or keepsake with more personal than general meaning.

THE CURIOSITY CABINET

In a series of atmospheric tableaux, the distinguished Canadian author/illustrator portrays mementos and images from visits to each province and territory over his long career.

U.S. and perhaps even Canadian children are going to need the descriptive notes he tacks on at the end, because without labels, the folk dolls, hand-carved animals, and other small items on display have no context beyond an occasional place name. (This lack really comes home to roost with the Yukon spread’s ordinary-looking tobacco tin—which contains, Wallace assures us, the “infamous ingredient” in a “sourtoe cocktail.”) Signaling that the “cabinet” is at least partly imaginary, shelves turn into landscapes or assemblages of images as the survey progresses, and Wallace caps his notes with a self-portrait that makes the notion explicit. Finally, though the results are technically masterful, pencil may not have been the best choice for the art, as a silhouette representing the author’s well-traveled red sneakers and a red Chinese money envelope are both monochrome, and he makes much of a fan letter decorated with a rainbow that, here, is just a set of barely distinguishable gray stripes.

Graphite wizardry notwithstanding, a showcase or keepsake with more personal than general meaning. (introduction) (Picture book. 6-8)

Pub Date: Sept. 5, 2017

ISBN: 978-1-55498-922-5

Page Count: 36

Publisher: Groundwood

Review Posted Online: June 27, 2017

Kirkus Reviews Issue: July 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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It’s not the most dramatic version, but it’s a visually effective and serviceable addition to the rapidly growing shelf of...

THE FIRST MEN WHO WENT TO THE MOON

A 50th-anniversary commemoration of the epochal Apollo 11 mission.

Modeling her account on “The House That Jack Built” (an unspoken, appropriate nod to President John F. Kennedy’s foundational role in the enterprise), Greene takes Armstrong, Aldrin, and Collins from liftoff to post-splashdown ticker-tape parade. Side notes on some spreads and two pages of further facts with photographs at the end, all in smaller type, fill in select details about the mission and its historical context. The rhymed lines are fully cumulated only once, so there is some repetition but never enough to grow monotonous: “This is the Moon, a mysterious place, / a desolate land in the darkness of space, / far from Earth with oceans blue.” Also, the presentation of the text in just three or fewer lines per spread stretches out the narrative and gives Brundage latitude for both formal and informal group portraits of Apollo 11’s all-white crew, multiple glimpses of our planet and the moon at various heights, and, near the end, atmospheric (so to speak) views of the abandoned lander and boot prints in the lunar dust.

It’s not the most dramatic version, but it’s a visually effective and serviceable addition to the rapidly growing shelf of tributes to our space program’s high-water mark. (Informational picture book. 6-8)

Pub Date: March 15, 2019

ISBN: 978-1-58536-412-1

Page Count: 32

Publisher: Sleeping Bear Press

Review Posted Online: Jan. 15, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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