INDEPENDENT DAMES

WHAT YOU NEVER KNEW ABOUT THE WOMEN AND GIRLS OF THE AMERICAN REVOLUTION

A jam-packed, busy presentation overwhelms this otherwise fresh exploration of women’s contributions to the War of Independence. Anderson sure has done her homework, digging out names and particulars of a dizzying number of strong women from the expected—Phillis Wheatley, Abigail Adams—to the lesser known—Sally St. Clair, Tyonajanegen—working to ensure occupational and ethnic diversity throughout. Each double-page spread features a text box that carries the main thematic narrative forward, thumbnails of relevant women in oval insets, a timeline in an impossibly teeny-tiny font and Faulkner’s loose, energetic cartoons, which are punctuated by often jarringly modern speech-bubbles. Such statements as “I’ll have to see some I.D., mon général,” and “Hey Paul, her horse looks faster than yours” clearly aim for collegiality but will likely strike young readers as patronizing. Lengthy backmatter presents still more worthwhile and enthusiastic information, but in so dense and small a font that it forbids rather than invites examination. Trimmed down, this would have been a marvelous alternative to the Dead White Men version of history—but not as is. (Informational picture book. 6-10)

Pub Date: June 3, 2008

ISBN: 978-0-689-85808-6

Page Count: 40

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 2008

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A picture book worth reading about a historical figure worth remembering.

THE AMAZING AGE OF JOHN ROY LYNCH

An honestly told biography of an important politician whose name every American should know.

Published while the United States has its first African-American president, this story of John Roy Lynch, the first African-American speaker of the Mississippi House of Representatives, lays bare the long and arduous path black Americans have walked to obtain equality. The title’s first three words—“The Amazing Age”—emphasize how many more freedoms African-Americans had during Reconstruction than for decades afterward. Barton and Tate do not shy away from honest depictions of slavery, floggings, the Ku Klux Klan, Jim Crow laws, or the various means of intimidation that whites employed to prevent blacks from voting and living lives equal to those of whites. Like President Barack Obama, Lynch was of biracial descent; born to an enslaved mother and an Irish father, he did not know hard labor until his slave mistress asked him a question that he answered honestly. Freed by the Emancipation Proclamation, Lynch had a long and varied career that points to his resilience and perseverance. Tate’s bright watercolor illustrations often belie the harshness of what takes place within them; though this sometimes creates a visual conflict, it may also make the book more palatable for young readers unaware of the violence African-Americans have suffered than fully graphic images would. A historical note, timeline, author’s and illustrator’s notes, bibliography and map are appended.

A picture book worth reading about a historical figure worth remembering. (Picture book biography. 7-10)

Pub Date: April 1, 2015

ISBN: 978-0-8028-5379-0

Page Count: 50

Publisher: Eerdmans

Review Posted Online: Feb. 3, 2015

Kirkus Reviews Issue: Feb. 15, 2015

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VISITING LANGSTON

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 20, 2010

Kirkus Reviews Issue: Feb. 1, 2002

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