Gives readers excellent reasons to remember this pioneering woman politician.

MARGARET CHASE SMITH

From the She Persisted series

One of the least-known members of the original She Persisted pantheon gets her due.

Margaret Chase was born in the mostly White mill town of Skowhegan, Maine, in 1897. From girlhood, she was a hard worker, first in the home (she was the oldest of six) and then in the community. A job as a telephone operator cultivated what would much later be called networking skills, and thanks to her work ethic and confident independence, she became a leader among professional women both local and statewide and won election to the town council twice. In 1930, she married local politician Clyde Smith, masterfully running his successful campaign for Congress. When he died, she ran for—and won—his seat, serving in Congress for several terms before winning election to the Senate. It was there, as a freshman Republican senator, that she faced down Joseph McCarthy and his enablers with her “Declaration of Conscience” speech. Though Shamir neglects to name the speech, she provides a cogent, age-appropriate summary of McCarthyism as well as giving her young readers an excellent overview of U.S. electoral politics and the structure of the federal government. She also makes clear the unique challenges that Smith faced as a woman in mostly male spaces throughout her career, up to her 1964 run for the Republican nomination for president.

Gives readers excellent reasons to remember this pioneering woman politician. (suggested activities, bibliography) (Biography. 6-9)

Pub Date: Oct. 5, 2021

ISBN: 978-0-593-11589-3

Page Count: 80

Publisher: Philomel

Review Posted Online: Sept. 24, 2021

Kirkus Reviews Issue: Oct. 15, 2021

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

WOMEN ARTISTS A TO Z

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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