A lively, insightful look at the origins of the American Revolution.

MOST WANTED

THE REVOLUTIONARY PARTNERSHIP OF JOHN HANCOCK & SAMUEL ADAMS

The story of the partnership and unlikely friendship between Samuel Adams and John Hancock.

In a punchy prose style and with rich historical detail, Marsh emphasizes the differences between the rabble-rousers. Wealthy Hancock, owner of ships and warehouses, “lived in a mansion with fifty-four windows high above Boston.” He was most interested in parties, fine wine, and looking his best in the latest fashions while being pulled around town in his golden carriage. Adams owned little, went about shabbily dressed, and was outspoken about politics. The Stamp Act prompted Hancock’s political awakening. Seeing an opportunity to recruit Boston’s wealthiest and most visible citizen to the cause of liberty, Adams invited Hancock to join in a peaceful boycott of British goods, the beginning of their powerful partnership. Fotheringham’s distinctive art depicts Adams as serious and surly and Hancock as dashing and arrogant. Most characters are white. A notable double-page spread depicts Hancock’s enslaved black house servant responding with an expression of disgust at the irony of Hancock’s words: “I will not be a slave. I have a right to the liberties and privileges of the English constitution.” In her author’s note, Marsh notes that Hancock owned enslaved people and that the phrase “all men are created equal” excluded equality for women and nonwhite people.

A lively, insightful look at the origins of the American Revolution. (timeline, bibliography, source notes) (Informational picture book. 6-10)

Pub Date: March 24, 2020

ISBN: 978-1-368-02683-3

Page Count: 80

Publisher: Disney-Hyperion/LBYR

Review Posted Online: Nov. 24, 2019

Kirkus Reviews Issue: Dec. 15, 2019

Did you like this book?

No Comments Yet

A galloping marvel—enlightening and entertaining.

DR. SEUSS'S HORSE MUSEUM

A succinct introduction to art history via a Seussian museum of equine art.

This posthumously published text recently discovered in Ted Geisel’s studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner’s playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss’ legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript’s history and Seuss’ artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat’s antecedents in minstrelsy and Seuss’ other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.

A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)

Pub Date: Sept. 3, 2019

ISBN: 978-0-399-55912-9

Page Count: 80

Publisher: Random House

Review Posted Online: June 10, 2019

Kirkus Reviews Issue: July 1, 2019

Did you like this book?

No Comments Yet

An important and inspiring tale well told.

CARTER READS THE NEWSPAPER

This biography of the “father of Black History,” Dr. Carter G. Woodson, highlights experiences that shaped his passion.

Carter was born after the Civil War, but his parents had been slaves, and he grew up hearing the stories of their lives. With six siblings, Carter experienced lean times as a boy. Carter’s father, who couldn’t read or write, had Carter read the newspaper aloud. As a teenager, Carter had to work to help his family. In the coal mines, he met Oliver Jones, a Civil War veteran who opened his small home to the other men as a reading room. There, Carter once again took on the role of reader, informing Oliver and his friends of what was in the paper—and then researching to tell them more. After three years in the mines, he moved home to continue his education, eventually earning a Ph.D. from Harvard, where a professor challenged him to prove that his people had a history. In 1926 he established Negro History Week, which later became Black History Month. Hopkinson skillfully shapes Carter’s childhood, family history, and formative experiences into a cohesive story. The soft curves and natural palette of Tate’s illustrations render potentially scary episodes manageable for young readers, and portraits of historical figures offer an opening to further discovery. The incorporation of newsprint into many page backgrounds artfully echoes the title, and the inclusion of notable figures from black history reinforces the theme (a key is in the backmatter).

An important and inspiring tale well told. (author’s note, illustrator’s note, resources, bibliography) (Picture book/biography. 6-10)

Pub Date: Feb. 1, 2019

ISBN: 978-1-56145-934-6

Page Count: 36

Publisher: Peachtree

Review Posted Online: Sept. 30, 2018

Kirkus Reviews Issue: Nov. 1, 2018

Did you like this book?

No Comments Yet
more