Yolanda Gladden was born in modest circumstances in Farmville, Virginia, in 1954, the same year the landmark Brown v. Board of Education of Topeka Supreme Court case ended school segregation in the U.S.
This third-person biography opens with an account of Gladden’s formative years, including happy times spent at her Uncle Tank’s convenience store, in church on Sundays, and watching her mother sew. In her close-knit community, young Yolanda learned important lessons of resilience and faith, and her family instilled pride in her. As she grew older, she “noticed the world around her was divided into two distinct colors: black and white.” By 1959, Yolanda was school-aged, but White lawmakers in her county still hadn’t implemented the federal mandate to integrate classrooms; rather, they had closed all schools. The rest of the book highlights the response of Farmville’s Black community, which included protests and the establishment of empowering grassroots schools for Black children. While the book shines a light on the so-called “Lost Generation,” a piece of U.S. history that many readers will be unfamiliar with, Gladden’s personal and emotional experience of the life-changing events gets lost in the largely fact-driven, outward-looking narrative. Morris’ collaged tissue paper and digital art is dynamic and excels at depicting multiple scenes per spread. Most characters are Black.
Edifying and worth the read despite some flaws of execution. (authors' notes, timeline, sources, further reading) (Picture book biography. 6-10)Pub Date: Jan. 11, 2022
ISBN: 978-0-06-301116-8
Page Count: 40
Publisher: Harper/HarperCollins
Review Posted Online: Dec. 3, 2021
Kirkus Reviews Issue: Dec. 15, 2021
Categories: CHILDREN'S BIOGRAPHY & MEMOIR | CHILDREN'S SOCIAL THEMES
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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 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
Categories: CHILDREN'S BIOGRAPHY & MEMOIR
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