This adaptation will diminish Red Cloud’s legacy, perpetuate negative stereotypes, and provide incorrect information to...



In 1868, Red Cloud, a respected Oglala chief, led an intertribal war against the U.S. Army and won.

Waters’ adaptation reiterates the subtitle’s claim that it's an untold story (“his story has long been forgotten by conventional American history”), though this is far from the first book about him, and contemporary tribal nations honor his legacy. Unfortunately, this book’s outsider perspective is all too evident. In the text, Lakota men and women are labeled as “braves” and “maidens” and the Lakota Sun Dance ceremony as “fearsome,” when it was an annual sacred ceremony to honor the Great Spirit. Often the tone is condescending. When the Mormon Trail opened in 1847, readers are told “the Lakota, in particular the Oglalas, were initially helpless in the face of this onslaught,” eliding the fact that the Oglalas were well-trained warriors. Further, Red Cloud is often portrayed as brutish: “Sometimes it just felt good and natural to go out and steal horses. If he took some scalps in the process, so much the better.” Finally, there is a glaring chronological error: in 1868, when Gen. Philip Sheridan closed Fort Laramie, the Lakota were told “if they wished to trade, they were free to do business at Fort Randall on the Missouri River in distant southeast South Dakota, about as far from [their Black Hills homeland] as one can travel and still be in the state.” South Dakota did not achieve statehood until Nov. 2, 1889.

This adaptation will diminish Red Cloud’s legacy, perpetuate negative stereotypes, and provide incorrect information to young readers: skip. (afterword, acknowledgments, timeline, glossary, historical sites, further information, index) (Nonfiction. 10-16)

Pub Date: Feb. 17, 2017

ISBN: 978-1-4814-6460-4

Page Count: 320

Publisher: McElderry

Review Posted Online: Nov. 2, 2016

Kirkus Reviews Issue: Nov. 15, 2016

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A beautiful, powerful reflection on a tragic history.


In spare verse, Lowry reflects on moments in her childhood, including the bombings of Pearl Harbor and Hiroshima. 

When she was a child, Lowry played at Waikiki Beach with her grandmother while her father filmed. In the old home movie, the USS Arizona appears through the mist on the horizon. Looking back at her childhood in Hawaii and then Japan, Lowry reflects on the bombings that began and ended a war and how they affected and connected everyone involved. In Part 1, she shares the lives and actions of sailors at Pearl Harbor. Part 2 is stories of civilians in Hiroshima affected by the bombing. Part 3 presents her own experience as an American in Japan shortly after the war ended. The poems bring the haunting human scale of war to the forefront, like the Christmas cards a sailor sent days before he died or the 4-year-old who was buried with his red tricycle after Hiroshima. All the personal stories—of sailors, civilians, and Lowry herself—are grounding. There is heartbreak and hope, reminding readers to reflect on the past to create a more peaceful future. Lowry uses a variety of poetry styles, identifying some, such as triolet and haiku. Pak’s graphite illustrations are like still shots of history, adding to the emotion and somber feeling. He includes some sailors of color among the mostly white U.S. forces; Lowry is white.

A beautiful, powerful reflection on a tragic history. (author’s note, bibliography) (Memoir/poetry. 10-14)

Pub Date: April 7, 2020

ISBN: 978-0-358-12940-0

Page Count: 80

Publisher: HMH Books

Review Posted Online: Jan. 12, 2020

Kirkus Reviews Issue: Feb. 1, 2020

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An arbitrary assortment of relics not likely to furnish either the insight or the glimpses of wonder that elevate companion...


From the Welcome to the Museum series

An oversized album of archaeological treasures, from an early Stone Age hand ax to a 19th-century tiki pendant.

Inviting readers to take a sort of virtual museum tour, Nelson gathers over 140 representative artifacts into geographical “galleries.” She presents them with both broad opening overviews of their cultural contexts and individual descriptive notes on their features and anthropological significance. The large illustrations are not photos but digital images that are drawn in painstaking detail, colored in subdued or neutral hues, and reproduced on smooth but not polished paper. With further antique formality of design, the dimly but evenly lit objects are suspended against monochrome backgrounds, often several to a “plate,” and well-separated from the text. Though the focus is largely on defunct civilizations—Egypt and Mesopotamia to Olmec, Korean Silla, and the Vikings—the author acknowledges survivors such as the Pueblo and indigenous Australians. Readers on this side of the pond may feel slighted, as the gallery devoted to the Americas is the smallest and contains nothing from South America, but both the Torres Strait Islanders and several Polynesian cultures receive nods in the Oceania section. Moreover, rather than usual suspects like the Rosetta Stone or the so-called “Mask of Agamemnon,” the objects on display are often less familiar funerary, religious, or decorative objects. Many of the artifacts, particularly the gold ones, look drab, though, and none are either shown to scale or consistently accompanied by measurements. Furthermore, there are no maps or leads to further information.

An arbitrary assortment of relics not likely to furnish either the insight or the glimpses of wonder that elevate companion volume Animalium (2014). (timeline, index) (Nonfiction. 10-14)

Pub Date: Sept. 1, 2015

ISBN: 978-0-7636-7984-2

Page Count: 112

Publisher: Big Picture/Candlewick

Review Posted Online: July 27, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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