An intriguing, loving biography that’s unfortunately marred by some disparaging clichés.



Stocker and Holzwarth tell the story of Evelyn Glennie, a profoundly Deaf world-renowned solo percussionist.

The story opens with Glennie’s musical childhood in the Scottish countryside. She was well on her way to becoming a skilled pianist and clarinetist when she started losing her hearing around the age of 10. Despite her doctor’s gloomy prognostication—“she’s never going to be able to play music”—young Evelyn refused to give up her dream. Drawn to her high school orchestra’s percussion section, she solicited the help of music teacher Ron Forbes, who taught her how to use her body to sense the vibrations of percussion instruments. Despite challenges, including the discrimination she faced as a Deaf person, Glennie persevered and was eventually accepted into the Royal Academy of Music in London. The story closes with a précis of her groundbreaking career achievements. Holzwarth’s illustrations—rendered in watercolor, gouache, and color pencil with digital touches—are charming and effectively portray the dynamics of sound visually. Some kids may be turned off by the wordy text and small font size. The implicit narrative framing of a disabled person as "inspirational" and having "overcome" their disability is problematic. This and the tired juxtaposition of Deaf school with failure and mainstream school with success are unfortunate blemishes in an otherwise sweet and educational book. Like too many children’s books featuring deafness, this story would appeal to hearing or oral Deaf children but might not be an appropriate choice for signing Deaf children.

An intriguing, loving biography that’s unfortunately marred by some disparaging clichés. (author's note, references) (Picture-book biography. 6-9)

Pub Date: April 12, 2022

ISBN: 978-0-593-10969-4

Page Count: 40

Publisher: Dial Books

Review Posted Online: Jan. 12, 2022

Kirkus Reviews Issue: Feb. 1, 2022

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A pivotal moment in a child’s life, at once stirring and authentically personal.


Before growing up to become a major figure in the civil rights movement, a boy finds a role model.

Buffing up a childhood tale told by her renowned father, Young Shelton describes how young Andrew saw scary men marching in his New Orleans neighborhood (“It sounded like they were yelling ‘Hi, Hitler!’ ”). In response to his questions, his father took him to see a newsreel of Jesse Owens (“a runner who looked like me”) triumphing in the 1936 Olympics. “Racism is a sickness,” his father tells him. “We’ve got to help folks like that.” How? “Well, you can start by just being the best person you can be,” his father replies. “It’s what you do that counts.” In James’ hazy chalk pastels, Andrew joins racially diverse playmates (including a White child with an Irish accent proudly displaying the nickel he got from his aunt as a bribe to stop playing with “those Colored boys”) in tag and other games, playing catch with his dad, sitting in the midst of a cheering crowd in the local theater’s segregated balcony, and finally visualizing himself pelting down a track alongside his new hero—“head up, back straight, eyes focused,” as a thematically repeated line has it, on the finish line. An afterword by Young Shelton explains that she retold this story, told to her many times growing up, drawing from conversations with Young and from her own research; family photos are also included. (This book was reviewed digitally.)

A pivotal moment in a child’s life, at once stirring and authentically personal. (illustrator’s note) (Autobiographical picture book. 7-9)

Pub Date: Aug. 2, 2022

ISBN: 978-0-545-55465-7

Page Count: 40

Publisher: Scholastic

Review Posted Online: July 27, 2022

Kirkus Reviews Issue: today

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Blandly laudatory.


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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