A child prepares for the Women’s March.
City-dwelling Mari is excited to march (a plethora of pussyhats indicates it’s the Women’s March). Crayons ready, she asks her mother what they’re coloring. The reply: “A message for the world.” But how will the whole world hear their message? The answer: “because love is powerful.” This titular refrain is repeated throughout the story as the pair joins the march. Though Mari doesn’t think anyone will hear in the crowd of thousands, she shouts out the message on her poster: “Love is powerful!” Pham’s bright, cheery art shows hearts emanating from Mari and drifting into the multiracial crowd (especially helpful for younger readers to understand the concept of a far-reaching message). Other marchers take up Mari’s call until the hearts expand farther and farther out into the city. Though the signs they and others carry seem disconnected from some important social justice issues, particularly for a book focusing on a Black child (there are no obvious Black Lives Matter signs, for instance), this feel-good tale can serve as an accessible starting place or to augment such books as Shane Evans’ We March (2012) and other stories that delve deeper into the reasons why people march and protest. The prose is somewhat unpolished, but a note from and photograph of the real Mari at book’s end charmingly grounds it. (This book was reviewed digitally with 9.4-by-22-inch double-page spreads viewed at 27% of actual size.)
Lots of heart. (Picture book. 4-8)Pub Date: Sept. 8, 2020
ISBN: 978-1-5362-0199-4
Page Count: 32
Publisher: Candlewick
Review Posted Online: June 30, 2020
Kirkus Reviews Issue: July 15, 2020
Categories: CHILDREN'S HISTORICAL FICTION
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A young black child ponders the colors in the rainbow and a crayon box and realizes that while black is not a color in the rainbow, black culture is a rainbow of its own.
In bright paints and collage, Holmes shows the rainbow of black skin tones on each page while Joy’s text describes what “Black is” physically and culturally. It ranges from the concrete, such as “the braids in my best friend’s hair,” to the conceptual: “Black is soft-singing, ‘Hush now, don’t explain’ ”—a reference to the song “Don’t Explain” made popular by Billie Holiday and Nina Simone, the former depicted in full song with her signature camellia and the latter at her piano. Joy alludes throughout the brief text to poetry, music, figures, and events in black history, and several pages of backmatter supply the necessary context for caregivers who need a little extra help explaining them to listeners. Additionally, there is a playlist of songs to accompany reading as well as three poems: “Harlem,” by Langston Hughes, and “We Wear the Mask” and “Sympathy,” by Paul Laurence Dunbar. The author also includes a historical timeline describing some of the names that have been used to describe and label black people in the United States since 1619.
Both a beautiful celebration of black culture and an excellent first black history book for young children. (Picture book. 4-8)Pub Date: Jan. 14, 2020
ISBN: 978-1-62672-631-4
Page Count: 40
Publisher: Roaring Brook Press
Review Posted Online: Nov. 10, 2019
Kirkus Reviews Issue: Dec. 1, 2019
Categories: CHILDREN'S HISTORICAL FICTION
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An imagining of an unlikely real-life episode in the life of absurdist Franz Kafka.
Theule follows the outline of the account: When Kafka meets an unhappy girl in a Berlin park in 1923 and learns her doll is lost, Kafka writes a series of letters from Soupsy, the doll, to Irma, the girl. The real letters and the girl’s identity have been lost to history; the invented letters describe a dazzling variety of adventures for Soupsy. Unfortunately, as the letters increase in excitement, Kafka’s health declines (he would die of tuberculosis in June 1924), and he must find a way to end Soupsy’s adventures in a positive way. In an author’s note, readers learn that Kafka chose to write that Soupsy was getting married. Theule instead opts to send the doll on an Antarctic expedition. Irma gets the message that she can do anything, and the final image shows her riding a camel, a copy of Metamorphosis peeking from a satchel. While kids may not care about Kafka, the short relationship between the writer and the little girl will keep their interest. Realizing that an adult can care so much about a child met in the park is empowering. The stylized illustrations, especially those set in the chilly Berlin fall, resemble woodcuts with a German expressionist look. The doll’s adventures look a little sweeter, with more red and blue added to the brown palette of the German scenes. (This book was reviewed digitally with 10.5-by-17-inch double-page spreads viewed at 23% of actual size.)
This reimagined telling has an engaging charm that rings true. (biographical note, bibliography) (Picture book. 5-7)Pub Date: March 9, 2021
ISBN: 978-0-593-11632-6
Page Count: 48
Publisher: Viking
Review Posted Online: Dec. 25, 2020
Kirkus Reviews Issue: Jan. 15, 2021
Categories: CHILDREN'S HISTORICAL FICTION
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