Rodney of the Delaware Colony traveled from his home to Philadelphia, a distance of 80 miles, in the stormy July weather of 1776. It was a race so that he might arrive to vote for the Declaration. The Delaware delegates were tied, one for, one against. Members of the convention knew that the letter to King George III and to the colonists must show that all the colonies supported it or it would not demonstrate their strong determination. Cheripko, aided by Lippincott’s dramatic watercolors, provides some background on Rodney and on the situations leading to the Declaration. The ride is tense throughout, with the fate of the future nation hanging on his vote. The description of his facial cancer—voting yes meant he couldn’t go to England for help—adds a dimension to the man and his ride. The story concentrates on his trip, but manages to convey the drama of this pivotal moment in American history. Fascinating. (sources, suggested readings, index) (Nonfiction. 4-6)
Pub Date: Sept. 1, 2004
ISBN: 1-59078-065-5
Page Count: 40
Publisher: Boyds Mills
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2004
Like a concerto for the heart.
Venezuelan pianist Teresa Carreño performs for President Abraham Lincoln amid a raging Civil War in Engle and López’s portrait of an artist.
Thanks to parental encouragement, Teresita learned about “all the beautiful / dark and light keys / of a piano” at an early age. By the age of 6, she composed original songs. Revolución in Venezuela soon drove an 8-year-old Teresa and her family to sail across the stormy sea to the United States, but the Carreño family arrived only to find another violent conflict—“the horrible Civil War”—in their adopted country. Despite the initial alienation that comes from being in an unfamiliar country, Teresita continued to improve and play “graceful waltzes and sonatas, / booming symphonies, and lively folk songs.” The Piano Girl’s reputation spread far, eventually garnering the attention of Lincoln, who invited the 10-year-old to perform at the White House! Yet the Civil War festered on, tormenting Teresita, who wished to alleviate the president’s burdens for at least one night. “How could music soothe / so much trouble?” Half biographical sketch, half wide-eyed tribute, Engle and López’s collaboration endearingly builds to Teresa’s fateful meeting with Lincoln like a gravitational pull, with bursts of compassion and admiration for both artist and public servant. Engle’s free verse whirls and twirls, playful and vivacious, while López’s vivid, colorful artwork elevates this story to heavenly heights.
Like a concerto for the heart. (historical note) (Informational picture book. 4-6)Pub Date: Aug. 27, 2019
ISBN: 978-1-4814-8740-5
Page Count: 40
Publisher: Atheneum
Review Posted Online: May 11, 2019
Kirkus Reviews Issue: June 1, 2019
Despite excellent illustrations, does not do its subject’s complexity justice.
A child’s introduction to Keith Haring.
Outlining the artistic career of an iconic neo-expressionist is hardly a black-and-white endeavor, and paring down Haring’s legacy for children over 30 years after an early and complicated death is a task in itself. Unfortunately, this effort fails to deliver an in-depth or unique look at his life or his art, instead reducing both to a repetitive and uninspired mantra: “Art is life. Life is art.” Beginning with Haring's hildhood in Pennsylvania and continuing through his life in 1980s New York City, author Brown provides a well-paced but conservative biography, with almost no personal details or thoughtful analysis of his work. Within its limitations, it succeeds well enough. The text is punctuated with a number of choice vocabulary words, good for inquisitive young readers at a variety of levels, and bookended with enough context for understanding. The book is truly carried, however, by Negley’s vibrant and (appropriately) semiabstract illustrations. The pages burst with lively pops of color, friendly faces in a diverse palette—Haring is White—and, naturally, an endless stream of squiggly lines and dancing figures. Altogether, it’s a decent starting point for youngsters interested in drawing on the walls, but a noticeable lack of nuance leaves something to be desired. Matthew Burgess and Josh Cochran’s Drawing on Walls (2020) paints a far fuller picture.
Despite excellent illustrations, does not do its subject’s complexity justice. (author's note, illustrator's note, further reading) (Picture book/biography. 4-6)Pub Date: Dec. 1, 2020
ISBN: 978-0-374-30424-9
Page Count: 48
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 28, 2020
Kirkus Reviews Issue: Oct. 15, 2020
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