A beautifully layered story just as rich as the history it represents.
A joyful ode to freedom from the perspective of a park in Houston, Texas.
Emancipation Park was built on land purchased in 1872, to commemorate the holiday that would become known as Juneteenth; in 1918, it was made into a municipal park. Here, residents of the city’s Third Ward could celebrate the freedom of their ancestors. As the book opens, we see people—predominantly Black and brown—enjoying a summer day. Readers are then transported to June 19, 1865, when the enslaved people of Galveston found out that, two years earlier, Abraham Lincoln had ended slavery by signing the Emancipation Proclamation. Later, the park in Houston was built to honor that triumphant day. From then on, it became a community gathering spot, where people played, held concerts, and hosted sporting events. When Jim Crow and segregation laws proliferated, the park also housed the only pool that allowed African Americans. Eventually, the park fell into disrepair until it was rededicated in 2017 and given new life. Most spreads open with a reason the park was built: “They built me to celebrate.” “They built me to play.” Ellis writes in spirited, succinct verse. Mohammed’s bold, active illustrations give rise to powerfully poignant words. Butterflies and plant life can be seen throughout; as the park goes through its life cycle, so, too, do those elements.
A beautifully layered story just as rich as the history it represents. (background information about Emancipation Park) (Informational picture book. 4-8)Pub Date: May 14, 2024
ISBN: 9780063286054
Page Count: 32
Publisher: Balzer + Bray/HarperCollins
Review Posted Online: Feb. 3, 2024
Kirkus Reviews Issue: March 1, 2024
Amid inconsistencies of format and information, the illustrations end up giving the most clarity about this festival.
Diwali, the festival of lights, a five-day celebration that has many different forms, is celebrated in different ways across India and in many other countries.
This board book cursorily presents the different rituals associated with this celebration of the Hindu New Year, including getting the house ready to welcome Lakshmi, the goddess of wealth; decorating the house with rangoli and diyas; and celebrating with family, friends, fireworks, and good food. The text is simple and gives only very basic information. “On the fifth and final day of Diwali, we celebrate brothers and sisters. The lifelong bond between siblings is special, and we honor that.” The illustrations show four different sets of siblings celebrating each other in different ways, none of which are mentioned in the text, making it difficult for younger readers to understand the complexity of the celebration. Sreenivasan’s illustrations are colorful, detailed, and authentic, and they carry the book. They feature happy and smiling dark-haired people with a range of skin tones, diverse in ethnicity and dress. In bright, vivid colors, intergenerational families and friends from different regions come alive, dressed up in their colorful best, celebrating and enjoying the festival together in different ways. The board format of this title does not match the age range and conceptual level of the text.
Amid inconsistencies of format and information, the illustrations end up giving the most clarity about this festival. (Board book. 4-8)Pub Date: Aug. 28, 2018
ISBN: 978-1-5344-1990-2
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Sept. 1, 2018
Kirkus Reviews Issue: Jan. 1, 2019
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for.
An overview of the modern African-American holiday.
This book arrives at a time when black people in the United States have had intraracial—some serious, some snarky—conversations about Kwanzaa’s relevance nowadays, from its patchwork inspiration that flattens the cultural diversity of the African continent to a single festive story to, relatedly, the earnest blacker-than-thou pretentiousness surrounding it. Both the author and consultant Keith A. Mayes take great pains—and in painfully simplistic language—to provide a context that attempts to refute the internal arguments as much as it informs its intended audience. In fact, Mayes says in the endnotes that young people are Kwanzaa’s “largest audience and most important constituents” and further extends an invitation to all races and ages to join the winter celebration. However, his “young people represent the future” counterpoint—and the book itself—really responds to an echo of an argument, as black communities have moved the conversation out to listen to African communities who critique the holiday’s loose “African-ness” and deep American-ness and moved on to commemorate holidays that have a more historical base in black people’s experiences in the United States, such as Juneteenth. In this context, the explications of Kwanzaa’s principles and symbols and the smattering of accompanying activities feel out of touch.
A good-enough introduction to a contested festivity but one that’s not in step with the community it’s for. (resources, bibliography, glossary, afterword) (Nonfiction. 5-8)Pub Date: Sept. 5, 2017
ISBN: 978-1-4263-2849-7
Page Count: 40
Publisher: National Geographic Kids
Review Posted Online: Oct. 27, 2017
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