A powerful recollection of the horrors encountered—and the battles won—in the fight for integration, and an urgent call to...
A debut illustrated memoir—written for younger generations—offers details of the brutality that the black students who desegregated an Arkansas high school faced.
Eckford was nervous and excited beginning her first day at the prestigious all-white Central High in Little Rock. She was one of the nine black students (the Little Rock Nine) chosen to desegregate the school in 1957. Her story details the horror of that day, laying bare the raw hatred spewed at blacks and the political calculations of Gov. Orval Faubus. He had announced on TV: “Blood will run through the streets if negroes attempt to attend Central High,” and then activated the National Guard to prevent the black students from entering the school. Lacking a telephone, Eckford’s family wasn’t alerted to the plan for the Nine to approach the school as a group, escorted by black and white ministers. Fifteen-year-old Eckford arrived alone. Blocked from going into the school, she returned to the bus stop through the hate-filled segregationists screaming racial epithets and yelling: “Lynch her, lynch her!” While the Nine eventually attended classes under the protection of the 101st Airborne Division ordered by President Dwight D. Eisenhower to ensure their safety, the viciousness of the white students continued throughout the school year: “We routinely endured items being thrown at us and being burned by cigarettes.” The engrossing narrative includes a description of the Supreme Court ruling that prompted school integration (Brown v. the Board of Education) and the people who made it happen, along with period photographs and drawings. Eckford’s potent and timely story is intended for a young audience unfamiliar with the details of school desegregation as experienced by their grandparents. The prose is simple and to the point, written from the perspective of a young teen: Navigating “between the soldiers and the angry crowd,” she thought: “Why is this happening? Can’t anyone help?” “If I were your daughter…would you protect me then?” Eurydice Stanley and Grace Stanley provide strong closing essays advocating continued vigilance against contemporary injustices.
A powerful recollection of the horrors encountered—and the battles won—in the fight for integration, and an urgent call to oppose today’s social and political oppression.Pub Date: April 15, 2018
ISBN: 978-0-9997661-7-0
Page Count: 152
Publisher: Lamp Press LLC
Review Posted Online: Nov. 12, 2018
Review Program: Kirkus Indie
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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