A jubilant combination of verse and illustration that captures this momentous historical event.
A Black family gathers on Juneteenth.
David’s family has joined relatives to celebrate the holiday in Galveston, Texas. After the parades, speeches, food, and music, the culminating activity is David’s grandmother’s telling the story of her grandmother Mom Bess and the events that came to be known as Juneteenth. The rumors that freedom was coming for enslaved people finally came true with the arrival of a White soldier on horseback who read the Emancipation Proclamation. Bess, who was 6 at the time, did not understand until her mother explained what freedom meant. The newly freed began to plan what they would do next. Bess’ parents started to work for wages, eventually purchasing land and providing an opportunity for Bess to get an education. The afterword explains that although President Abraham Lincoln issued the Emancipation Proclamation to take effect Jan. 1, 1863, enslaved people in Texas did not learn of the change in their status until June 19, 1865. For years some states celebrated the holiday. In June 2021, President Joe Biden declared Juneteenth a federal holiday. Armand uses the same meter as Clement C. Moore’s “ ’Twas the Night Before Christmas,” evoking the same anticipation—in this case for freedom. Infused with movement, Barksdale’s lively, fluid colorful, acrylic, oil, and pastel watercolor pencil illustrations complement the rhythmic text that centers family and story. (This book was reviewed digitally.)
A jubilant combination of verse and illustration that captures this momentous historical event. (Informational picture book. 4-8)Pub Date: May 2, 2023
ISBN: 978-0-593-56746-3
Page Count: 40
Publisher: Crown
Review Posted Online: March 28, 2023
Kirkus Reviews Issue: April 15, 2023
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Pass.
The traditions and history of one of Mexico’s most important holidays are introduced in this latest of Eliot’s Celebrate the World series.
From setting up the flower-festooned altars to decorating the calaveras, the preparations depicted involve entire communities over several weeks. Characters in cowboy hats, sombreros, and baseball caps place the final touches on skeletons in full lucha libre regalia or spangled mariachi outfits. However, instead of accurately using Mexico’s name for the holiday, Día de Muertos, Eliot uses the English back-translation, “Día de los Muertos,” as is common in the U.S. even though the story evidently takes place in Mexico. Also, aside from stating that the celebration “is an ancient tradition,” there is no mention of its Indigenous, pre-European/Christian roots nor does the book actively distinguish between Día de Muertos and Halloween. The first-person narration vacillates between child and adult perspectives. “We do all this to celebrate the beauty of life and death rather than mourn it.” Gutierrez’s mixed-media illustrations are convulsive, crowded panes of frenetic activity. Exaggerated facial features border on stereotypical caricatures—snouts and bug eyes abound. Contributing to the crowded page design is the unfortunate choice of board rather than picture-book format. Consequently, the initial perception is that this series is geared toward toddlers, when it is the school-age child who would most benefit from the information in this book.
Pass. (Board book. 4-7)Pub Date: July 24, 2018
ISBN: 978-1-5344-1515-7
Page Count: 24
Publisher: Little Simon/Simon & Schuster
Review Posted Online: Oct. 15, 2018
Kirkus Reviews Issue: Jan. 1, 2019
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
