Yolen (Girl in a Cage, above, etc.) focuses on family, tradition, and the fruit of the earth in her latest effort, illustrated in golden tones by Shed (I Loved You Before You Were Born, not reviewed, etc.). Written in the voice of the girl narrator, the rhythmic chant begins: “Three months just past, I helped to sow, / Bringing the harvest home, / I planted wheat in every row, / Bringing the harvest home. / Each tiny grain was set in earth / To give the wheat a wholesome berth./ A summer’s coin, a year’s full worth, / Bringing the harvest home.” Throughout, Shed’s luminous full-bleed portraits, rendered in gouache and gently textured with the grain of canvas and brush, stretch across each double-paged spread, abutting text set against a panel the color of sweet butter. Shed captures Bess, brother Ned, mother, father, and others as they work the field. One stunning portrait, for example, pictures Bess bearing a load of wheat in her arms while her mother and sister work in the distance (“Two rows behind work Ma and Jen, / Bringing the harvest home. / They cut more quickly than the men, / Bringing the harvest home”). Shed’s elegant, yet earthy, portraiture and Yolen’s dignified language combine to transcendent effect; although the costumes (straw hats, plain pants held up by suspenders, and simple cotton dresses) might seem to indicate a different era, the work could just as easily be set in modern Pennsylvania Dutch country. Back matter contains an author’s note; in it, Yolen explains that the verse is based on traditional harvest songs, which are characterized by an evolving narrative followed by a repeated chorus. Instructions for making a harvest doll are also included. (Picture book. 5-8)
Pub Date: Sept. 1, 2002
ISBN: 0-15-201819-0
Page Count: 32
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2002
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Though told by two outsiders to the culture, this timely and well-crafted story will educate readers on the preciousness of...
An international story tackles a serious global issue with Reynolds’ characteristic visual whimsy.
Gie Gie—aka Princess Gie Gie—lives with her parents in Burkina Faso. In her kingdom under “the African sky, so wild and so close,” she can tame wild dogs with her song and make grass sway, but despite grand attempts, she can neither bring the water closer to home nor make it clean. French words such as “maintenant!” (now!) and “maman” (mother) and local color like the karite tree and shea nuts place the story in a French-speaking African country. Every morning, Gie Gie and her mother perch rings of cloth and large clay pots on their heads and walk miles to the nearest well to fetch murky, brown water. The story is inspired by model Georgie Badiel, who founded the Georgie Badiel Foundation to make clean water accessible to West Africans. The details in Reynolds’ expressive illustrations highlight the beauty of the West African landscape and of Princess Gie Gie, with her cornrowed and beaded hair, but will also help readers understand that everyone needs clean water—from the children of Burkina Faso to the children of Flint, Michigan.
Though told by two outsiders to the culture, this timely and well-crafted story will educate readers on the preciousness of potable water. (Picture book. 5-8)Pub Date: Sept. 13, 2016
ISBN: 978-0-399-17258-8
Page Count: 40
Publisher: Putnam
Review Posted Online: May 17, 2016
Kirkus Reviews Issue: June 1, 2016
Rapunzel, Rapunzel, let down your dreads! Isadora once again plies her hand using colorful, textured collages to depict her fourth fairy tale relocated to Africa. The narrative follows the basic story line: Taken by an evil sorceress at birth, Rapunzel is imprisoned in a tower; Rapunzel and the prince “get married” in the tower and she gets pregnant. The sorceress cuts off Rapunzel’s hair and tricks the prince, who throws himself from the tower and is blinded by thorns. The terse ending states: “The prince led Rapunzel and their twins to his kingdom, where they were received with great joy and lived happily every after.” Facial features, clothing, dreadlocks, vultures and the prince riding a zebra convey a generic African setting, but at times, the mixture of patterns and textures obfuscates the scenes. The textile and grain characteristic of the hewn art lacks the elegant romance of Zelinksy’s Caldecott version. Not a first purchase, but useful in comparing renditions to incorporate a multicultural aspect. (Picture book/fairy tale. 6-8)
Pub Date: Oct. 1, 2008
ISBN: 978-0-399-24772-9
Page Count: 32
Publisher: Putnam
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Sept. 1, 2008
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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