Impeccably honors its subject.
An up-close look at the sentinels who protect and honor America’s fallen.
“I am an Unknown. I am one of many.” Instantly personal, instantly heart-rending. The unnamed, unknown soldier in the tomb at Arlington National Cemetery tells this story. World War I took not only the lives of many, but, tragically, their identities as well. “Nameless and faceless” heroes were impossible to reunite with loved ones. Families were unable to properly mourn. In 1921, one soldier was chosen to represent the Unknowns. Gottesfeld’s text, spare and shining, gently gives the backstory. But it is the unexpected footsteps—21 to be exact—of the soldier who stands guard and 21 seconds of silence that resound loudly and purely. “With each step, my war was over.” Forearms are kept at 90-degree angles. Hat brims are two finger widths above the eye. The precision of dress and deliberate, smooth actions of the Tomb Guards emanate honor and respect, but the first-person narration shows a personal perspective. A 24-hour guard gives comfort and companionship. “From that moment, I have never been alone again.” Tavares’ magisterial art soars, awash in opposing forces: shadowed but luminous, soaked in both melancholy and reverence. All sentinels (“men and women of every race, religion, and creed”) take this honor seriously, expressed in the “Sentinel’s Creed” reproduced in the frontmatter. The fallen who have died nameless deserve the very best. This is it.
Impeccably honors its subject. (afterword) (Informational picture book. 5-10)Pub Date: Feb. 12, 2021
ISBN: 978-1-5362-0148-2
Page Count: 32
Publisher: Candlewick
Review Posted Online: Dec. 14, 2020
Kirkus Reviews Issue: Jan. 1, 2021
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
A work whose lyrical and artistic genius only becomes more apparent upon rereads.
A journey through American music history as shaped by Black artists and traditions.
Fittingly, given the U.S.’s long and complicated racial history, this work takes its title from the beloved hymn “Amazing Grace,” written by a slave trader turned abolitionist. The book begins on the African plains: “Listen to the fireside chorus / of the motherland / to the talking drums / dancing beneath the gold sun / that beat a bold tapestry / of yesterday’s stories / and tomorrow’s dreams.” Likewise, the author has created a beautiful tapestry, woven with song titles and musical references. With each introduction to a different genre, he implores readers to “listen.” Laced with powerful imagery, alliteration, and onomatopoeia (“BUM-DUN! BUM-DUN!”), his verse begs to be sung. Taking a comprehensive approach, Alexander explores regional styles such as go-go alongside internationally known genres, including gospel, jazz, and hip-hop. Palmer’s distinctive illustrations offer the perfect accompaniment. Bold colors set the mood, while his brush strokes evoke movement and convey strong emotion as he depicts everything from enslaved people joyfully dancing in New Orleans’ Congo Square to fists raised high for Black power to performances by Chuck Berry, Prince, Lauryn Hill, and other musicians. Detailed backmatter defines terms and explains the significance of the music referenced.
A work whose lyrical and artistic genius only becomes more apparent upon rereads. (Informational picture book. 5-10)Pub Date: Jan. 14, 2025
ISBN: 9780316442497
Page Count: 48
Publisher: Little, Brown
Review Posted Online: Oct. 12, 2024
Kirkus Reviews Issue: Nov. 15, 2024
SEEN & HEARD
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