Like a concerto for the heart.
Venezuelan pianist Teresa Carreño performs for President Abraham Lincoln amid a raging Civil War in Engle and López’s portrait of an artist.
Thanks to parental encouragement, Teresita learned about “all the beautiful / dark and light keys / of a piano” at an early age. By the age of 6, she composed original songs. Revolución in Venezuela soon drove an 8-year-old Teresa and her family to sail across the stormy sea to the United States, but the Carreño family arrived only to find another violent conflict—“the horrible Civil War”—in their adopted country. Despite the initial alienation that comes from being in an unfamiliar country, Teresita continued to improve and play “graceful waltzes and sonatas, / booming symphonies, and lively folk songs.” The Piano Girl’s reputation spread far, eventually garnering the attention of Lincoln, who invited the 10-year-old to perform at the White House! Yet the Civil War festered on, tormenting Teresita, who wished to alleviate the president’s burdens for at least one night. “How could music soothe / so much trouble?” Half biographical sketch, half wide-eyed tribute, Engle and López’s collaboration endearingly builds to Teresa’s fateful meeting with Lincoln like a gravitational pull, with bursts of compassion and admiration for both artist and public servant. Engle’s free verse whirls and twirls, playful and vivacious, while López’s vivid, colorful artwork elevates this story to heavenly heights.
Like a concerto for the heart. (historical note) (Informational picture book. 4-6)Pub Date: Aug. 27, 2019
ISBN: 978-1-4814-8740-5
Page Count: 40
Publisher: Atheneum
Review Posted Online: May 11, 2019
Kirkus Reviews Issue: June 1, 2019
A heartwarming testament to music’s emotional power.
Music moves a nonverbal child to speak.
The narrator explains that Ronan was “born quiet. Some days he hardly says a word.” Today, when Father and Mother suggest outings to the beach or park, he’s quiet. But he looks up when Grandfather bursts in and proposes attending a concert. With refreshing optimism, Grandfather proclaims it “an adventure,” though Ronan’s parents worry about the “challenge” and “risk” of taking him to a performance. And when Ronan, his dog, and Grandfather reach Symphony Hall, an adventure it is. When the music starts, Ronan is swept away in a whirl of notes. Collectively, the instruments sound like “a sky full of stars,” sending him and his cheerful pup into a space-themed reverie. Boss notes that “the darker instruments sound cool and frightening” and the lighter ones sound “warm and friendly” but does not name the instruments, a missed opportunity to deepen readers’ understanding of the music enthralling Ronan. Audience and orchestra members alike are moved to laughter and applause when the music stops, and an awed Ronan utters his first “WOW!” Kheiriyeh’s endearing, pastel-hued cartoon illustrations convey Ronan’s astonishment and joy. Though an author’s note explains that the story is based on an actual nonverbal child’s experience of a Mozart piece in 2019, details such as Mother’s pearls and housedress and Grandfather’s finned car evoke a bucolic 1950s setting. Ronan and his family present white; background characters are racially diverse.
A heartwarming testament to music’s emotional power. (Picture book. 4-6)Pub Date: April 2, 2024
ISBN: 9781534499713
Page Count: 40
Publisher: Beach Lane/Simon & Schuster
Review Posted Online: Jan. 20, 2024
Kirkus Reviews Issue: Feb. 15, 2024
Despite excellent illustrations, does not do its subject’s complexity justice.
A child’s introduction to Keith Haring.
Outlining the artistic career of an iconic neo-expressionist is hardly a black-and-white endeavor, and paring down Haring’s legacy for children over 30 years after an early and complicated death is a task in itself. Unfortunately, this effort fails to deliver an in-depth or unique look at his life or his art, instead reducing both to a repetitive and uninspired mantra: “Art is life. Life is art.” Beginning with Haring's hildhood in Pennsylvania and continuing through his life in 1980s New York City, author Brown provides a well-paced but conservative biography, with almost no personal details or thoughtful analysis of his work. Within its limitations, it succeeds well enough. The text is punctuated with a number of choice vocabulary words, good for inquisitive young readers at a variety of levels, and bookended with enough context for understanding. The book is truly carried, however, by Negley’s vibrant and (appropriately) semiabstract illustrations. The pages burst with lively pops of color, friendly faces in a diverse palette—Haring is White—and, naturally, an endless stream of squiggly lines and dancing figures. Altogether, it’s a decent starting point for youngsters interested in drawing on the walls, but a noticeable lack of nuance leaves something to be desired. Matthew Burgess and Josh Cochran’s Drawing on Walls (2020) paints a far fuller picture.
Despite excellent illustrations, does not do its subject’s complexity justice. (author's note, illustrator's note, further reading) (Picture book/biography. 4-6)Pub Date: Dec. 1, 2020
ISBN: 978-0-374-30424-9
Page Count: 48
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 28, 2020
Kirkus Reviews Issue: Oct. 15, 2020
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