Rabbi Sasso (God's Paintbrush, not reviewed) is a woman with a mission: She wants to show that a singular God is universal, despite cultural variations of God's identity. She creatively ties in the names people choose for God with their experiences. A young mother calls God ``Mother,'' a freed slave calls God ``Redeemer,'' a nurse calls God ``Healer.'' But what all of them don't understand is that, despite the various names, God is one and the same for all of them. Finally, the people meet by a lake, God's mirror, and realize that there is just one Creator, Healer, Redeemer, Father, and Friend. And they rename God together, calling God ``One.'' A little too earnest, perhaps. Stone's illustrations are fine and uplifting. (Religion/Picture book. 5-10)
Pub Date: Dec. 1, 1994
ISBN: 1-879045-26-5
Page Count: 32
Publisher: Jewish Lights
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1994
The most interesting feature of this retelling of a story about a saint martyred in A.D. 270 is the art, a meticulous re- creation of the medium of its subject's period. Using thousands of tiny, rectangular pieces resembling tiles, Sabuda replicates the effect of Roman mosaics. His simple designs and harmonious, gently muted colors are pleasing, and he achieves surprising subtleties of expression, considering the intractability of the medium. Actually, the illustrations work even better from a slight distance (as with a group), so that the demarcations between the tiny pieces are less predominant. The technique, which tends to congeal the action, makes relatively undramatic illustrations; still, it's a fascinating experiment that brings the ancient world to life by paying tribute to its art rather than by picturing it in a modern style. The straightforward narrative centers on Valentine as a physician whose ointment restores the sight of a jailer's blind daughter, long the saint's friend. It's implied that the long-awaited cure takes place at the moment of his offstage death; the story ends with the joy of the child's renewed vision. An unusual and attractive rendition. Historical note. (Nonfiction/Picture book. 6-9)
Pub Date: Oct. 30, 1992
ISBN: 0-689-31762-X
Page Count: 32
Publisher: Atheneum
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1992
The true meaning of the holiday season shines here.
Kids teach a valuable lesson about community spirit.
A city block is ablaze with red and green lights for Christmas; one house glows blue and white for Hanukkah. This is where Isaac, a Jewish boy, lives, across the street from best friend Teresa, excitedly preparing for Christmas. They love lighting up their homes in holiday colors. After an antisemitic bigot smashes a window in Isaac’s house, Isaac relights the menorah the next night, knowing if his family doesn’t, it means hiding their Jewishness, which doesn’t “feel right.” Artistic Teresa supports Isaac by drawing a menorah, inscribed to her friend, and placing the picture in her window. What occurs subsequently is a remarkable demonstration of community solidarity for Isaac and his family from everyone, including the media. Galvanized into defiant action against hate, thousands of townspeople display menorahs in windows in residences and public buildings. This quiet, uplifting tale is inspired by an incident that occurred in Billings, Montana, in 1993. Readers will feel heartened at children’s power to influence others to stand up for justice and defeat vile prejudice. The colorful illustrations, rendered digitally with brushes of the artist’s devising, resemble scratch art. Isaac and Teresa are White, and there is some racial diversity among the townspeople; one child is depicted in a wheelchair. An author’s note provides information about the actual event.
The true meaning of the holiday season shines here. (Picture book. 5-8)Pub Date: Oct. 19, 2021
ISBN: 978-1-64614-087-9
Page Count: 32
Publisher: Levine Querido
Review Posted Online: July 29, 2021
Kirkus Reviews Issue: Sept. 1, 2021
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