"Illustrated books are a natural extension of [the] African oral tradition'' of storytelling, writes Caldecott Award–winning artist Tom Feelings. Here, in 64 powerful black-and-white paintings—some of them harshly realistic, others nightmarishly phantasmagoric—this noted artist tells a neglected part of the story of African-American slavery: the cruel journey known as "the middle passage,'' in which millions, perhaps tens of millions, of Africans died before ever reaching American shores. The soft edges of Feelings's art, the blended grays of his palette, do nothing to mute the violence that permeates these images: the bowed bodies of captured Africans being led away under the whip; rows and rows and rows of bodies crammed side by side, shackled together, in dark, filthy holds beneath deck; the agony of a man remembering a baby viciously murdered. Feelings's purpose here, however, is not vengeful but cathartic. Through remembering and understanding the sources of their continuing pain, he believes that Africans can turn the chains of bondage into "spiritual links that willingly bind us together now and into the future... whether living inside or outside of the continent of Africa.''
Pub Date: Nov. 1, 1995
ISBN: 0-8037-1804-7
Page Count: 80
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1995
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Preaching to the choir, perhaps, but an invigorating sermon all the same.
Zinn-ian conspiracy theories, propounded engagingly and energetically by filmmaker and gadfly Stone and Cold War scholar Kuznick (History/American Univ.).
If you’ve read Howard Zinn—or if, like Jeff Lebowski, the Port Huron Statement is still current news for you—then you’ll have at least some of the outlines of this overstuffed argument. Premise 1: Though the United States may pretend to be a nice, cuddly sort of democracy, it’s the font of much trouble in the world. Premise 2: When, post-9/11, neocons began pondering why it wouldn’t be such a bad idea for the U.S. to become an imperial power, they were missing a train (or Great White Fleet) that had pulled out of the station long ago. Premise 3: We like European fascists better than Asian fascists, as evidenced by propaganda posters depicting our erstwhile Japanese foes as rats and vermin. Premise 4: War is a racket that benefits only the ruling class. Premise 5: JFK knew more than he had a chance to make public, and he was gunned down for his troubles. And so forth. Layered in with these richly provocative (and eminently arguable) theses are historical aperçus and data that don’t figure in most standard texts—e.g., the showdown between Bernard Baruch and Harry Truman (“in a colossal failure of presidential leadership”) that could only lead to a protracted struggle between the U.S. and the Soviet Union for post–World War II dominance. Some familiar villains figure in as well, notably the eminently hissable Henry Kissinger and his pal Augusto Pinochet; the luster of others whom we might want to think of as good guys dims (George H.W. Bush in regard to Gorbachev), while other bad guys (George W. Bush in regard to Saddam Hussein) get worse.
Preaching to the choir, perhaps, but an invigorating sermon all the same.Pub Date: Oct. 30, 2012
ISBN: 978-1-4516-1351-3
Page Count: 784
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Oct. 23, 2012
Kirkus Reviews Issue: Nov. 15, 2012
BOOK REVIEW
Marrin’s biography of our first president is packed with information, but is problematic in its presentation. In his characteristically epic style, he portrays an intriguing George Washington: militarily inexperienced, socially retreating, but with a hard edge that helped him to gain wisdom through his mistakes and earn respect as a commander. Copiously documented, the narrative should inspire readers to learn more about Washington. But Marrin undercuts his own authority with several stylistic problems. He regularly uses sweeping statements that, without clarification or context, are debatable (“Great Britain ruled the mightiest empire in all of human history”), or illogical, e.g., “Had it not been for Charles Lee, Washington might have won the war that day. Because of Lee, it would drag on for another five years.” (Lee may well have kept the war from ending that day, but he himself did not have anything to do with its ultimate length.) In an unusual comparison he suggests that “a war dance was like a ‘pep rally’ before a college football game.” He relies on the present tense to lend drama to his scenes, in a way that can only be considered fiction (“At once, a plan formed in the British General’s mind”), or that makes an interpretation but presents it as fact (“Someone, undoubtedly without his [Washington’s] permission, had driven a pole into the ground amid the corpses”). Marrin’s style makes for dramatic reading here and there, but his narrative is long and often bogged down in details, and he eventually undermines any dramatic tension by overusing his tricks. The book is well illustrated on nearly every page with black-and-white reproductions of etchings, drawings, and maps; notes, a bibliography, and index (not seen) complete it. Marrin’s book may be useful to young readers for its extent of documented information, but they may find better reading elsewhere. (Nonfiction. 12+)
Pub Date: Jan. 1, 2001
ISBN: 0-525-46268-6
Page Count: 256
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2000
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