Soft-spoken, yet powerful; Halperin not only tells, she makes readers think, which is the best way to learn.
It is difficult to teach the concept of peace, especially through words alone. Wisely, Halperin buttresses her words visually.
Halperin pulls readers in by letting them create their own stories. In the first half, when the narrator explains what must be done (“For there to be peace in nations, / there must be peace in cities”), small, detailed vignettes show people around the world in trying circumstances. Readers see anger, loneliness, bullying and more. But when the structure switches and works its way from the microcosm back out (“There will be peace in our cities / when there is peace in our nations”), readers can find resolutions to all the problems of the previous pages. Halperin invites children to pore over the colored-pencil drawings, carefully inspecting each miniature storyline to imagine what happens. In the first nations/cities spread, for example, one vignette depicts an old man with a cane walking past a full bench on a subway car; in the second, a boy has stood to give him his seat. Quotes from noted peacemakers wind in ribbons around the vignettes. The center spread, which declares the ever-earnest advice that peace must start in our hearts, includes drawings from actual children—all of which hopefully inspire readers that they can make a difference, no matter how small.
Soft-spoken, yet powerful; Halperin not only tells, she makes readers think, which is the best way to learn. (Picture book. 5-8)Pub Date: Jan. 29, 2013
ISBN: 978-0-689-82552-1
Page Count: 40
Publisher: Atheneum
Review Posted Online: Dec. 1, 2012
Kirkus Reviews Issue: Dec. 15, 2012
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
While the blend of folklore, fantasy and realism is certainly far-fetched, Imani, with her winning personality, is a child...
Imani endures the insults heaped upon her by the other village children, but she never gives up her dreams.
The Masai girl is tiny compared to the other children, but she is full of imagination and perseverance. Luckily, she has a mother who believes in her and tells her stories that will fuel that imagination. Mama tells her about the moon goddess, Olapa, who wins over the sun god. She tells Imani about Anansi, the trickster spider who vanquishes a larger snake. (Troublingly, the fact that Anansi is a West African figure, not of the Masai, goes unaddressed in both text and author’s note.) Inspired, the tiny girl tries to find new ways to achieve her dream: to touch the moon. One day, after crashing to the ground yet again when her leafy wings fail, she is ready to forget her hopes. That night, she witnesses the adumu, the special warriors’ jumping dance. Imani wakes the next morning, determined to jump to the moon. After jumping all day, she reaches the moon, meets Olapa and receives a special present from the goddess, a small moon rock. Now she becomes the storyteller when she relates her adventure to Mama. The watercolor-and-graphite illustrations have been enhanced digitally, and the night scenes of storytelling and fantasy with their glowing stars and moons have a more powerful impact than the daytime scenes, with their blander colors.
While the blend of folklore, fantasy and realism is certainly far-fetched, Imani, with her winning personality, is a child to be admired. (Picture book. 5-8)Pub Date: Oct. 14, 2014
ISBN: 978-1-934133-57-6
Page Count: 32
Publisher: Mackinac Island Press
Review Posted Online: July 28, 2014
Kirkus Reviews Issue: Aug. 15, 2014
The dynamic interaction between the characters invites readers to take risks, push boundaries, and have a little unscripted...
Reinvention is the name of the game for two blobs of clay.
A blue-eyed gray blob and a brown-eyed brown blob sit side by side, unsure as to what’s going to happen next. The gray anticipates an adventure, while the brown appears apprehensive. A pair of hands descends, and soon, amid a flurry of squishing and prodding and poking and sculpting, a handsome gray wolf and a stately brown owl emerge. The hands disappear, leaving the friends to their own devices. The owl is pleased, but the wolf convinces it that the best is yet to come. An ear pulled here and an extra eye placed there, and before you can shake a carving stick, a spurt of frenetic self-exploration—expressed as a tangled black scribble—reveals a succession of smug hybrid beasts. After all, the opportunity to become a “pig-e-phant” doesn’t come around every day. But the sound of approaching footsteps panics the pair of Picassos. How are they going to “fix [them]selves” on time? Soon a hippopotamus and peacock are staring bug-eyed at a returning pair of astonished hands. The creative naiveté of the “clay mates” is perfectly captured by Petty’s feisty, spot-on dialogue: “This was your idea…and it was a BAD one.” Eldridge’s endearing sculpted images are photographed against the stark white background of an artist’s work table to great effect.
The dynamic interaction between the characters invites readers to take risks, push boundaries, and have a little unscripted fun of their own . (Picture book. 5-8)Pub Date: June 20, 2017
ISBN: 978-0-316-30311-8
Page Count: 40
Publisher: Little, Brown
Review Posted Online: March 28, 2017
Kirkus Reviews Issue: April 15, 2017
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