Kin: Rooted in Hope by Carole Boston Weatherford

Genre

This book is in the historical fiction genre.

Targeted Age Group

The age group for this book is ages 10 and up. It is cataloged as a teen book at my public library, and as it encompasses ages beyond 6th grade, I am using it for the 7th-12th grade category of this project.

Summary

This book follows the journey of the author as she learns about and traces her enslaved ancestors through difficult-to-find records. Over the course of the book, and as she learns about these people, she muses about their lives, their surroundings, and their relationships. 

Justification

This is a Coretta Scott King honor book, and fills the requirement for a teen historical fiction book. I was interested in learning about the author’s experience of exploring family history through enslaved ancestors, when records for finding and learning about these people are limited or difficult to access. I come from a religious background where family history is valued, and with an awareness of the difficulty that is searching old records, was interested in this author’s story. 

Evaluation

In this section, I will evaluate style and language, point of view, and illustrations.

As a prose novel, style and language is central to bringing these stories to life, and they are beautifully executed by Weatherford (2023). Personification is used to explore the perspectives of places like Wye House and Chesapeake Bay, or objects such as the mirrors in Wye House, to ask, even without an answer, what they witnessed. Regarding the people throughout the book, there is a clear difference between the voices of the white Wye family, and the Black people enslaved under them. While the Wye family discusses the dehumanizing trade, purchasing, inheritance, and ownership of those they enslaved, both enslaved and freed people such as Frederick Douglass, Daphne, Isaac Copper, and many others voice their resistance, knowledge, suffering, and hope through community. Even on pages that lack an illustration, Weatherford’s (2023) words create mental images of the history they invoke.

Because the format of this book is broken up into its individual poems, the points of view are able to easily shift between historical people, places, and the narrator. Weatherford (2023), in the author’s note, discusses the extensive research that went into this project, and how she “asked [her] ancestors to speak to, and through, [her]” (p. 197). The effort to express the individual voices of these ancestors is clearly felt, as each poem representing a different individual feels unique to their experiences, and like their own voice speaking through the text. By using the poems to shift perspectives throughout the book, each ancestor is given the space to speak their lives and names onto pages where they will be remembered beyond ledger records (Weatherford, pp. 24-26). 

Lastly, I want to discuss the illustrations in this book. Jeffrey Boston Weatherford’s (2023) stylized drawings are composed against either black or white paper, using hatched lines to construct the artwork. The rough, unblended texture of these illustrations may act as a reflection of the rough lives experienced by those who lived under enslavement. The unfinished rendering could also act to enhance the text, in that Weatherford’s (2023) experience of researching and learning about her family history was a difficult and perhaps unfinished process. A better understanding of these people exists because of that extensive research, but, as expressed in the final poem of the book, their lives exist “between the lines of the epitaph” that marks their resting place, and their names are “lost but for ledgers of the Lloyd’s property and possessions” (Weatherford, 2023, pp. 193, 195). Even as family names, relations, occupations, and more were uncovered through extensive research as shown in the bibliography, there are still many unanswered questions about who these ancestors were, but the hatched lines of the illustrations work to piece together this knowledge and form a more complete visual of their history. The linework creates an impression of who these people were and what they experienced, while still unable to fill in all the corners of their lives.

This book is a heartfelt and heartbreaking tribute to Weatherford’s (2023) ancestors. I would recommend it to anyone wanting to learn more about African American history, and about the hard work of tracing one’s family history. 

References

Weatherford, C. B. (2023). Kin: Rooted in hope (J. B. Weatherford, Illus.). Atheneum Books for Young Readers. 

More than Words: So Many Ways to Say What We Mean by Roz MacLean

 

Genre

This book is in the fiction genre. 

Targeted Age Group

The targeted age group for this book includes ages 4-8.

Summary

This book is about a young boy who listens but doesn’t often speak, and observes the variety of tools that his peers use to communicate. 

Justification 

I chose this book as a Texas 2x2 award book. I was drawn to the bright colors on the cover, as well as being interested in the premise of exploring different modes of communication. There are many ways to communicate, and the importance of representing these experiences for early readers can create a more welcoming world by giving children an early opportunity to learn how to communicate in a variety of ways.

Evaluation

The illustrations were one of my favorite things about this book. They are cute, colorful, and detailed, which makes this picture book fun as well as educational. MacLean’s (2023) lines are soft and loose, giving the pictures a playful feel. One of my favorite repeating elements throughout the book was the appearance of chickadees. While not on every page, they can be spotted throughout most of the book; this gives readers a chance to spend time looking through each illustration, and spot the birds in creative places such as drawings on a classroom wall, or silhouettes on a windowsill. Aside from being fun to look at, MacLean’s illustrations also come together to support Nathan, the main character whose observant perspective we follow through the story. As the readers pay attention to Nathan’s observations, they will learn how he quietly but creatively gets to know those around him to communicate with everyone in his own way. Because the illustrations are tied together by both their small details and their overarching relevance to Nathan’s observations, they are able to tell the story just as strongly even if the text weren’t speaking to the reader.

The language in this book is simple and creatively portrayed on each page. On one page, a blind student is shown using a brailler. The text simply reads, “He writes using BRAILLE,” and printed braille is included under the all-caps word. Another page about sign language features the word “sign” in big, boldly illustrated letters, and within each letter is its finger sign. Creative displays of the text like these are found throughout the book, and while they are also part of the illustrations, they enhance the message of the text in a stylized and memorable way that engage learning.

The setting for this book takes place in a school, both in the classroom and outside the building. This is a location that kids can relate to, where they would naturally encounter diverse communication abilities and needs. Additionally, the school setting can be compared to the role that this book plays, which is to teach young readers how to recognize different ways of communication and be prepared to engage with people who use them. The inclusion of two informative pages at the back of the book, while not part of the setting of the book, still enhance the schooling aspect (MacLean, 2023, unpaged). Apart from the learning role that the setting plays, the illustrations also successfully capture familiar aspects of the areas portrayed, both inside and outside the classroom: the organized shelves of classroom materials and crowded playgrounds will remind audiences of their own schools.

This book was a great read, and I hope you enjoy it too! Happy reading! 

References

MacLean, R. (2023). More than words: So many ways to say what we mean (R. MacLean, Illus.). Henry Holt and Company.

Standing in the Need of Prayer: A Modern Retelling of the Classic Spiritual by Carole Boston Weatherford

 

Genre

This book is in the historical nonfiction genre. 

Targeted Age Group

The targeted age group for this book is ages 6-9.

Summary

This book is based on an African American spiritual, with African American history written into the lyrics as the text of the book. It covers the span of Black history in America, from enslavement to the Black Lives Matter movement.

Justification 

I chose this book as a Coretta Scott King award book, which specifically was awarded for its illustrations by Frank Morrison. I chose it for these illustrations, as well as to learn more about the African American spiritual that inspired this book and served to frame the African American history presented within. 

Evaluation

   For my review of this book, I will discuss the illustrations, style and language, and characters.

            The illustrations in this book, as mentioned above, are what won the Coretta Scott King award for this book. Each page is dynamic, capturing elements of violence, resistance, stillness, and joy. The dynamic artwork enhances the historical reality of the people portrayed: they are alive in the artwork just as they were alive in their own times. The artwork itself is stunning. Morrison’s (2022) soft brush strokes beautifully texturize each scene, and make the movement in these paintings feel fluid and believable. The composition on each page is as dynamic as the people: one painting symbolically renders a moment of prayer after the Emancipation Proclamation, with the proclamation itself in the background. A painting of Ruby Bridges captures her dodging across both pages while a rock flies past, angry protestors in the background with racist signs blotted out, and a disparaging paper picturing Martin Luther King Jr. floats down in the foreground. The composition of this latter piece—its diagonal lines, and chaos in both foreground and background—depict what must have been the chaos of that day. Each painting in this book receives the same care in using angles, perspectives, symbolism, and more to represent the history they portray.

The language in this book is dual: it is framed around the lyrics of the African American spiritual “Standing in the Need of Prayer,” and tells about historical people and events across African American history. The added text is built in place of the line “It’s me, it’s me, O Lord,” replacing it with the historical subjects featured throughout the book. Weatherford (2022) masterfully rhymes the added text, thus maintaining the musicality of the poem. The text on the first and last pages is mirrored and returns to the lyrics of the spiritual (the only difference is father/mother versus preacher/teacher), which serves both to close the circle of the text, and to compare early and modern African American history. On the first pages of this book, African Americans both old and young stand enslaved and dehumanized in chains. On the last page (before the author’s references) two young Black Americans, softly smiling, stand at a protest surrounded by phrases such as “say her name,” “BLM,” “my life still matters,” and “justice” (Morrison, 2022). The mirrored text connects generations of Black Americans and echoes that across time and across fights for justice, each individual “stand[s] in the need of prayer” (Weatherford, 2022). 

For the sake of using the literary term, I also want to discuss the ‘characters’ in this book, but there is nothing fictional about these people: their lives and stories are real and impactful. As Young et. al. (2020) writes, “People who live between the covers of a book must be as real as people who live across the street” (p. 19). Both Weatherford (2022) and Morrison (2022) ensure that the reality of these historical people is felt not only through the illustrations and poetry, but include a reference page in the back of the book that goes into greater detail on the people and events portrayed throughout the text. For its young audience, the material included is a brief and easy introduction to the history portrayed in the book. It ensures that these people are represented and remembered both visually and textually: able to be identified by their names and written histories. 

Happy reading!

References

Weatherford, C. B. (2022). Standing in the need of prayer: A modern retelling of the classic spiritual (F. Morrison, Illus.). Crown Books for Young Readers. 

Young, T. A., Bryan, G., Jacobs, J. S., Tunnel, M. O. (2020). Children’s literature, briefly. Pearson Education, Inc.

As the Crow Flies by Melanie Gillman

 

Genre

This book is in the fiction genre.

Targeted Age Group

The age range for this book is 13 and up.

Summary

This graphic novel is about a young Black and queer teen who finds herself at a Christian summer backpacking trip, and surrounded by almost all white people. Over the course of the trek, she grows increasingly aware of how who she is doesn’t fit into this space, and must decide what to do in such an isolating situation.

Justification

I chose this book from the Stonewall awards list. I resonated with the description as a book about a young queer person who is frustrated by and doubting Christianity. While I was much older when I both left my religion and realized I was queer, I found the description of this book relatable. I was also simply drawn in by the title: I love this saying, and as someone who enjoys birding, I was more than excited to see this title. 

Evaluation

For this book, I’ll be evaluating the illustrations, characters, and theme.

First, the illustrations in this graphic novel are all done in colored pencil. Gillman (2017) uses this medium to beautifully depict the outdoors, capturing the many colorful layers of nature while also portraying its rough textures. Some of the most stark illustrations in this book help to establish the mood of the scene; specifically, when the characters find themselves around a campfire. There are two of these scenes in the book, and each time, the campfire has a dark, uncomfortable, almost angry tone to it rather than a cozy or safe tone. Gillman’s (2017) portrayal of these scenes matches the mood of what is going on at the time: as Bee tells stories about the history of this camp, it is revealed to both Charlie and the reader that the ideas and principles behind this camp are based in its historical oppression of Black and queer people. The deep, disconcerting red of these campfire scenes enhances Bee’s tone-deaf, white feminist rage, as well as Charlie’s growing discomfort with her place at this camp.

One aspect of the illustrations in this novel that I didn’t like as much, from a storytelling perspective, were the several wide and close-up establishing panels of nature. At times it felt appropriate, given that the group is on a hike, and these are scenes along the route. Other times it felt like these visualizations of nature were repetitive and detracting from the progression of the story. However, Gillman’s (2017) landscapes are beautiful, and other readers may enjoy the quiet, peaceful moments that they bring in the book.

Next up are the characters. Charlie, our main character, is a Black and queer teen whose relationship with God seems to be wearing thin. She is set up to be a dynamic character who will move from hesitating to speak up, to finding the confidence and the energy to speak up and create space for herself and others. However, she never fully gets to experience this character climax, as the book seemingly ends mid-plot (I will discuss this in the last paragraph of this section). That being said, her reactions to and frustrations with the camp, its leaders, and other campers are conveyed well through Gillman’s (2017) illustrations and dialogue, as well as Charlie’s internal thoughts, and she is a relatable character in personality, beliefs, and identity. Next, Bee is the main leader of this backpacking trip, as well as the main antagonist of the book. She often makes tone-deaf comments, excuses racist history in favor of continuing practices that only serve white women, and is frequently dismissive of Charlie’s struggles along the trail. The reader can feel her dismissive attitude through awkward excuses and body language, making her a strong antagonist. Readers may find this character similar to other adults in their lives who are meant to be leaders but lack the self-reflection to build inclusive spaces, and thus perpetuate harmful biases. Other characters, like Adelaide, receive jumpy and unrealistic character development, or little character development, which pulled me out of the narrative sometimes. I would have liked to see greater exploration of some of the main cast of characters, and while each in their own right is enjoyable, I didn’t feel like they were fully developed within the bounds of this novel. There is a mix of strong and flat characterization in this book, but I still found that I enjoyed engaging with the main characters and rooting for them.

The theme that stood out the most to me is that white feminism perpetuates harm and exclusion when left uncriticized and unchallenged. The book also addresses the importance of solidarity and intersectionality within community, and shows that these relationships can be the push needed to dismantle white feminism. Unfortunately, these themes never quite reach fruition in this volume. Like the characters, the themes are set up to accomplish more than they are able to because of where the story cuts off. The lack of a final conclusion aside, the themes of this book are socially relevant and relatable, as well as presented in ways that the target audience will be able to connect with.

This book, upon first read, seems to end abruptly. While resolving the issues set up in this narrative would serve an overall benefit, the story itself is strong enough to be enjoyed by readers as it is. That being said, the book is part of an ongoing web comic; I read the rest of what is available online, but did not include any of that material in this review. On the publisher’s website, the book description calls this “The first collection of Melanie Gillman’s extraordinary webcomic” (Iron Circus Comics). With the promise of future volumes, hopefully both the plot, themes, and characters will see a more final and full development. As series go, I would still say that this volume ends at an awkward point, leaving the reader hanging in uncertainty. If there were some indication of future volumes, whether a note at the end of the book or even a volume number on the spine, I think that would help readers—especially those who don’t at first know that this is a published web comic—better understand that there is more to come beyond this book. Happy reading!

References

Gillman, M. (2017). As the crow flies (M. Gillman, Illus.). Iron Circus Comics.

Iron Circus Comics. (n.d.). As the crow flies. https://ironcircus.com/product/as-the-crow-flies/

Wonder Walkers by Micha Archer

Genre

This book is in the fiction genre.

Targeted Age Group

The intended age range for this book is 3-7 years old.

Summary

This book is about the experience of going on a walk and creatively questioning and marveling at the world around us.

Justification

I chose this book as a Caldecott medal winner. I also chose it because I love going on walks; it’s my primary form of getting outside, and it’s guaranteed that I’ll pause several times to look at trees, birds, flowers, and more. I love that there is a picture book about this very activity, and the joy expressed in the cover art sparked my intrigue. I was also interested in the use of collages to bring the art of this book to life, which seems to be a less-common medium for picture book art. I enjoyed this book, and it reminded me to think creatively about the world around me!

Evaluation

            In this section, I will evaluate the illustrations, style and language, and tone.

The illustrations in this book are done with collage, and masterfully portray the intricacies of nature, creating a sense of wonder for the reader on the literary wonder walk. Because of the collage format, the reader occasionally glimpses sheet music or a string of letters mixed into nature, which artistically comments on how nature is both poetic and musical. The collage medium also portrays the layers and depth of nature, and invites readers to peer closely at the patterns and colors that Archer mixes together to convey beaches, flowers, forests, and more. In that sense, the medium enhances the theme of the book, which is to creatively observe nature. Just as the two kids on their walk express wonder at everything around them, the readers of this picture book will express wonder at how the collages reflect the experience of wandering through nature: up close, there are many small parts that work to bring the world to life each day. From far away, the view is beautiful, bright, and picturesque. 

The language in this book also bolsters its theme. This picture book is almost entirely phrased in questions, which enhance the aspect of ‘wonder’. Questions such as “Is fog the river’s blanket”, and “Is the moon the world’s night-light” encourage the reader to consider the world in a creative and relatable way, much like the collages do (Archer, 2021, unpaged). In sync, the words and illustrations of this book create wonder both in an awe-inspiring way, and in a way that sparks curiosity—the action of wondering. Another example of language choice is the comparison of plant roots to toes: when presented with this idea, readers may find themselves stretching their own toes, grounding themselves as much as roots ground their plants (Archer, 2021). Overall, the language in this book encourages the reader to creatively ask questions about nature in a way that addresses the human and artistic aspects of nature, alongside the scientific parts.

Young et. al. (2020) describes tone as “the author’s attitude toward the subject or audience” (p. 21). Archer (2021) employs a trusting attitude towards the young audience of this book: that is, she trusts them to understand the message without being too straightforward about it. While employing complex art and asking questions, Archer (2021) doesn’t answer these questions for the audience. Rather, the main response to these questions is the phrase “I wonder” (Archer, 2021, unpaged). I believe this response fosters an overall creative and curious tone in this book, and also encourages the practice of being curious without having immediate answers at hand.

I thoroughly enjoyed reading this book, and found myself engaged with both the art and the text. Happy reading! 

References

Archer, M. (2021). Wonder Walkers, (M. Archer, Illus.). Nancy Paulsen Books.

Young, T. A., Bryan, G., Jacobs, J. S., Tunnel, M. O. (2020). Children’s literature, briefly. Pearson Education, Inc.

 

The Cursed Moon by Angela Cervantes

 

 

 

Genre

This book is in the Science Fiction and Fantasy Genre.

Targeted Age Group

According to Publisher’s Weekly, this book is targeted to ages 8-12.

Summary

This book is about a young boy named Rafa who is struggling with multiple things in his life right now: his mom is about to be released from prison, he’s being excluded from summer camp because of his grades, and he may have reawakened a malicious supernatural being. He has to puzzle together the history of the curse he has unleashed before everything falls apart, and before the monster gets him.

Justification

I initially chose this title because it is a Texas Bluebonnet award book. It also drew me in for several reasons, including its spooky artwork that hints at the types of stories I usually enjoy (a supernatural entity in the woods must be confronted). I love these stories for their atmosphere, character journeys, and often otherworldly nature, and this book didn’t disappoint. I was also interested in the complex family relationships that provide a background to this story, and how that might play into the plot of this overall spooky novel.

Evaluation

For my review of this book, I will be going over setting, characters, and theme.

Cervantes’ setting is crucial to setting the tone for this book, and her writing immerses the reader into the story. One example throughout the book is the blood moon, which takes place on the first night of the book and is part of the catalyst of events. There are many moon phases that could have been used to dissuade Rafa from storytelling: a blue moon, a full moon, or perhaps even a new moon, which would result in a very dark night. The choice to use a blood moon heightens the eeriness of the story: the light is off-putting, and ‘blood’ signifies death and danger. In another example of setting, Cervantes writes: 

They trampled through wild brush and grass that reached their knees, while wisps of fog reached for them like thick fingers pulling them deeper into the woods. Soon they were so deep into the woods that they could no longer see Ms. Martin’s house behind them nor the glint of the afternoon sun (p. 142). 

As I will write later, the book’s antagonist often appears to manifest with the fog. The description of the fog having “fingers”, almost grabbing or luring them, creates fear that the characters here are not alone. As they trample through undergrowth, it is clear that they aren’t on a path, and the further they go from Ms. Martin’s house, the likelier it is that they could become lost in the woods. The reader can almost feel the forest scraping at their legs, creating a feeling of being pulled or grabbed. This part of the woods, too, is dark despite being sunny outside. Overall, the atmosphere of somewhere deep and dark, amidst a potentially malevolent fog, creates an immersive experience for the reader of being lost and surrounded by danger. This setting persists nearly every time the characters are in the woods, which establishes that the reader should and must be scared of this place. 

Cervantes writes fantastic characters in this novel. Rafa Fuentes is a strong protagonist and main character. He is many things: a protective older brother, a helpful friend, a creative storyteller, as well as a frustrated and sometimes angry son. His complicated relationship with his mom, Nikki, is fleshed out through memories and dialogue, giving the reader a full picture of why Rafa harbors resentment towards her. Many of Rafa’s above characteristics are fleshed out through his actions; Cervantes does a fantastic job of demonstrating who Rafa is through his relationships and how the people in his life respond to him. Brianna Fuentes, Rafa’s younger sister, is also a strong character. While Cervantes demonstrates their relationship through shared memories, mischief, and concern for the other, Brianna often acts outside of Rafa’s wishes for her, and is shown to have her own opinions, especially in regards to their mother. Their similarities and differences create a realistic sibling relationship that adds to the familial tension in the Fuentes family. Next is Ms. Martin, a neighbor of Rafa’s family. She is the mentor figure of this story: a role that is strengthened by her cryptic warning to Rafa in the first chapter. It establishes her as someone who might know more than they seem, and her sometimes off-putting nature fits the eeriness of this book. The reader’s opinion of Ms. Martin fluctuates with that of the other characters, which I believe strengthens her role as mentor. She isn’t immediately trusted; rather, trust must be built between her and Rafa, which also creates tension in the book as time runs out. The last character I’ll discuss is the antagonist, The Caretaker. The strength of this antagonist cements this book as a memorable one. The Caretaker is especially creepy, which I would attribute to the way that Cervantes disembodies him across space and time. He is able to reach Rafa through texts, fog, and even dreams, making him unpredictable and dangerous. Overall, this book has fantastic characters that weave well together, are believable and relatable people, and enhance the story that Cervantes tells.

Lastly, I loved the themes presented in this book, especially the theme of hope found in repairing family relationships, and breaking harmful cycles. One constant point of tension throughout the book, and that is critical to understanding Rafa, is the fact that their mother Nikki is returning from prison. As previously mentioned, Rafa is resentful towards Nikki because of her neglect, broken promises, and drug use that lead to her arrest. Narratively, Nikki is as much a ghost as any of the other specters haunting this story: Rafa even compares her to “the ghosts he [writes] about” (Cervantes, 2023, p. 109). Her presence is felt, but the audience never sees her outside of memories and discussion about her. However, outside of Rafa’s perspective, Nikki is not shown as having a predetermined fate like the other ghosts of this tale: Bianca, Abuela, and other characters have hope for her. Thus, as Rafa confronts his own similarities to Nikki alongside a looming curse, he has to learn where harmful cycles end and where hope begins. I could say so much more about these themes, but out of concern of giving too much away, I’ll leave my analysis here. As young readers engage with this book, I believe they will find that Cervantes trusts them to come to their own conclusions regarding these themes. Additionally, I believe that readers with any sort of complex relationships to their family will connect with Cervantes’ idea that people are open-ended stories, and there is always hope in the ‘endings’ available to everyone, whatever that may look like. Happy reading!

References

Cervantes, A. (2023). The cursed moon. Scholastic Press.

 

Books For 7th-12th Grade

Welcome to my digital bookshelf! This post will feature books for readers ranging from 7th to 12th grade. I will update this post throughout the course of the semester. 

 As the Crow Flies by Melanie Gillman

Kin: Rooted in Hope by Carole Boston Weatherford, illustrated by Jeffery Boston Weatherford 

 

 

Books For PreK-6th Grade

Welcome to my digital bookshelf! This post will feature books for readers ranging from preK to 6th grade. I will update this post throughout the course of the semester. 

Wonder Walkers by Micha Archer

The Cursed Moon by Angela Cervantes

More Than Words: So Many Ways to Say What We Mean by Roz Maclean 

Standing in Need of Prayer: A Modern Retelling of the Classic Spiritual by Carole Boston Weatherford, illustrated by Frank Morrison