Available:*
Library | Call Number | Status |
|---|---|---|
Searching... Park Grove Library (Cottage Grove) | J 811.54 BRO | Searching... Unknown |
Searching... R.H. Stafford Library (Woodbury) | J 811.54 BRO | Searching... Unknown |
Searching... Stillwater Public Library | J 811.54 BRO | Searching... Unknown |
Bound With These Titles
On Order
Summary
Summary
Originally published in 1956, these poems celebrate the joy, beauty, imagination, and freedom of childhood. Acclaimed author Gwendolyn Brooks reminds us that whether we live in the Bronzeville section of Chicago or any other neighborhood in the world, the rich emotions of childhood are universal--we are all Bronzeville boys and girls. This beautiful reillustrated edition features Faith Ringgold's vibrant artwork.
Author Notes
Gwendolyn Brooks was born on June 17, 1917 in Topeka, Kansas. She graduated from Wilson Junior College in Chicago in 1936 and received her L.H.D. (Doctor of Humane Letters) from Columbia College in 1964. She was the author of more than twenty books of poetry, including Children Coming Home, Blacks, To Disembark, The Near-Johannesburg Boy and Other Poems, Riot, In the Mecca, The Bean Eaters, and A Street in Bronzeville. In 1950, she was awarded the Pulitzer Prize in poetry for Annie Allen. She wrote numerous other books including a novel, Maud Martha, Report from Part One: An Autobiography, a book of poetry for children Bronzeville Boys and Girls, and several children's fiction books. She was named Poet Laureate of Illinois in 1968. She also received an American Academy of Arts and Letters award, the Frost Medal, a National Endowment for the Arts award, the Shelley Memorial Award, and fellowships from the Academy of American Poets and the Guggenheim Foundation. She died on December 3, 2000.
(Bowker Author Biography)
Reviews (5)
School Library Journal Review
K-Gr 4-The Pulitzer Prize-winning poet first published this collection of 34 brief poems in 1956. Each one presents a different child involved in a pastime that still figures in the lives of contemporary children. Mexie and Bridie are enjoying a tea party, small Narcissa is sitting still while her imagination transforms her into an ancient queen, and Michael hopes no one will notice that he holds his mother's hand during a thunderstorm. Some of the selections, such as "Robert," are reflective: "Do you ever look in the looking-glass/And see a stranger there?/A child you know and do not know,/Wearing what you wear?" Others, such as "Otto," offer a bit of social commentary:" It's Christmas Day. I did not get/The presents that I hoped for. Yet,/It is not nice to frown or fret./To frown or fret would not be fair./My Dad must never know I care/It's hard enough for him to bear." The original illustrations were black-and-white line drawings, done by Ronni Solbert, and despite the fact that the Bronzeville area of Chicago was also known as the Black Metropolis, featured white children. Ringgold's trademark, vibrantly colored, stylized art features children of color. This book is an excellent opportunity to introduce the work of an important author to a new generation. It should be considered a first purchase for most libraries.-Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publisher's Weekly Review
Brooks's deceptively simple poems for children combined with Ringgold's vibrant illustrations help to rejuvenate this collection first published in 1956. Inspired by Brooks's Chicago neighborhood, the events, feelings and thoughts of the children in the verse take on a timeless quality. The language and tone appear to be casual, but each poem is tightly constructed, rhythmic and distinctive. Whether the poem takes a child as its subject or unfolds in a child's voice, the images are universal. A new puppy has a "little wiggly warmness" and will not "mock the tears you have to hide." The snow is "white as milk or shirts./ So beautiful it hurts." Brooks's language remains economical yet astonishingly inventive. She describes how "Maurice importantly/ peacocks up and down./ Till bigly it occurs to him/ (It hits him like a slam)" that he won't be able to pack up his friends and take them along when he moves to another town. A few of the poems seem dated (kids call their mothers "Mother-dear," and when Paulette wants to run, her mother says "You're eight, and ready/ To be a lady") but on the whole, the collection will be as appealing to today's readers as it was to a child of the 1950s. Ringgold's bold illustrations, outlined with her signature thick black lines, are among some of her best and most narrative works since Tar Beach. She moves easily from cityscapes to cozy interior scenes around the family dinner table or singing at church. Ages 7-10. (Jan.) (c) Copyright PWxyz, LLC. All rights reserved
Horn Book Review
(Primary, Intermediate) It's been fifty long years since an illustrator has had the opportunity to re-envision Brooks's classic anthology (originally illustrated by Ronni Solbert). Each of the thirty-four poems is named for a child (""Eunice in the Evening""; ""Cynthia in the Snow"") and is either written from the viewpoint of a child or about a child. With acute observation and feeling, Brooks captures specific moments of childhood, as in ""Michael Is Afraid of the Storm"": ""Lightning is angry in the night, / Thunder spanks our house. / Rain is hating our old elm -- / It punishes the boughs. / Now, I am next to nine years old, / And crying's not for me. / But if I touch my mother's hand, / Perhaps no one will see."" Illustrator Ringgold wisely sets her pictures in the time (1956) and place (the Bronzeville section of Chicago) of the original writing, so the simpler pre-television lives of the children are evoked minus anachronisms, with new life and energy. Ringgold uses acrylic paint with squiggly markers for outlining and lets the paint show through to reveal the bright blue, pink, brown, and green backgrounds that divide the book into four sections. The strong colors help to place the poems both in the real world with its trees, brownstones, and toys and in the imaginary world of childhood, where a tea party seems to float in the air on a raft of blue. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
Kirkus Review
Brooks's gloriously universal celebration of African-American childhood here receives a respectful and joyous treatment from one of the pre-eminent illustrators of the same. Readers coming to "Narcissa," "Beulah at Church" and "Marie Lucille" for the first time will discover them accompanied by Ringgold's trademark folk-art interpretations, the expressive brown figures depicted for the most part as vignettes against bright backgrounds. They show a Bronzeville that bustles with activity, single-family homes sharing the streets with apartment buildings and the occasional vacant lot. The children run, braids and arms out straight, and contemplate in turns, their exuberance tempered by the solemnity of childhood. While it's regrettable that occasionally the specificity of the illustration robs a verse of its universality--the "special place" referenced in "Keziah" is shown to be underneath the kitchen table, for instance--the overall ebullience of the images more than compensates. There is a drop of truth in every single playful, piercing stanza, and anything that brings these poems to a new audience is to be cheered; a lovely package indeed. (Picture book/poetry. 7+) Copyright ©Kirkus Reviews, used with permission.
Booklist Review
This collection of 34 poems by Pulitzer Prize winner Brooks takes its title from a historically black neighborhood in Chicago, and the poems, each named for a child or children, come across as verbal snapshots of Bronzeville's young residents. When first published in 1956, the poems were paired with Ronni Solbert's occasional line illustrations, which often left the ethnicity of Brooks' subjects open to interpretation. Not so in this version, fully and exuberantly illustrated by the creator of the Caldecott Honor book Tar Beach (1991) and other titles. Ringgold envisions the poem's protagonists as members of an urban, African American community and renders them in the assertive colors and faux-naif style for which she is best known. Thickly outlined in black and unmoored from traditional rules of perspective, Ringgold's depictions share the childlike sensibility of Brooks' words, whether expressed in skipping-rope rhythms or in coinages that children will relish (When I hear Marian Anderson sing, / I am a STUFFless kind of thing ). Splashed edge to edge in wild color and activity, the large-format pages will draw children to the work in a way the previous edition's unassuming appearance did not, ensuring a wider audience for poems that honor the rich experiences of children as individuals, by turns mischievous and joyful, pensive and sad. --Jennifer Mattson Copyright 2007 Booklist
