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Summary
Summary
In his magnificent interpretation of Henry Wadsworth Longfellows poem, Christopher Bing seamlessly weaves history and imagination into a rich portrait of an American hero. A meticulous researcher, Bing includes material that provides texture to history, maps that follow the British campaign to quell the rebellious citizenry, as well as the patriots ride into the Massachusetts night of April, 1775. Documents firmly affixed into the book, including the Britishgenerals orders to his troops and Reveres own deposition relating the events, give the reader not only a visual experience but a tactile one as well. Far more than a brilliantly presented history lesson, this book represents a tour de force of coherent artistic vision. In an extraordinary series of rich and moody engravings, from the mysteriously shimmering rigging of the British sloop, The Somerset, looming in a moonlit Boston harbor to the taut urgency of a man and his horse galloping at a combustible moment in the American experience, this book illuminates our countrys past unlike any other.
Author Notes
Henry Wadsworth Longfellow (1807-1882), a professor of French and Spanish at Harvard University, was one of the first American academics to have a truly global interest in literature. He became convinced that America was in need of its own mythology, poeti
Christopher Bing, whose first book, "Casey at the Bat," was named a 2001 Caldecott Honor Book, lives with his wife and three children in Lexington, Massachusetts, in a house directly on the Freedom Trail, the route on which Paul Revere rod
Reviews (5)
Publisher's Weekly Review
Bing (Casey at the Bat) once again brings his love of history and attention to detail to bear in Longfellow's classic poem. Even before the famous opening lines ("Listen, my children, and you shall hear/ Of the midnight ride of Paul Revere"), he is busily setting the stage with period window dressing, including faux marbled endpapers cluttered with what looks like original documents (letters that open with an authentic-looking wax seal, newspaper accounts, etc.) plus a variety of found objects, from antique spectacles to a quill pen, seamlessly integrated with the aid of 21st-century technology. He presents the text itself on pages that appear yellowed with age. Pen-and-ink drawings on scratchboard, resembling period engravings, are washed with color cool midnight blues warmed by the glow of candlelight and brightened by the silvery light of the moon. Bing employs the poem's inherent drama. The stanza beginning "Meanwhile, his friend, through alley and street,/ Wanders and watches, with eager ears," for instance, finds the lamplighter flattened against the corner of a house as he spies on the British grenadiers. If a few of the spreads are difficult to distinguish (e.g., "The shadowy something far away,/ Where the river widens to meet the bay" that triggers the lamplighter's signal cannot be deciphered, for instance, and it is hard to tell that there's a "second lamp in the belfry"), aspiring historians will overlook them in favor of the cornucopia of relevant facts incorporated into the endpapers including Revere's original deposition to the Massachusetts Provincial Congress. For more sophisticated youngsters, Bing's impressive volume helps tell the tale of what happened that April night in 1775. Ages 7-up. (Dec.) (c) Copyright PWxyz, LLC. All rights reserved
Horn Book Review
Scratchboard illustrations scanned into a computer and layered with color illustrate the stirring narrative poem re-creating Paul Revere's historic ride to warn the colonists in Lexington in 1775. The combination of strong graphic elements lends the poem a surreal quality, especially the scenes presided over by an oversized, crater-scarred moon. An endnote provides historical facts about the event. From HORN BOOK Fall 2000, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Booklist Review
Gr. 3^-5, younger for reading aloud. This picture book features the complete text of "Paul Revere's Ride," illustrated by Jeffry Thompson's large, full-color pictures and a few small, well-crafted images in black and white. Appended is a two-page note setting the historical record straight with a more accurate account of the events that inspired Longfellow's famous narrative poem. Thompson's strong, rhythmic sense of form is used to good advantage in the art. He drew one element of each illustration, transferred it, and cut it into scratchboard; the separate images were then scanned into a computer and composed and colored on line. Sometimes, the complexity of an illustration, combining many elements layered at different depths in the picture plane, detracts from the composition's effectiveness. Overall, however, this large, dramatic picture book is one of the best editions available of this American classic. --Carolyn Phelan
School Library Journal Review
Gr 3 Up-Longfellow's most famous tale comes to life once again in Bing's masterfully detailed scratchboard paintings that, through their watercolor glazes, give the appearance of fine old engravings. The digitally produced, superimposed images of playing cards, Colonial money, and various other historical objects enhance the tactile sense of the meticulous renderings. Each half-page piece of text appears on a facsimile of parchment set in Founder's Caslon 30 font, the same typeface used in the first printing of the Declaration of Independence, and the accompanying illustrations, maps, and re-creations of documents clearly reinforce the poet's words. The scratchboards are rich in texture and their many shadows suggest the moods of conspiracy and secrecy that must have permeated those days prior to the battles of Lexington and Concord. One that is particularly poignant is that of Revere hurrying along on horseback while the shadows behind him create a blend of images of both the first and current Stars and Stripes. The illustrations of this beautifully bound rendition are more realistic than those by Jeffrey Thompson (National Geographic, 2000) and are geared to an older audience than those of Paul Galdone's classic version, Paul Revere's Ride (Crowell, 1963; o.p.). Both school and public libraries should add Bing's interpretation to their shelves-this is one patriotic poem that deserves to ride again.-Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RI (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus Review
An extraordinarily beautiful piece of bookmaking attempts to breathe new life into one of American literature's hoariest classics. Illustrator Bing, fresh from his Caldecott Honor triumph with Casey at the Bat (2000), here employs a combination of techniques to depict the events of the "eighteenth of April, in Seventy-Five." Delicate pen, ink, and brush backgrounds reminiscent of early engravings were glazed with watercolors "in the traditional method," resulting in an absolutely heart-stopping blue that dominates the nighttime scenes with just tiny hints of reds and yellows to stand in contrast. Occasional scanned-in additions, such as watches, coins, or playing cards, are superimposed on some illustrations; these are presumably added to enhance atmosphere but are somewhat distracting. The illustrations occupy most of the double-page spreads, with the text appearing at the sides in boxes that simulate yellowed (and in one case, singed) paper. Extensive historical notes, bibliography, acknowledgments, and a fascinating note on the preparation follow the poem; the whole is flanked by maps of the planned British raid and the famous ride. The endpapers are decorated with facsimile broadsides and supplemented by two foldout documents: a recreation of Paul Revere's deposition on the events, and a "fanciful" recreation of British General Gage's orders to his lieutenant. It is unquestionably a glorious effort on the part of the artist, designer, and publisher. The poem itself can be stuffily old-fashioned in syntax and occasionally its rhyme scheme mires down, but the illustrations, which capture both the movements of the British and the desperate stealth of Revere and his friend, help to carry the reader along. Less a picture book than an illustrated poem, this offering may well serve to excite new audiences in a work to which everyone knows the opening lines-but nothing else. (Picture book/poetry. 8-12)
