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Library | Call Number | Status |
|---|---|---|
Searching... R.H. Stafford Library (Woodbury) | J 921 WILDER | Searching... Unknown |
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Summary
Summary
A biography of the well-known author of The Little House on the Prairie, describing the pioneer experiences that provided the basis for much of her writing.
Author Notes
Alexandra Wallner went to college at Pratt Institute in Brooklyn, N. Y. where she earned a B.F.A. and an M.F.A. She also met her husband, artist John Wallner. Together they created Greywood Studios. She has written and illustrated children's picture book biographies of famous writers, artists and historical figures focusing on their childhoods. What events made them who they became? She has also taught at library conferences, in international women's writing groups and done many school visits. Greywood Studios has relocated several times: Brooklyn Heights, Upstate New York, Philadelphia, Maine, Florida and now, Mexico.
(Bowker Author Biography)
Reviews (4)
School Library Journal Review
PreS-Gr 4Wilder's life is documented in an accurate, concise beginning biography. The good times and the bad are depicted with honesty and feeling. In a brief text, Wallner relates the importance of Pa's storytelling during the family's travels; followers of the nine books that chronicle her growing-up years will recognize events that inspired some of the venerable author's titles (for example, Laura fishes in nearby Plum Creek and Pa finds a job in Silver Lake, Dakota Territory). Wallner also describes Laura "learning to make pictures with words" when Mary loses her eyesight. The artist's inviting pen-and-ink illustrations in a folk-art style range from panel vignettes that depict the patterned fabrics of pioneer clothing to a panoramic view of a sea of prairie grass. The picture book format is a charming way to introduce the famous author to young children or for use as a research guide for comparing the novels to the author's real life.Pamela K. Bomboy, Chesterfield County Public Schools, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Horn Book Review
(Intermediate) Michael Dorris's adult novels Yellow Raft in Blue Water and Cloud Chamber chronicle the deceptions and betrayals that nearly destroy a family, generation after generation. Yellow Raft in Blue Water moves from the present generation of fifteen-year-old Rayona back through two generations of women on her maternal side, while Cloud Chamber opens in nineteenth-century Ireland and moves forward through five generations of Rayona's paternal family. Whereas these two books convey how suffocating and harmful relationships can be, The Window throws itself open to the strengths of familial bonds. From the moment eleven-year-old Rayona sits by the window waiting for the return of her frequently delinquent mother, this novel pulsates forward with an energy and wit that never falters. In lively contrast to Dorris's more somber historical novels for children, the seemingly cocky but vulnerable and emotionally needy Rayona narrates this short novel with a breezy, spunky voice. When her Indian mother does not return from her latest binge to declare their usual "National Holiday" (on which she and Rayona can eat breakfast for supper and practice being best friends), Rayona's philandering black father informs her that her mother has checked into a rehab center, but that he is unable to care for Rayona. Her foster placement with the relentlessly cheerful Potters (Rayona is amazed to discover that "there are actual people like this who aren't on a weekly sitcom") proves short-lived and disastrous; placement with the stolid Mrs. Jackson turns to unexpected fun for them both but is likewise cut short. Rayona senses that her father, in talking with her about his family (with whom she will live next) is "leaving something out, some detail, some secret within a secret, but I am so anxious to find out what happened next, to get to the 'me' part, that I let it go by." The Window is all the "me part," keeping the exuberant narrator squarely in the middle as she finds her place in the secrets of her family. Rayona soon learns that her grandmother (her father's mother) is white-a fact he tells Rayona when he is taking her to meet her grandmother for the first time. Rayona resolves not to miss another word for the rest of her life. Sitting in the window seat of the airplane, she understands that she will never again "be able to look out a small window and see [her] whole world from it." With the introduction of Rayona's great-grandmother, the ancient and proper Mamaw, her sensible and wise Aunt Edna, and her grandmother Marcella (a "vanilla Hostess cupcake" of a woman), Dorris's novel becomes yet more unguarded as these three women embrace their young relative with unconditional love. No scene feels more genuinely celebratory than when her aunt and grandmother travel west with Rayona to return her home. Having installed a device atop their car to provide cool air-a contrivance that re-quires the windows to be rolled up-the three must shout to be heard, causing a cacophony of "beg your pardons." When Grand-mother opens the window, thinking to be chastised but instead winning the approval of everyone as the cooler sails away, all three break into hilarity and song. Without glos-sing over the hurt and pain of parental abandonment, this novel of open win-dows is a joy, a "national holiday" to which we can return any day of the week. s.p.b. Picture Books Marc Brown Arthur's Computer Disaster; illus. by the author (Preschool, Younger) Arthur knows he's not supposed to be using his mother's computer, but the lure of Deep, Dark Sea, "the greatest game in the universe," is irresistible. Predictably, the computer breaks; luckily, it's easy to fix; reassuringly, Mom is not mad, just disappointed. She decrees that there will be no computer gaming for a week-at least for Arthur: "'I'll be right up,' called Mom. 'As soon as I blast these skeletons from the treasure chest.'" "Adapted by Marc Brown from a teleplay by Joe Fallon," this story of mild disaster followed by mild reproof will be a pleasant diversion for fans of the popular TV personality. r.s. Eve Bunting Ducky; illus. by David Wisniewski (Preschool) David Wisniewski's Caldecott-winning paper-cutting talents get a comedic workout here, illustrating Bunting's slightly sly text about a plastic duck who, along with thousands of fellow bathtub toys, is washed overboard when a storm hits the freighter ferrying them across the ocean (Bunting supplies a note about the factual event that inspired the story). The duck tells the story ("Our ship has disappeared. The sea is big, big, big. Oh, I am scared!"), including an unfortunate encounter with a shark ("It shakes its head and spits us out. I expect we are not too tasty, though we are guaranteed non-toxic") and the basic existential dilemma of a bathtub toy out of its element: "I wish we could swim and get away. But all we can do is float." The ocean's currents eventually bring the duck to shore alongside many of his compatriots, and he finally achieves his destiny, floating in the security of a bubblebath. This is an out-of-the way excursion for both author and illustrator, and if Wisniewski's pictures are sometimes too weighty for Bunting's buoyant text, they are certainly splashy enough. r.s. H Peter Collington A Small Miracle (Younger) The creator of On Christmas Eve (reviewed 11/90) revisits that significant night in another masterfully executed wordless picture book. The artist's trademark sequential frames make the experience of turning the pages like watching a movie; this time it's a gripping, matter-of-factly magical story of charity and selflessness rewarded. In the midst of a bustling, prosperous contemporary village, a desperate old woman loses every-thing when she sells her sole prized possession-her accordion-and then is robbed. On her way home, she encounters the same thief attempting (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus Review
A picture-book biography, in the format of Wallner's Beatrix Potter (1995), that includes naive, highly patterned scenes of the pioneer girl many readers will already know from the Little House books, if not the television show. The fairly straightforward recapitulation of the ups and downs of Wilder's life pales next to the charming, decorative illustrations. Softly colored pen-and-ink illustrations, done in a flat primitive style, use repeated designs to create the prairie grasses, wood floors, and fabrics of the times. After this visual overview, readers are certain to turn to the list Wallner thoughtfully includes of Wilder's books, for a more adventure-filled version of her life. (Biography. 6-8)
Booklist Review
Ages 5^-8. Using succinct and direct prose, Walner details Wilder's passage from childhood to adulthood, marriage, and emergence as a juvenile author. What sets this apart from the many other biographies of Wilder for the same age group (especially Gwenda Blair's Laura Ingalls Wilder [1983]) is the colorful artwork that dominates every page. Wallner's extensive research is evident, for her paintings teem with accurate details (such as the oversize window Laura had her husband, Almanzo, build in their kitchen) that Wilder fans will appreciate. A few spreads are similar in composition to Garth Williams' art, but Wallner's primitive style is so different from Williams' that most readers won't notice. This appealing addition to the easy biography shelf will also be welcomed wherever Wilder's books are popular. --Kay Weisman
