Ra! Ta! Ma! Cue!
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Howie Shia. Annick, $19.99 (72p) ISBN 978-1-77321-990-5
A drum pattern becomes the hope-inspiring rallying cry of fearless children in Shia’s adventuring comic. Opening panels set the scene in a metropolitan environment run by youths while their grown-ups are chasing away “the Growlies.” One day, some kids show up with drums, pounding “RATAMACUE!”: “It meant ‘No more waiting.’?” The effect is instantaneous, and the group march forth, declaring “Bring back our moms!” and “Rescue our dads!” As the children encounter various obstacles—overgrown roads, a rainstorm—their percussive rhythm sustains. Confronting a bridge that’s collapsed, the rowdy cohort boat forth atop large drums to meet their foes in a battle of volume. The arc of the youthful underdogs is predictable but no less satisfying as the children eventually transition to using their bodies as drums for a rapturous success. Amid scratchy, angularly illustrated panels that unfold in blue and gray shades, the power of the kids’ beat emerges in bold, rainbow-colored cut-paper confetti bursts that convey music’s explosive magic. Characters are portrayed with various abilities and skin tones. A brief instructional note concludes. Ages 6–9. (Sept.)
Spark: Jim West’s Electrifying Adventures in Creating the Microphone (The Black Innovators)
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Ainissa Ramirez, illus. by Setor Fiadzigbey. MIT, $18.99 (40p) ISBN 978-1-536-22528-0
Making her picture book debut in this series kickoff, Ramirez uses exclamatory prose to highlight the life and legacy of Jim West (b. 1931), who patented the foil-electret microphone. From a curious boy who dismantled electronics to a summer assistant at Bell Labs, West pursued his passion for science in the face of racial discrimination. A key discovery made while developing headphones led to the invention of the foil-electret microphone with collaborator Gerhard Sessler. This small, energy-efficient device revolutionized modern communication and is now used in products “from toys to computers to cell phones.” Fiadzigbey’s vibrant illustrations capture both the thrill of discovery and the historical weight of West’s contributions in this illuminating biography focused on a trailblazer who helped shape the sound of the modern world. Includes an author’s note, more biographical information, and a timeline. Ages 5–9. (Oct.)
Hallelujah: The Story of Leonard Cohen
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Alicia Jo Rabins, illus. by Gene Pendon. Apples & Honey, $19.95 (32p) ISBN 978-1-68115-688-0
Centering the now well-known song “Hallelujah,” Rabins and Pendon movingly recount the life of Canadian Jewish musician Leonard Cohen (1934–2016). Early pages frame Cohen as a deep-feeling youth from a musical family, and text carefully draws on the subject’s lyrics to characterize his musical awakening (“From that day on, Leonard wrote songs about the world around him—about waking up with messy hair, about seeing a bird perched on a wire”). Plotting moves quickly to Cohen’s professional success, and pages proceed to zero in on the protagonist’s forbearance in connection with the completion of “Hallelujah”—a tune about “how life is as mysterious as a secret chord.” Though the song is initially rejected by Cohen’s record company, it slowly finds its way “inside hearts all over the world.” Acoustic guitars abound in loose cartoon portraits, which capture the joyfully quotidian spirit of the musician’s work. An author’s note and further biographical information conclude. Ages 5–8. (Sept.)
Howdy! Welcome to the Grand Ole Opry!
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Emily Frans, illus. by Susanna Chapman. Abrams, $19.99 (32p) ISBN 978-1-4197-7424-9
Narrated by the legendary country music venue itself, this peppy picture book look at the Grand Ole Opry casts the reader as a would-be performer. “Howdy!” the theater greets. “I’m the one place in the world where the past, present, and future of country music come together on the same stage every week.” Frans gives the building a welcoming tone as it guides readers around backstage, interspersing facts and lore. When it’s finally showtime, the Opry reassures, “You’ve got this!” Chapman’s exuberant artwork collages archival photos of famed performers and related artifacts with watercolor, gouache, cut paper, and digital artwork that incorporates starbursts, multicolored spotlights, and a ribbon of blue that hints at the pull of the tunes. The invigorating effect energetically captures the magic of the Opry, while inviting readers to dream big. Characters are portrayed with various skin tones. Includes a note from Lainey Wilson and a brief history. Ages 4–8. (Sept.)
That Swingin’ Sound! The Musical Friendship of Ella Fitzgerald and Louis Armstrong
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Rekha S. Rajan, illus. by Ken Daley. Beach Lane, $19.99 (48p) ISBN 978-1-665-95703-8
Rajan and Daley celebrate a legendary duo, Ella Fitzgerald (1917–1996) and Louis Armstrong (1901–1971), whose musical chemistry “would push and pull, push and pull. Until the music notes started to swing.” The creators trace the figures’ distinct paths into music—Fitzgerald’s from Harlem, where she long yearned to perform at the Apollo, and Armstrong’s from New Orleans, where he “sang like a steam train thundering along the tracks.” As adults, Armstrong played the trumpet across the U.S. while Fitzgerald performed in New York City. Their eventual meeting at the Hollywood Bowl marks a moment rendered as pivotal in dynamic text and electric-hued illustrations that echo the rhythm and energy of their collaboration. It’s a lively introduction to two icons whose friendship helped shape American music. Creators’ notes conclude. Ages 4–8. (Oct.)
My Grandma and Grandpa Rock!
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Pat Benatar and Neil Giraldo, illus. by Tiffany Everett. Sourcebooks Jabberwocky, $18.99 (40p) ISBN 978-1-72829-802-3
“Some grandmas and grandpas/ are quiet and calm.// But my grandma and grandpa?/ They’re the BOMB!” Musicians Benatar and Giraldo earnestly rhyme their way through a celebration of hip grandparents in this “rocking” tribute. The upbeat story unfolds via separate sketches of each figure, culminating in an interactive interlude that prompts readerly reflection: “Is there something that your grandpa likes to do/ that’s special to him and special to you?” Enthusiastic lines then highlight rock as “a state of mind// like feeling happy or being kind,” and something that’s accessible to all sorts of caregivers, regardless of their gig. Emulating gouache and colored pencil techniques, Everett’s digital renderings depict figures with various abilities and skin tones united by music, in this tribute to the way music can connect. Ages 3–8. (Sept.)
Popo the Xolo
Paloma Angelina Lopez, illus. by Abraham Matias. Charlesbridge, $17.99 (40p) ISBN 978-1-6235-4457-7
An accompanied journey ends in rest and remembrance in Lopez’s arresting debut, which, in English and Spanish, blends Indigenous Mexican myth with a story of loss. Popo, Nana’s tiny Xoloitzcuintle, “is the best apapachador, always looking for cuddles,” which the two share during evenings in front of the TV. Sitting in her chair, “Popo keeps Nana warm and helps heal her aches.” Nana is surrounded by the love of family, but after a long day, it’s Popo’s bark that awakens her as she finds herself standing in a river, tired and lost. The two next pass through strange landscapes, Nana reliving memories (“her favorite novelas, the smell of her pan dulce and cafecito”) as Popo urges her along toward a home that is “different somehow.” Matias’s jewel-toned cut-paper and wash-style digital illustrations leap off the page with a vivid light-and-shadow dimensionality suggestive of puppetry, making for a luminous tale of comfort. Back matter discusses the Nine Levels of Mictlān and more. Ages 6–9. (Aug.)
The Remembering Candle
Alison Goldberg, illus. by Selina Alko. Barefoot, $17.99 (32p) ISBN 979-8-8885-9648-7
In this quietly reverent tale by Goldberg, a candle lit to observe the anniversary of a loved one’s death gives a family the opportunity for reminiscence. As the young narrator notes, yahrzeit is a Yiddish word meaning “time of year.” In lighting the candle, Mom explains, “We’ll let it burn all night and then all day tomorrow until sunset, until it’s all gone.” As the protagonist wonders why the candle burns for so long, the family begins to recall Grandpa—his scratchy beard, his hat, his love of trivia and the night sky (“He said that light from stars travels to reach us from far away”). And more memories surface as the child checks on the candle’s progress. Alko’s multimedia illustrations have the feel of a carefully compiled scrapbook, layering visual grace notes throughout this bittersweet narrative about a treasured ritual. The Jewish characters are portrayed with various skin tones. Back matter includes creators’ notes. Ages 6–8. (Aug.)
Searching for Mr. Johnson’s Song
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Ariel Vanece, illus. by Jade Orlando. Rocky Pond, $18.99 (32p) ISBN 978-0-593-61781-6
A child endeavors to identify the lyrics of a beloved tune in this affecting picture book, which matter-of-factly addresses an experience of memory loss. Caius’s neighbor, Mr. Johnson, vocalizes each morning, but he never finishes the song, explaining that he’s “lost the rest” of it. Inspired by warm memories of singing with his own grandfather, Caius heads to the library to uncover the work’s lyrics, searching among hymnals (“Their presence is as powerful as the stories they tell”) and listening to albums (“The bass makes the air vibrate like a thousand protestors marching toward equality”). When his research fails to turn up any leads, the protagonist despairs until a familiar voice provides him with a gift he shares with Mr. Johnson. Gouache and digital illustrations by Orlando incorporate flowy pattern- and texture-filled renderings that amplify the uplifting qualities of Vanece’s simile-filled text. An endnote contextualizes the featured American Southern gospel hymn. Characters cue as Black. Ages 5–8. (Oct.)
The Pink Pajamas: A Story About Love and Loss
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Charlene Chua. Simon & Schuster, $19.99 (40p) ISBN 978-1-6659-4316-1
When a beloved aunt’s illness stills the sewing machine she uses to make special gifts, a child realizes what she’s lost in Chua’s heart-tugging tale. Weekend dinners at Ye Ye and Po Po’s house are a chance for the young narrator to see Ah Yi, who’s always at her old sewing machine that goes “clack, clack, clack.” Ah Yi communicates love by sewing—bags, curtains, toys, and the child’s favorite, pajamas that are “soft. They are comfortable. And they are always just the right length.” One week, Ah Yi gifts the narrator new pajamas in an unfavored pink; though Ah Yi says she’ll sew another pair, the woman’s hospitalization and subsequent death forestall the project. But as the family tidies Ah Yi’s things, the pink pajamas reappear, along with a final gift. Chua’s ink-drawn and digitally colored illustrations make the pink pajamas pop, while straightforward prose pierces in its simple yearning. Characters cue as Chinese. Ages 4–8. (Aug.)
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All around the shrine of the temple there were prayers fastened, wherever there was a place for fastening them. On the left of the altar there was a large lattice, and this lattice had hundreds of prayers attached to it, some of them folded and others open. Several old men and women were leaning against this lattice, or squatted on the floor in front of it, engaged in selling prayers; and they appeared to be doing a thriving business. The boys bought some of these prayers to send home as curiosities; and they also bought some charms and beads, the latter not unlike those used by Catholics, and having a prominent place in the Japanese worship. Then there were votive tablets on the walls, generally in the form of pictures painted on paper or silk, or cut out of thin paper, like silhouettes. One of them represents a ship on the water in the midst of a storm, and is probably the offering of a merchant who had a marine venture that he wished to have the goddess take under her protection. Shoes and top-knots of men and women were among the offerings, and the most of them were labelled with the names of the donors. These valueless articles are never disturbed, but remain in their places for years, while costly treasures of silver or gold are generally removed in a few days to the private sanctuary of the goddess for fear of accidents. Even in a temple, all the visitors cannot be trusted to keep their hands in check. It is intimated that the priests are sometimes guilty of appropriating valuable things to their own use. But then what could you expect of a lot of heathens like the Japanese? Nothing of the kind could happen in a Christian land. ASCENT OF FUSIYAMA. ASCENT OF FUSIYAMA. "Well, be quick about it, and then stand clear; we don't want any woman hurt." The key rattled at the keyhole and then dropped to the floor. "You did that by intention! Give me that key!" He tried the lock. "We've jammed it, corporal, but another good kick will fetch it; now!"--Bang!--crash!--open flew the door. "I see," said Allingham, slowly, "it is because you are, so to speak, temporarily incapacitated, that you are able to come down to the level of our world." Her hand had shot out grasping for something to steady herself on--the whole world spun around her. She had given her whole passionate, tempestuous soul to this man; she had never dreamt that she could fail to gain his love. She had never failed before, she had only required to hold up her hand. . . . Balmayne came with his burden, which he flung in and covered with a rug. He pulled at the lever, and the great machine started, and then dragged, as if some great weight was hanging on behind. The gruff voice suggested diplomacy, and promised immediate assistance. The caller had only to lie low and the desired aid should be on hand immediately. With a sense of pride and exultation Leona Lalage hung up the receiver and made her way to the dining-room. Professor Noyons took me all over the hospital, and if I should describe all I saw and heard there, that story alone would fill volumes. He took me, for example, to a boy of eight years old, whose shoulder was shattered by rifle-shots. His father and140 mother, four little brothers and a sister, had been murdered. The boy himself was saved because they thought that he was dead, whereas he was only unconscious. When I asked for his parents, brothers and sister, he put up his one hand and, counting by his little fingers, he mentioned their names. The baboo who has lost caste and been half-civilized in the Anglo-Indian colleges, is always the middleman between the Government and the poor; and he, barefaced and with no pretence of concealment, took twenty per cent. of the wages he was supposed to pay the labourers. And there were none but baboos to superintend the poorhouses and the famine-camps. It is said that during the previous famine some made fortunes of six to eight lacs of rupees (the lac is ￡10,000). But presently she stood up to go away, and her eyes caught the lowering, glazed ones of the Indian. Half involuntarily she made a motion of striking with a knife. Neither the doctor nor the steward caught it, but he did, and showed by a sudden start that he understood. Carthagena was strongly fortified, and the garrison was reinforced by the crews of a squadron lying there under Don Blas de Leon. If the place was to be assaulted, it should have been done at once; but Vernon lay perfectly inactive for five days, as if to allow the enemy to make all his preparations for defence. Notwithstanding this, the brave English erected a battery on shore, and played so effectually on the principal fort, that they soon made a breach in it, whilst the fleet fired into the harbour, thus dividing the attention of the enemy. In spite of their advantages, the Spaniards abandoned their forts and batteries, the English entered the breach, the vessels in the harbour were destroyed, and the passage cleared so that the fleet could sail in and support the army. There appeared nothing capable of preventing the conquest of the town but the cabals of the two commanders. Lord Cathcart had caught the endemic fever and died, and was succeeded by General Wentworth in command of the land forces. Wentworth had a great contempt of Vernon, and Vernon was by no means well disposed towards Wentworth. The fleet having entered the harbour, the land forces were all disembarked, and posted within a mile of Carthagena; but there the success stopped. Vernon had written home his dispatches to the Duke of Newcastle saying, "The wonderful success of this evening and night is so astounding, that we cannot but cry out, 'It is the Lord's doing, and it seems marvellous in our eyes!'" The Deacon was astonished, but in obedience to a gesture from the Provost, left the line, and came up. "Here," said the Chief Clerk, handing Shorty an official envelope, when the latter returned from having his chevrons sewed on. "Take this down to Col. Billings. Mind you do it in proper style. Don't get to sassing old Billings. Stick the envelope in your belt, walk into the office, take the position of a soldier, salute, and hand him the envelope, saying, 'With the compliments of the General,' salute again, about-face, and walk out." Another voice immediately spoke up in command: "Steady, men! Keep cool! Fire low, and give it to the blue-bellied scoundrels!" "That old-time religion." But Reuben hardly enjoyed his position as a hero. He succeeded in breaking free from the crowd, now beginning to busy itself once more with Mexico Bill, who was showing signs of returning consciousness, and plunged into the mists that spread their frost-smelling curds over the lower slopes of Boarzell. On the second day after Holgrave had become a bondman, he was summoned by an order from Calverley to go to labour for his lord. His heart swelled as he sullenly obeyed the mandate, and Margaret trembled as she saw him depart. She looked anxiously for the close of the day; and, when she saw her husband enter with some vegetables and grain that had been apportioned to him for his day's toil, her heart was glad. It was true that the gloom on his brow seemed increased, and that he threw down his load, and sat for several minutes without speaking,—but she cared not for his silence as she saw him return in safety. "I think," said Sir Robert Knowles, who saw that it was only under the influence of strong feeling that Holgrave could at present be a match for Oakley—"I think it would be better that this retainer accept the vintner's challenge; and should he worst him, then he and Holgrave can settle their quarrel, when a few days shall have given him more strength." This, despite of Holgrave's assurances that his strength was undiminished, was decided upon, and the galleyman and Oakley were directed to hold themselves in readiness to try the strength of their weapons on the morrow. They were then ordered to withdraw—Oakley and the galleyman to be lodged that night in the retainers' court, and Holgrave to tell over all he felt to the affectionate Margaret, who, for the present, at Isabella's request, was to occupy an apartment in the castle. HoME日本道一区二区免费一级毛片
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