From: Christine Hill <chill>
Date: Thu, 04 Mar 1999 12:54:25 -0500

One of the things I found interesting about I See the Rhythm was that, like the Caldecott Winner, it was a non-fiction book using a layered narrative. A trend? I think so. I attended a writer's conference last year at which an editor told me they are particularly looking for layered texts, so to expand age level appeal. Second, like its fellow King honoree, Duke Ellington, it interprets music through art. Brian Pinkney is quoted on the dust jacket of his book as saying specifically that he interpreted the sounds of the orchestra as colors in a paintbox. How does Wood do it? Perhaps Judy can share what she said. These are my observations: In some of the illustrations we really can see a rhythm. I'm thinking of those illustrating slave songs and the blues, in which hoes poised up and down and laborers bent over would move rhythmically. A more subtle rhythm is suggested on the origins, jazz women, and black rock pages on which the curves of the main figure's body conjures up a sensuous beat. These are my favorite pages, the ones I find most successful (along with the gospel page.) Some I think are just too static for a book on music. For example, compare the ragtime page to Jerry Pinkney's depiction of the cakewalk in Mirandy and Brother Wind. Nowhere near the verve and joy. Or her orchestra pictures with Brian Pinkney's. The eye just doesn't travel over hers with the same flow or unity. Still, I See the Rhythm grew on me with repeated viewings and because it is so ambitious, I don't think the less successful pages keep it from being distinguished. Christine M. Hill Willingboro Public Library One Salem Road Willingboro, NJ 08046 chill at willingboro.org


Judy Schachter wrote:
Received on Thu 04 Mar 1999 11:54:25 AM CST