(1) K-3 Illustrated by Jamie Green. This picture-book biography of Ruth Asawa (1926–2013) uses lines (straight, curved, wavy; physical and imaginary) as metaphors connecting the artist’s life experiences to the sculptures she created. Growing up in rural California, young Ruth attended Japanese school on Saturdays where she “traced arcs in the air with bamboo swords” and practiced calligraphy as “bold black lines stretched across white paper.” She straddles an invisible line that separates the Japanese food, customs, and language at home from those at school. When Japan attacks Pearl Harbor, that invisible line becomes a wall. Incarcerated with her family at the Rohwer Relocation Center in Arkansas, Ruth is eventually allowed to attend college but isn’t allowed to complete her student teaching because of her race; “her path would not be a straight line.” Later, Ruth travels to Mexico and is fascinated by the wire baskets used to carry eggs. Thinking back to the barbed wire at Rohwer, Ruth twists wire into sculpture, showing that “a line could go anywhere, be anything.” After marriage, Ruth refuses to choose between career and family, so she “zigged and zagged” and made art while raising six children. Like her life path, Ruth’s sculptures “curve and curl, with lines that overlap and intersect, connect and divide.” Green’s illustrations nicely complement the thoughtful and well-researched text; brilliant blues against brown backgrounds add visual contrast, highlighting important people and moments. An author’s note, a bibliography, and photos are appended.

Reviewer: Jennifer M. Brabander | Horn Book Magazine Issue: May, 2025

(2) 4-6 This graphic-format biography of Japanese American artist Asawa (1926 2013) begins on December 7, 1941, as teenage Ruth and her farming family hear that Japan has attacked Pearl Harbor. Soon the FBI arrests her father ("They think he's dangerous? He can't even kill a chicken for dinner"), and the rest of the family are sent to Santa Anita Racetrack, where they must sleep in horse stables. But luckily for Ruth, interned Disney animators are teaching drawing classes. "Everything was gray until I met the cartoonists...Truly, art saved me." After the family is sent to the Rohwer Relocation Center in Arkansas, Ruth receives a college scholarship. She studies art education in Milwaukee -- then isn't allowed to graduate; the war has ended, but prejudice hasn't. At the experimental Black Mountain College in North Carolina, Ruth thrives and begins working on the wire sculptures for which she becomes so well known. A theme throughout is Ruth's sheer determination -- to not become a farmer; to study art; to marry the white man she loved despite their families' disapproval, to have children ("I want six") and still be an artist. Gratifyingly, the book closes with her doing just that. Nakahira's black-and-white illustrations, clear and direct, allow viewers to see both the helplessness and courage of those who were forcibly incarcerated. The art is also ideal for illuminating the lines, shapes, and empty spaces of Asawa's famous wire sculptures. Appended are further biographical information, a reading list, and photos of the artist and her work.

Reviewer: Jennifer M. Brabander | Horn Book Magazine Issue: May, 2024

(3) K-3 Illustrated by Traci Van Wagoner. Schoettler traces the artistic journey of Japanese American sculptor Ruth Asawa, from her childhood years (partially spent in an internment camp) to her eventual public commissions for fountains around San Francisco. Like Asawa's giant looped-wire sculptures, Van Wagoner's illustrations skillfully play with light and shadow. Combined, text and illustrations suggestively capture the uniqueness of Asawa's art while deftly exploring the ways her experiences influenced it. Author's note appended.

Reviewer: Erica Wetter