(2) K-3 How can a budding skateboard pro navigate being in a new place and leaving his posse behind? Ivan, a brown-skinned, big-afro-wearing skateboarder, has "moves so big, his friends call him EPIC." But without an audience, what good are amazing moves? He tries playing football, soccer, and basketball to fit in, but these are not his jam; Epic fails miserably at each of them. His dad advises him to be as tenacious about finding new buddies as he is about acquiring new moves--and eventually he does make friends. ­Morrison (CSK Illustrator Award winner for R-E-S-P-E-C-T, rev. 7/20) immerses readers in a vibrant urban neighborhood through a diverse group of inhabitants, busy street scenes, and expansive graffiti on some walls; he appeals to skateboarding fans by mentioning such "gnarly tricks" as the "backside flip kick push flaky" and the "50-50 grind." The illustrations dynamic perspectives--­including a view from above the street on which Epic skates and another from underneath his board--along with frequent swoosh lines, emphasize the character's perpetual motion. Elliott and Denmon's A Place Inside of Me (rev. 11/20), a Caldecott Honor book about another dedicated skateboarder, would make an excellent companion read. A lively story that encourages kids to use their strengths and talents to find community.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: March, 2022

(1) 4-6 A biography that's as unique in form and content as the groundbreaking sci-fi/fantasy author herself. Zoboi (The People Remember, rev. 11/21) came to this project from a lifetime love of Butler's work and from having met her on several occasions. The word constellation in the subtitle is used both literally--referring to the other-worldly stories about which Butler dreamed and then wrote--and figuratively, for she was a lonely "rogue planet," with others revolving around her but rarely ­getting to really know her. Focusing mainly on her early life, Zoboi tells the author's story in several literary modes: original poems in many forms (haiku, concrete, and acrostic, among others); excerpted quotes from interviews; and descriptive passages that offer further explanations of these biographical snapshots. This variety is narratively enthralling and reflects Butler's openness to telling stories in many different ways. The volume also offers superb historical context for Butler's life, from the Great Migration to the U.S.'s fascination with UFOs, the baby boom, ­McCarthyism, the civil rights movement, and more. Zoboi occasionally includes relevant visuals--a photograph of Octavia and her mother, Butler's handwritten childhood notes, the cover of a Dick and Jane basal reader--that will provide readers a clearer sense of the historical details. Informational and inspirational, this innovative work will draw committed Butler fans and entice those unfamiliar with her work to seek it out.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: March, 2022

(2) K-3 Illustrated by Loren Long. "I'm a movement that roars and springs, / There's a wave where my change sings." A dark-skinned, guitar-playing young protagonist serves as a sort of Pied Piper for positive change in this debut picture book by National Youth Poet Laureate Gorman. Sporting a big afro ponytail, she walks through town, helping wherever she's needed, as other children join her in cleaning up trash, planting flowers, painting storefront walls, and more. The illustrations' details point subtly to the children's unique identities--a variety of skin tones, a yarmulke, a wheelchair--but as the protagonist articulates the unifying themes of cooperation, self-esteem, and empowerment, they all work together to make change with the resources they have, including their own hands. Long's (Someone Builds the Dream, rev. 5/21) powerful acrylic and colored-pencil illustrations bring each scene to life. A mural recalling stained glass and depicting Martin Luther King Jr. is featured near the beginning of the book; another mural declaring "We Are the Change," which shows the protagonist and the other child activists joyfully playing music together, appears near the end. This inspiring call to action unambiguously suggests that every individual, regardless of age, can contribute to making the world a better place.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2022

(2) K-3 Illustrated by Keith Mallett. Ballet brings Black boy joy to life in full color. An exuberant brown-skinned boy with an impressive flat-top haircut, Langston enjoys basketball but loves ballet. When he and his mother attend an Alvin Ailey dance performance, Langston is riveted. A Black male dancer performs a grand jeté so high that he breaks through the frame of the illustration. Heading to his very first ballet lesson, Langston dances for everyone he meets (captured in a joyous double-page spread showing him leaping and twirling through a series of vignettes) but falters briefly when an older kid tells him, "Boys don't dance like that." At Ms. Marie's dance studio, Langston passes co-ed classes of kids learning hip-hop, African dance, and tap on his way to his ballet class, which consists only of girls wearing pastel tutus and white ballet slippers. He joins in and emulates Ms. Marie's movements in his sneakers until she uncovers a pair of black ballet slippers that she says he must work hard to earn. He eagerly agrees, and the final illustrations suggest that he delivers on his promise. Langston's red basketball jersey and shorts stand out visually and reflect the character's bold approach to ballet. The illustrations also counter stereotypes and invite children from every background to enjoy dance.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2022

(2) K-3 Illustrated by Laura Freeman. A testament to what one determined individual can accomplish for an entire country. This picture-book biography tells of Kwame Nkrumah (1909–1972), who used his education and public-speaking talent to help free Ghana from British colonial rule. The narrative is framed by the occasion of Nkrumah's famous speech, in 1957, to hundreds of thousands of people in a packed stadium when the Union Jack came down and the "tricolored flag of Ghana" replaced it. In between, readers learn of Nkrumah's childhood; his education at Accra's Achimota College and at historically Black Lincoln College in Pennsylvania; and of struggles for freedom for Africans and other Black people of the African diaspora, which led him to help establish the Pan African Congress in 1945. Nkrumah was imprisoned for his activist stance, which the British government saw as a threat, but he worked from prison to realize his dream--and became Ghana's first prime minister, and later president, following his release. Freeman's (Dream Builder, rev. 3/20; The Highest Tribute, rev. 1/21) deeply saturated and colorful illustrations incorporate the patterned fabrics of Ghana, and she strategically integrates Adinkra symbols into every scene. For instance, when Nkrumah sits in prison, his orange and yellow prison suit is superimposed with an Adinkra sign that means "that which does not burn" and conveys imperishability and endurance. An author's note, Adinkra key, and biographical timeline provide additional helpful information.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2022

(2) K-3 Illustrated by Darnell Johnson. Kai Donovan, an African American boy whose family members can all dance, feels he doesn't belong because he just can't. The last time he tried the Electric Slide, he knocked his little cousin over. Granddad has given each of Kai's siblings a dance-related nickname--D.J. Groove, Miss Boogie, and Baby Bounce--but so far, Kai has none. When a wedding invitation arrives from his aunt, Kai worries, knowing the Electric Slide will surely happen at the reception. He asks one of his sisters for lessons and practices diligently. On the wedding day, Kai surprises his whole family--and Granddad finally gives him the perfect nickname. Johnson's colorful cartoon illustrations convey the family's verve and exuberance as effectively as they do Kai's worry and concern. Baptist's conversational text gives each character a distinct personality. This uplifting story of one kid's struggle to fit in with his own family will resonate with readers who have similar insecurities. And the centrality of the Electric Slide might prompt readers to turn on the tunes and get their own groove on.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: May, 2021

(2) PS Illustrated by AG Ford. Can you put a house to bed? Grandpop can. Isaac, a young Black boy who is happily visiting his grandfather--but reluctantly sleeping over--says he isn't sleepy when Grandpop tells him it's time for bed. "Then stay awake," Grandpop quips, "but it's time to put the house to bed." As they walk through each room, turning off lights and closing windows, Isaac hears unfamiliar noises that Grandpop explains, allaying the child's fears. The clicking sound is just pet dog Snuffles, the Airedale, following them; the creaking is the wind blowing the swings around outside. In Ford's rich-hued, warm-toned illustrations, books appear in nearly every room of the house, highlighting the centrality of literacy to this family and foreshadowing what will come next. The two settle into a big comfy chair near Isaac's bed, and when Grandpop suggests a bedtime story, Isaac protests that he hasn't yet learned to read. "I bet you can read pictures...Just tell me what you see on each page." And he does. The accompanying illustration suggests that Keats's The Snowy Day is that bedtime story, a mirror book for Isaac; but unlike that book, African American creators crafted this story, and Ford (Brown Baby Lullaby, rev. 3/20) celebrates Black joy with close-ups of Isaac's deep brown face, button nose, and locked or twisted hair. A fine, uplifting intergenerational tale of literacy, literature, and homemade love.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: September, 2021

(2) K-3 Illustrated by C. G. Esperanza. A dinner to remember! An unnamed African American boy describes a Sunday dinner at Granny's with extended family. Granny decides that it's time for her grandson to learn to cook macaroni and cheese; mixed greens (collard, turnip, and mustard); and grilled chicken, ribs, and sausage. As he prepares to grate three kinds of cheese, wash and tear greens, and prepare meat for the grill, Granny models each task, asking: "Did you see that, baby?" Doing his best, he says: "My hand hurt. My arm aches. But I don't quit." After the completion of each task comes Granny's affirmation: "That's the best grated cheese [or greens, or meats] I've seen in all my life." While Bingham's writing captures the sound and cadence of this African American family's speech, Esperanza's oil paintings effectively portray the lively characters' perpetual motion and reveal each person's style, from Granny's maroon cornrows and colorful apron displaying an African mask, to the protagonist's blond-tipped high-top twists with lightning bolts shaved into the sides of his hair, to the barbecue master's dreadlocks and flip sunglasses. In the end, the young cook adds one more tasty delight to the meal and radiates pride as the family sits down to dinner. A gustatory and olfactory family feast that will evoke strong memories for some and make others wish they had them.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: November, 2021

(2) YA As freshman year at predominantly white Cleveland High in 1955 Spokane, Washington, approaches, Melvin Robinson lives in his siblings' shadows: eldest brother Chuck, accomplished quarterback; older sister Marian, homecoming queen contender; and younger sister Maisy, who has designs on becoming Spokane's first Black journalist. What does Melvin have? A detested accordion, a pet turtle, and a severe stutter exacerbated by stress. In this vividly drawn work of historical fiction, Frazier launches readers into social issues of the time through her portrayal of the friendship between Melvin and Lenny, a Jewish boy who lives above a jazz club and uses his mother's maiden name (Carini rather than Friedman) to avoid discrimination; Melvin's crush on Millie, a Japanese American classmate whose parents refuse to discuss their internment during WWII; and historical events such as Emmett Till's murder. Melvin's authentic narration reveals a teen who is finding his voice and using it to speak out against racism and discrimination. When Melvin and Lenny win first place performing as the Swingin' Saxoccordions on a local TV variety show, Melvin gains confidence for such greater challenges as introducing Rosa Parks at an NAACP gathering. An author's note reveals that Frazier drew many elements of this compelling story from her family's own life.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: September, 2021

(2) K-3 Illustrated by Floyd Cooper. James Herman Banning, an African American living in Canton, Oklahoma, in the early 1900s, wanted to fly, especially after learning that the Wright Brothers had taken to the skies for sixteen and a half minutes in Kitty Hawk, North Carolina, in October 1905. At the Excelsior Library (the first Oklahoma library for Blacks), he read about how "flying machines" stayed aloft. In 1911, young James saw "birdman" Charles Walsh fly at the fair and climbed aboard his craft when no one was looking. After World War I began, Banning attended Iowa State for one year then opened an automobile repair business at age twenty-one, through which he met Lieutenant Raymond Fisher, a pilot, who taught James to fly. Despite racist discrimination and finances that limited his access to the best equipment, Banning, along with Black mechanic Thomas Cox Allen, became the first African American to fly the 3,300 miles from Los Angeles to New York, stopping in towns that would welcome Black aeronauts. Everyone who supported their journey signed the wing of their plane, the Eaglerock. Cooper's signature illustrations, highly textured oil-on-board, reveal Banning's passion for flight and his determination to spend as much time as possible in the air. The prominence of brown hues centers Black lives in this story, while equally impressive blues keep readers looking skyward. An entertaining, exquisitely illustrated biography of a Black aeronaut who should be as well known as the Wright Brothers. An author's note, quotation sources, newspaper articles by Banning, interviews, documents, and further reading are appended.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: March, 2021

(2) K-3 Illustrated by Ken Lamug. Zia, a brown-skinned girl with a huge afro puff and an expansive imagination, discovers a hole in her pocket. Then the hole moves to the ground and enlarges, and Zia falls in. ("She might have been afraid except that this was an imaginary hole, so it could only be as scary as she allowed, which was, in this case, not scary at all. 'I hate scary stories,' said Zia.") Wearing overalls that are transformed from drab brown to vibrant red and yellow when she travels from her sepia-toned world to one of full color, Zia creates her own fantastical adventures, always centering the hole. She fills it with water and uses a bow-tie-wearing worm to catch a regal-looking fish; she then declares the hole a swimming hole and cannonballs in, among other exploits. Throughout, Zia and her ingenious imagination remain in complete control. Lamug's innovative and zany colorful illustrations, created with "pencil, paper and some computer magic," exude joy and endless possibilities, portraying Zia in perpetual motion. The continuity of the backgrounds within this circular tale often suggests that Zia hasn't traveled far, but given that her overalls stay colorful at the end of the story, it's clear that her creative adventures have changed everything. A trip you won't want to miss with a kid who can take you anywhere. Pair with Barnett and Klassen's Sam & Dave Dig a Hole (rev. 11/14).

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: July, 2021

(1) K-3 In an immediate, evocative text, a child of color asks America--her country, which she loves--if America loves her back. Against black, white, and gray backgrounds, many different BIPOC children appear on the subsequent pages, wearing red, white, and/or blue, calling America to account. These children ask timely questions: "Do you love me when I raise my hand? My head? My voice? When I whisper? When I SHOUT?" On many pages, the speaker looks directly at readers while asking these questions, a handful of which use exact verbiage from the Pledge of Allegiance--which opens and closes the book, handwritten on an American flag. The bald eagle constitutes a visual motif throughout: it hovers on the title page; casts a huge, gray shadow in which one child stands, arms spread as if actually casting this shadow; and flies above the New York City skyline, rural landscapes, and the U.S. Capitol. Peoples-Riley's author's note mentions that despite reciting the Pledge daily in school as a child, she didn't feel America's commitment back to her. Occasional Spanish and Louisiana Creole words and phrases appear throughout the main text, which the author's note also explains. The pictures' grayness makes hope somewhat elusive, but the pops of color against the somber hues, the children's persistent questions, and intergenerational support suggest a brighter future.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: May, 2021

(2) K-3 Illustrated by Anne Bannock. A story from New Zealand about a rare natural wonder. A father awakens his child late at night to "find an Aurora." The child asks, "What's an Aurora?" but Dad doesn't explain, prompting many guesses. The pair enters the cold and climbs to the top of a hill far enough away that they lose sight of their farm. As in Yolen and Schoenherr's Owl Moon, they then wait quietly. Soon auroral light illuminates the sky, leaving the child speechless and wide-eyed. With the first glimpse of colors, the child, wearing a bright yellow coat, stands page left, mouth open, marveling at the "wide wings of light," while the background displays deep shades of blues, purples, pinks, reds, and oranges, with a few stars overhead. The following page shows swirling colors, while the words, mostly gerunds suggesting motion, mimic the contours and flow of the light. In the third aurora image, only distant silhouettes of father and child appear as they celebrate this amazing, color-filled sky, arms raised. The soft ­pastels perfectly complement the story (particularly this three-page climax) because of the ability to smudge and blend colors, evoke movement, and highlight the rough texture of the paper. Informative back matter answers many questions the child asks about auroras. A stunningly beautiful, informative, child's-eye ­initiation into a notable celestial ­phenomenon.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2021

(2) K-3 Illustrated by Raissa Figueroa. Dovey Johnson Roundtree (1914–2018) would grow up to be a civil rights warrior; this picture-book biography focuses on a pivotal moment in her childhood. One pre-dawn summer morning in North Carolina, her grandmother takes her blackberry picking, joined quietly by other women from their community. Intimidated by the dark, Dovey gains courage from Grandma Rachel, who tells her she need not fear it. "If you wait a little, your eyes will learn to see, and you can find your way." Awash in blues and purples and then pinks, reds, and golds as the sun rises, Figueroa's stunning illustrations, many of which depict a view from above the woodland scenes, illuminate the landscape, the diligent work of the women, and the lessons Dovey learns from her loving grandmother, which feed her tenacity and determination as an adult. Several pages of back matter, which include family photographs, detail the remarkable life of this unsung hero, who graduated from Spelman College, served in the Women's Army Corps, earned a degree from Howard ­University Law School, and fought diligently for civil rights throughout her long career and life. An author's note by McCabe explains that the book was "adapted from the final chapter of the autobiography Dovey and I wrote together." Inspiring and exquisitely illustrated, this well-researched true story will spark conversations that prompt young readers to learn more about Roundtree.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: May, 2021

(1) K-3 Illustrated by Ekua Holmes. Dream Street: a microcosm of the African Diaspora where relationships matter and dreams thrive. It's "the best street in the world," as described by the book's offstage narrator. To reveal the fabric of this community--based on the childhood of cousins Walker (Nana Akua Goes to School, rev. 5/20) and Holmes (Black Is a Rainbow Color, rev. 1/20)--the author creates descriptive vignettes about individuals and families from many different backgrounds. Children play outside until the streetlights come on; Mr. Sidney, a dapper retired postman, reads the paper on his front stoop and tells all who walk by to make the great day they want to have; a girl named Belle catches butterflies in a jar but then releases them (she aspires to become a lepidopterist). Accompanied by Holmes's lively and layered collage illustrations, these vignettes emphasize what each person contributes to Dream Street. From the youngest children to Ms. Sarah (a.k.a. the Hat Lady, "who has lived on Dream Street longer than anyone"), everyone has dreams that others honor. The images, created with acrylic paint, found and handmade papers, and fabric, display vibrant colors, intricate ­patterns, and detailed portraits that reveal the beauty of the neighborhood's ­inhabitants. A stunning work of art that ­dismantles stereotypes about Black communities and portrays a place where love abounds.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: September, 2021

(2) K-3 Illustrated by Tonya Engel. A message from the African ancestors to today's African American children. Narrated in the second person, this picture book tells African American youth an uplifting story about the many positive qualities passed down to them: "love, intellect, determination, courage, brilliance, strength, ingenuity, grace, and dignity." Countering the notion that African American history started with slavery, Williams opens with "Your story begins in Africa," and says that Africans, "the first people on the earth," lived in thriving societies, speaking many different languages, for thousands of years before slavery. The narrative progresses through their kidnapping and enslavement, their sharing music as a common language, the vital connection between literacy and freedom, and the contributions of so many who made America successful. Readers meet well-known and lesser-known historical figures, some named, others only pictured, giving young people opportunities to learn more about them all. Engel's (Rise, rev. 11/19) mixed-media illustrations, which include acrylic, collage, and printmaking on wood and paper, capture the historical settings well, while her inclusion of flowers and trees throughout symbolizes growth and the potential of the next generation. (She illustrates Africans boarding slave ships unchained and fully clothed in their cultures' colorful garb and jewelry--perhaps to downplay the trauma of the Middle Passage.) An inspirational story that instills hope and encourages today's African ­American children to consider what they will give to their own descendants. Pair with recent similarly themed titles The People Remember and The 1619 Project: Born on the Water (both rev. 11/21).

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2022

(1) K-3 Illustrated by Christian Robinson. Harold and the Purple Crayon meets twenty-first-century urban realism in this picture book by the Last Stop on Market Street (rev. 1/15) author-illustrator team (simultaneously published in Spanish as Milo imagina el mundo). Milo, a diminutive brown-skinned boy with round glasses and a lime-green hat, boards a subway train with his big sister. While she plays games on her phone, Milo studies people and imagines lives for them through his notebook and colored pencils. Robinson's art alternates between color-saturated, double-page-spread scenes of train activity and Milo's sketches. Milo sees a boy wearing a suit and draws him as a prince arriving at his castle; for a wedding-gown-clad passenger, Milo draws her imagined ceremony. He then reimagines and re-illustrates many of his scenes, intentionally looking at his subjects in a different way. Milo and his sister finally reach their destination: a detention center, where they visit their incarcerated mother (the boy on the subway who was wearing a suit is visiting someone, too). As in Jacqueline Woodson's picture book Visiting Day (rev. 11/02), the joy and parent-child love shine through, and the climax comes with Milo's sharing of a special drawing he has created for his mother. This poignant, thought-provoking story speaks volumes for how art can shift one's perspectives and enable an imaginative alternative to what is...or seems to be.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: March, 2021

(2) K-3 A letter of love and care from civil rights icon Ruby Bridges to twenty-­first-century children marks the sixtieth anniversary of her integration of ­William Frantz Elementary School in New Orleans. Dedicated to John Lewis, the "conscience of Congress," and addressed to "Young Peacemakers of the World," Bridges's book opens with a photograph of her first-grade self, looking inquisitively at the reader, her hand turning the page of a book. Powerful photographs, a mix of historical and contemporary, demonstrate hard truths throughout, with images shown of federal marshals escorting young Ruby and racist whites brandishing a Black doll in a casket in front of her school; the March on Washington alongside Black Lives Matter marches; and police turning fire hoses on teens in 1963 and spraying protestors with pepper spray in 2020. The book lays bare the ongoing consequences of racial inequality and injustice through descriptions and images of lost Black lives, including those of Freddie Gray and Bridges's own son, Craig. The juxtaposition of historical and contemporary scenes maintains a serious mood throughout, but Bridges's clear-eyed and comprehensible words--some acting almost as captions to explain the photographs; others expanding on large ideas--exhort young readers to stay united and positive, serve, and "keep your eyes on the prize" to make change. A boldly written, memorably illustrated message of hope for our time, from one who has fought for social justice all her life.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2021

(1) PS Illustrated by Bryan Collier. A richly illustrated affirmation for Black children--especially boys. An African American expectant mother and father eagerly await the arrival of their child, embracing him even as he grows in utero. On the first double-page spread, a full moon appears, composed of overlapping petal shapes that form a tapestry, a quilt--a visual motif that soon becomes colorful patterns and images of African American faces. The visuals throughout whisper of the family's African ancestry; the poetic text says, "You were dreamed of, like a knapsack full of wishes, carried on the backs of your ancestors as they created empires, pyramids, legacies." Charles employs the word matter effectively as both noun and verb, emphasizing that because this child is made up of matter from the universe, he matters. When the mother reads to her son in her lap, the text pays homage to Rudine Sims Bishop's framework, likening the book the pair is reading to a mirror in which the child can see the "same hair, same skin, same dreams." After touching on the racism that Black children face, this tribute announces its uplifting climax in Collier's loving illustrations of this brown-skinned child's face, boldly inviting the audience to see--really see--him in all his beauty. Stunning. Powerful. Timely. Illustrated inspiration at its best.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: November, 2020

(2) PS Illustrated by Charnele Pinkney Barlow. An homage to all the African American women who are mothering children not biologically their own. Carol Olivia Clementine lives with Mama Rose because "Mommy and Daddy live miles away." She offers no explanation for why she doesn't live with her parents, but this reflects reality since children don't always know or understand why that might be the case. Though she misses her mother and father, Carol doesn't focus on what she lacks but instead emphasizes the richness of her life with Mama Rose, who does things "just like a Mama." This stylish woman gives Carol a bike for her sixth birthday, then shows her how to ride it; teaches Carol to tell time, play basketball, and make her own bed. Mama Rose sets boundaries and maintains high expectations for Carol--vegetables before dessert and chores before play--and offers praise when Carol meets those expectations. In bright watercolor, gouache, colored-pencil, and gel pen art, debut illustrator Barlow emphasizes the love in this child's life through the family portraits on the endpapers and the many details that suggest the closeness between Carol and Mama Rose. Like Jacqueline Woodson's Our Gracie Aunt and Coming On Home Soon (rev. 9/04), Duncan's story sheds positive light on nontraditional, yet commonplace, families.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: March, 2020