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Summary
Summary
"If only you'd been a boy," said Lizzie Cady's father when she won a prize for Latin. But Lizzie didn't watn to be a boy. She just wanted girls to count as much as boys did. When she grew up, married Henry Stanton, and had seven lively children of her own, she wanted to have the same rights as men-and that included voting. Lizzie wasn't about to stay home and do what was expected of her while men made all the decisions. Nor was she going to wear full skirts if bloomers were more comfortable. When Lizzie spoke out for women's right to vote, at a convention in Senece Falls, New York, in July 1848, her husband was so embarrassed that he left town. But that didn't stop her. Like her good friend Susan B. Anthony, who joined her in the "battlefield," she traveled around the country, talking about equality for everyone, men and women, black and white. Though Elizabeth Cady Stanton didn't live to see women get the vote, her name is forever associated with the fight for woman suffrage. The story of that fight and of the remarkable woman who led it is told here by prize-winning biographer Jean Fritz.
Author Notes
Jean Fritz was born in Hankow, China on November 16, 1915. She received a bachelor's degree in English from Wheaton College in 1937. She wrote picture books and historical fiction before focusing on historical nonfiction. Her first book, Bunny Hopewell's First Spring, was published in 1954. Her other books included And Then What Happened, Paul Revere?; Will You Sign Here, John Hancock?; Can't You Make Them Behave, King George?; Shh! We're Writing the Constitution; Traitor: The Case of Benedict Arnold; Where Do You Think You're Going, Christopher Columbus?; Who's That Stepping on Plymouth Rock?; The Double Life of Pocahontas; and George Washington's Mother.
Homesick: My Own Story, a collection of linked narratives, traces her life from her girlhood in China to her longed-for yet uneasy passage to America. It won a National Book Award and was named a Newbery Honor Book. She received the Regina Medal by the Catholic Library Association, the National Humanities Medal, and the Laura Ingalls Wilder Award and the Knickerbocker Award for Juvenile Literature for her body of work. She died on May 14, 2017 at the age of 101.
(Bowker Author Biography)
Reviews (5)
School Library Journal Review
Gr 3-6Fritz applies her gift for creating engaging, thorough historical literature to a larger-than-life historical figure. Stanton was a radical among radicals, and this objective depiction of her life and times, as well as her work for women's rights, makes readers feel invested in her struggle. An appealing, full-page black-and-white drawing illustrates each chapter. For students who need a biography, this title should fly off the shelves with a minimum of booktalking. And it is so lively that it is equally suitable for leisure reading.Rebecca O'Connell, Carnegie Library of Pittsburgh (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publisher's Weekly Review
Fritz maintains her reputation for fresh and lively historical writing with this biography of the 19th-century American feminist Elizabeth Cady Stanton (1815-1902), imparting to her readers not just a sense of Stanton's accomplishments but a picture of the greater society Stanton strove to change. Stanton is first introduced in girlhood, mastering task after task in a futile effort to prove to her father that she was ``just as good as any boy.'' Brightly told anecdotes tell of the adult Stanton's excitement in rousing audiences to concern for women's rights; Fritz sets the background by outlining the prevailing social sanctions against women speaking in public. She explores Stanton's responsibilities in raising seven children; her unconventional marriage; her long collaboration with Susan B. Anthony; her attempts to cope with dissension within the women's rights movement. Throughout, the author stresses Stanton's pluck and verve, quoting Stanton's sharp comebacks to ``apple-headed'' men or showing Stanton during the statewide celebration of her 80th birthday, using the attention to excoriate the church for its backwardness (``Susan must have groaned,'' Fritz conjectures). Highly entertaining and enlightening. Ages 10-14. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved
Horn Book Review
(Picture Book) In a loving, uncomplicated introduction to the saint's life for young readers, dePaola draws on "scripture, legend, and tradition" for his retelling of her story through fifteen pivotal events, including Mary's betrothal to Joseph, the Nativity, the flight into Egypt, and the marriage at Cana. References to specific sources are noted on the verso of the title page. The illustrations are like frescoes, designed as a continuous narration based on a central theme. The stylized clothing falling in linear folds suggests, without copying, a period predating the Renaissance; the faces convey a sense of a Mediterranean culture - a much more vibrant portrayal than that of northern painters. A beautifully designed, thoughtfully conceived, and aesthetically pleasing addition to the series of books by dePaola celebrating saints, including Christopher: The Holy Giant and Francis: The Poor Man of Assisi (both Holiday). m.m.b. Jean Fritz You Want Women to Vote, Lizzie Stanton? (Intermediate) Illustrated by DyAnne DiSalvo-Ryan. As Jean Fritz demonstrates in her inimitable style, Lizzie Stanton not only wanted women to vote but, in her passion to secure that right, helped to change history as well as make it. Like Harriet Beecher Stowe, the subject of an earlier biography by Fritz, Elizabeth Cady realized early in life that "girls didn't count for much." Unable to wring praise from her father, despite her efforts to be as capable as any boy, she challenged the establishment again and again during her long life until, finally, at eighty-five, she was hailed as the "Grand Old Woman of America." But her triumph was not easy, as Fritz's telling selection of details shows. She eloped with the romantic abolitionist Henry Stanton but altered the wedding ceremony to eliminate the phrase "to obey"; she was one of the prime movers in the famous Seneca Falls convention of 1848 but also made it a point to publicly celebrate the births of her children; shy at first about public speaking, she soon became a dynamic presence on any platform. Despite opposition from her husband as well as society, she attempted to realize her full potential as a person. With remarkable clarity, sensitivity, and momentum, Fritz has captured - but never imprisoned - her spirit in an accessible, fascinating portrait. With notes and a selective bibliography. m.m.b. JamesÿCross Giblin When Plague Strikes: The Black Death, Smallpox, AIDS (Older) Illustrated with woodcuts by David Frampton. Using the Plague of Athens as a lead-in, Giblin offers insight into history and our own times by examining the causes and consequences of - as well as social attitudes toward and medical responses to - plagues that threaten to overwhelm large segments of the population. His approach is scholarly but never dull; he never presumes extensive knowledge, yet he avoids talking down to his audience. The result is a carefully designed discussion of the causes of disease, how infectious diseases are spread, and the differing definitions of an epidemic, a pandemic, and a plague. The introduction of these concepts sets the stage for the three principal succeeding segments - "The Black Death," "Smallpox," and "AIDS" - each of which contains information which may not be widely known. For example, the Black Death, or bubonic plague, was responsible for 118 deaths in San Francisco between 1900 and 1904; a deadlier form appeared as an epidemic in India in September 1994. Having built a solid foundation in the first two sections, Giblin then traces the plague which is paramount in our own times: AIDS. He introduces political considerations which affect research, such as the cutback of federal support during the Reagan presidency as well as obstacles created by the lack of sympathy for those most likely to be afflicted with the disease: gay men and intravenous drug users. Appropriately titled "Frustration and Fears," the chapter in which he traces the evolution of the crisis and public response to increased media attention serves as a prelude to the paths explored in research and to profiles of movie star Rock Hudson and teenage hemophiliac Ryan White. He also presents arguments for and against such preventative programs as needle exchanges for drug users and distribution of condoms to sexually active teens. The final chapter examines the implications of overusing antibiotics in the development of treatment-resistant forms of infection, to round out an informative and thought-provoking study. Despite the grim subject matter, Giblin nevertheless reaffirms our common humanity and interdependence, for "no new disease can remain a problem for only one group, nation, or even continent." Includes source notes, bibliography, and index. m.m.b. Jan Greenberg and Sandra Jordan The American Eye: Eleven Artists of the Twentieth Century (Intermediate, Older) Illustrated with reproductions in color. As in their two previous books, the authors examine contemporary American art with clarity and insight. But this time, instead of concentrating on one medium, they have chosen to write about the lives and work of eleven artists. Presented chronologically, they are Arthur Dove, Georgia O'Keeffe, Edward Hopper, Thomas Hart Benton, Stuart Davis, Romare Bearden, Isamu Noguchi, David Smith, Jackson Pollock, Andy Warhol, and Eva Hesse. The first chapter describes the strengthening American art scene in the early part of the century, when admiration of European art gave way to an appreciation of American identity and uniqueness. The focus is placed on understanding the artist as a person in order to begin to understand each artist's frame of reference for his or her work. As the authors say in the first chapter, "Touched by joy and sorrow, each portrayed his or her own experience of America. Edward Hopper . . . said, 'The man's the work. Something doesn't come out of nothing.' The stories of these artists chronicle the story of American art as it unfolded in the twentieth century." The rest of the book introduces an artist in each chapter, telling of his or her childhood, parents' reaction to the desire to be an artist, first jobs, and the development of an artistic style. The photographs, in most cases, include shots of the artist as a child and as an adult at work. Four to six color reproductions of the artist's work show the progression of his or her style, often beginning with representational work and becoming more abstract as the artist matures. The back matter includes a listing of museums and collections where each artist's work can be found. Bibliography and index. lolly robinson SylviaÿA. Johnson Raptor Rescue: An Eagle Flies Free (Younger, Intermediate) Illustrated with photographs in color by Ron Winch. Impressive photographs of a bald eagle undergoing surgery highlight the animal rescue work of the Gabbert Raptor Center in St. Paul, Minnesota, in this fine photo essay. Sylvia Johnson's introduction to raptors, or birds of prey, focuses on the process of preparing injured birds for return to life in the wild. Her smoothly developed account begins with the handling of the eagle during surgery, moves to a concise introduction to the varied members of the raptor family, and then cuts back to the stages of care the eagle receives during the months before its release. Ron Winch provides beautifully focused pictures in a variety of sizes, complementing the text and adding new information. There is only one full-page photograph, but the pictures are no less compelling for their smaller size. Portraits of various birds, the harpy eagle's feet "as big as a man's hand," and the tethered practice flights of the recovering bald eagle are among the many arresting photographs. The book closes with a discussion of the need for the conservation of raptors and their habitats, as well as suggestions for ways readers can become personally involved. m.a.b. WilliamÿLoren Katz Black Women of the Old West Lillian Schlissel Black Frontiers: A History of African American Heroes in the Old West (Intermediate) Illustrated with black-and-white reproductions. These handsome histories, so similar in layout and organization, both fit rather handily under the span of Schlissel's subtitle, though neither book is devoted strictly to heroic individuals. Both authors write of the black men and women who "shared the work of settling America's western frontiers" in considerable numbers, though conventional histories have most often ignored their presence. Schlissel points to a key element that is illustrated in both books: "The black presence in the West is sometimes most powerfully expressed in old photographs." Each horizontally rectangular volume joins double-columned text in brief chapters with absorbing photographs of diverse individuals and families from many walks of life. Homesteaders, cowboys, miners and their mail-order brides, professional people, and adventurers are all introduced. Both writers tell of African Americans who took refuge among Native Americans, of others who developed black communities, and of many who lived and worked side by side with white frontier settlers. Schlissel has more thematic entries, while Katz has a more geographical focus. Schlissel, who has written adult books about the western frontier, hasn't yet established a firm voice in addressing young people; her prose is sometimes wooden and choppy. Katz follows his pattern from many previous books, providing well-organized explanations of many aspects of black history. However, his rather truncated vignettes of some individuals may leave readers unsatisfied. The two books cover an impressively diverse array of factual information and fascinating people. American history assumes new depth through Schlissel's and Katz's presentations of these previously underrecognized pioneers. m.a.b. Geraldine McCaughrean, Reteller The Random House Book of Stories from the Ballet (Intermediate) Illustrated by Angela Barrett. Ballet is essentially visual, depending on mime and movement to convey meaning. Summaries suggest little of the emotions engendered by the performance. In her prose versions of ten favorites from the standard repertory, McCaughrean bridges this gap through descriptive passages and appropriate dialogue, as in the opening sequence of Swan Lake, in which the crowds speculate on the Crown Prince's choice of a bride as his twenty-first birthday approaches. This interpretive technique not only adds color to the narratives but also provides the opportunity for a better understanding of the ballets. In addition to Swan Lake, the collection includes Coppelia, Giselle, Cinderella, La Sylphide, The Nutcracker, Romeo and Juliet, The Firebird, Petrouchka, and The Sleeping Beauty. Angela Barrett's lushly romantic illustrations, which suggest the lyrical mood of pieces such as Swan Lake and Giselle, are suitably modified for the earthier quality of Coppelia, to cite just three examples. The initial illustration for some of the tales suggests a stage setting, a concept reinforced by vignettes of dancing feet interspersed throughout the text. A handsome, appealing introduction, perhaps as close as one can come to an appreciation of this art form in lieu of an actual performance. m.m.b. H Shelley Rotner, Author-Photographer Wheels Around (Picture Book) A neatly crafted, spectacularly graphic study of wheels and the vehicles they support will enthrall the motor-mad youngsters who roar into libraries looking for more machines. The text is minimal, but the clean book design and effective use of primary color to outline the bright, glossy photographs make this a superb photo-essay. The particular subjects are carefully chosen to provide a variety of vehicle types - big rigs, cars, limos, taxis, tractors, dump trucks, cement mixers, graders, cherry pickers, and backhoes - there's even a dinosaur-emblazoned U-haul truck. Start your engines; this book is ready to roll. e.s.w. RobertÿD. SanÿSouci Kate Shelley: Bound for Legend (Younger) Illustrated by Max Ginsburg. Growing up in rural Iowa near the turn of the twentieth century, Kate Shelley seemed an ordinary teenager who willingly shouldered the responsibility of caring for her siblings when her mother's health failed. Her avid interest in the railroad that ran behind her house was, perhaps, a bit unusual for a girl in that period, but nothing in her life predicted her future heroism. Her moment of fame came when a terrible storm took out the railroad bridge near her home and she courageously walked miles in the deluge and darkness - at one point crawling on hands and knees across a seven-hundred-foot-long cross-tie bridge - to warn the railroad company. The paintings that illustrate the eventful night are dark with the fury of the storm, but the artist uses appropriate areas of light to make the details clear. Tension and fear are clearly evident in all the characters' postures and facial expressions and build until the moment of relief when Kate finally arrives at the station. Kate's life after the incident is sketched at the end of the book, and an author's note provides source information. The book is easily accessible to the primary reader and will be a welcome addition to both school and public library collections. e.s.w. ChiefÿJake Swamp Giving Thanks: A Native American Good Morning Message (Picture Book) Illustrated by Erwin Printup, Jr. Swamp, from the Mohawk Nation, adapts an ancient message that expresses appreciation for Mother Earth and the many aspects of the natural world that his people consider her gifts. These include the water that quenches people's thirst, the food that removes hunger, the Four Winds that bring clean air, and the Grandfather Thunder Beings who bring the rain that helps living things grow. The Iroquois, or Six Nations - composed of the Mohawk, Oneida, Cayuga, Onondaga, Seneca, and Tuscarora peoples - still recite this message at ceremonial and governmental gatherings; traditionally, children recited it at the start of each day. The book's last page provides the message in the Mohawk language. Although a pronunciation guide would remove the guesswork from the decoding process, readers will immediately notice that the Thanksgiving Address, titled "We Give Thanks," possesses the haunting internal repetition and rhythm that mark many of the world's most affecting prayers. Printup, a Cayuga-Tuscarora painter working in acrylics, uses highly saturated colors and geometric forms to illustrate Mother Earth's bounties. His stylized paintings, which include images of an abundant harvest, sparkling water, and glowing monarch butterflies, make clear how much there is for which we can show thanks. ellen fader Alexandra Wallner, Author-Illustrator Beatrix Potter (Picture Book) A clear, matter-of-fact text describes Beatrix Potter's lonely Victorian childhood, her early fascination with animals and painting, her struggle for independence, and her eventual success as the author and illustrator of The Tale of Peter Rabbit (Warne) and other beloved stories. While necessarily simplified, the text is accurate and leaves out nothing of importance, including her tragic engagement to Norman Warne and her eventually satisfying life as a farmer, wife, sheep breeder, and landlord in the Lake District. Wallner's paintings show orderly and idyllic settings cleanly designed and full of thoughtful detail. The overall style resembles folk art, with flat colors and simple curved lines. The plain, warm-colored backgrounds set off the smaller objects within each painting in a way that invites close perusal without tiring the eye. The faces and postures of both people and animals are full of character despite the simplicity of line and shading. lolly robinson Jeanette Winter, Author-Illustrator Cowboy Charlie: The Story of Charles M. Russell (Picture Book) This picture-book biography tells the engaging story of Charles Marion Russell, a renowned artist of the Old West, who as a child growing up in St. Louis dreamed of a life in the West and becoming a cowboy. Finally, when he was fifteen, he headed for Montana, where he eventually achieved his dream. Jeanette Winter follows Russell's frontier odyssey in panoramic views painted in a naive style reminiscent of folk art, though far more sophisticated in picture design. Her muted acrylic palette is dominated by mauve, rust, purple, and varied greens. Among the many scenes of wildlife, cattle, and cowboys is a fold-out page in the center of the book showing the majestic western terrain. The simple, bold rendering of Charlie's adventures in a romanticized and energetic West effectively distills this interesting life, and Winter's pictures provide a nice contrast to the rich documentary paintings of the prolific Russell. The simple telling works well as an adventure story, a brief view of frontier life, and an introduction to the artist. m.a.b. Bernie Zubrowski Shadow Play: Making Pictures with Light and Lenses 112 pp. Beech Tree/Morrow 5/95 (Intermediate) Illustrated by Roy Doty. A Boston Children's Museum Activity Book. Playing with shadows reveals many interesting properties of light and leads to experiments with that most interesting manipulation: light rays into photographic images. Zubrowski sets a shining example in organizing his lucid explanations of how reflected images are created and affected by altering the direction and source of light rays. Readers are led through a progression of experiments with natural and artificial light and assorted frames and lenses. Measuring shadows in the back yard is followed by projecting light in a darkened room, creating images in shadow boxes, and constructing an elementary box camera. Each unit includes discussion of the science of light with questions for observation, clear directions for experiments, and follow-up analysis of results. Most materials are to be found at home or in a hardware store, and safety instructions are stated clearly. Most of the experiments, illustrated with simple line drawings, are best accomplished by pairs or small groups. Zubrowski knows his audience: these are exactly the activities children will enjoy doing and demonstrating to family, friends, and classmates; they will satisfy hobby and recreation interests as well as classroom needs. Final suggestions prompt readers to further experience with properties of light through experimentation with cameras and lenses. m.a.b. From HORN BOOK, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus Review
The early women's rights and suffrage advocate Elizabeth Cady Stanton is the focus of a readable, accessible biography. She comes alive for middle graders in a narrative with almost novelistic pacing, a dose of humor, and an affectionate point of view. Fritz (Harriet Beecher Stowe and the Beecher Preachers, 1994, etc.) vividly relates how Stanton, early on, felt the sting of injustice in being a girl, and that even her own father was sorry she was not a boy. As an adult, she was drawn into an iconoclastic circle of friends that included Lucretia Mott and Susan B. Anthony. By making clear that many of the early supporters of rights for women were also strongly anti-slavery, Fritz leads readers almost effortlessly through such important events as the Seneca Falls (New York) Convention in 1848, the impact of the Civil War and the Emancipation Proclamation, and Reconstruction and the post--Civil War 19th century. Lively, enjoyable fare from a reliable and expert storyteller. Copyright ©Kirkus Reviews, used with permission.
Booklist Review
Gr. 4^-7. This is Fritz at her ebullient best, writing a historical biography that weaves together the life of a spirited leader and the fight for her cause. In this case, the fight is for women's suffrage. Without fictionalization, Fritz re-creates Stanton's decisive, impatient, outspoken personality. "Elizabeth had never heard of anything so ridiculous" is a constant refrain from Stanton's childhood on through her domestic life and her long years of politics. The friendship between Stanton and the suffragist leader Susan B. Anthony is drawn with immediacy and zest, their closeness and their arguments, their work together and their failures. Stanton fought with the abolitionists who wanted to separate black rights and women's suffrage. She "lit into" the churches for being so backward. Yet there's no caricature; running throughout is a restrained sense of her sorrow that she could never please her father because she was not a boy. The description of her last speech in 1892 is an eloquent fusion of the personal and the political: "In the end, she said, everybody, men and women, were alone. They were responsible for themselves; no one could represent them." As usual, Fritz provides a bibliography but no further documentation of sources. Illustrations by DyAnne DiSalvo-Ryan not seen in galley. --Hazel Rochman