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Click to search this book in our catalog The Hate U Give
by Thomas, Angie

Book list Gr. 5-8. Igus' prose poems and Wood's evocative paintings combine to give a succinct overview of African American music. A useful time line sets the social context, and brief paragraphs describe the various types of music, from African origins and slave songs through ragtime; the blues; big band, bebop, and cool jazz; gospel; rhythm and blues; and the contemporary sounds of rock, hip-hop, and rap. Igus effectively uses snippets from song lyrics to communicate both a feel for the music itself and a sense of how the various styles played to the emotions of the musicians and their fans ("From the basements to the rooftops, / I see the cool tones of modern jazz / escape the city heat"). Wood's paintings are equally suggestive. Mixing modernist and primitive styles and using color nicely to communicate musical style and tone, her art not only complements the text but vivifies it. Audience may be a problem: the supportive text is too sophisticated for younger readers to grasp themselves, and the format may alienate some older readers. Perhaps best used in a junior-high classroom with audio accompaniment, this striking book, in the hands of a creative teacher or librarian, could give kids a feeling for the majesty, creativity, and continuity of African American music. (Reviewed February 15, 1998)0892391510Bill Ott

From Booklist, Copyright © American Library Association. Used with permission.

Kirkus The collaborators on Going Back Home (1997) return with a stunning history of African-American music. They begin 500 years ago, on the African continent, chronicle the slave trade, and document the work songs and spirituals of American slaves. The blues, ragtime, jazz, gospel, R&B, rock, funk, rap, and hip hop all come under scrutiny in free-verse poems that incorporate lyrics about and the rhythms of every style. In addition, Igus has added a brief description of each musical movement and a terrific timeline noting highlights of African-American history--both musical and more general information--which roots the whole book in a broader context. Wood's vibrant paintings are based in historical detail, and resonate with emotion. The color choices, postures of the figures, as well as the expressions on their faces, reflect various aspects of African-American music; the pictures broadcast joy, innovation, and exuberance in the face of systematic oppression. A child hidden in each scene adds a nice piece of personality for readers to interpret. Stylish and lively design pulls it all together into an absorbing, attractive package. Copyright ©Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

New York Times Bestsellers
Click to search this book in our catalog Billy Summers
by Stephen King

Publishers Weekly Ex-Army sniper turned hit man Billy Summers, the protagonist of this tripwire-taut thriller from MWA Grand Master King (Later), who views himself as “a garbageman with a gun,” decides his 18th assassination will be his last. But he rightly smells something fishy in the promised $2 million payout and runs rogue when things go south with his employers. Matters get complicated when a rape victim whose life he saves becomes his confidante and a participant in his plans to get even. King meticulously lays out the details of Billy’s trade, his Houdini-style escapes, and his act to look simpler than he is, but the novel’s main strength is a story within a story: as he preps for months in the small town “east of the Mississippi and just south of the Mason-Dixon Line” where the hit will happen, Billy, masquerading as a novelist, writes his lightly fictionalized autobiography, which grows more candid as it inches closer to current events and illustrates a line he remembers from a Tim O’Brien interview that fiction “was the way to the truth.” This is another outstanding outing from a writer who consistently delivers more than his readers expect. Agent: Chuck Verrill, Darhansoff & Verrill. (Aug.)

(c) Copyright PWxyz, LLC. All rights reserved

Kirkus The ever prolific King moves from his trademark horror into the realm of the hard-boiled noir thriller.Hes not a normal person. Hes a hired assassin, and if he doesnt think like who and what he is, hell never get clear. So writes King of his title character, whom the Las Vegas mob has brought in to rub out another hired gun whos been caught and is likely to talk. Billy, who goes by several names, is a complex man, a Marine veteran of the Iraq War whos seen friends blown to pieces; hes perhaps numbed by PTSD, but hes goal-oriented. Hes also a readerZolas novel Thrse Raquin figures as a MacGuffinwhich sets his employers wheels spinning: If a reader, then why not have him pretend hes a writer while hes waiting for the perfect moment to make his hit? It wouldnt be the first writer, real or imagined, King has pressed into service, and if Billy is no Jack Torrance, theres a lovely, subtle hint of the Overlook Hotel and its spectral occupants at the end of the yarn. Its no spoiler to say that whereas Billy carries out the hit with grim precision, things go squirrelly, complicated by his rescue of a young womanAliceafter shes been roofied and raped. Billys revenge on her behalf is less than sweet. As a memoir grows in his laptop, Billy becomes more confident as a writer: He doesnt know what anyone else might think, but Billy thinks its good, King writes of one days output. And good that its awful, because awful is sometimes the truth. He guesses he really is a writer now, because thats a writers thought. Billys art becomes life as Alice begins to take an increasingly important part in it, crisscrossing the country with him to carry out a final hit on an errant bad guy: He flopped back on the sofa, kicked once, and fell on the floor. His days of raping children and murdering sons and God knew what else were over. That story within a story has a nice twist, and Billys battered copy of Zolas book plays a part, too.Murder most foul and mayhem most entertaining. Another worthy page-turner from a protean master. Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Kirkus The ever prolific King moves from his trademark horror into the realm of the hard-boiled noir thriller. “He’s not a normal person. He’s a hired assassin, and if he doesn’t think like who and what he is, he’ll never get clear.” So writes King of his title character, whom the Las Vegas mob has brought in to rub out another hired gun who’s been caught and is likely to talk. Billy, who goes by several names, is a complex man, a Marine veteran of the Iraq War who’s seen friends blown to pieces; he’s perhaps numbed by PTSD, but he’s goal-oriented. He’s also a reader—Zola’s novel Thérèse Raquin figures as a MacGuffin—which sets his employer’s wheels spinning: If a reader, then why not have him pretend he’s a writer while he’s waiting for the perfect moment to make his hit? It wouldn’t be the first writer, real or imagined, King has pressed into service, and if Billy is no Jack Torrance, there’s a lovely, subtle hint of the Overlook Hotel and its spectral occupants at the end of the yarn. It’s no spoiler to say that whereas Billy carries out the hit with grim precision, things go squirrelly, complicated by his rescue of a young woman—Alice—after she’s been roofied and raped. Billy’s revenge on her behalf is less than sweet. As a memoir grows in his laptop, Billy becomes more confident as a writer: “He doesn’t know what anyone else might think, but Billy thinks it’s good,” King writes of one day’s output. “And good that it’s awful, because awful is sometimes the truth. He guesses he really is a writer now, because that’s a writer’s thought.” Billy’s art becomes life as Alice begins to take an increasingly important part in it, crisscrossing the country with him to carry out a final hit on an errant bad guy: “He flopped back on the sofa, kicked once, and fell on the floor. His days of raping children and murdering sons and God knew what else were over.” That story within a story has a nice twist, and Billy’s battered copy of Zola’s book plays a part, too. Murder most foul and mayhem most entertaining. Another worthy page-turner from a protean master. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

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