Reviews for Underground

Booklist Reviews 2011 February #1
"The darkness. / The escape. / We are quiet. / The fear . . . / We run. / We crawl." With just two or three words on each double-page spread, the minimalist text is intense in this stirring picture book about a family's escape from slavery. Dramatic, unframed, mixed-media illustrations, rendered in black lines and dark shades of midnight blue, show a child's view of fleeing and hiding in the night, when the only light is in the starry sky. Then there is the lantern of a safe house, but also of a slave catcher. Finally, freedom comes at last with the glorious color of the sun's light, and the art extends the wordplay in an image of a joyful family holding up their own son--a baby boy born in freedom. A long appended note offers more historical context, and young readers can go on from here to other picture-book accounts of families torn apart by slavery and those saved by rescuers on the Underground Railroad. Copyright 2011 Booklist Reviews.

Horn Book Guide Reviews 2011 Fall
With dramatic images and minimal narrative, Shane projects a "we-are-there" experience of escaping slaves. White stars stand out against a richly textured midnight blue, as do the triangular whites of the fugitives' eyes and the bold white typeface itself; a golden sun rises on the final view of freedom. Adults discussing black history with five- and six-year-olds can use this visually intense evocation. Copyright 2011 Horn Book Guide Reviews.

Horn Book Magazine Reviews 2011 #1
With dramatic images and minimal narrative, Shane projects a 'we-are-there' experience of escaping slaves. The figures are eerily disembodied, and many of the double-page spreads feature a two-word text such as 'The darkness' or 'The fear' or 'We run.' White stars (not apparently resembling the Big Dipper-North Star guide) stand out against a richly textured midnight blue, as do the triangular whites of the fugitives' eyes and the bold white typeface itself. A golden sun rises on the final view of freedom, and while a few of the scenes are ambiguous (both slave owners and bounty hunters are generally characterized by large-brimmed hats, but a helper on the Underground Rail-road also wears one), the action will become clear to children who have been primed with background information. Neither the note, which includes facts about U.S. slavery, nor the text refers specifically to African Americans as the oppressed group, but the back cover, concluding pages, and iconic clothing convey racial identity. Parents and teachers discussing black history with five- and six-year-olds can follow contextual explanations with this visually intense evocation, ideally paired with other books, for slightly older readers, such as Carole Boston Weatherford's Moses: When Harriet Tubman Led Her People to Freedom (rev. 11/06). BETSY HEARNE Copyright 2011 Horn Book Magazine Reviews.

Kirkus Reviews 2010 November #2

Powerfully expressive imagery will sweep young viewers into this suspenseful journey along the Underground Railroad. Accompanied by a commentary of, usually, just two or three words per spread, the scenes track a small group of escapees stealing through darkness beneath a thin crescent moon. They are seen running, crawling, resting tensely, taking brief shelter with "new friends," then wearily keeping on until sunrise at last brings them to their goal: "I am free. He is free. She is free. We are free." Underscoring the sense of fear and urgency with broad, slanted strokes of thinly applied paint, Evans limns his hunched, indistinct figures in dark lines and adds weight with scribbled fill and jagged bits of paper or cloth. His palette of midnight-dark blue lit only by the occasional yellow torch- or lantern light and white stars draws attention to the whites of the frightened escapees' eyes and makes sunlit Freedom all the more precious when attained. Lengthier accounts of travel on the Underground Railroad abound, but few if any portray the experience with such compelling immediacy. (afterword) (Picture book. 5-9)


Copyright Kirkus 2010 Kirkus/BPI Communications.All rights reserved.

Publishers Weekly Reviews 2010 November #5

With haunting pictures and a few simple sentences, Evans (Black Jack: The Ballad of Jack Johnson) introduces beginning readers to a crucial piece of American history. In darkness lit mainly by moonlight, a slave family is seen sneaking away from a plantation, passing a sleeping overseer ("We are quiet"), creeping through shrubbery, and being greeted by a woman in a skirt and cap holding a lantern high ("We make new friends"). The eyes of the slaves shine with doubt and fear. Dense groupings of figures give a sense of immediacy, and rough charcoal lines echo the rugged paths the group travels. Difficult moments are handled with restraint: "Some don't make it," one page says, as a man with a rifle holds a defeated-looking slave. The slaves press on; the dawn that breaks around them is a metaphor for freedom. A man cradles a pregnant woman ("We are almost there"), and on the next page, he holds a swaddled newborn up to the shining sun in triumph. Telling the story without overwhelming readers is a delicate task, but Evans walks the line perfectly. Ages 4-8. (Jan.)

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School Library Journal Reviews 2011 January

Gr 1-3--A stellar introduction to the Underground Railroad, narrated by a group of slaves. Readers experience the fugitives' escape, their long nighttime journey punctuated by meetings with friends and enemies, and their final glorious arrival in a place of freedom. Evans boils the raw emotion of the experience down to the most compressed statements, both mirroring the minimal opportunities for expression during the secret journey and also creating a narrative that invites even the youngest listeners to visit this challenging subject. For this reason, the text may be read as is to preschool audiences, while the abbreviated prose may also generate a rich discussion for older students. Evans writes simply: "The darkness..../We are quiet./The fear./We run." Appropriately, the narration is told from a group perspective, which reflects the broader experience of enslaved African Americans--a theme continued in his full-bleed illustrations of figures cloaked in the anonymity of night. Though subdued in palette until the eruption of color as the figures reach the threshold of freedom, the author's collaged nocturnal paintings shimmer with an arresting luminescence. Two constants leap out from almost every page: the stars above and the bright, fearful eyes of the fugitives. When the travelers at last lift a newborn baby to the rising sun, readers celebrate along with the protagonists.--Jayne Damron, Farmington Community Library, MI

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