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摘要
摘要
A sharecropper's daughter describes her childhood in Texas in the early years of the twentieth century.
评论 (5)
《学校图书馆杂志》(School Library Journal)书评
Gr 3-7-Over a period of 15 years, Govenar talked with and recorded the reminiscences of Osceola Mays, now 91 and living in Dallas. He has selected and edited these recollections to form a thematically arranged look at rural life in East Texas, almost a century ago, from the viewpoint of an African-American girl. Bite-sized chapters (each less than 500 words) address such topics as her hometown, getting baptized, slavery, "Santa Claus Night," the death of her mother, and school. The narrative style reflects her Southern heritage, and the voice is that of a storyteller. The casual tone should draw in readers, especially as her memories will seem so foreign to most-a world with few cars, strict segregation, and sharecropping. Likewise, the tales that her neighbors shared with her of slavery personalize that great evil in a way that history books cannot, just as her recollections of family members and friends make it clear that emancipation did not mean equality. Nevertheless, the book's tone reflects that the woman's spirit is not weighed down by bitterness or anger; the text provides a rounded look at the society into which she was born. Evans's plentiful illustrations are brightly colored and naive, making them a sympathetic complement to the artless narration. Although easily read independently, the book-owing to the brevity of the chapters-also works well as a read-aloud.-Coop Renner, Moreno Elementary School, El Paso, TX (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
Govenar here gathers the recollections of Osceola Mays, an African-American woman born in Texas in 1909, from interviews and conversations that he conducted with Mays over a period of 15 years. In brief one- and two-page sections, Mays's engrossing first-person voice recounts snippets from her early days. Especially strong are the vignettes that focus on specific moments, such as "How I Got My Name," in which Mays explains how she changed her name from Garnell (she was named after a neighboring white girl: "It was a carryover from slave days, when slaves were given the names of their masters") to Osceola after meeting an Indian by that name, and the bittersweet juxtaposition of "Santa Claus Night" with its immediate successor, "Mama Dies," in which Mays contrasts Christmas before and after the death of her mother. But if Govenar's editing retains the feel of oral history, it also lacks a sense of an overall story arc. As a result, the volume does not have the cumulative emotional impact of collected histories like Leon Walter Tillage's Leon's Story and Eloise Greenfield's Childtimes. Mays's warm, personable and pleasantly meandering manner emanates throughout the volume, and her history is well worth hearing. Newcomer Evans's framed portraits with skewed perspectives heighten the drama of each memory. The paintings of a grieving motherless Osceola facing away from readers as she looks through a seemingly quavering window frame, an illustration of her baptism and a portrait of her sharecropper father, dwarfed by the long rows he's plowed in a cotton field, are especially moving. Ages 8-12. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved
《儿童读物杂志》(Horn Book)书评
(Intermediate) Born in 1909 in Waskom, Texas, a small community of 250 people and 135 rural mail stops, Osceola Mays has many stories to tell. Her grandmother was a slave, her father a sharecropper, and during her life Osceola has survived a hardscrabble existence marked by separation, death, prejudice, faith, injustice, hope, and triumph. Alan Govenar has shaped her recollections into an accessible and highly personal account of a full life. Osceola remembers specific childhood incidents, such as ""The Day I Was Baptized."" She describes the pond, the snakes bobbing their heads out of the water, her new red dress, and her childlike joy: ""Mama told me I was going to be an angel someday if I got baptized, and I wanted to be an angel."" She also recalls more general impressions of a darker side of her childhood, a time when her father never had any real money but instead bartered with a currency called ""brozine"" that he could ""use in a little store that the boss man owned."" She reminisces about her fear of white folks, particularly the mail carrier who once scolded her when she ran to get letters before he had delivered them: ""Get back to the house! Don't ever come here again when I'm putting mail in the box."" This particular incident leads her to speculate about greater prejudice, always in the voice of the child observer shaped by these events. ""If anyone around Waskom got out of the rules and regulations of the white people, the mob would come and get them. They had to run to another state to get away."" Tempering these generalities with fonder family memories, such as annual Juneteenth celebrations and Santa Claus Night, Osceola rounds out an oral history as rich in voice as it is in content. She also pays homage to the oral tradition, through both her own stories and those passed down by her mother and grandmother, naturally presenting stories, and sometimes poems and songs, within a story. Shane Evans's illustrations-formally composed paintings that gently evoke character of both people and place-provide context by depicting a person or setting central in each of the twenty short chapters. The book's strong oral quality will make it a fine read aloud. b.c. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
Kirkus评论
Govenar has collected anecdotes, reminiscences, stories, and snatches of songs and poems from 15 years of conversations with 90-year-old Osceola Mays about her youth. In short chapters Mays tells about her home, family, name, baptism, fearful relations with whites, school, celebrations and holidays, the death of her mother, and her new stepfamily. The language is simple, spare, and eloquent as she plainly relates the joys and sorrows of growing up African-American in the rural south in the early part of this century. Govenar includes an introduction, and his editing is invisible: reading this book with a child is like having a wise old grandmother tell stories, with the added benefit of glowing illustrations. A fine introduction to a particular time and place, as well as to the value of oral histories. (Biography. 8-12)
《书目》(Booklist)书评
Gr. 3^-7. This slim volume contains the powerful transcribed oral history of an African American woman now in her nineties. Born in East Texas in 1909, Osceola Mays grew up under slavery's oppressive legacy: "We lived apart, separated from white folks in just about everything we did." Her grandmother had been a slave; her father was a sharecropper. Govenar offers Mays' story in her own words, culled from years of taped conversations, distilling moments from her early life history in brief, potent chapters: "How I Got My Name," "Learning about White Folks," "Juneteenth," "Freedom," "Fear," and finally "Growing Up and Moving On." The detailed horrors of slavery and segregation are made more devastating by Mays' conversational, matter-of-fact voice. Shane W. Evan's strong paintings of Mays and her daily life suggest both folk art and subversive modern art with their flat, broad strokes and slightly skewed perspectives. This is a valuable, deeply affecting addition to the history of this period, and it will give young readers insight into the roots of contemporary racism. --Gillian Engberg