A book of poetry to be shared and enjoyed by young and old alike by one of the grand masters of American poetry. From Daybreak to Good Night is a collection of enduring poems by celebrated American poet Carl Sandburg that are perfect for a young audience. The poems and illustrations work together, following a group of children through the day as they enjoy and participate in Sandburg’s poetry.
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Author and poet Carl Sandburg was born in 1878. He worked many jobs before becoming a writer: delivering milk, laying bricks, threshing wheat, and shining shoes. After marrying in 1908, he moved to Illinois and took up journalism as a reporter for the Chicago Daily News. Rootabaga Stories (1922) was his first book for children. During his career Sandburg won two Pulitzer Prizes: in 1940 for Abraham Lincoln: The War Years and in 1951 for his Complete Poems. Sandburg died at his home in North Carolina in 1967.
Lynn Smith-Ary has worked as an artist and animation filmmaker for over thirty years. Her films have won many awards, including a Genie for Pearl's Diner and first prizes in Columbus, Ohio, and Bombay for Sandburg's Arithmetic. This film, based on the poem Arithmetic by Carl Sandburg, reflects Lynn's long-standing admiration for this great poet's writing. Lynn resides in Montreal.
Grade 2-4-Sandburg's North Carolina farm is the bucolic setting for this poetic picture book. Beginning with "Daybreak" and "Fog" and closing with an excerpt from "Sleep Face" and "Good Night," the small gathering includes nine other pieces on spring and assorted animals. One or two selections are set on double-page scenes, in which the elderly Sandburg with his unruly mop of white hair entertains a group of children. Smith-Ary takes license both in handling the poetry and depicting the farm. Though it's not readily apparent, some of the entries are excerpts from longer poems, some have been re-named, and a few are by other poets. One bit of song lyric by Red Lewis is titled accordingly, but short pieces by Helga Sandburg and Emily Dickinson are only acknowledged at the end of the book. The folk-art scenes with crudely sketched animals, odd perspectives, and round-faced children are warmly colored in crayon and colored pencil on acetate. Unaccountably, a zebra appears in most scenes. This, too, is acknowledged in an endnote: "-he may have imagined a zebra roaming around the farm." Some of the poetic imagery may be beyond the young audience that will be attracted to the art. "Steamboats turn a curve in the Mississippi crying in a baritone that crosses/lowland cottonfields to a razorback hill." Adults who share Smith-Ary's fondness for Sandburg may find nuggets for sharing with just the right child.
Margaret Bush, Simmons College, Boston
Copyright 2002 Reed Business Information, Inc.
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