From Publishers Weekly
Caldecott Medalist McCully (Mirette on the High Wire) spins an engrossing, fact-based tale with feminism and fair labor practices at its heart. Ten-year-old Rebecca supplements her family's meager income by toiling as a "bobbin girl" in 1830s New England. She is one of the thousands of girls and women who endure 131/2-hour days in the stuffy textile mills of Lowell, Mass., the City of Spindles. Rebecca sees first-hand the courage of her co-workers, who all share a dream of building a better life with the money they earn. She also observes the illnesses, injuries and anxiety caused by the harsh conditions and callous mill owners. When a decrease in wages is announced, the mill girls rally to stage a "turn out" (strike) and protest their predicament. McCully deftly weaves feminist themes into her spirited text, and her meaty author's note places her story in context. Her characters speak of self-reliance and education; they read and attend lectures whenever possible. The courage and ambition these role models inspire in Rebecca are palpable. Rough-edged watercolors, frequently awash in gray light, convey the often oppressive mood of an industrial town of the time. The shawled and bonneted women and an abundance of other period details add further historical depth. Ages 6-9.
Copyright 1996 Reed Business Information, Inc.
From School Library Journal
Grade 2-4?This tale of child labor, early efforts to organize against unfair employers, and human courage is based on the true story of Harriet Hanson Robinson, whose mother ran a mill boardinghouse in 19th-century Lowell, MA. It tells of Rebecca Putney, a 10-year-old bobbin girl who follows the lead of an older firebrand and walks out of the textile mill in protest of a pay cut. The house provides the context to move the plot because it's there that the women talk about their goals and conditions. McCully's straightforward narrative is told in the third person with substantial dialogue. The artwork, realistic watercolors, supports the narrative but does little to move the story forward. Though crowd scenes offer opportunities for drama, the composition is somewhat static. Not all of the human figures are well-rendered. Some spreads are compelling, as in the after-dinner hours when the women sit around the fire, one wearily soaking her feet. Another striking scene shows one woman's collapse in the hazy spinning room. Despite Rebecca's central position in the narrative, she is primarily an observer and reporter and never really comes to life. Though this entry offers a valuable slice of history and will be useful for curriculum support, it lacks vitality of its own.?Carolyn Noah, Central Mass. Regional Library System, Worcester, MA
Copyright 1996 Reed Business Information, Inc.