From Publishers Weekly
In this subdued and affecting story, a woman who was abandoned as an infant at a Saigon orphanage travels from the U.S. back to Vietnam to look for her birth family. Her 10-year-old daughter, Mai, narrates the story as she accompanies her mother. The only clue to the woman's identity is her sole possession at the time of her adoption by an American couple: a delicate, handmade kite. Most of the book follows the woman's involved search and fruitless efforts to discover her roots. But in the book's most childlike moment, Mai wistfully empathizes with her mother, since the girl has never met her own father: "Mom doesn't know where he is, and he's never tried to find me. I don't understand why people can't stay together." Their quest finally leads them to an elderly kite maker who, in an emotional reunion, relates his connection to the woman's parents, killed in a bombing, and how he rescued Mai's motherAand the kite, made by her father. But McKay's (Caravan) pacing is problematic: after the long buildup, this climactic moment gets short shrift. The Lees' (Baseball Saved Us) realistic art, by turns brightly lighted and almost oppressively dark, seamlessly matches the changing moods of the text. Throughout, the artists evoke a clear picture of Vietnam's urban and rural landscapes (in one standout scene, the Lees deftly spotlight mother and daughter in a rickshaw in the midst of the chaotic streets of Shanghai). Uneven tempo aside, this text will engage anyone interested in Vietnam or adoption. Ages 6-up.
Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From School Library Journal
Grade 1-4ATen-year-old Mai describes the journey she and her mother make to Vietnam to find her mother's birth parents. They search at the People's Hall of Records in Saigon and visit many orphanages; but it is a kite, Lin's only possession when she was adopted by an American couple, that leads them to her identity. Mai herself, whose father left the family before she was born, comes to an understanding of what "home" really means. The story is told in a straightforward, prosaic style with minimal description of present-day Vietnam. The Buddha is briefly mentioned but never identified. The illustrations, covering a full-page or three-quarters of a double-page spread, are scratched out from encaustic beeswax applied to paper and then gone over with oil paints and colored pencil, giving a mottled, textured effect. They are somewhat static. The lush blues and greens of the countryside are attractive; however, a brown, sometimes murky palette is used for the city and indoor illustrations. Oddly, mother and daughter wear the same clothes throughout most of the book. A useful but nonessential purchase, this title might find a niche as America's newer residents come to terms with their heritage. For a factual account of a similar experience with a more in-depth look at Vietnam, try Jeremy Schmidt's photo-essay, Two Lands, One Heart (Walker, 1995).ADiane S. Marton, Arlington County Library, VA
Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.