From School Library Journal
Grade 1-4–This inspiring biography of Clayton "Peg Leg" Bates, who lost his left leg in a cottonseed mill accident in 1919 at the age of 12, chronicles the man's amazing life from his days as the son of a sharecropper in South Carolina to his rise to fame as a tap dancer. His special step, the American Jet Plane, in which he "tapped across the stage, leaped five feet into the air, and landed on his peg leg with the other leg straight out" won over black and white audiences alike. Still, he was never allowed to eat or sleep in the same restaurants and hotels enjoyed by white vaudeville performers. Eventually he became so famous that he appeared on The Ed Sullivan Show and in movies, performed for the king and queen of England, and opened his own resort in the Catskills. Barasch's watercolor-and-ink cartoon paintings capture the poverty of the dancer's early life, the adulation of his fans, and his joyous love of dancing. Vignettes across a spread depict him performing typical tap steps in his own unique way. A final photograph of Bates in action is complemented by his words: "Don't look at me in sympathy,/I'm glad that I'm this way./I feel good, knockin' on wood." Pair this with Kathleen Krull's Wilma Unlimited (Harcourt, 1996) for a look at some real-life heroes.–Marianne Saccardi, Norwalk Community College, CT
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Gr. 2-3, younger for reading aloud. The name Peg Leg Bates is no longer familiar, but his story is captivating. Born a sharecropper's son, African American Clayton Bates never wanted to do anything but dance, yet he had to bring in money, so at 12, he got a job at a cottonseed factory. Within three days, he had lost his leg in a machine accident. Despite that misfortune, he pursued a successful dancing career. Wearing a wooden leg, he was soon performing for black audiences; eventually he made his way to national venues such as the Ed Sullivan show. Sprightly ink-and-watercolor art ably depicts both the poverty of Bates' early life and the colorful world of entertainment. A remarkable two-page spread bridges the before and after, showing many small images of Bates in various tap dancing positions. Barasch subtly sets the story against American racism; to join a white vaudeville troupe, Bates had to wear blackface, and to eat he had to find a restaurant in the black community. Still, Bates prevailed. Quotes at the book's conclusion offer a taste of his philosophy: "Black or white, one leg or two, it doesn't matter. Good is good." Ilene Cooper
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved



