From School Library Journal
Grade 4-7AAs in the other books in the series, this latest title presents the alternating narratives of two African-American girls in the 1950s. Ernestine and Amanda do not consider themselves friends, but their paths continue to cross through mutual acquaintances and family ties. Each girl relates her own personal struggle, Amanda with her parents' impending divorce and Ernestine with her poor self-image. Dance classes begin on Monroe Street, a "no-man's-land between the black and white communities." Amanda eagerly awaits these sessions; Ernestine, who is the substitute pianist, dreads appearing fat amid the thinner girls in their leotards. The mysteries revolve around the vandalism and arson of the dance studio, and there is talk that the damage has been done by white kids. Viewed through innocent, preteen eyes, these events mirror the realities of the concurrent civil rights movement. The story is well told and the plot development is effective as the larger issues of desegregation and integration come into focus. Interestingly, the playful cover artwork is not consistent with the serious tone of this book. A "Scrapbook" includes some information about dancer Katherine Dunham and important civil rights incidents along with black-and-white photos. A solid purchase, especially where the earlier books are popular.ALucy Rafael, The Center for Early Education, West Hollywood, CA
Copyright 1998 Reed Business Information, Inc.
Gr. 4^-7. Like other books in the high-quality Ernestine & Amanda series, this revolves around African American characters living in a middle-class community in the late 1950s. Belton once again uses alternating viewpoints to tell the story, and by this fourth book in the series, she has developed her two main characters to such a high degree that readers don't even have to check the chapter heading to know who's talking: if the narration is wryly humorous and filled with the self-doubt of an overweight preadolescent, it's Ernestine; if the words are sharply critical of others, and the character spends time gazing in mirrors, it's Amanda. By now, readers have come to expect crackling dialogue between the two girls, who frankly dislike each other but are repeatedly thrown together, as well as nuanced portrayals of their families, friends, and neighborhood. Belton does an especially fine job of developing the increasingly adolescent concerns of the two girls, who are experiencing growing family tensions--for example, Ernestine's irritation with her mother: "It's like she's just waiting for me to do something so she can yell at me." In this book, the looming desegregation of schools and new laws about seating in movie theaters and on buses play a role in the background, and the vandalism of a new dance studio teaching in the style of Katherine Dunham raises fears and questions about the reactions of the white community. As in other series titles, Belton addresses the serious issues with a very light touch, giving readers a taste of both substance and humor. In a first for the series, a photograph album is included with historical information on Dunham and on desegregation.
Susan Dove Lempke