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Editorial Reviews
From Publishers Weekly
With these heartfelt paintings, poems and memoirs, the noted Navajo artist fulfills his stated goal of taking the reader "into the corners of my world, the Navajo world." Similar in conception to George Littlechild's This Land Is My Land, this book places more emphasis on the traditional and spiritual, its contemporary setting notwithstanding. The sacred intertwines with the everyday; topics here range from storytelling, a solar eclipse and a healing ritual to riding in a truck and attending a tribal fair. Begay also explores the "constant struggle for balance" between his two worlds, as in "Storm Pattern," where he recalls his mother gently refusing to introduce images he saw in magazines into her rug weaving, images he now recognizes as corporate logos. Some of the paintings are dappled watercolors like those in Ma'ii and Cousin Horned Toad, others acrylics with thick, dynamic brushstrokes. Whatever the style, each reveals an indimate knowledge of a people in harmony with the land. Ages 9-up.
Copyright 1995 Reed Business Information, Inc.
From School Library Journal
Grade 6 Up?Navajo philosophy and an artist's personal experience infuse this collection of paintings and (mostly free) verse. Begay's subjects vary from the sublime (creation, prayer, death, healing) to the mundane (riding in a truck, splashing in the mud after rain). Coyote (Ma'ii) plays a recurrent and significant role here, but Begay's impulse is to note and celebrate, rather than explain, important aspects of his culture. There are lessons to be learned, both cultural and universal, but obliquely. He does not blame the contemporary Anglo world for anything, but it intrudes, in ways often uncomprehending or disharmonious, and must be reckoned with. He chooses, nevertheless, to end his book in a season of hope with a poem called "Early Spring." The two central themes here, beauty and mystery, find natural expression in 20 acrylic paintings. Their stippled surfaces recall pointillist or Impressionist style, but the artist's palette rests on colors rooted to his people: the vermillion of desert earth and the blues of sky, flower, and turquoise. His figures are dignified but not idealized. Powerful and appealing in both word and image, this reflective book should find a wide audience of sympathetic readers.?Patricia (Dooley) Lothrop Green, St. George's School, Newport, RI
Copyright 1995 Reed Business Information, Inc.
See all Editorial Reviews
With these heartfelt paintings, poems and memoirs, the noted Navajo artist fulfills his stated goal of taking the reader "into the corners of my world, the Navajo world." Similar in conception to George Littlechild's This Land Is My Land, this book places more emphasis on the traditional and spiritual, its contemporary setting notwithstanding. The sacred intertwines with the everyday; topics here range from storytelling, a solar eclipse and a healing ritual to riding in a truck and attending a tribal fair. Begay also explores the "constant struggle for balance" between his two worlds, as in "Storm Pattern," where he recalls his mother gently refusing to introduce images he saw in magazines into her rug weaving, images he now recognizes as corporate logos. Some of the paintings are dappled watercolors like those in Ma'ii and Cousin Horned Toad, others acrylics with thick, dynamic brushstrokes. Whatever the style, each reveals an indimate knowledge of a people in harmony with the land. Ages 9-up.
Copyright 1995 Reed Business Information, Inc.
From School Library Journal
Grade 6 Up?Navajo philosophy and an artist's personal experience infuse this collection of paintings and (mostly free) verse. Begay's subjects vary from the sublime (creation, prayer, death, healing) to the mundane (riding in a truck, splashing in the mud after rain). Coyote (Ma'ii) plays a recurrent and significant role here, but Begay's impulse is to note and celebrate, rather than explain, important aspects of his culture. There are lessons to be learned, both cultural and universal, but obliquely. He does not blame the contemporary Anglo world for anything, but it intrudes, in ways often uncomprehending or disharmonious, and must be reckoned with. He chooses, nevertheless, to end his book in a season of hope with a poem called "Early Spring." The two central themes here, beauty and mystery, find natural expression in 20 acrylic paintings. Their stippled surfaces recall pointillist or Impressionist style, but the artist's palette rests on colors rooted to his people: the vermillion of desert earth and the blues of sky, flower, and turquoise. His figures are dignified but not idealized. Powerful and appealing in both word and image, this reflective book should find a wide audience of sympathetic readers.?Patricia (Dooley) Lothrop Green, St. George's School, Newport, RI
Copyright 1995 Reed Business Information, Inc.
See all Editorial Reviews
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Citations
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5
books
cite this book:
- My America: A Poetry Atlas of the United States by Lee Bennett Hopkins in Back Matter
- The Big Book of Picture-Book Authors & Illustrators by James Preller on page 8
- Truth and Lies: An Anthology of Poems by Patrice Vecchione in Back Matter
- Children of Native America Today by Yvonne Wakim Dennis in Back Matter
- Native Americans Today: Resources and Activities for Educators, Grades 4-8 by Arlene Hirschfelder in Back Matter