From Publishers Weekly
Were it not for the fame showered upon this title in the wake of the NEA's retraction of funding for it, this Mexican folktale by a Zapatista leader would probably have attracted little attention: its greatest merit, Dom!nguez's vibrantly original art, is subverted by a badly flawed design. The bilingual text is digressive and rough, as if transcribed from an oral telling, and it presumes some common ground that will likely be absent for American readers ("The gods were fighting.... They were very quarrelsome, these gods, not like the first ones, the seven gods who gave birth to the world, the very first ones"). Purporting to tell how the gods created colors, the story tacks on a message about tolerance, equating different colors with different ways of thinking. The art, meanwhile, is full of life, a heady mix of folkloric motifs and a contemporary intensity. Dom!nguez's totemic figures crowd her canvases as if they were performing in a theater, their gestures and poses dramatic and commanding; and her fittingly colorful backgrounds are boldly and kinetically patterned. But the glossy paper flattens the rich, textured surfaces of the paintings; the three-quarter-page reproductions compete with different-colored blocks of text for readers' attention; and an unvaried, static layout discourages close perusal. Readers interested in the controversies surrounding the title will soak up the political commentary on the jacket flaps, which also include a photo of the guerrilla authorAa masked figure garlanded with bandoliers of bullets. All ages.
Copyright 1999 Reed Business Information, Inc.
From School Library Journal
K Up-Employing elements of both fable and indigenous pourquoi tale, this story explains the origin of colors in the world and how the macaw acquired his bright plumage. Old Antonio relates that the gods, bored with black and white, go out into the world and collect colors-red from blood, yellow from a child's laughter, etc. The colors combine and make more colors. The gods, needing a place to keep them safe, spot the macaw, and decide on his feathers. And so the bird goes "strutting about just in case men and women forget how many colors there are and how many ways of thinking, and that the world will be happy if all the colors and ways of thinking have their place." The text, colloquial and rolling in both Spanish and English, has rhythm, motion, and a sense of authenticity. Dom!nguez's primitive forms have volume and solidity, along with a kinetic energy that gives them the sense of movement. The figures, structured on a line as pure as that of Picasso, carry the action in the black-and-white sections, but the colors as they are introduced are vibrant and fresh as if they had, indeed, just been found, newly minted. The meld of artwork and text is flawless. This said, some caveats are in order. There are several lovely, natural references to lovemaking, and the accompanying illustration shows a woman and a male god in an unmistakably sexual embrace. Within the context of the story and culture from which it derives, it speaks to a way of life in which sexuality is accepted as a natural and cotidian element. However, in our cultural context, it poses some problems of potential audience. Finally, this publication has received a lot of press because the author is a Zapatista insurgent involved in guerrilla warfare with the Mexican government. The book, however, stands alone as a lovely, integrated folktale with a meaning and message all its own, and is deserving of purchase.
Ann Welton, Terminal Park Elementary School, Auburn, WA Copyright 1999 Reed Business Information, Inc.
See all Editorial Reviews