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17. Alice Walker, War Is Never a Good Idea
I find myself conflicted. On the one hand: gorgeous, evocative, and a much-needed reminder that "rational" cost-benefit analyses about war are delusions.
On the other hand, I was very glad the baby on my lap (the baby who wanted to eat the pretty, pretty book; bright colors = tasty?) was in no way equipped to grasp even a glimmer of what was going on in the book. And what would an older child do with it? Other than have nightmares, that is? Is it written for adults, then, and packaged as a children's book in order to better deliver it's emotional punch that war eats children? But that seems so... manipulative.
In the end, I'm lukewarm. My practical definition of a "good book" is a book that I would recommend to someone, and I can't imagine who I might recommend this to.
18. Mildred D. Taylor, Mississippi Bridge
Another short about the Logan's, but in a radical departure from the other stories-to-date, not told from Cassie's point of view. This tale is told by Jeremy Simms, a somewhat puzzling white boy who repeatedly tries to be friends with the Logans, despite rebuffs from the Logans and punishment from his own family.
As always, Taylor shines. Jeremy's voice is very much his own, from his dialect to the details of what he chooses to say and how he chooses to say it. When the Logans enter, we don't get the standard intro of each of the children, down to Little Man's fussy neatness -- Jeremy sees them wholly differently than Cassie does. Despite his strong feelings that the black folk in town are not lesser than the white folk, he has his lacunas. It never occurs to him to use honorifics for the adults -- I twitched when he called Big Ma by her given name -- and he blithely refers to himself and Jobias as being "friends".
Jeremy is also unable to percieve the institutionalization of the racism around him, or the collective guilt of those who participate in it. He condemns those who are explicitly cruel toward the black folk in town, but he gives a free pass to those who passively benefit: it's not their fault things are the way they are. However, Taylor's shorts can easily be read as allegories, and notice ( *spoiler* ) Jeremy might be willing to give them a free pass, but Taylor isn't.
I find myself conflicted. On the one hand: gorgeous, evocative, and a much-needed reminder that "rational" cost-benefit analyses about war are delusions.
On the other hand, I was very glad the baby on my lap (the baby who wanted to eat the pretty, pretty book; bright colors = tasty?) was in no way equipped to grasp even a glimmer of what was going on in the book. And what would an older child do with it? Other than have nightmares, that is? Is it written for adults, then, and packaged as a children's book in order to better deliver it's emotional punch that war eats children? But that seems so... manipulative.
In the end, I'm lukewarm. My practical definition of a "good book" is a book that I would recommend to someone, and I can't imagine who I might recommend this to.
18. Mildred D. Taylor, Mississippi Bridge
Another short about the Logan's, but in a radical departure from the other stories-to-date, not told from Cassie's point of view. This tale is told by Jeremy Simms, a somewhat puzzling white boy who repeatedly tries to be friends with the Logans, despite rebuffs from the Logans and punishment from his own family.
As always, Taylor shines. Jeremy's voice is very much his own, from his dialect to the details of what he chooses to say and how he chooses to say it. When the Logans enter, we don't get the standard intro of each of the children, down to Little Man's fussy neatness -- Jeremy sees them wholly differently than Cassie does. Despite his strong feelings that the black folk in town are not lesser than the white folk, he has his lacunas. It never occurs to him to use honorifics for the adults -- I twitched when he called Big Ma by her given name -- and he blithely refers to himself and Jobias as being "friends".
Jeremy is also unable to percieve the institutionalization of the racism around him, or the collective guilt of those who participate in it. He condemns those who are explicitly cruel toward the black folk in town, but he gives a free pass to those who passively benefit: it's not their fault things are the way they are. However, Taylor's shorts can easily be read as allegories, and notice ( *spoiler* ) Jeremy might be willing to give them a free pass, but Taylor isn't.