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Editorial Reviews
From Publishers Weekly
According to PW , this poetic adaptation of an Ojibway story features "finely detailed panel drawings bordered with Native American designs and wildlife imagery that enrich this haunting tale." Ages 4-8.
Copyright 1991 Reed Business Information, Inc.
From School Library Journal
Grade 2-4 In this American Ojibway Indian legend about the origin of the water lilies, simple, relatively short sentences suffice to describe the events of how some magical sky maidens came to earth to find rest and relaxation on the peaceful ponds as white water lilies. The watercolor paintings show clear evidence of anthropological research in the details of costumes and utensils. Each is heavily framed on three sides by patterned borders apparently derived from Ojibway textiles and beadwork. These borders and the vignettes acting as the fourth side of the frame tend to overwhelm the rather delicate illustrations. These pictures provide considerable information through fine line drawings tinted with transparent pigments. Their delicacy suggests the never-never-time of all legends, but the details of the framing detract from the mystic feeling. Nevertheless, the competency of the artwork and the charm of the tale help compensate for the intrusive design. Kenneth Marantz, Art Education Department, Ohio State University, Columbus
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
According to PW , this poetic adaptation of an Ojibway story features "finely detailed panel drawings bordered with Native American designs and wildlife imagery that enrich this haunting tale." Ages 4-8.
Copyright 1991 Reed Business Information, Inc.
From School Library Journal
Grade 2-4 In this American Ojibway Indian legend about the origin of the water lilies, simple, relatively short sentences suffice to describe the events of how some magical sky maidens came to earth to find rest and relaxation on the peaceful ponds as white water lilies. The watercolor paintings show clear evidence of anthropological research in the details of costumes and utensils. Each is heavily framed on three sides by patterned borders apparently derived from Ojibway textiles and beadwork. These borders and the vignettes acting as the fourth side of the frame tend to overwhelm the rather delicate illustrations. These pictures provide considerable information through fine line drawings tinted with transparent pigments. Their delicacy suggests the never-never-time of all legends, but the details of the framing detract from the mystic feeling. Nevertheless, the competency of the artwork and the charm of the tale help compensate for the intrusive design. Kenneth Marantz, Art Education Department, Ohio State University, Columbus
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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