(1) K-3 Illustrated by Ekua Holmes. Dream Street: a microcosm of the African Diaspora where relationships matter and dreams thrive. It's "the best street in the world," as described by the book's offstage narrator. To reveal the fabric of this community--based on the childhood of cousins Walker (Nana Akua Goes to School, rev. 5/20) and Holmes (Black Is a Rainbow Color, rev. 1/20)--the author creates descriptive vignettes about individuals and families from many different backgrounds. Children play outside until the streetlights come on; Mr. Sidney, a dapper retired postman, reads the paper on his front stoop and tells all who walk by to make the great day they want to have; a girl named Belle catches butterflies in a jar but then releases them (she aspires to become a lepidopterist). Accompanied by Holmes's lively and layered collage illustrations, these vignettes emphasize what each person contributes to Dream Street. From the youngest children to Ms. Sarah (a.k.a. the Hat Lady, "who has lived on Dream Street longer than anyone"), everyone has dreams that others honor. The images, created with acrylic paint, found and handmade papers, and fabric, display vibrant colors, intricate ­patterns, and detailed portraits that reveal the beauty of the neighborhood's ­inhabitants. A stunning work of art that ­dismantles stereotypes about Black communities and portrays a place where love abounds.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: September, 2021

(2) K-3 Illustrated by April Harrison. Although her grandmother, Nana Akua, is her "favorite person in the whole universe," young Zura is not excited about the upcoming Grandparents Day at school. She thinks about others' reactions when people notice the marks on her grandmother's face--a tradition from her Akan culture of Ghana--and worries that her classmates will laugh or be mean. But Nana Akua has an idea. When she comes to school with Zura, they bring Zura's quilt, covered in Adinkra symbols. Nana Akua uses them to explain the importance of the tradition that she wears on her face--and she invites the class and grandparents to paint Adinkra symbols on their faces, too. Walker's text is appropriately detailed and uses simple language to express the deepest concerns and observations of a child. The closeness of Zura's family and the camaraderie within her diverse classroom are aspirational and touching. Harrison's mixed-media collages use texture, line, and both neutral and bright colors to create memorable characters and moments that invite readers to linger over each spread. Here is a story that is both highly specific in the culture represented and universal in its expressions of emotion and heritage. Adinkra symbols, with their names, pronunciations, and meanings, adorn the end pages, and a glossary and a short list of print and online resources extend the exploration.

Reviewer: Autumn Allen | Horn Book Magazine Issue: May, 2020