The New York Times: Viewing the Civil Rights Movement Through Children’s Books.
“Picture the Dream,” on display at the New-York Historical Society, shows that children, far from being mere witnesses to the civil rights movement, have played central roles in it.
In a verdant rural setting, a weathered gray fence separates two girls, one Black, one white. The Black child extends her hand as the white girl, already straddling the fence’s top rail, reaches down. Although they barely grasp each other’s fingers, a viewer can sense their curiosity, their anticipation, their desire to surmount this barrier.
The scene, a watercolor by E.B. Lewis, is among the first works visitors encounter in “Picture the Dream: The Story of the Civil Rights Movement Through Children’s Books,” on view through July 24 at the New-York Historical Society. Created for Jacqueline Woodson’s book “The Other Side,” from 2001, the painting reflects two of this exhibition’s major themes: that progress stems from everyday, individual action as much as from collective effort; and that children, far from being mere witnesses to the civil rights movement, have played central roles in it.
“It was kids themselves who are on the sidewalks and streets, going to jail, getting bitten by dogs, taking the attack of billy clubs,” Andrea Davis Pinkney, the exhibition’s curator, said in an interview at the museum. “And that is happening right now. This minute.”
The show, which traces the civil rights movement from segregation to the present, captures those terrible moments, along with interludes of joy. Organized by the Eric Carle Museum of Picture Book Art in Amherst, Mass., and the High Museum of Art in Atlanta, “Picture the Dream” is the first exhibition to chronicle this history through children’s literature, Pinkney said. When the show debuted at the High Museum in August 2020, she added, some visitors thought George Floyd’s killing and the following protests had inspired it. But while “Picture the Dream” had been planned much earlier, subsequent events, including the racist massacre in Buffalo last month, have only sharpened its relevance.
“A picture book can never heal a tragedy,” Pinkney said, but “it can help us,” she added. Books allow families “to come together — an adult and a child — and say, ‘Let’s talk about this.’”
The potential to provoke such conversations was key to selecting the exhibition’s art, which comes from 60 books, nonfiction and fiction. Pinkney, an editor at Scholastic and an award-winning writer — she frequently collaborates with her husband, the illustrator Brian Pinkney — knew the show would commemorate milestones, including the Montgomery, Ala., bus boycott in 1955 and 1956 and the Selma-to-Montgomery marches in 1965. But in addition to honoring events, she wanted to feature a range of mediums and artists, including young illustrators like Vashti Harrison, as well as renowned figures like Faith Ringgold and Jerry Pinkney (her father-in-law).
The artworks, combined with explanatory text, constitute a kind of picture book themselves. Pinkney wrote the words as if she were creating a story, exhorting young museumgoers to get ready to walk: “Look down at your shoes. Are they sturdy?”
Pinkney and her collaborators also divided the show into chapters: “A Backward Path” explores the Jim Crow era; “The Rocks Are the Road” focuses on the movement itself; and “Today’s Journey, Tomorrow’s Promise” celebrates its rewards, while stressing that there is still much to be done. Along with famous faces like Rosa Parks and the Rev. Dr. Martin Luther King Jr., each segment features surprises, not the least of which is seeing the illustrations at full scale.
“The original artwork speaks with a different resonance,” the illustrator Bryan Collier, who has four works in the show, said in a phone interview. Because, he added, “it tells you a little bit more, it expands the idea of what a picture book is.”
The collage-and-watercolor illustration that Collier created for a picture book of Langston Hughes’s poem “I, Too,” depicts a Black Pullman porter in a striking close-up, staring resolutely through the translucent stars and stripes of an American flag. What visitors learn is that African American railway porters circulated news to Black communities around the country.
“When you say, ‘Pullman porter,’ you’re talking about a community organizer and a leader,” Collier said. Such a figure, he added, was “a driving force to tell that poem.”
The exhibition pairs Collier’s illustration with a 1959 copy of “The Negro Travelers’ Green Book” — a guide to places that were safe for Black motorists — as well as a digitized version visitors can read. The historical society supplemented the show with these objects and others, including segregation-era “White” and “Colored” signs and a photograph by Stephen Somerstein of children in a Selma-to-Montgomery march. The photo complements P.J. Loughran’s illustration of a marching crowd for Lynda Blackmon Lowery’s vivid memoir, “Turning 15 on the Road to Freedom: My Story of the 1965 Selma Voting Rights March.”
“I think kids and adults sometimes go to a museum, and they see illustrations or pictures of things, and they think: ‘Well, was this real? Did this really happen?’” Alice Stevenson, the vice president and director of the historical society’s DiMenna Children’s History Museum, said in a phone interview. “And we wanted to be able to give some touch points throughout the exhibition to really ground people in the reality of what these illustrations are representing.” (Visitors can also see historical footage in a short film, “Picture the Dream,” on the Bloomberg Connects app.)
The added objects heighten the impact of searing portrayals like Eric Velasquez’s charcoal drawing of white adults and children heckling Black girls marching, from Angela Johnson’s book “A Sweet Smell of Roses.”
“History itself did not see fit to sugarcoat itself for me,” Velasquez said in a phone conversation. As a Black man, he added, “I portray it the way I remember it.”
The exhibition is unflinching in acknowledging that not all Black children survived the struggle. Philippe Lardy’s image for Marilyn Nelson’s poetry book “A Wreath for Emmett Till” features the face of Till, a 14-year-old murdered by white racists in 1955, encircled by thorns and chains. Tim Ladwig’s illustration from Carole Boston Weatherford’s book “The Beatitudes: From Slavery to Civil Rights” is less stylized. It shows Till’s portrait and his coffin, but uses the raised lid — the boy’s mother insisted on a public viewing — to hide the brutalized body.
In choosing such images, “we were going to lean right into the truth,” said Pinkney, who added that the educational organization Embrace Race had evaluated the accuracy and the tone of the exhibition’s content.
The show’s final section strikes a more optimistic note, with illustrations like Velasquez’s portrayal of Barack Obama at a jubilant campaign rally, from Michelle Cook’s “Our Children Can Soar: A Celebration of Rosa, Barack and the Pioneers of Change.” The historical society, however, has also interspersed three works that children created in 2020 — not for picture books but about Black Lives Matter protests.
“We want kids to be able to respond to the past in their own lives,” Stevenson said.
Perhaps the best call to action is the books themselves, all shelved within a reading nook in the show’s concluding segment. Here, too, an outstretched hand appears, part of a joyful blown-up illustration that Collier painted for Useni Eugene Perkins’s book “Hey Black Child.”
“That’s always the goal — to read books, to embrace them, to love them,” Pinkney said. “And to know that a picture book can be your North Star.”
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i can't decide which i like more:
the idea - very much canonical and in the author's original concept and view of magic - of the dark arts taking a toll on one's exterior and looks. tom riddle sacrificing his beauty willingly in the name of eternal life, black magic as something that innately corrupts. bellatrix escaping from azkaban with the barest vestiges of her ancient beauty. going from one of the most beautiful women in england to a shell of her former self and no amount of dark magic being able to fix it. and she just. doesn't care. goes from pretty, proud and vain in her youth, to the feverish, fanatical glow harry sees in the department if mysteries. finally she sheds the petal of the rose - look like the innocent flower, her master had once said - and only the thorns remain. the parallel with voldemort himself. the idea that they like each other better now, the only ones to like their respective new appearances better. bellatrix because she can taste the power radiating off him, because she knows how resentful he was of his old face. (oh, he's never said anything explicitly, he would rather be flayed alive than speak of his filthy muggle father to her, but she knew he didn't like himself, took no pride in his aesthetics, it was most unusual, really.) the dark lord because he's reminded of her sacrifice - she was the only one who didn't denounce him, who tried to find him - every time he looks at her. she gave up everything for him: her reputation, her family, her freedom, her health, her beauty, her youth.
or.
the horcruxes are an isolated case. not all prices to pay for power are physical. some dark magic sucks at your humanity, your emotional regulation, your empathy and gives back superficial little gifts. its roots are far from the deep anger, desperation to cling to life of an horcrux. these are ancient witches' remedies to be the most envied in the village. the idea that rotten cores hide behind the prettiest faces. and bellatrix was always vain, always took immense pride in her beauty, her black, pure features. when she escapes from azkaban she tries everything in her power to be herself once again. she still drips with obsession but gradually regains all of her beauty too. cruel people can still be beautiful. gorgeous people can still be inhuman. and yet there is something so human about a woman making her way through the ranks of a very militarised group and still caring so much about what she looks like, still having insecurities, being preoccupied with mundane things like age and decay - and hating it because he would hate it, he hates weakness, and still not being able to help herself. the dark lord was always a collector of shiny things, was he not?
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