It seems like any other winter day in Montgomery, Alabama. Mama and child are riding where they're supposed to--way in the back of the bus. The boy passes the time by watching his marble roll up and down the aisle with the motion of the bus, until from way up front a big commotion breaks out. He can't see what's going on, but he can see the policeman arrive outside and he can see Mama's chin grow strong. "There you go, Rosa Parks," she says, "stirrin' up a nest of hornets. Tomorrow all this'll be forgot." But they both know differently.
Gr 2-4 Cooper's illustrations are the strongest aspect of this book, a fictional accounting of Parks's famous refusal to give up her seat, as told from the viewpoint of a little boy on the bus. Reynolds writes in free verse that is a tad overdone with Southern dialect, and the colloquialisms ("crammed like lima beans" and "sittin']like a turnip pile") are a stretch. Cooper's work, however, is powerful for its subtlety; he has incorporated the likenesses of a couple of high-profile civil rights activists in the crowd of passengers on the bus, symbolizing the continuum of mighty figures that began with the petite woman. One of the most powerful images is that of Parks by herself; Cooper has captured her resoluteness simply in the proud jut of her chin. Problematic styling aside, Reynolds does a satisfactory job of capturing a turning point in our nation's history from an anonymous but vital perspective. Coupled with Cooper's rich paintings, this is a noteworthy reflection on the actions of a single individual in turning the tide of segregation."
Alyson Low, Fayetteville Public Library, AR" Copyright 2010 School Library Journal, LLC Used with permission.