There have been several children's books about Rosa Parks over the years, including the moving autobiography I Am Rosa Parks (1997), written with Jim Haskins. However, this picture-book biography condescends to kids, as if they require a sweet-faced talking bus with cute, flapping eyelashes and a smiling mouth, to entice them to the history. But beyond the intrusive frame, Ringgold tells the story in a direct text and bright acrylic narrative paintings, showing Parks as a political activist whose refusal to give up her seat on the bus sparked the Montgomery Bus Boycott. There are dramatic landmark scenes from the civil rights movement, including the lunch counter sit-ins, the leadership role of Dr. King, and the grief at his assassination. On the final pages, the magic realism is integral to the story as the passengers on the bus turn out to be Dr. King and other leaders paying tribute to the mother of the Civil Rights movement . . . who, by sitting down, inspired people all over the world to stand up for freedom. (Reviewed January 1 & 15, 2000)

En route to school, narrator Marcie hops aboard a talking bus that tells the tale of civil rights pioneer Rosa Parks. The gimmick doesn't work--Marcie is a flat character, and the magic bus detracts from Parks's incredible story--but the book is easily redeemed by Ringgold's trademark black-outlined, richly textured, fiercely colorful illustrations.

Ringgold's biography of Rosa Parks packs substantial material into a few pages, but with a light touch, and with the ring of authenticity that gives her act of weary resistance all the respect it deserves. Narrating the book is the bus that Parks took that morning 45 years ago; it recounts the signal events in Parks's life to a young girl who boarded it to go to school. A decent amount of the material will probably be new to children, for Parks is so intimately associated with the Montgomery Bus Boycott that her work with the NAACP before the bus incident is often overlooked, as is her later role as a community activist in Detroit with Congressman John Conyers. Ringgold, through the bus, also informs readers of Parks's youth in rural Alabama, where Klansmen and nightriders struck fear into the lives of African-Americans. These experiences make her refusal to release her seat all the more courageous, for the consequences of resistance were not gentle. All the events are depicted in emotive naive artwork that underscores their truth; Ringgold delivers Parks's story without hyperbole, but rather as a life lived with pride, conviction, and consequence. (Picture book/biography. 5-9)

A contemporary schoolgirl boards the bus on which Rosa Parks rode in 1955 when, refusing to give up her seat to a white man, she helped trigger the Montgomery Bus Boycott; and it speaks. "Ringgold's paintings help animate this uneven tale, but a depiction of the bus with facial features, hair and hat compromises her powerful folk-art style," wrote <EMPHASIS TYPE=""ITALIC"">PW. Ages 5-9. <EMPHASIS TYPE=""ITALIC"">(Jan.)

K-Gr 4-A talking bus is literally the vehicle for this picture-book biography. Marcie, on her way to school, finds herself on a driverless bus occupied by a group of unfamiliar passengers who don't seem to notice she's there. A disembodied voice tells her that this used to be the Cleveland Avenue bus but is now the Rosa Parks bus, and then launches into an account of the woman's life. Ringgold recounts the dramatic events triggered by Parks's refusal to give up her seat: the Montgomery bus boycott; the leadership, persecution, and death of Dr. Martin Luther King, Jr.; the Supreme Court decision to ban bus segregation; and public recognition of the woman who started it all. The story ends when Parks herself enters the bus for a birthday celebration with the passengers who are now revealed as personages from her history. While the artifice of the talking bus and a few minor lapses in logic sometimes detract from a solid telling, the story does much to humanize a larger-than-life figure. Ringgold's colorful, textured acrylic-on-canvas paper paintings done in a na f style are a perfect complement to the stark realism of the events and the simple dignity of the subject. Color and line are used to suggest ideas, such as the turbulent purple, black, blue, and chalky white and the jagged forms depicting the Ku Klux Klan and bombings. Text and art harmonize, with print changing from black to white and appearing on each page in an interesting variety of layouts. An accessible telling and beautiful illustrations result in a worthy contribution to this developing genre.-Marie Orlando, Suffolk Cooperative Library System, Bellport, NY Copyright 2000 Cahners Business Information.