Paperback ©2006 | -- |
Child labor. Fiction.
Cotton manufacture. Fiction.
Friendship. Fiction.
Pownal (Vt.). History. Fiction.
Gr 5-8-Inspired by Lewis Hine's haunting photograph of a French Canadian girl in Vermont in 1910, Winthrop's compelling story vividly captures the mill experience. Grace Forcier and her friend Arthur, both 12 and the best readers in the mill school, are forced to suspend their educations to doff bobbins for their mothers' frames in the spinning room. While this is difficult for left-handed Grace, Arthur is desperate to escape the stuffy, sweaty, linty, noisy factory. Miss Lesley, their teacher, helps them write a letter to the National Child Labor Committee about underage kids, as young as eight, working in their mill. Grace understands the dilemma a response will cause. If the children don't work, the families won't have enough money to survive. Lewis Hine is the answer to the letter. He comes and photographs the mill rats, as the kids are called; no one will believe the conditions without pictures. Arthur, however, can wait no longer to carry out his escape plan. In a horrifying scene, he jams his right hand into the gearbox of the frame, painfully mangling it and losing two fingers. Miss Lesley's interference causes her to be fired, and she encourages Grace to be the substitute teacher, leaving readers with a sense that she will escape the mill and have a better life. Much information on early photography and the workings of the textile mills is conveyed, and history and fiction are woven seamlessly together in this beautifully written novel. Readers won't soon forget Grace.-Connie Tyrrell Burns, Mahoney Middle School, South Portland, ME Copyright 2006 Reed Business Information.
ALA BooklistInspired by a Lewis Hine photo of a child at work in a Vermont cotton mill in the early twentieth century, Winthrop imagines the story of Grace, 12, torn from her one-room schoolhouse and forced to work long hours in the textile mill as a doffer, turning cotton into thread, alongside her mother, in the spinning room. The child-labor story is gripping--the dangerous working conditions, the work of activists who sought to publicize the abuse--and although sometimes the research overwhelms the story, Grace's present-tense narrative makes the history heartbreaking. Grace is no sweet victim. Furious at having to leave school and distressed by her failure to satisfy her French Canadian immigrant family, she quarrels with her best friend and smart ex-classmate, who deliberately injures himself on the machines to get back in school. The fiction is framed by notes about Hine and a bibliography that will lead readers to such books as Russell Freedman's Kids at Work: Lewis Hine and the Crusade against Child Labor (1994) as well as to accounts of abuse today.
Horn BookInspired by a photograph of a young girl working in a textile mill taken by child labor reformer Lewis Hine, Winthrop's story relates the struggles of immigrant workers as they attempt to make a living in the mill towns of New England. Winthrop manufactures a moving tale with authentic characters and an engaging narrative. Historical notes are included.
Kirkus ReviewsTwelve-year-old Grace is proud to be one of the best readers at school, but she's pulled out to be a doffer at the mill, her parents happy to have the extra money coming in. Then Miss Lesley, her teacher, conspires to contact the National Child Labor Committee about the hiring of underage children in the mills. Lewis Hine, the now-famous photographer for the NCLC, arrives to document conditions and ends up befriending Miss Lesley, Grace and her friend Arthur. Inspired by a Hine photograph of a young Vermont mill girl, Winthrop has woven a fine story to complement Hine's visual document. She vividly portrays mill life and four characters who resist its deadening effects. Readers familiar with Katherine Paterson's Lyddie (1991) will see a kindred spirit in Grace Forcier. Solid research and lively writing make this a fine historical novel, a perfect companion to Russell Freedman's Kids at Work (1994). (about Lewis Hine, the story behind the photograph, bibliography) (Historical fiction. 8-12)
Publishers Weekly (Fri Oct 06 00:00:00 CDT 2023)The feisty heroine of Winthrop's (<EMPHASIS TYPE=""ITALIC"">The Castle in the Attic) novel set in a 1910 Vermont mill town brings child labor issues into sharp focus. Twelve-year-old Grace, who narrates, chafes against her teacher Miss Lesley's rules: "Seems she cares more about sitting still than learning." But when Grace must leave school to doff her mother's looms as an underage worker, she yearns for her former challenges. Winthrop effectively lays out the mill town's subsistence economy. Readers will understand why Grace's mother saved her deceased infant's papers in order to fake Grace's age (the child would have been 14, the age requirement for mill workers). One uplifting subplot follows Grace and classroom rival Arthur who become friends and co-workers in the mill and begin secret lessons with Miss Lesley. But the most compelling thread of the novel chronicles the mounting tension between Grace and her demanding mother, who dominates the other workers ("Only thing bigger and bossier than my mother in the spinning room is the frames"). The scene in which Arthur and Miss Lesley write the Child Labor Bureau may be rather forced, but a visit from Lewis Hine, who photographs the underage mill workers, feeding Grace's sense of connection to the world, seems believable. This enlightening novel explores the perils of mill work for children and adults alike. Readers will cheer when Grace uses her smarts to triumph over the mill store's corrupt bookkeeper, and the implication that she could well find a calling outside this mill town. Ages 8-14. <EMPHASIS TYPE=""ITALIC"">(Mar.)
Voice of Youth AdvocatesTwelve-year-old Grace Forcier narrates this novel about life at a rural Vermont cotton mill in 1910. Bright and independent, Grace is proud of her ability to read and write in English, a rare talent within her poor French-Canadian community. Money overcomes education, however, when Grace is told that she must leave school to begin work at the mill with the other children, some as young as ten. Suspense builds when famed photographer Lewis Hine arrives to take surreptitious photos of the mill for the National Child Labor Committee. This intriguing twist, which is based on true events, offers hope that justice might prevail. The strength of this book lies with its endearing portrait of Grace, who learns by the end of the story that she has a chance to break free from the desperation that has trapped her family in a cycle of illiteracy and poverty. Readers will appreciate the fine attention to historical detail and Winthrop's first-rate prose. An additional feature is a postscript in which Winthrop describes how she found information on a girl who actually worked at the cotton mill portrayed in her novel. The book's only weakness is a lack of resolution for the visit by Lewis Hine. Did the labor committee prosecute the mill owners? Will Grace be forced to return to the mill? A sequel may be necessary to tie up loose ends. Nevertheless this novel is a worthwhile purchase for libraries and schools.-Christina Fairman.
School Library Journal Starred Review
ALA Booklist
ALA Notable Book For Children
Horn Book
Kirkus Reviews
National Council For Social Studies Notable Children's Trade
Publishers Weekly (Fri Oct 06 00:00:00 CDT 2023)
Voice of Youth Advocates
Wilson's Children's Catalog
Wilson's Junior High Catalog
"Grace, your turn."
The book is called The Red Badge of Courage. I like that name. I stand up to read, but as soon as I open my mouth, my feet start moving. It always happens that way. I can't help it.
" 'The youth was in a little trance of astonishment. So they were at last going to fight.' Miss Lesley, why don't the youth have a name?"
"Why doesn't the youth have a name," Miss Lesley says, but I go right on. She's always trying to fix our grammar, but we don't pay much mind.
"The writer should call him Joe or Henry or something."
In the front row, my little brother, Henry, giggles. Miss Lesley touches his head with her hand and he stops. At least she don't smack him with that ruler of hers.
"Grace, sit down when you read."
"I can't. I don't read as good. When I sit my brain stops working."
"Nonsense. Your brain works just like everybody else's. I want you to stay in one place when you read. Stop hopping around the room. Look at Arthur. He can sit still. Now you try it."
Arthur's desk is hooked up to mine and he never moves a muscle 'cepting his lips when he's reading. That's why Miss Lesley likes him the best. It's not only 'cause he's the best reader. It's 'cause he's a sitter and the rest of us are hoppers, jumpers, fidgeters. Arthur's twelve too, but he's four months older than me. I can read just as good as him so long as I can move around at the same time.
I go on. "'He could not accept with asshur--'"
"Assurance," Miss Lesley says. "That means he could not believe. Henry, sit up and listen. Your sister's reading a story."
I finish the sentence. "'. . . he was about to mingle in one of those great affairs of the earth.'"
"Thank you, Grace. Please sit now. What do you think that means? Class?"
Arthur's hand goes up. Miss Lesley nods at him.
"The youth's going to be in a war."
"How do you know that?"
"I read ahead."
Arthur always reads ahead.
"And if you hadn't read ahead, Arthur?"
" 'Cause there are soldiers in the story. If there are soldiers, there's gonna be a war."
"Right. This is a story about the Civil War. Some of you children could have had grandparents who fought in that war."
"Not me," says Dougie. "My grandparents lived in Ireland."
"Me either," yells Felix. "My grandparents were born in Canada."
Miss Lesley claps her hands for silence. The whole time she's teaching, Miss Lesley moves around the room, keeping us kids in order. I'm back at my desk, but my feet are dancing underneath. Miss Lesley slaps them with her ruler whenever she passes by. I pretend I don't even feel it. Seems she cares more about sitting still than learning.
"You older children go on reading among yourselves now. One sentence each, then pass the book."
I hate that. I like to hear my voice doing the reading. Or Arthur's. Thomas mumbles so you can't understand him and Norma just pretends to read and Rose is too busy twirling her hair around her finger and staring at Thomas. I hate when the story goes too slow. Then I forget what's happening.
***
It's Arthur who's reading when we hear footsteps outside on the wooden porch, the thunk of a boot against the step to knock off the mud. We get still. The man coming through that door understands that Miss Lesley don't like dirt in her classroom.
We know who it is. We know what he's going to say. I sneak a peek at Arthur, who's put the book down. For once.
Miss Lesley has her ruler raised and suddenly she stops moving too.
The door opens. French Johnny pokes his head in first, almost like a little kid asking permission. He went to this schoolhimself. He knows how hard the benches can be after a day of sitting. He knows every hook by the door and the way the handle of the coal stove wriggles out and slams to the floor when someone ain't paying mind. French Johnny is the second hand at the mill. He's in charge of the spinning room where my mother runs six frames. He's come up the hill in his white apron to get a mill rat. That's what they call the kids who work in the mill. We all end up as mill rats.
"Yes?" Miss Lesley says with no respect in her voice. She might as well be talking to a second grader like my brother, Henry.
"Come for the boy," says French Johnny. He sounds like he don't want to be here. He knows she won't let this one go without a fight. Truth is she argues with him over every single one of us.
"Well, you can turn around and walk right out of here. You're not taking him," says Miss Lesley, keeping her back to barrel-bellied French Johnny. She's acting as if he's no bigger than one of those sow bugs come out of the woodwork this time of year. "Class, I want you to pay attention to the board. We're going to make the sound of these two letters." Her ruler smacks the CH. "Chuh," she says to the younger ones. "Repeat after me. Chuh."
But nobody says nothing. We're all waiting and watching French Johnny.
"Chuh," she says again, her voice rising. She's getting angry.
Nobody speaks.
I can't stand silence like that.
"Chuh," I say, and two of the little kids laugh.
French Johnny is all the way in the room now. He's squirmed around the door and closed it behind him.
He signals to Arthur, who pays him no mind.
Excerpted from Counting on Grace by Elizabeth Winthrop
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
- Pownal, Vermont. At 12, Grace and her best friend Arthur must leave school and go to work as a “doffers” on their mothers’ looms in the mill. Grace’s mother is the best worker, fast and powerful, and Grace desperately wants to help her. But she’s left handed and doffing is a right-handed job. Grace’s every mistake costs her mother, and the family. She only feels capable on Sundays, when she and Arthur receive special lessons from their teacher. Together they write a secret letter to the Child Labor Board about underage children working in Pownal. A few weeks later a man with a camera shows up. It is the famous reformer Lewis Hine, undercover, collecting evidence for the Child Labor Board. Grace’s brief acquaintance with Hine and the photos he takes of her are a gift that changes her sense of herself, her future, and her family’s future.