Starred Review ALA Booklist (Wed Sep 01 00:00:00 CDT 2004)

Starred Review The stirring title story in the late Virginia Hamilton's 1985 collection of American black folktales is an unforgettable slave escape fantasy, retold here in terse, lyrical prose that stays true to the oral tradition Hamilton knew from her family and her scholarly research. Leo and Diane Dillons' illustrations for the collection were in black and white, but the art here is beautiful full color, in the style of the cover of the collection. The large paintings are magic realism at its finest, with clear portraits showing individuals and the enduring connections between them. The images depict mass cruelty close up, but the faces of the characters Hamilton names are always distinct, even in the packed hold of the slave ships, when those "who could fly" lost their wings. Laboring in the cotton field, Sarah and her baby are whipped by the overseer. When elderly Toby helps them escape, the rhythmic paintings dramatize people flying to freedom, joining hands together in the sky. Each one is an individual, exquisitely (and differently) dressed in traditional African garb, an inspiration to those left behind, who "had only their imaginations to set them free." A final portrait shows Hamilton in kente cloth smiling above a loving family at home. This special picture-book story will be told and retold everywhere.

Starred Review for Publishers Weekly (Thu Apr 28 00:00:00 CDT 2022)

Resplendent, powerful paintings by these two-time Caldecott-winning artists bring new life to the title story from the late Hamilton's 1985 collection, The People Could Fly: American Black Folktales . Making dramatic use of shadow and light, Leo and Diane Dillon (whose half-tone illustrations also graced the original volume) ably convey the tale's simultaneous messages of oppression and freedom, of sadness and hope. """"They say the people could fly. Say that long ago in Africa, some of the people knew magic,"""" opens the narrative, as the full-color artwork reveals elegant, beautifully clothed individuals with feathered wings serenely ascending into the sky. On the following spread, images of the Middle Passage set a fittingly somber tone, depicting Africans who """"were captured for Slavery. The ones that could fly shed their wings. They couldn't take their wings across the water on the slave ships. Too crowded, don't you know."""" The picture-book format allows room for the relationship to develop between Sarah, who labors in the cotton fields with an infant strapped to her back, and Toby, the """"old man,"""" who utters the magic African words that give her flight. Toby helps others take flight as well (a stunning image shows seemingly hundreds linking hands and taking to the skies)--and eventually does so himself, sadly leaving some of the captives """"who could not fly"""" behind to """"wait for a chance to run."""" Art and language that are each, in turn, lyrical and hard-hitting make an ideal pairing in this elegant volume that gracefully showcases the talent of its creators. All ages. (Nov.)

Horn Book

This title story from the late Virginia Hamilton's brilliant collection of American black folktales The People Could Fly is now reissued as a stand-alone picture book, handsomely illustrated in full color. The Dillons, who also illustrated the original collection, fill the book with powerful images.

Kirkus Reviews

"They say the people could fly. Say that long ago in Africa, some of the people knew magic. And they would walk up on the air like climbin up on a gate." Hamilton's The People Could Fly: American Black Folktales (1985) won a Coretta Scott King Award, and the Dillons here reissue its heartbreaking title story with gorgeous, all-new, full-color paintings. Legend has it that some people in Africa could fly, but when they were shipped to America as slaves, they shed their black, shiny wings (reflected as feathers on the glossy black endpapers). When a mother and her baby are brutally whipped in the cotton fields, an old slave resurrects his magic and helps her and others fly away, free as birds, leaving the non-magical slaves behind to tell the tale. Like the story, the paintings are both hopeful and somber, and the slaves are as graceful and softly luminous as the slave owners are stiff, pinched, and cruel. A dreamy, powerful picture-book tribute to both Hamilton and the generations-old story. (editor's note, author's note) (Picture book. 9-12)

School Library Journal (Fri Oct 06 00:00:00 CDT 2023)

Gr 4-7 The well-known author here retells 24 black American folk tales in sure storytelling voice. In four groupings she presents seven animal tales (including a tar-baby variant); six fanciful ones (including Wiley, His Mama, and the Hairy Man'' and a tale of which Harper's Gunniwulf Dutton, 1967 is a variant); five supernatural tales (including variants of the Tailypo, John and the Deviland a wild cautionary tale,Little Eight John''); and finally, six slave tales of freedom, closing with the moving title story. Depending on the sources, some of the tales use a modified dialect for flavor; one told with quite a few words of Gullah dialect has a glossary. All are beautifully readable. The book has a bibliography, and comments follow each tale, including one personal note of a family account involving one of her grandfathers. Two other collections of black folk tales, Courlander's Terrapin's Pot of Sense (Holt, 1957; o.p.) and Faulkner's The Days When the Animals Talked (Follett, 1977; o.p.) are both out of print. With the added attraction of 40 bordered full- and half-page illustrations by the Dillonswonderfully expressive paintings reproduced in black and whitethis collection should be snapped up. Ruth M. McConnell, San Antonio Public Library