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ENTRY TYPE: new
WORK TITLE: Girls on the Rise
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: https://www.loveiswise.com/
CITY: Los Angeles
STATE:
COUNTRY: United States
NATIONALITY:
LAST VOLUME:
RESEARCHER NOTES:
PERSONAL
Born c. 1995, in Washington, DC.
EDUCATION:Graduated from University of the Arts.
ADDRESS
CAREER
Artist, illustrator, designer, and creative director. Freelance illustrator and designer for clients including Adobe, Apple, Birchbox, Cartoon Network, COACH, Disney Hyperion, Dr. Martens, Google, Harper Collins, Instagram, L’Oreal, Mural Arts Philadelphia, Pressed Juicery, REI, Target, Toms, and Warby Parker; sells prints, posters, pillows, etc., through Philadelphia Printworks, Crush LA, and Etsy.
WRITINGS
Contributor of illustrations to periodicals, including New Yorker, New York Times, and Time.
SIDELIGHTS
[open new]Illustrator Loveis Wise has teamed up with young-adult author Ibi Zoboi, leading scholar Ibram X. Kendi, poetic prodigy Amanda Gorman, and others in exploring and celebrating African American community and history. Their name, as Wise themself has pointed out, amounts to a sentence. They hail from Washington, D.C., and their family owned a beauty salon, where their mother worked as a hairstylist alongside grandparents and where they were partly raised. Wise’s father first taught them about drawing as well as photography. Their youth was burdened by trauma, but they would later tap the power of art to, as they told Creative Cloud, “recover calm and beautiful moments where I truly felt free.” Favorite picture books that would influence their artistic style included Ezra Jack Keats’s The Snowy Day and Eric Carle’s The Very Hungry Caterpillar. They always enjoyed drawing—especially portraits, which present the challenge of capturing a person’s essence, and flowers—and art making; yet with their education never highlighting successful Black illustrators, they were uncertain about whether a career might lie in that direction.
Wise attended the University of the Arts in Philadelphia, where one professor notably encouraged them to draw in both comfortable and uncomfortable ways. In favoring a feminist and womanist attitude in works completed after graduation, Wise attracted the attention of Refinery29, a media outlet geared toward women, for editorial illustrations. At age twenty-three they landed their first New Yorker cover, for the issue of June 4 & 11, 2018, which shows a bandanna-wearing woman bearing her swaddled baby and watering flowers. About this work, Wise told Creative Cloud, “I was inspired by my mom and the women in my family. I grew up in a very matriarchal family: Both of my grandmas grew food in the garden and took care of us. I brought memories of their nurturing and care into the cover.” Wise continued to take advantage of social media for exposure and publicity, attracting some 44,000 Instagram followers by the mid-2020s. Regarding the usefulness of social media, they explained to Society6: “You can put your stuff out there and build a community where people can connect with your images. There’s always going to be someone who’s feeling the vibe of what you’re making. It’s really scary sometimes to put yourself out there too because you never know how people are going to feel about it.” Wise would gain plenty of work as a freelance illustrator, often favoring projects for important organizations, like the March of Dimes and Planned Parenthood, or commemorations, as with some of their picture-book collaborations. A Creative Cloud contributor described Wise’s guiding ethos as a “creative philosophy of care” and their characteristic designs as “floral-filled sanctuaries populated by beings taking care of one another.” A Blue Q contributor summed Wise’s artwork up as “centered around playfulness, liberation, community and joy.”
Wise made their debut as a picture-book illustrator with Say Her Name, by Zetta Elliott, a collection of poetry evoking forebears like Gwendolyn Brooks and Nikki Giovanni and giving voice to the Black Lives Matter movement and victims of discrimination and violence. In a School Library Journal review, Carol Connor praised the book as “inspirational, uplifting, and encouraging.” Ibi Zoboi wrote the verse text of The People Remember, which draws on centuries of African American history to explore the seven principles of the holiday of Kwanzaa. Horn Book reviewer Nicholl Denice Montgomery deemed Wise’s artwork “sumptuous,” reflecting “hope and optimism” with bright colors and being “reminiscent of the patches created by African American quilters to remind future generations of their past.” In Booklist, Sarah Hunter declared that Wise’s “warm, full-bleed artwork in saturated, splashy colors incorporates majestic portraits, meaningful design elements, and superb compositions.” Hunter marveled at how, despite the tragedies being treated—especially the slave trade—Wise’s “exultant” illustrations lend The People Remember a tone of “strength, power, and joy.”
Ablaze with Color: A Story of Painter Alma Thomas, by Jeanne Walker Harvey, portrays the life of the first Black woman to hold a solo U.S. museum exhibition. Raised in segregated Georgia without formal education, Thomas persevered in homeschooling, studied and taught art in Washington, D.C., and made strides in artistically empowering Black communities. Horn Book reviewer Sam Bloom noted that in Wise’s artwork, “Long, loose-limbed figures in various shades of brown pop against backgrounds of blues, greens, and golds.” A Kirkus Reviews writer admired how Wise’s “vibrant, eye-catching illustrations contain echoes of Thomas’ signature abstract style, with its colorful mosaiclike patterns and tessellated brush strokes.” The reviewer hailed Ablaze with Color as “uplifting” and fittingly “ablaze with joyous colors.”
Canonical Black modernist Zora Neale Hurston wrote the short story that Ibram X. Kendi adapted for children as Magnolia Flower. As narrated by the Mighty River, an escaped slave and a Cherokee woman marry, and their daughter, Magnolia Flower, proves destined for a love story of her own with John, a poor Black man. A Kirkus Reviews writer commended the “stunning visuals,” as Wise’s “earth-toned, opalescent illustrations make the trees, water, and flowers feel just as key to the tale as the humans.” Kelly DiPucchio’s Becoming Charley is about a young caterpillar who shies away from community prescriptions for properly becoming a monarch butterfly, and whose heartfelt dreams lead to some especially magnificent wings. Observing that the final reveal is reminiscent of The Very Hungry Caterpillar, a Kirkus Reviews writer affirmed that Wise “produces lush, lovely spreads, not only of the standard monarch colors, but of a world far beyond their perceived limitations.”
In What I Must Tell the World: How Lorraine Hansberry Found Her Voice, Jay Leslie tells the story of the first Black female playwright to reach Broadway. A Raisin in the Sun, Hansberry’s famed 1961 play, was inspired by her activist parents’ momentous legal fight to live in an all-white neighborhood. In Horn Book, Monique Harris declared that Wise’s illustrations make for “a rich, vibrant testimony to a trailblazing writer and activist.”
Amanda Gorman, who rose to sudden fame upon reciting a powerful poem at the inauguration of President Joe Biden, is the author of Girls on the Rise. The verse text celebrates Black girlhood and—in the tradition of Maya Angelou’s “Phenomenal Woman” and “Still I Rise”—proclaims the ongoing elevation of Black girls’ spirits and achievements. Booklist reviewer Amy Ravelo appreciated how Wise’s illustrations “burst with vibrant colors and diverse representations of girlhood that showcase a wide range of body types, abilities, and identities.”[close new]
BIOCRIT
PERIODICALS
Booklist, September 15, 2021, Sarah Hunter, review of The People Remember, p. 57; September, 2024, John Peters, review of What I Must Tell the World: How Lorraine Hansberry Found Her Voice, p. 60; December, 2024, Amy Ravelo, review of Girls on the Rise, p. 132.
Horn Book, November-December, 2021, Nicholl Denice Montgomery, review of The People Remember, p. 145; March-April, 2022, Sam Bloom, review of Ablaze with Color: A Story of Painter Alma Thomas, p. 95; November-December, 2022, Nicholl Denice Montgomery, review of Magnolia Flower, p. 66; January-February, 2025, Monique Harris, review of What I Must Tell the World, p. 102.
Kirkus Reviews, January 1, 2022, review of Ablaze with Color; August 1, 2022, review of Magnolia Flower; March 15, 2023, review of Becoming Charley.
Publishers Weekly, November 24, 2021, Idris Grey, “Q&A: Ibi Zoboi and Loveis Wise on The People Remember,” p. 43; March 20, 2023, review of Becoming Charley, p. 77; September 30, 2024, review of Girls on the Rise, p. 49.
School Library Journal, December, 2019, Carol Connor, review of Say Her Name, p. 101.
ONLINE
Blue Q, https://www.blueq.com/ (April 23, 2025), “Loveis Wise.”
Creative Cloud, https://creativecloud.adobe.com/ (April 23, 2025), “Q&A: Artist Loveis Wise.”
Loveis Wise website, https://www.loveiswise.com (April 23, 2025).
Society6, https://blog.society6.com/ (April 23, 2025), Eva Recinos, “Artist Loveis Wise on the Importance of Diversity and Inclusion in Illustration.”
Hi! My name is Loveis Wise (they/he) and I'm an multidisciplinary artist, designer, creative director and capricorn* drawing reimagined futures and playfulness in Los Angeles.
Check out my collection of prints/shirt here with Philadelphia Printworks, Crush LA, buy prints of my New Yorker cover here and my Etsy shop here
Pick up some books I've illustrated such as: “Magnolia Flower” with Zora Neale Hurston and Dr. Ibram X. Kendi, "Say Her Name" with Zetta Elliott , "The People Remember" with Ibi Zoboi, and "Ablaze with Color" with Jeanne Walker Harvey
Selected Clients
Toms, Warby Parker, COACH, Pressed Juicery, The New Yorker, TIME, Google, Harper Collins, Disney Hyperion, Adobe, Instagram, Dr.Marten, Birchbox, Mural Arts Philadelphia, L'Oreal, The New York Times, REI, Target, Cartoon Network and Apple.
Drop a Line to my reps or reach me directly
Commercial/Editorial: Caron Lee caron@shelikescutie.com
Literary Projects: Steven Malk smalk@writershouse.com
loveiswiseillustrations@gmail.com
Artist Loveis Wise on the Importance of Diversity and Inclusion in Illustration
Just this year, illustrator Loveis Wise (their name is a sentence, as they joke in their Insta bio) graduated from art school and landed their first New Yorker cover.
The cover shows a woman of color holding a baby while watering the lush plants around her. It bears Wise’s trademark bold and saturated color, and her figure seems caught in mid-movement—as if we’ve walked in on her tending a growing garden.
You might’ve seen Wise’s work in plenty of other publications, if not their Instagram which currently has more than 25 thousand followers. We caught up with Wise to talk about their artistic journey, the need for representation in illustration, and their advice to young illustrators.
I remember coming across your work and a lot of online and print feminist magazines specifically. I was wondering if you could tell me a little bit about what that journey was like in getting your work in some of these really amazing feminist publications.
So, honestly, it was completely random how it came to be. I was just starting to create lot of pieces that felt like home to me. And I was just making all of these pieces about like woman-ism and feminism and from my own view as a black woman. Because I didn’t really get a chance to experience those narratives especially while in art school. I wanted to push that and to see what felt right for myself. I first was approached by Refinery29 and they just wanted me to make something that was pretty much like the work that I was doing. And then things started to pick up from there and it just kind of wild. But in all the best ways.
That’s awesome! I feel like that kind of editorial illustration is really hard. You do such a good job of taking the theme of an article and putting it into one illustration. Was that kind of a skill you had to train, how to transform a story into an illustration that was also in your style?
Yes. That’s something that I’m continuously working on, just trying to interpret different symbols. And translate text too, without being too cliché and pulling from ideas that have been done many times before.
It’s kind of hard but it’s great when you have a sketchbook. I’m always making doodles and sometimes those doodles kind of help to inform the work that I’m making whenever I’m approached with an article or text that I have to make a visual for.
I also like that your figures are so colorful and so bright. What was it like developing that style?
I just wanted to experiment with color in general. Color has always felt right to me. I’ve always been very experimental with how I use color and color placement. Just trying to play around with the tools that I use like Photoshop — every color is pretty much at your hands when you’re working digitally. That’s how the palette kind of came about. And just inspiration, seeing other artists that I love just [using] color in a different way and trying to interpret that in my own style.
What I really like is that your figures are super fashionable. They have great outfits. Where do you usually get your outfit inspo? Do you do a lot of people watching?
Yes. I’m always doing people watching and I’m always style watching for myself and I’m drawing things that I would want to wear or clothes that I wish I had in my closet. That’s where the clothes come from, pretty much.
It’s like your own dream closet but on your figures.
Exactly.
I was also thinking about the sense of movement in your pieces. It feels you’re walking in on a scene happening, like these figures were doing their thing and you caught a snapshot of it.
Yeah, I’m trying to work on narrative pieces. I just want people to be able to interact with the figures and move through them and take their time with them. With Instagram or any other social media platform, when you’re seeing an image and it’s just a still of that image, you’re just looking at it but you’re not really taking time to sit with it. And I want people to just like pause when they see the image and look through it and try to move with it.
Speaking of social media, people have really responded to your work on there. Has it been an important tool for you?
Oh definitely. It’s definitely helped a lot with building bridges and being able to just put out there and show other people too that they can do the same. You can put your stuff out there and build a community where people can connect with your images. There’s always going to be someone who’s feeling the vibe of what you’re making. It’s really scary sometimes to put yourself out there too because you never know how people are going to feel about it.
Do you feel like it’s gotten easier? Or is it always kind of a process?
It’s always kind of a process. It’s a little bit easier but sometimes I try not to get in my head about it. Like I’ll post something and I’ll try to leave it.
You do a lot of activism through your work as well. I saw that you recently did something for March of Dimes recently. Is that something you always saw yourself doing?
It definitely came up during my journey. As you grow older, you start to learn more about the world and it’s very important as an artist to be able to add to the conversation with your work and contribute to the world with your message. Or what you feel is important to you. So I mean especially right now in our political time, I felt it was very important for me to create something that sat with people, something that they can connect with and feel comfort in. And still taking this strong political message whether it be about self-love or self-care or learning about what’s happening with mothers of color. It’s very important for me to make work that shares that message.
I was first really interested in your work because at least from my vantage point, it was hard to find women of color or figures of color in illustration. Did you have that feeling too?
Oh my God, yes. It was ridiculous. Especially even learning about other illustrators that were of color, like women of color illustrators. I didn’t really find any until social media, until Instagram.
And then during undergrad I had to do a project—I was in a history of illustration class. And I noticed that the teacher never talked about any woman of color illustrators, especially Black and Brown illustrators of color.
And I did a project on Black illustrators and then I had to really dig deep to find out about the first Black woman who did illustration. And he didn’t even know about it. And this person was teaching this class for like 15 years I think. Which is ridiculous to me because you should know about your roots and the people who came before you who were doing all the great work that you’re doing. But they kind of get left out of the conversation.
Have you had any reactions from other people saying the same thing to you now that they’ve seen your work?
Yes all the time. And it really makes me happy because it just opens up more room for other people. Especially younger folks who want to be an illustrator. It makes it very possible for them to be able to just jump into it. I was kind of skeptical too when I first started. I’ve always been into drawing and art but I didn’t know how far I could go because I wasn’t exposed to Black illustrators formally. Of course we were all exposed to illustrations through children’s books – the first thing that we learn about — but just knowing about it the way that it has evolved now.
And there’s this new opportunity for a younger generation like you said because they are so much more used to social media. They have the opportunity to reach out to people like you and message you and see your work in a way that wasn’t possible before.
Yeah, the internet is amazing. When it’s not wild, it’s great.
I saw you’re a recent grad. Congratulations! What tips do you have for illustrators who are trying to balance creating their work and doing school?
It all feels like a blur, honestly. Stay on top of time management. That is wild. And please get rest, always. And self-care. I know what got me through working and school was taking the steps to take care of myself. I had some time to be able to rest a little bit more sometimes. Or to be able to do things that I actually appreciated and loved. Or just taking time to be with myself. Listen to some music or eat food. Just working on things that make me happy because those pieces in my sketchbook almost always turn into images that I can use for professional work. Take care of yourself, take it easy. Also you’re in no rush. You don’t have to jump ahead towards the finish line. Take your time with it, learn yourself, explore your art and then all the great opportunities will follow. I know that’s a little cliché, but.
I think sometimes social media makes it hard because it’s everyone’s highlight reel in a way. I like the idea of going back to the sketchbook as a way to take the pressure off.
It’s your own secret. No one has to know about your sketchbook but you. It’s your ultimate safe space.
Are there spaces you like sketching in? Does location make a difference?
I get really sketchbook shy so I don’t sketch in public usually. I normally sketch at home because home feels really nice. I’m always playing a podcast or music. I have to be really comfortable. It has to be really chill in order for me to sketch right. And make images that I feel good about.
Are there any dream projects you’re working on right now?
Right now I’m currently going back to a zine that I started working on about six months ago where I interviewed seven people of color, mostly women of color and non-binary folks about their feelings after Trump. I interviewed them and I drew their portraits. I’m working on some finishing touches on those. I’d love to get into books soon. And I’d love to get into podcasting about what it’s like being a woman of color diving into a creative field such as illustration. That’s a goal for the summer but still figuring it out.
Interview by Eva Recinos
Photos by Morgan Smith
Q&A: Artist Loveis Wise
The illustrator with a creative philosophy of care discusses drawing from nostalgia, getting rid of the pressure to design like others, and setting better boundaries with oneself.
Photography by Brinson Banks
When I speak with the illustrator Loveis Wise over the phone, I hear birds chirping in their Los Angeles garden. I also hear the pitter-patter of the paws of Mellow, their pet Shiba Inu, on the grass. It sounds just like the worlds I see when I look at Loveis’ designs—floral-filled sanctuaries populated by beings taking care of one another.
Care, for Loveis, has become a creative philosophy of sorts: They often mine for inspiration childhood memories of being cared for, and their illustrations themselves embody care in their empowering depictions of intersectional identities, queer bodies, and self-loving individuals. Aptly, “nurture” served as the name and theme of Loveis’ first New Yorker cover, released two years ago when they were fresh out of art school at age 23 as an ode to nourishing, matriarchal communities.
Loveis’ joyful, celebratory approach can be seen on large and small scales, gracing their recent Black History Month mural for Google’s artist-in-residence program as well as a floral patterned bandana, designed in collaboration with Wolff Olins for Planned Parenthood. As with many creative people, Loveis pours their self into their work—a process that can often bring out the best in an illustrator, but also one that comes with its own challenges as work and life boundaries blur. Sat in their garden, Loveis shares the story of how taking care of themselves personally has led to a stronger creative outlook and working process.
Your illustrations have such a unique voice, in terms of the patterns, colors, textures, and forms. How did you arrive at your style?
By playing around with different ways to draw. I had a professor [at Philadelphia’s University of the Arts] that encouraged students to draw in the most uncomfortable ways—uncomfortable, but also still comfortable to our own hand, almost like how we would when we were kids. So that tuned me into how I innately draw. I also thought a lot about how different artists that I love interpreted figures, like Kerry James Marshall. My love of patterns comes from the picture books I read as a kid, like Ezra Jack Keats’ The Snowy Day and Eric Carle’s The Hungry Caterpillar. I took all of those little influences, mashed them together, and my style was born.
What else inspires you, outside of art and illustration?
I’ve been learning more about spirituality, metaphysics, and playfulness, as well as nurturing my own community in various ways. That might mean making a plant medicine for a friend, cooking, or taking time to reconnect with my body.
I started using nostalgia in my work while I was doing a lot of self-work. I had a rough and traumatic childhood, and to be able to move through it, I tried to recover calm and beautiful moments where I truly felt free. Putting these little memories into my illustrations has helped me a lot.
You can see these memories in things like my first New Yorker cover, where I was inspired by my mom and the women in my family. I grew up in a very matriarchal family: Both of my grandmas grew food in the garden and took care of us. I brought memories of their nurturing and care into the cover.
“When you’re telling your own truth, it makes for the best pieces, because people will connect with them.”
For my second New Yorker cover, I remembered moments from my childhood watching a femme person taking care of another femme person. My grandmother owned a hair salon: I drew from my memories of women coming in, getting taken care of, their conversations, and the beauty of that interaction. I also drew from memories of my mom tending to me, doing my hair, and the safety of that.
I’ve read you say that illustrators can sometimes be afraid of putting themselves into the work. Why do you think that is?
There’s often a pressure to be what people want you to be. Early on, I found myself trying to mimic what I thought people wanted me to be and how my work should look. Through doing therapy, I started to see myself as enough, and in tandem, I came to the realization that my stories are worthy of being told in my work. I started to feel much safer sharing personal parts of myself in commercial illustrations. When you’re telling your own truth, it makes for the best pieces, because people will connect with them.
What other realizations about your professional life have you made through self-work?
I used to overwhelm myself with a lot of projects, because I felt like I needed to take everything on at once. I found myself saying yes to everything, and thinking that if I said no, it was a bad mistake that I’d regret. We can all get ambitious in that way.
Now, I’ll only take on two to three commissions a month, and I feel comfortable enough to say no. Maybe it’ll come back later again, who knows? I only take on the work that really speaks to me, and nine out of ten times, I hand the project over to a friend, or I recommend someone else for it. Saying no is a powerful thing: It’s all about having better boundaries with yourself.
“I only take on the work that really speaks to me.”
Designating certain hours, and certain times, to work has also been important. There was a time when I had no boundaries at all and I’d be overworking. I’d be so hard on myself when I thought I wasn’t spending enough time drawing. I now won’t ever work past 8pm. I won’t do that to myself. And I’m not hard on myself when I do need a break.
How do you split your time between personal projects and commissioned work, and what is the relationship between the two?
Right now, more than ever, I’ve been diving into what that question really means to me. For a long time, I was only working on commission-based work and I didn’t take the time—or make the time—to play. I stopped hearing that call for my own innate creativity.
Now, I’ve now set up a strict routine to make time for personal work. I’m the sort of person that if I don’t create a plan, I won’t stick to it. So I wake up in the morning, take a shower, go for a walk, and then I designate an hour or two for making whatever comes up. Afterwards, when I’ve done whatever I really want to, I can focus the rest of the day on my commissioned gigs. And it’s so important to make this time, because you can bring the information that you learn about yourself while playing into your professional work.
Loveis Wise
They/Them
Washington, DC
www.loveiswise.com @loveiswiseillu
Loveis Wise is an artist, illustrator and Capricorn from Washington, D.C., currently residing in Los Angeles. Their work is centered around playfulness, liberation, community and joy! They have collaborated with brands and publications such as Google, Apple, HarpersCollins, The New Yorker, Warby Parker, Twitter, REI, among many others.
WHAT WAS YOUR FAVORITE THING TO DRAW AS A CHILD? WHY DID THAT LODGE IN YOUR HEAD?
I loved drawing portraits because I enjoyed really seeing a person and trying to capture their essence and flowers, of course — I guess some things never change!
LISTEN TO MUSIC WHILE YOU WORK? ANYTHING SPECIAL IN YOUR WORK SPACE THAT UNLEASHES YOUR CREATIVE JUICES?
I absolutely love putting on a playlist that captures the energy of whatever I'm drawing as I'm making, and I always love having a candle lit or an incense going to help inspire me!
DID YOU HAVE A MAGIC MOMENT WHEN YOU KNEW YOU WANTED ART TO BE YOUR LIFE?
That feeling came very young for me, but I think it was post-graduation from art school and the feeling of imposter syndrome leaving my body that helped me to realize how cool it was that I made creating and drawing important to my life and that I wanted to continue flowing in that direction!
bg-loobook
"GO THE HELL OUTSIDE!!"
ANY ACTIVITIES, EXERCISES OR STRATEGIES TO PULL YOURSELF OUT OF THE OCCASIONAL ARTISTIC RUT?
I try to give myself space to make really bad-silly-goofy art that only I get to see and keep doing it until I find something that I enjoy in there!
HOW DOES CREATIVITY RUN IN YOUR FAMILY, EVEN IF IT’S NOT DESIGN-RELATED?
A lot of the folks in my family ended up in the direction of beauty and hairstyling. My mother was a hairstylist and my grandparents, too. They also owned a beauty salon that I grew up in! But it was through my dad that I learned about photography and drawing, and it really inspired me.
ELLIOTT, Zetta. Say Her Name, illus. by Loveis Wise. 112p. Disney/Jump at the Sun. Jan. 2020. Tr $18.99. ISBN 9781368045247.
Gr 7-10--Elliott describes herself as a writer of poetry, but not a poet. When she learned that some of her students were unfamiliar with the poetry of Gwendolyn Brooks, she introduced them to the poetry of black women. In her own life, Elliott has often responded to violence and pain through the act of writing. These poems represent her response to victims of violence and racial discrimination, among other atrocities that black Americans have suffered. It is also her way to give a voice to black people who have lived through these circumstances. Some poems include provocative language and situations that may be best read and discussed with adult guidance. For example, the poem "Mouse" describes a street smart girl who gets into a physical altercation and "took one look at the blood/drippin from her friends scalp/ pulled out her knife and jabbed him/just like I taught her." Many of the poems echo writers like Lucille Clifton, Audre Lorde, and Nikki Giovanni; a few of the poets' writings are included in this collection. Titles such as "Black Girl Miracle," "Self-Care," and "Black Lives Matter" pay homage to the strength and power of black girls and women while offering empowerment. Elliott's poetry also encourages readers to act when confronted with injustice, whether through marching or campaigning or responding through writing. VERDICT This collection is inspirational, uplifting, and encouraging for readers of all genders. Elliott may not think of herself as a poet, but her creativity and deft wielding of rich language prove otherwise.--Carol Connor, Cincinnati Public Schools, OH
Copyright: COPYRIGHT 2019 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
http://www.schoollibraryjournal.com/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
Connor, Carol. "ELLIOTT, Zetta. Say Her Name." School Library Journal, vol. 65, no. 11, Dec. 2019, p. 101. Gale General OneFile, link.gale.com/apps/doc/A607579858/ITOF?u=schlager&sid=bookmark-ITOF&xid=214d2f97. Accessed 15 Mar. 2025.
The People Remember. By Ibi Zoboi. Illus. by Loveis Wise. Sept. 2021.64p. HarperCollins/Balzer+Bray, $19.99 (9780062915641). Gr. 1-5.326.
Poignantly tying African American history to the seven principles of Kwanzaa, Zoboi's picture-book debut is a beautifully rendered exploration of the holiday. In lyrical verses with a smoothly rolling, sonorous quality, Zoboi moves through centuries, beginning in West Africa and the onset of the transadantic slave trade and continuing through key moments in U.S. history (emancipation, the Great Migration, the civil rights movement) and highlighting cultural touchstones (soul music, hip-hop, poets and authors) on the way to the election of Barack Obama and continuing calls for justice today. Throughout, Zoboi artfully groups these moments together to illustrate each of the seven pillars, explaining both the symbolism of the holiday and its importance to the culture. Wise's warm, full-bleed artwork in saturated, splashy colors incorporates majestic portraits, meaningful design elements, and superb compositions to accompany Zoboi's verses, and even though they don't avoid the painful realities of Black history in the U.S., the overall tone is one of strength, power, and joy. Zoboi's poem is a master class in conciseness, experdy evoking powerful images, concepts, and emotions out of just a handful of words, particularly when paired with Wise's exultant art, and the robust back matter offers even more context and nuance. A must-have for holiday collections, but let its light shine throughout the rest of the year, too.--Sarah Hunter
Copyright: COPYRIGHT 2021 American Library Association
http://www.ala.org/aboutala/offices/publishing/booklist/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
Hunter, Sarah. "The People Remember." Booklist, vol. 118, no. 2, 15 Sept. 2021, p. 57. Gale General OneFile, link.gale.com/apps/doc/A678822167/ITOF?u=schlager&sid=bookmark-ITOF&xid=6c886826. Accessed 15 Mar. 2025.
The People Remember
by Ibi Zoboi; illus. by Loveis Wise
Primary, Intermediate Balzer + Bray/HarperCollins
64 pp. g
9/21 978-0-06-291564-1 $19.99
Through art and words, with the framework of the seven principles of Kwanzaa, Zoboi (American Street, rev. 3/17; Black Enough, rev. 1/19) and Wise beautifully "sew together a tapestry of / their stories / one fine quilt / a blanket for the children / to keep them warm, protected, and safe." Each brightly colored spread tells of important moments and people in African American history. Author and illustrator first bring readers back to Africa and remind them that before there was Africa and African Americans, there were the Fulani, the Hausa, the Ashanti, and the Akan, who lived in Mali, Kongo, and Songhai. As they move along, readers are reminded of the Middle Passage, enslavement, the Civil War, and the Great Migration. Despite the hardships and struggles, the people remember their Kuumba (creativity), Imani (faith), Nia (purpose), Umoja (unity), Kujichagulia (self-determination), Ujima (collective work and responsibility), and Ujamaa (cooperative economics) to survive and thrive. Wise's sumptuous digital illustrations are reminiscent of the patches created by African American quilters to remind future generations of their past. The bright colors reflect the hope and optimism that African Americans have carried with them. Along with history, readers are introduced to the principles of Kwanzaa in an informative and heartfelt appended author's note and timeline.
Copyright: COPYRIGHT 2021 A wholly owned subsidiary of Media Sources, Inc. No redistribution permitted.
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Montgomery, Nicholl Denice. "The People Remember." The Horn Book Magazine, vol. 97, no. 6, Nov.-Dec. 2021, p. 145. Gale General OneFile, link.gale.com/apps/doc/A682425357/ITOF?u=schlager&sid=bookmark-ITOF&xid=7e6ec681. Accessed 15 Mar. 2025.
What drew you both to this project?
Zoboi: I first learned about and started celebrating Kwanzaa in college. When I became a mother, I bought every Kwanzaa book out there, and there are few. I wanted something that captured the celebratory aspects of Kwanzaa while connecting the history, trials, and tribulations of Black people in America. Kwanzaa is not meant to be a Black Christmas. It is a cultural celebration that allows us to remember and honor who we are and how far we've come.
I want readers to be able to see the full trajectory of Black people in America in just 2,500 words and 64 pages of illustration. It's a lot to take in. But that's what we've always done. We've been able to express the fullness of ourselves and our stories through a dance move, a song, a single dish, or a painting. There are so many ways to tell our story.
Wise: I was initially drawn to this project when I read Ibi's manuscript for the book. The poetic beauty of it resonated with my heart and I knew - it was necessary for me to illustrate.
I spent lots of time researching by listening to music from my favorite Black musicians, both present and past, to inspire flow. I spoke with the elders in my family to connect their history in the process, and spent time with lots of art/historical photographs/books. My work and style is usually inspired by joy and playfulness, and I wanted to stay authentic to that while also using color shifts to help illustrate the heavy as well as the lighter emotions and tone of the book.
For the complete interview, go to publishersweekly.com/zoboiwiseqa
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Grey, Idrls. "Q&A Ibi Zoboi and Loveis Wise on The People Remember." Publishers Weekly, vol. 268, no. 48, 24 Nov. 2021, p. 43. Gale General OneFile, link.gale.com/apps/doc/A686559602/ITOF?u=schlager&sid=bookmark-ITOF&xid=3508bf7b. Accessed 15 Mar. 2025.
Harvey, Jeanne Walker ABLAZE WITH COLOR Harper/HarperCollins (Children's None) $18.99 2, 8 ISBN: 978-0-06-302189-1
Despite her era's racial segregation and prejudice, African American artist and art teacher Alma Thomas blazed a colorful trail.
Growing up in the early 1900s, young Alma was drawn to "the sparkling colors of nature" around her family's large Victorian house in Columbus, Georgia. As the story recounts, she spurned the domestic pursuits her sisters embraced, longing instead "to make things, / things she could hold." So, she started creating pottery using clay from the banks of the stream behind her childhood home. Due to racial injustice, the Thomas children weren't allowed to attend the schools, museums, or library in their town; nevertheless, their home was filled with books and learning, and creativity as well. When Alma was 15, her family moved to Washington, D.C., where she studied art in college and then taught art at a local school. The story goes on to describe Thomas' tireless efforts to increase access to art for the Black students in her community and her many groundbreaking achievements both as an educator and as an artist, including being the first Black woman to have a solo museum exhibition in America. The text achieves a fine balance of evocative lyricism and straightforward exposition. Wise's vibrant, eye-catching illustrations contain echoes of Thomas' signature abstract style, with its colorful mosaiclike patterns and tessellated brush strokes. Most characters are Black; a few illustrations include diverse representation.
Uplifting with hope and ablaze with joyous colors! (author's note, illustrator's note, timeline, sources, references) (Picture-book biography. 4-8)
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"Harvey, Jeanne Walker: ABLAZE WITH COLOR." Kirkus Reviews, 1 Jan. 2022. Gale General OneFile, link.gale.com/apps/doc/A688199593/ITOF?u=schlager&sid=bookmark-ITOF&xid=840a821e. Accessed 15 Mar. 2025.
Ablaze with Color: A Story of Painter Alma Thomas
by Jeanne Walker Harvey; illus. by Loveis Wise
Primary Harper/HarperCollins 40 pp. g
2/22 978-0-06-302189-1 $18.99
This superb picture-book biography profiles Alma Thomas (1891-1978), the first Black woman to have art displayed in the White House's permanent collection. After a childhood filled with "soaking up the sparkling colors of nature" and enhanced by heady discussions ("Alma's parents filled their home with books and created their own place of learning"), Thomas taught art to Black children in segregated schools. During her long teaching career, she "painted, studied, and shared ideas with artist friends" on the side until retiring and turning to creating art full time. Thomas was the first Black woman to have a solo exhibition at the Whitney in New York, in 1972, and made history again when First Lady Michelle Obama chose her modern masterpiece, Resurrection, for permanent display in the White House's Old Family Dining Room. Harvey's (Maya Lin, rev. 7/17) poetic text is imagistic and deftly paced; Wise's (The People Remember, rev. 11/21) digital artwork is boldly, fittingly colorful. Long, loose-limbed figures in various shades of brown pop against backgrounds of blues, greens, and golds. The story is bookended with scenes of Alma in repose, lying on her back, hands behind her head, the very picture of satisfaction from a job well done and a life well lived. Author and illustrator notes, an illustrated timeline, a source list, notes, and references (with separate sections for articles, children's books, and adult books) are appended. SAM BLOOM
Copyright: COPYRIGHT 2022 A wholly owned subsidiary of Media Sources, Inc. No redistribution permitted.
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Bloom, Sam. "Ablaze with Color: A Story of Painter Alma Thomas." The Horn Book Magazine, vol. 98, no. 2, Mar.-Apr. 2022, p. 95. Gale General OneFile, link.gale.com/apps/doc/A696242896/ITOF?u=schlager&sid=bookmark-ITOF&xid=047cb846. Accessed 15 Mar. 2025.
Hurston, Zora Neale MAGNOLIA FLOWER Harper/HarperCollins (Children's None) $19.99 9, 6 ISBN: 978-0-06-309831-2
Scholar Kendi adapts a short story published by Hurston in the Spokesman in 1925.
The Mighty River tells the whimsical, mischievous Brook the story of Bentley, who flees slavery for a Florida forest where Black and Native people live free together as Maroons. Bentley marries Swift Deer, a Cherokee woman who escaped the Trail of Tears, and they have a daughter named Magnolia Flower, who "came at the time of the flowers opening." When the Civil War ends, Magnolia falls in love with John, a Black man whom Bentley dislikes because he is poor. Bentley locks John up in their house to keep him away from Magnolia, but one night, Magnolia frees John and escapes with him by boat, making the Mighty River a part of their story. The tale comes full circle when Magnolia and John return 47 years later to reflect on and affirm their love. Deeply committed to sharing Hurston's writing with young readers, Kendi writes in his author's note about the elements of Black folklore in the story, such as making nature a speaking character. And, as he stresses in a historical note, the tale is a powerful example of Black and Native resistance--an aspect of history that far too often goes undiscussed. Wise's earth-toned, opalescent illustrations make the trees, water, and flowers feel just as key to the tale as the humans. The excellent marriage between lyrical text and stunning visuals makes for a moving, memorable story. (This book was reviewed digitally.)
An artfully rendered tale of life and love that also conveys an essential but often overlooked chapter in U.S. history. (Picture book. 5-10)
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"Hurston, Zora Neale: MAGNOLIA FLOWER." Kirkus Reviews, 1 Aug. 2022. Gale General OneFile, link.gale.com/apps/doc/A711906524/ITOF?u=schlager&sid=bookmark-ITOF&xid=194280ec. Accessed 15 Mar. 2025.
Magnolia Flower
by Zora Neale Hurston; adapted by Ibram X. Kendi; illus. by Loveis Wise
Primary Harper/HarperCollins 40 pp. g
9/22 978-0-06-309831-2 $19.99
Kendi's (Stamped, rev. 5/20) adaptation of a short story by Hurston softens (or leaves out) the original's violence, adds elements that are explained in a historical endnote, and retains the narrative frame of a "Mighty River" telling a brook a story about people in love. The tale begins with Bentley, who escapes enslavement and marries Swift Deer, a Cherokee woman. They have a daughter they name Magnolia Flower, who grows up during the Civil War and falls in love with a brown-skinned man named John. Bentley doesn't approve of John and locks him up to keep the lovers apart. Magnolia Flower frees him and they run away. The story ends with their return to the banks of the river forty years later. Both the lyrical text and the flowing digital illustrations let the theme of love running through Hurston's stories shine. Wise's (The People Remember, rev. 11/21; Ablaze with Color, rev. 3/22) brightly colored images capture the beauty of the forest and the love between Magnolia Flower and John. In his appended author's note, Kendi explains his intention behind adapting a short story for adults as a picture-book text: "The earlier we expose our children to our literary treasures--to our literary legends like Hurston--the better." NICHOLL DENICE MONTGOMERY
Copyright: COPYRIGHT 2022 A wholly owned subsidiary of Media Sources, Inc. No redistribution permitted.
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Montgomery, Nicholl Denice. "Magnolia Flower." The Horn Book Magazine, vol. 98, no. 6, Nov.-Dec. 2022, p. 66. Gale General OneFile, link.gale.com/apps/doc/A727777295/ITOF?u=schlager&sid=bookmark-ITOF&xid=77d5e51e. Accessed 15 Mar. 2025.
DiPucchio, Kelly BECOMING CHARLEY Knopf (Children's None) $18.99 5, 2 ISBN: 978-0-593-42904-4
Convention is upended in this striking tale of individuality and change.
"Black. Orange. This. Not that." From the day they are hatched, young caterpillars are informed by their butterfly guardians how to think and how to act. All obey except for Charley. While the others eat ceaselessly, Charley looks up into the canopy and gazes at the trees and clouds and stars. While the others dream of becoming butterflies, Charley imagines what it would be like to be a deer or a waterfall. And as the butterflies tell their charges what to think, Charley finds new things to discover. At last, the day comes for all caterpillars to form their chrysalises, and Charley worries. But while inside, the wayward caterpillar imagines far more than just orange and black, so that when at last the new butterflies emerge, the protagonist's wings reflect "everything Charley had ever loved." Storytelling that could have come off as heavy-handed is instead treated here with an elegant touch. Wise produces lush, lovely spreads, not only of the standard monarch colors, but of a world far beyond their perceived limitations. The reveal at the end is evocative of that final spread in Eric Carle's The Very Hungry Caterpillar (1969) but with an entirely different thought process at work. (This book was reviewed digitally.)
Moralizing bows out in favor of a clever celebration of how our experiences affect our selves. (Picture book. 3-6)
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"DiPucchio, Kelly: BECOMING CHARLEY." Kirkus Reviews, 15 Mar. 2023. Gale General OneFile, link.gale.com/apps/doc/A740905179/ITOF?u=schlager&sid=bookmark-ITOF&xid=d62e6f2c. Accessed 15 Mar. 2025.
Becoming Charley
Kelly DiPucchio, illus. by Loveis Wise. Knopf, $18.99 (40p) ISBN 978-0-593-42904-4
In this be-yourself story by DiPucchio (Not Yeti), Charley may look like the rest of the monarch caterpillars around him, but while the others "kept their heads down, eating, just as they'd been taught," Charley gazes dreamily up at the trees, the clouds, and the stars. His elders urge him to munch milkweed, the better to become "a big, strong butterfly," but Charley wonders about being "a spotted fawn. Or a waterfall." Part of the young caterpillars' lesson is to gaze at monarchpatterned cards so they'll know how to model themselves; Charley concentrates, instead, on wildflowers and mountains. Boldly hued digital spreads by Wise (Magnolia Flower) create a graphically simple caterpillar's-eye view that's loosely faithful to the natural world, highlighting monarch caterpillar coloration and the milkweed's starry compound flowers. After the chrysalises of Charley's cohort finally hatch and Charley isn't among them, a final surprise reveals his new form, which reflects the character's creativity as a young caterpillar. The idea that experiences and expectations shape creatures as they grow is gently and colorfully suggested, though, for the youngest readers, the difference between which elements are invented and which are fact may not be intuitively clear. Ages 3-7. Agent (for author and illustrator): Steven Malk, Writers House. (May)
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"Becoming Charley." Publishers Weekly, vol. 270, no. 12, 20 Mar. 2023, p. 77. Gale General OneFile, link.gale.com/apps/doc/A745887364/ITOF?u=schlager&sid=bookmark-ITOF&xid=8f647293. Accessed 15 Mar. 2025.
Girls on the Rise. By Amanda Gorman. Illus. by Loveis Wise. Jan. 2025. 32p. Viking, $19.99 (9780593624180). K-Gr. 3.
Harnessing her gift for poetry, Gorman delivers an inspiring call to action for young readers, empowering them through uplifting rhymes that fill each page with purpose. Through just a few stanzas per page, Gorman captures the essence of girlhood and its many forms, showing how every individual adds to a collective striving for justice, peace, and positive change. The words flow beautifully, encouraging young girls to see themselves as part of a united movement for a brighter future: "We are girls like never before, / Speaking out more and more, / Because when our quiet is broken, / The world must hear us roar." Wise's digital-collage illustrations burst with vibrant colors and diverse representations of girlhood that showcase a wide range of body types, abilities, and identities. In word and art, each page celebrates both the uniqueness and the unity of girlhood experiences across cultures, appearances, and personal journeys. An excellent read-aloud, this commanding offering speaks to a future marked by strength and endless possibilities.
Copyright: COPYRIGHT 2024 American Library Association
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Ravelo, Amy. "Girls on the Rise." Booklist, vol. 121, no. 7-8, Dec. 2024, pp. 132+. Gale General OneFile, link.gale.com/apps/doc/A829740327/ITOF?u=schlager&sid=bookmark-ITOF&xid=029db74d. Accessed 15 Mar. 2025.
Girls on the Rise
Amanda Gorman, illus. by Loveis Wise. Viking, $19.99 (32p) ISBN 978-0-593-62418-0
"Who are we? We are girls on the rise," begins Gorman (Something, Someday) in validating lines that ring with tonal resolve. As the pages turn in this conceptual picture book, groups of individuals work in concert, lifting a banner and protesting as well as resting and playing. Digital artwork from Wise (Magnolia Flower) incorporates collage elements and embellishments in portraying the communal scenes. On one spread, figures pass dishes at a candlelit table, while other pages show youths helping one another in the face of fear, donning wings, and contemplating well-known luminaries including Frida Kahlo and Marsha P. Johnson. Lines that embrace intersectional girlhood ("Some of us go by she/ And some of us go by they") suggest both that "we are different people,/ Each of us a different shape and size,/ A different wonder and a different wise" and that "in our hearts, we are the same: We are a power, a movement,/ Pretty powerful." As characters sow seeds and nurture the earth, final pages reveal a lush, easeful portrait: "Because when one girl is one the rise,/ It means everyone else is, too." Characters are portrayed with various abilities, body types, and skin tones. Ages 4-8. (Jan.)
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"Girls on the Rise." Publishers Weekly, vol. 271, no. 37, 30 Sept. 2024, pp. 49+. Gale General OneFile, link.gale.com/apps/doc/A811729301/ITOF?u=schlager&sid=bookmark-ITOF&xid=99a2f3a0. Accessed 15 Mar. 2025.
What I Must Tell the World: How Lorraine Hansberry Found Her Voice.
By Jay Leslie. Illus. by Loveis Wise.
Oct. 2024. 48p. Zando/Hillman Grad, $19.99
(9781638930693). K-Gr. 3. 812.54.
This soaring salute to the author of A Raisin in the Sun--the first Broadway play written by a Black woman--casts Hansberry as a vibrant young person searching for ways to convey the lives and experiences of her world. Though reticent about Hansberry's death at just 34 (there are only oblique mentions in the author's and illustrator's notes at the end), Leslie does cover other major biographical highlights, from her subject's early life in Chicago and the legal case against race-based housing covenants that her activist parents took to the U.S. Supreme Court to her first visit to a theater at age 14 and later social contacts with many mid-twentieth-century Black cultural luminaries--all, including particular "friend and kindred spirit" James Baldwin, drawn by Wise with mobile, recognizable features. Unusually for picture-book biographies, there are also both narrative and visual references to Hansberry's private life, including her conflicted feelings about being more drawn to women than men: "It didn't feel wrong to love women, but everyone said it was wrong. In New York City, it was even illegal." Nonetheless, as the story takes her through struggles to finish her great play and ends with its triumphant opening, her courage, intelligence, and forceful personality shine out. Resource lists accompany further information about Baldwin and others who inspired her.
Copyright: COPYRIGHT 2024 American Library Association
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Peters, John. "What I Must Tell the World: How Lorraine Hansberry Found Her Voice." Booklist, vol. 121, no. 1, Sept. 2024, p. 60. Gale General OneFile, link.gale.com/apps/doc/A829860809/ITOF?u=schlager&sid=bookmark-ITOF&xid=d9e7c386. Accessed 15 Mar. 2025.
What I Must Tell the World: How Lorraine Hansberry Found Her Voice
by Jay Leslie; illus. by Loveis Wise
Primary Hillman GraihZando 48 pp.
10/24 9781638930693 $19.99
"Our stories can change the world." Carl Hansberry's words and courageous example were an inspiration to his daughter Lorraine (1930-1965). From a young age, Lorraine knew she wanted to share the stories that seemed to swirl around her in her Chicago neighborhood of Bronzeville. Soon, she would come to understand racism in a very real way as her parents purchased a home in an all-white neighborhood, fighting all the way to the Supreme Court for their right to live there. Lorraine understood that she contained a multitude of stories and sought various avenues to share them, eventually settling on playwriting. With contemporaries such as James Baldwin and Langston Hughes, Hansberry rose to prominence as the first Black woman to open a play on Broadway: A Raisin in the Sun. This picture-book biography is a forthright and well-researched telling of Hansberry's life story (though without source notes and likely with invented dialogue), including her queer identity as a lesbian. The illustrations are a rich, vibrant testimony to a trailblazing writer and activist. Boldly colored spreads highlight Hansberry and the people and relationships in her life and draw viewers into the scenes. Readers will find here a seminal message from the writer's experience: embrace who you are and live your truth; your story matters. MONIQUE HARRIS
Copyright: COPYRIGHT 2025 A wholly owned subsidiary of Media Sources, Inc. No redistribution permitted.
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Harris, Monique. "What I Must Tell the World: How Lorraine Hansberry Found Her Voice." The Horn Book Magazine, vol. 101, no. 1, Jan.-Feb. 2025, pp. 102+. Gale General OneFile, link.gale.com/apps/doc/A822951924/ITOF?u=schlager&sid=bookmark-ITOF&xid=8b1e4dc5. Accessed 15 Mar. 2025.