[ 책 소개 ]

* Newbery Honor Book 수상도서
* Boston Globe/Horn Book Award 수상도서
* Coretta Scott King Author Honor Book 수상도서
* Coretta Scott King Illustrator Honor Book 수상도서
* ALA Notable Children's Books
* CCBC Choices (Cooperative Children's Book Council)
* CBC/NCSS Notable Social Studies Trade Book
* Bank Street Best Books of the Year
* Chicago Public Library's Best of the Best
* Maine Student Book Award Master List
* ILA Notable Books for a Global Society
* Lupine Award 수상도서
* Wisconsin State Reading Association's Reading List
* NCTE Notable Poetry List
* Center for the Study of Multicultural Children's Literature Best Multicultural Books List
* Arnold Adoff Poetry Award 수상도서
* New York Public Library Best Books for Kids
* Kirkus Prize Finalist
* NCTE Notable Verse Novel List


19세기 초반, 미국에서 노예제도가 성행할 무렵, 남부지방에서 큰 농장을 운영하던 페어차일드 부인은 남편이 죽자, 영국으로 돌아가기 위해 재산을 처분하고 집에서 부리던 흑인 노예들도 경매에 내놓습니다.

당시 노예의 가격은 얼마였을까요? 소 한마리 가격도 안되었으며, 드레스 한벌, 의자 한개 가격보다도 저렴했습니다.

이 책은 당시의 경매 기록을 근거로, 매물로 나온 페어차일드 부인의 노예 11명이 노예로서 어떤 삶을 살았고, 그리고 노예가 아닌 인간으로서 가족들로 부터 얼마나 사랑받았으며 어떤 꿈을 갖고 살았는지를 한명 한명씩 차례대로 보여줍니다.

비록 흑인 노예들은 물건과 같이 거래되었지만, 그들이 지녔었던 금액으로 환산할 수 없는 미래에 대한 꿈과 과거의 소중한 추억들, 따뜻한 가족애, 그리고 무엇보다도 인간으로서의 존엄성을 저명한 흑인 일러스트레이터인 애슐리 브라이언이 간결하지만 깊은 울림을 주는 문장과 강렬하고 힘이 넘치는 그림을 통해 감동적으로 보여줍니다.

큰 사이즈의 튼튼한

닫기x

What is 하드커버? 양장본이라고도 불리우며, 표지가 단단한 판지로 만들어진 책입니다. 판지를 천이나 가죽으로 감싸기도 합니다. 책의 속지는 일반적으로 중성처리된 종이(Acid-free paper)를 사용해서 잘 변질이 되지 않기 때문에 오랫동안 보관하기에 적합합니다. 이 종류의 책은 더스트 재킷, 또는 더스트 커버로 불리는 표지덮개가 함께 있는 경우가 많습니다. 간혹 내부 속지가 콩기름 코팅이 된 경우 고약한 냄새가 나는 책도 있습니다.

하드커버책입니다.






[ 관련 동영상 보기 ]

▶

[ 서지 정보 ]

Hardcover: 56 pages
ISBN-10: 1481456903
ISBN-13: 978-1481456906
책 크기: 28.7 cm x 26.1 cm



[ 영문 서평 ]

Book Description
Using original slave auction and plantation estate documents, Ashley Bryan offers a moving and powerful picture book that contrasts the monetary value of a slave with the priceless value of life experiences and dreams that a slave owner could never take away.

Imagine being looked up and down and being valued as less than chair. Less than an ox. Less than a dress. Maybe about the same as…a lantern.
You, an object. An object to sell.
In his gentle yet deeply powerful way, Ashley Bryan goes to the heart of how a slave is given a monetary value by the slave owner, tempering this with the one thing that CAN’T be bought or sold--dreams. Inspired by the actual will of a plantation owner that lists the worth of each and every one of his “workers”, Bryan has created collages around that document, and others like it. Through fierce paintings and expansive poetry he imagines and interprets each person’s life on the plantation, as well as the life their owner knew nothing about--their dreams and pride in knowing that they were worth far more than an Overseer or Madam ever would guess.


Kirkus *Starred Review*
Bryan gives voices to the voiceless and presents the dreams of slaves who went to the grave without living them.Using historical slave documents from the 1820s to the 1860s, Bryan brings to life 11 slaves who once belonged to Cado Fairchilds. When Fairchilds dies, his British-born wife decides to sell off the slaves and move back to England. Each of the 11 is given two double-page spreads to speak in. Accompanied by a free-verse first-person narrative, an illustration of each slave's portrait appears in a varied palette of warm browns against a backdrop of documents related to historical slave sales. On the page adjacent to this illustration, the slave tells of the special skill he or she possesses that enriches the Fairchilds plantation. But on the following two pages, that same person explains what he or she dreams of doing with that talent. In contrast to the dull initial portrait, the second set of pages for each slave appears in full color and shows the speaker fully immersed in a caring community. The speakers' talents include carpentry, music, sewing, cooking, and more. After including the price under each slave's picture, Bryan offers a final tally for the completed sale, humans, livestock, and goods: $3,476.05. Bryan makes real and palpable what chattel slavery meant and how it affected those who were enslaved; every child who studies American slavery would benefit from experiencing this historically grounded web of narratives.


Publishers Weekly *Starred Review*
Using a document from 1828 that lists the value of a U.S. landowner’s 11 slaves, Bryan (Sail Away) creates distinct personalities and voices for each, painting their portraits and imagining their dreams. He starts with the wife of the slave owner, who felt her husband was good to their slaves (“He never hired an overseer”). But it’s quickly clear that “good” slave ownership is an oxymoron: “I work hard - all profit to the estate,” their cook Peggy observes. Bryan shows that the enslaved had secret lives of their own: “Years ago blacksmith Bacus and I/ ‘jumped the broom’ - / the slave custom for marriage. No legal form for slaves.” They cherish their traditions, call each other by their African names (“I am Bisa, ‘Greatly Loved’-”), dream of escape, and long for freedom. His portraits show the men, women, and children gazing out at readers, the contours of their faces traced as if carved from wood, while strong rhythmic outlines mimic stained glass, echoing the sense of sacred memory. There are few first-person accounts of slaves, and these imagined words will strike a chord with even the youngest readers. Ages 6-10.Using a document from 1828 that lists the value of a U.S. landowner’s 11 slaves, Bryan (Sail Away) creates distinct personalities and voices for each, painting their portraits and imagining their dreams. He starts with the wife of the slave owner, who felt her husband was good to their slaves (“He never hired an overseer”). But it’s quickly clear that “good” slave ownership is an oxymoron: “I work hard - all profit to the estate,” their cook Peggy observes. Bryan shows that the enslaved had secret lives of their own: “Years ago blacksmith Bacus and I/ ‘jumped the broom’ - / the slave custom for marriage. No legal form for slaves.” They cherish their traditions, call each other by their African names (“I am Bisa, ‘Greatly Loved’-”), dream of escape, and long for freedom. His portraits show the men, women, and children gazing out at readers, the contours of their faces traced as if carved from wood, while strong rhythmic outlines mimic stained glass, echoing the sense of sacred memory. There are few first-person accounts of slaves, and these imagined words will strike a chord with even the youngest readers.


Booklist *Starred Review*
Inspired by a document appraising the value of 11 enslaved people (along with livestock and cotton) in an estate for sale in the antebellum South, this exceptional book presents the imagined faces and voices of individuals whose society, against all reason, regarded them as less than human. Each person appears in a four-page section, opening with a page of free-verse text opposite a riveting head-and-shoulders portrait with a grim collage background of slavery-related documents. A banner reveals the person’s appraised value, master-imposed slave name, and age. In the text, these individuals introduce themselves, their roles on the estate, and the skills (cooking, blacksmithing, sewing) they take pride in. On the second doublepage spread, a verse text offers more personal reflections on their African roots, their love of family, and their dreams, while a more detailed, colorful painting expresses their heritage, their strength, and their rich inner lives. Their humanity shines through, showing the tragedy of their status and the gross absurdity of assigning prices to people. Longing for freedom is a constant theme, made all the more poignant by the appraisal document’s date: 1828, decades before emancipation. Clean and spare, the verse brings the characters to life, while in the radiant artwork, their spirits soar. Rooted in history, this powerful, imaginative book honors those who endured slavery in America.


Horn Book Magazine *Starred Review*
A historical document dated July 5, 1828, lists the property to be sold from the Fairchilds’ estate. Hogs. Cattle. A handmill. Men. Women. Children. While no information beyond the gender and name - and price - of each of the eleven
enslaved people is noted in the appraisal of the estate, Bryan lovingly restores their humanity and dignity, giving them ages, true African names, relationships, talents, hopes, and dreams. Here is the account of eleven human beings, all of whom are aware of what they contribute to the Fairchilds plantation and, more importantly, what they would like to contribute to the world. Each slave is afforded two double-page spreads of poetry: the first spread serves as his or her introduction; the second is devoted to his or her dreams. We meet Peggy, the Fairchilds’ cook, who is praised by the Fairchilds for the spices she adds to meals at the Big House. In “Peggy Dreams,” she remembers her life in Africa and reveals that she’s proud of her ability to heal injured fellow slaves through her work with roots and
herbs. Bacus is known for his metalwork in fencing the Big House, but his dream admits that the pounding of the metal is “an outlet for anger, for rage…a blow for justice…a cry for respect.” Bryan’s art is just as intentional. Facsimiles of the historical document serve as background for each slave’s introduction page, portraits of their faces taking precedence as they gaze out at the reader. The portraits are etched in a manner similar to wood carvings, suggesting the mask each slave wears for day-to-day life on the plantation. In contrast to the dry, parchment-like tones
of the introductions, the dream spreads are in gloriously brilliant colors, as bold as the aspirations of the individuals themselves.