Review by Booklist Review
Gr. 5^-up. "Are you lost, son?" "Yes . . . I mean, no. I need a job." The words are minimal in this picture book for older readers. An Asian American youth gets a job as a sign painter. He wants to be an artist and paint landscapes, but he's being paid to paint a poster girl on a dozen blank billboards scattered through the desert. Then there's a raging dust storm, and the model from the picture sweeps past in her car and doesn't come back. In a tribute to many modern artists, including Hopper, Warhol, and Magritte, Say shows and tells how their pictures make you feel and how the surreal is part of a young man's search for himself. In fact, the story expresses the wildness in ordinary life, both precise and mysterious, where the blonde on a billboard suddenly sweeps past you, and the all-night diner down the street is as desolate as you feel. Older readers who know the famous pictures will enjoy Say's homage to the masters, even as they are moved by the young man's conflict: Should he stay safe and earn his wages? Or should he follow his dreams? --Hazel Rochman
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Like a 1930s cinematographer, Say (Grandfather's Journey), in perhaps his best work to date, pays tribute to a bygone era with a brief slice-of-life story about a boy's encounter with a sign painter. Neither the boy nor the sign painter has a name; what carries their connection and the story is their mutual love of painting. In the opening scene, Say depicts an Asian-American boy standing in front of an urban backdrop, right out of Edward Hopper's Early Sunday Morning: the red and green strip of storefronts and barber pole provide an ideal backdrop for the young painter's uniform of black trousers and white button-down shirt. From here, Say's full-page panel paintings almost tell the story by themselves. As the boy helps the sign painter work on a billboard, they receive a commission to paint a dozen more, all featuring a woman's face. Thus begins a journey across barren landscapes, through dust storms and into the foothills of a spectacular mountain range. The blonde woman on the billboards could have stepped out of a Hopper painting; one day, in a fleeting moment, she drives past the two paintersDlike Barbie in her pink Cadillac, in stark contrast to the desert scene. The purpose of the painters' enigmatic mission comes together like pieces of a puzzle through snippets of an overheard conversation. And when the job is finished, the boy, now returned to the city, stands in front of the corner bar from Hopper's Nighthawks, empty of customers. One can't help feeling wistful while gazing at this final scene. Say subtly and ingeniously blends a feeling of nostalgia with a hard-hitting immediacy. Even though young readers will not grasp its message as fully as adult readers, the images and the boy's passion as an artist will remain with them. All ages. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by School Library Journal Review
Gr 3-5-Puzzling is perhaps the best way to describe this latest offering from one of our most talented illustrators. The quirky, quasi-surreal tale begins with a young Asian-American man disembarking from a bus in a strange town. It's early in the morning and he makes his way to a sign shop where he asks for employment. When he tells the owner that he can paint, he's put to work. The two men soon receive a mysterious commission to paint a dozen billboards along a lonesome road running through the desert. The subject of the billboards is a blonde woman featured alongside the words "ArrowStar." After weathering a fierce dust storm, the painters are nearly run over by the real-life ArrowStar model's car and then spy in the distance the looming metal towers of ArrowStar-a rollercoaster. Eavesdropping reveals that it was constructed in anticipation of a highway being built. Its owner is apparently still clinging to his dreams of amusement-park glory despite unfavorable odds and the loss of his ArrowStar girl. The painters slip away unnoticed, pondering the power of dreams. The young man leaves for parts unknown the next day. Very painterly illustrations conjure up an earlier decade, perhaps the 1950s, and different scenes pay homage to Edward Hopper's cityscapes and Georgia O'Keeffe's Southwest landscapes. While the story's stark visuals match the almost existential tone of the text, they may not engage young readers. Similarly, the narrative is more likely to baffle children than drive home its message about honoring one's dreams, artistic or monolithic.-Rosalyn Pierini, San Luis Obispo City-County Library, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Horn Book Review
(Intermediate) A young artist (clearly standing in for the author as a youth) is hired to replicate, on a dozen billboards in the California desert, a blonde image resembling the conventionally pretty girls in Coca Cola ads of the 1940s. Unlike his new boss, the boy ponders the purpose of his task and yearns to do more. What, he asks, is the meaning of ""ArrowStar,"" the one word captioning the seven-foot face on each sign? And, ""who'll know the difference if I put mountains in the background?"" As the two come to the last billboard waiting to be painted and discover that a dust storm has reduced it to an empty frame, the model for the picture zooms past them in a pink convertible. ArrowStar itself proves to be an impossibly tall, deserted roller coaster set atop a mesa; its builder had been counting on the highway coming through. As the sign painters head back from ArrowStar to town, the boss remarks that theempty billboard frames ""the cloud you wanted to paint.... There it goes, just passing by, like you and me."" The enigmatic imagery overshadows the events, but Say's illustrations are handsome indeed. Hopperesque streets with tricky lighting effects; the roller coaster's vertiginous grid; the blank billboard, a tabula rasa in the desert: each scene is masterfully composed. Studying Say's technique-his minimal detail, the way he indicates mass or distance, his use of light-could inspire any aspiring painter. If readers are also intrigued with this boy's responses to strictures on his creativity, that's a valuable dividend. j.r.l. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
Say scatters references to other artists through a typically elliptical tale of an itinerant painter and a man with a lonely, soaring vision. No sooner does the young wanderer step off a bus in a small town to take a job with a commercial artist than a new commission comes along: to paint a dozen huge desert billboards with a womans face and the single word ArrowStar. He finds out what it all means when the work is nearly done; the billboards lead to an immense roller-coaster, built by an enterprising dreamer in the middle of nowhere, near the route of a future highway. However, with the news that the road might not come, the woman to whom the billboards are also a tribute drives off, leaving the man alone with his grand construction. In Says art, every figure is a lonely one, seen at a remove, placed into wide, OKeeffe-like landscapes or stepping into one Edward Hopper painting or another Norman Rockwelllike design. As with much of Says work, this spare episode will appeal most to readers of an inward, analytical bent who enjoy winkling out hidden meanings and subtle allusions. (Picture book. 10+)
Copyright (c) Kirkus Reviews, used with permission.
