Little White Duck

June 4, 2012
A doctor of oncology and hematology, author Liu was born in China in 1973, and her life there for more than 20 years provides plenty of odd autobiographical tidbits for this graphic novel inspired by her experiences. Aimed toward kids, Liu’s story captures life in China in the experience of one child, showing how even the broadest governmental policies and cultural standards affect an individual’s smallest moments. These darker corners give Liu’s reminiscence its power: strict Chinese one-child laws, the graphic misfortune of animals in China, the poverty and surliness of Liu’s rural relatives. Yet while the landscape is different, the children’s escapades are the same as those of kids today. This is the result of a husband-and-wife collaboration, and the emotional bond of the partnership is clear on every page. Liu is a calm storyteller whose words are enlivened by Martinez’s enthusiastic and energetic art, and their respective tones complement each other fluidly. Martinez’s work is a loving depiction of his wife in childhood, providing atmosphere through not only his period details in the stories, but also the between-story spreads that broaden the reader’s scope in understanding life in China at that time. Ages 9-13

Starred review from September 1, 2012

Gr 4 Up-Based on her childhood experiences, Na Liu and her husband have created a rich, multilayered memoir, incorporating history, geography, language, culture, and mythology into eight short stories; then weaving them together to create an exquisite tapestry of life in China during the 1970s. The work follows a logical progression, capturing youthful experiences against a broad Chinese landscape. Background information establishes each story and seamlessly segues into personal reminiscence, with excellent interweaving of each section. For example, the introductory dream sequence features Na Liu and her sister flying on a crane's back over panoramic China. The first narrative panel depicts the girls' awakening, with a painting of a white crane visible behind their bed. Mythological origins of New Year transition into an account of the family's celebration, with red banners and a dragon puppet echoing the colors and patterns from the previous holiday description. Scenes of daily life are juxtapostioned against the political climate, retelling simple stories through comic panels that can be enjoyed by young readers, but also delivering interesting perspectives and biting commentary on social issues. The grim realities of government propaganda, social class, and family dynamics make the memoir even more poignant. Humor, as well as the plays on words, enlivens many of the sections. The children's expressive faces provide a personal reaction to these contrasting points of view. This picturesque treasure introduces Chinese culture through a personal perspective that is both delightful and thought-provoking.-Babara M. Moon, Suffolk Cooperative Library System, NY

Copyright 2012 School Library Journal, LLC Used with permission.

Starred review from September 15, 2012
A striking glimpse into Chinese girlhood during the 1970s and '80s.Beginning with a breathtaking dream of riding a golden crane over the city of Wuhan, China, Liu Na, recounts her subsequent waking only to discover that Chairman Mao has passed away. The 3-year-old finds this difficult to process and understand, although she is soon caught up in the somber mood of the event. From there, her life unfolds in short sketches. With this intimate look at her childhood memories, Liu skillfully weaves factual tidbits into the rich tapestry of her life. In the section titled "The Four Pests," she explains about the four pests that plague China--the rat, the fly, the mosquito and the cockroach (with an additional explanation of how the sparrow once made this list, and why it is no longer on it)--and her stomach-turning school assignment to catch rats and deliver the severed tails to her teacher. In "Happy New Year! The Story of Nian the Monster," she explains the origins of Chinese New Year, her favorite holiday, and her own vivid, visceral reflections of it: the sights, sounds and smells. Extraordinary and visually haunting, there will be easy comparisons to Allen Say's Drawing from Memory (2011); think of this as the female counterpart to that work. Beautifully drawn and quietly evocative. (glossary, timeline, author biography, translations of Chinese characters, maps) (Graphic memoir. 9-12)

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January 1, 2013
Eight vignettes in graphic-novel format bring Liu's childhood in 1970s China to life. Much will seem the same, but the particulars make all the difference. Author and illustrator together give an unvarnished, intimate account of a real childhood: plain-speaking, rough-hewn, and down-to-earth. While the book's time and place are very different from our own, there's not a hint of sentimentality or exoticism. Timeline. Glos.

(Copyright 2013 by The Horn Book, Incorporated, Boston. All rights reserved.)

Starred review from September 1, 2012
Wife-and-husband team Na Liu and Andres Vera Martinez use a graphic-novel format to bring Liu's childhood in 1970s Wuhan, China, to life for contemporary children. Much will seem the same -- family life with a younger sister, school, a visit with a semi-scary grandmother -- but the particulars in the eight vignettes included here make all the difference. Liu recalls her uncontrollable (and uncomprehending) sobbing at the death of a "grandpa" she did not really know, Chairman Mao; creativity and finally subterfuge is required when her teacher commands each student to bring in four rat tails as evidence of participation in the government campaign to rid the country of vermin. Illustrator Martinez gleefully pictures the sisters' elaborate fantasies for rat-trapping (like putting a soybean up the butt of one rat, sending it into a frenzy that will cause it to kill the rest of the pack) as well as their eventual mutual admittance that they can't even touch a rat to sever the required tail ("EEEYuu! GROSS!"). Author and illustrator together give us an unvarnished and intimate account of a real childhood: plain-speaking, rough-hewn, and very much down-to-earth. While the time and place the book depicts are very different from our own, there's not a hint of sentimentality or exoticism: the scene where the mother shames the girls into cleaning their plates by telling them the real story about starving children in China is simultaneously horrifying and hilarious. A glossary, a chronology, and an author's note provide context. roger sutton

(Copyright 2012 by The Horn Book, Incorporated, Boston. All rights reserved.)