We also notice the attention to Minty’s hair. While Minty is a house slave, her short, curly hair is uncovered, but as she is translated to the fields, her mother makes her a bandanna to protect her head from the scorching sun.
Another cultural marker is apparent in Pinkney’s rendition of the Big House and of the clothing the Masters wore. We notice China and the stitch work on the tablecloth. We take notice of the Missus' long, flowing gown, her necklace and her the husband’s two toned vest and handkerchief at his throat.
A strong theme presented is the strength of African Americans in the face of such deplorable living conditions. While we don’t see the marks left on Minty’s back after a whipping, we see her parents tending to her wounds. Minty is biting down on a stick as tears stream down her cheek. Minty’s brother, unable to bear the sight, covers his eyes and Minty’s sister cries as she looks on. We are told that it is several days before Minty can walk again.
Demonstrating a spirit of survival, Minty’s mother relates a piece of advice her father gave her,
“If your head is in the lion’s mouth, it’s best to pat him a little. Pat the lion, Minty. It ain’t gonna kill you.”
The dialect used also provides authenticity to the story. One example is when a field slave tells Minty, “Tell your mama to make you a bandanna, or, girl, you gonna fry your brains out.” That same slave later tries to deter Minty from running away, “Believe me, honey, I’ve tried it and it ain’t worth it. Uh-uh.”
Alan Schroeder promptly informs us that this is a fictional account of Harriet Tubman. He further states that the basic facts are true and presents an Author’s Note at the conclusion of the book. I was surprised that Schroeder did not include a list of works he consulted to validate his story. It is in the Author’s Note that we are told Harriet Tubman was known as a “difficult slave”. Schroeder depicts Minty’s incorrigible spirit as the story opens up and Minty is hiding from the Missus. She giggles at the Missus, sticks out her tongue and thinks, “I’ll come when I’m good and ready.” Immediately after that Schroeder allows us into to catch a glimpse of Minty’s faith and hope. She seeks out a doll she has hidden in the barn and tells her the following story:
“David – he picked up this tiny little rock, took aim, and sent it flyin’. Hit the ol’master smack in the head. Killed him, right there in front of everyone. Then they had a big ol’party afterward, and David got to move into this big house with a long table, and he was never hungry or nothin’again.”
In the Author’s note we are told that Minty was assigned to tend muskrat traps. Schroeder is able to weave this into our story. In an act that foreshadows Minty’s future, she releases the trapped muskrats, just as later in life she helps slaves find their way to freedom.
This book may be a fantastic resource in an ESL classroom. It can introduce newcomers to the contributions of Harriet Tubman and recognizes her heroic efforts in helping others escape slavery. This has thus earned her an important place in the history of these United States. Without a doubt, should be in every teacher's classroom library.
Told in rhythmic prose and colloquial dialogue, the plot has actual events that are small, but it is rich with melodrama, suspense, pathos, and, of course, a powerful vision of freedom. Pinkney's illustrations exhibit, characteristically, his refined draftsmanship; the complicated compositions convey psychological aspects of slavery and make the individual characters even more distinct. –From Kirkus Reviews
