My Country, 'Tis of Thee

April 14, 2014
“More than any other, one song traces America’s history of patriotism and protest.” Murphy’s (Marching with Aunt Susan) sweeping opening line sets the stage for subsequent examples of how marginalized groups have adopted and changed the song, “My Country, ’Tis of Thee.” A straightforward narrative examines the song’s various versions. Beginning in 1700s England as an anthem supporting King George II, the melody was put to use across the sea in the Revolutionary and Civil Wars, along with the abolitionist, farmworkers’, suffragist, Native American, and Civil Rights movements. Collier’s (Knock, Knock) striking full-spread collages invite close inspection. Layered textures and hues, photographs, and intricate paper designs create eye-catching and sometimes haunting illustrations. In one scene, runaway slaves escape through dark woods, the silhouettes of African-American children’s faces forming mountains and shrubs. A boy’s face stares out at readers from a hole in a tree trunk, as faded, anguished faces blend into the bark. “My country, ’tis for thee,/ Dark land of slavery,/ For thee I weep.” Source notes offer more details about each spread, and a bibliography and resource list are included. Ages 5–9. Author's agent: Kendra Marcus, Bookstop Literary Agency. Illustrator’s agent: Marcia Wernick, Wernick & Pratt. (June)■

May 1, 2014
One of the first patriotic songs young Americans learn in school is "America," more commonly known as "My Country, 'Tis of Thee."At some point, many also learn it shares its melody with the British anthem, "God Save the Queen." What is not so familiar is how several different versions of the words have appeared through the years and how many groups and movements used these versions to fuel their efforts for expanded rights. From the tune's first appearance in 1740s England as a way to support the monarch, during the Revolutionary War and beyond, lyrics were written and rewritten to reflect sometimes-conflicting causes. Murphy introduces various movements seeking civil rights and how they crafted verses to suit their particular causes. Short paragraphs provide context to introduce the variations, while single sentences in a larger type punctuate each spread. Readers are encouraged not only to learn about the song, but to write their own verses. Collier's watercolor-and-collage illustrations provide an additional level of understanding and complement the narrative. Detailed backmatter, including extensive source notes, bibliography, resource list (including musical links), make this an enlightening addition to social history.This examination of a well-known piece of music and the activism it inspired makes for a fascinating way to explore history. (Informational picture book. 5-9)

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May 1, 2014

Gr 5-7-A familiar patriotic song culminates in a hymn to "Great God Our King," having long ago originated as a tribute to England's King George II. Through two centuries, many different texts were used by groups for whom freedom didn't ring. Murphy's subtitle introduces this collection of variants. The chronological string of historical points begins in 18th-century England and moves through protests of the colonists, the Revolutionary War, and subsequent lack of freedoms and full citizenship for women, slaves, Native Americans, and people of color until well after the Civil War. Double-page entries include a short bit of history and a related verse of a protest song set against Collier's watercolor and collage scenes and portraits of individuals and groups. The view is most often somber, with dark and neutral tones occasionally brightened with a bit of deep blue. The presentation culminates with Marian Anderson's 1939 Lincoln Memorial performance upon being shut out of Constitution Hall, the rise of Martin Luther King, Jr., and Aretha Franklin's singing at the inauguration of Barack Obama. Finally, readers are invited to "Write a new verse for a cause you believe in. Help freedom ring." The invitation is laudable, and some of the songs are clear and compelling. Others seem quaint or even murky for a young audience: "Let Freedom's voice prevail, /And draw aside the veil, /Supreme Effulgence hail, /Sweet Liberty." The book concludes with brief notes about each entry and the music and verses of "My Country 'Tis of Thee." The sketchy outline of civil rights history could serve as an introduction for some readers or classrooms. Creative music teachers might also use it to explore the larger realm of protest songs.-Margaret Bush, Simmons College, Boston

Copyright 2014 School Library Journal, LLC Used with permission.

June 1, 2014
Grades 3-5 This unusual picture book traces the history of the song that is usually referred to by its first line, My country, 'tis of thee (the song's true title is America). Murphy suggests that the changes made to the lyrics in different periods create a narrative of civil rights in America. Originally an English song from the 1740s (God Save the King), it inspired new, more revolutionary verses as colonial America moved toward independence. Later, activists adapted the song to promote a variety of causes, including the abolition of slavery, voting rights for women, workers' rights, and civil rights for African Americans. The text creates a sweeping sense of history, culminating with Aretha Franklin singing America at President Obama's inauguration and urging children to write a new verse for a cause you believe in. Collier's atmospheric collages of paintings and photos create richly textured effects as well as some iconic portraits, while the settings and dress in the artwork will help readers envision the swift shifts from one period to the next. An intriguing new take on a beloved patriotic song.(Reprinted with permission of Booklist, copyright 2014, American Library Association.)