The women also become enmeshed in the political situations that surround, and often threaten, them and their work. In fact, the work of Fossey, Goodall, and Galdikas ended up going far beyond Leakey’s original mission.Īs visualized throughout the play, frequently through the use of moving and effective puppetry, the women connect deeply to the animals - each in different, yet equally profound, ways. However, though Leakey had the foresight to get them started on their paths, his underlying goal was for the three women to study these animals in order to shed light on the human condition, and human origins the animals themselves, and their sentience, were not his focus. Beyond just a professional relationship, the personal connection that Leakey shared with all three women - the fondness they had for him, the mentorship and friendship he provided - was abundantly clear (and incredibly touching) throughout the play. The origin of the title, Leakey’s Ladies - which was the one part of the play that I intensely disliked (more on that later) - is in the fact that all three of these women were inspired originally to do their work by anthropologist and game-changer, Louis Leakey. Animals were never seen the same way again.
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and makes it understandable for children. an excellent vehicle for discussion.” - Kirkus Reviews " powerful story.” - School Library Journal "A remarkable book.” - The Hungry Mind Review "Bunting takes a serious subject. Both author and artist have managed to portray a politically charged event without pretense or preaching.” -The Bulletin "Monumental.” - The New York Times Book Review "Visually exciting.” - Publishers Weekly "A memorable, thought-provoking book.” - The Horn Book "Outstandingly handsome. Without becoming cluttered or gimmicky, these pictures manage to capture a calamitous atmosphere that finally calms. Winner of the Caldecott Medal An ALA Notable Children's Book An American Bookseller Pick of the Lists A Hungry Mind Review Book of Distinction A Publishers Weekly Children's Bestseller A Parents' Choice Award Winner A School Library Journal Best Book of the Year “Diaz has not been afraid to take risks in illustrating the story with thickly textured paintings against a background of torn-paper and found-object collage. One of these French postmodern writers, Catherine Cusset, claims that the author of auto-fiction makes a pact with him or herself not to lie and not to invent for the sake of invention, but to be as honest as possible in his or her search for the truth. Since then, the term auto-fiction has been the subject of much debate, particularly among French postmodern writers, who, as yet, have not arrived at a better definition. Autobiography, he wrote, was a privilege reserved for the important people in the world, at the end of their lives, to be written in a refined style while “fiction of events and facts strictly real” was his definition of auto-fiction and the “adventure of language” defined its style. The term “auto-fiction” was first coined by the French writer, Serge Doubrovsky, in 1977 to describe his novel Fils (translated as both Thread and Son) as well as to describe a genre that was part autobiography and part fiction. |