In this unheralded civil rights allegory composed in the heat of the early 60s, two little dogs frolic and dream of adventures beyond their wildest imaginations, from jungles of the Congo with towering ebony elephants to the whitewashed, frigid arctic where the icy white polar bears roam. Dahlov Ipcar once again pairs her timeless illustrations with fresh original verse that celebrates the unity, wonder, and beauty of the living, breathing natural world around us.
About the Author
Dahlov Ipcar is an American author, artist, and illustrator, whose career has spanned five decades. She has written and illustrated over thirty children's books, won the NEIBA President's Award and the Kerlan Award for Children's Literature. A true master of color and organic form, Ipcar's unique and timeless stories instantly captured the hearts of children world over. Some fifty years later, her books are still in print and continue to be cherished for the beauty of their artwork and quality of their narratives. Flying Eye Books is delighted to introduce a new generation of adoring young readers to Ipcar's classic stories with the inimitable and stunning Dahlov Ipcar Collection.
Dahlov still paints on her farm in Maine where she penned many of her greatest works and has lived since 1937.
The story, evidently inspired by the U.S. Civil Rights movement, celebrates nature with Ipcar’s rhymes and cool, compelling colors. […] Black and White is a beauty. —Kirkus Reviews
The lyrical, evocative rhymes are accompanies by vivid illustrations on expansive spreads. . . . This timeless story can also be seen as a subtle allegory depicting integration, as Ipcar interweaves black and white in an effortless, celebratory way." —School Library Journal
[…] it would seem that more than a little of [Margaret Wise] Brown’s puckish wit and calming lyricism rubbed off on [Ipcar] in this waggish tale about a "little black dog and a little white dog" with big dreams. —The New York Times
The very first Dahlov Ipcar book I got to work on was Black and White, as an assistant children's editor at Knopf in the early 1960's. That meant I helped shepherd things through the process, write the first draft of the flap copy, and spending a lot of time in Art Director Atha Tehon's office because I was absolutely gaga over picture book art. Especially as it was done then, like linoleum prints, each color being processed separately, which still makes my head spin. Being part of the team that worked on Black and White was my introduction to one of the most important influences in my growing life as a children's book writer and reader. Her work was unlike anything else I knew, mind-blowingly original, with an energy and potent visual storytelling that I adored. That her books are now being reissued fifty years later is testament to their staying power, and to the importance of that particular artistic grammar that can still speak to young readers so many years later with as much freshness as they spoke to me in 1963. —Jane Yolen
[The illustrations] are evocative and move like music across the page. —Andrew Shuping, Musing Librarian Reviews