NONFICTION

Martín de Porres: The Rose in the Desert

June 2012. 32p. 978-0-54761-121-8. 16.99.
COPY ISBN
Gr 2-4–Picture-book biographies of Catholic saints are usually limited to those best known, like Patrick, Francis, Joan of Arc, and Blessed Mother Teresa. Martín de Porres was the first black saint of the Americas, and has a story as inspiring and evocative of Christian virtue as any other. Born the illegitimate son of a former slave and a Spanish conquistador in 1579 in Lima, Peru, he lived with his mother and sister in abject poverty until he was claimed by his father and eventually apprenticed to a surgeon and found to have healing powers that matched his great piety. He was accepted to be a servant at a Dominican monastery, with the explicit understanding that he, a mulatto, would never become a priest. He showed compassion for all people and animals and was said to have miraculous gifts. But it is his extreme humility that resonates with most biographers, including Schmidt, who tells the story of St. Martín’s life in simple and eloquent language, emphasizing his humble servitude and great empathy. Diaz’s multimedia illustrations are lush and beautiful, reinforcing the narrative and frequently using iconic images and stylized shapes that evoke stained glass. Some drawings of Martín, however, are inconsistent. His age occasionally seems to shift out of sequence, and the changing shape of his nose and eyes in particular results in some visual dissonance for young readers. Nonetheless, this is an artful and reverent portrait of a little-known figure. Lisa Egly Lehmuller
Martín de Porres (1579-1639), son of a Spanish nobleman and an African slave, was a beloved Peruvian Dominican monk who was canonized in 1962 as the patron saint of universal brotherhood. Schmidt’s graceful account of his life focuses mostly on Martín’s impoverished youth among Lima’s slaves and Indians; his father, Don Juan de Porres, after taking the boy to Ecuador, apprenticed him to a doctor/barber back in Lima. Martín’s powers of healing were soon noted, though it was years before the monastery he joined at fifteen sanctioned his promotion from menial to brother. Diaz’s visualization of this story is magnificent, from a powerfully spiritual title-page portrait to a citywide vista of "slave boys and the Spanish royals and the Indians of the barrio and the priests of the cathedral" holding hands and singing as Martín closes his eyes for the last time. Rich in Latin American hues of red, turquoise, gold, and brown, the mixed-media art extends the text on each lovely spread -- thorny roses wreathing the copyright page; Spanish architecture, elegantly realistic or in a Cubist vista; simply rendered figures of heroic stature, including Martín’s mother like a brown Madonna; angels in gleaming silver. Like Saint Francis, Martín was renowned for his love of animals; dovelike birds and affectionate dogs enliven almost every page. joanna rudge long

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