One day during ballet, Parker literally runs into Mira, a new but very talented girl in her class, and the two quickly become friends. Mira inspires Parker to practice harder, as do the ballet studio's posters of Misty Copeland, Alicia Graf Mack, and Alvin Ailey--all incredible dancers of color, like Parker herself! On the day of the class recital, Parker's mom puts the perfect finishing touches on her costume, and Parker feels confident about performing. However, when it's time for Mira's solo, the young ballerina is struck with stage fright, prompting Parker to dance it with her as a duet. As the recital ends, Parker doesn't just shine, she sparkles with pride. Favoring pinks and purples, the realistic cartoon illustrations contain meaningful details and brim with Parker's joy for dance. The book also does an admirable job of showcasing Parker's loving relationship with her younger siblings, who sometimes get in the way of her practicing. Pair this with Cheryl Willis Hudson's My Friend Maya Loves to Dance (2010), Marilyn Singer's Tallulah's Solo (2012), or Misty Copeland's Bunheads (2020).

In this follow-up to Parker Looks Up (2019), the mother-and-daughter author team explores Parker's experience as a big sister, beginner ballerina, and friend. One day in dance class, Parker careens into new student Mira, whose performance of some advanced moves leaves Parker impressed and excited. When Parker wonders how she can dance like Mira, she "looks up" and is inspired by the posters of well-known Black ballet dancers in the dance studio. She practices at home to perfect her moves, even when little sister Ava and baby brother Cash interrupt. On the day of her recital, Parker is surprised to see that Mira is overcome with stage fright and thinks quickly to help her and thus save the show. This is a charming story of determination and friendship. Parker models excellent skills of kindness in her relationships with her siblings as well as with Mira. Jackson's colorful, child-friendly cartoons include illustrations of basic ballet movements, some incorrectly labeled; they also depict Parker and her classmates dancing on pointe though they are much too young and not wearing proper toe shoes. Both lapses will have balletomanes clucking their tongues. The backmatter includes brief bios of the dancers seen on the posters, a note from Jessica Curry about Parker's love of dance, and an afterword from Misty Copeland. (This book was reviewed digitally.) This second Parker book indeed shines (but not as ballet instruction). (Picture book. 5-8) Copyright (c) Kirkus Reviews, used with permission.