Nearly all the reviews on this blog are organic, meaning they are of things I’ve read, listened to, or attended because I discovered them and chose to review them on my own. This is one of the very few exceptions. The author, Beth Bacon, emailed me and suggested that since my site was about road trips and I did book reviews, I might be interested in reviewing her latest work. Right off the bat, I was impressed that she knew road trips and reviews were involved in the site. Most of the email requests/offers I get seem pretty oblivious to that. Cryptocurrency, miracle medical treatments, and streaming services are popular—the most recent involved ancient coins.
This email was legitimate, and a quick look at some accompanying information made me think the suggested review made sense. But there was one problem. Being a children’s book wasn’t the actual problem, but it was part of it. I’d never reviewed a children’s book, despite coming across a few “organically”. A couple of those were also related to Route 66, and were written by friends. That they were aimed at children was the only reason I’d not reviewed them before. It didn’t feel right to review a book by a complete—but polite and likable—stranger, when I’d not reviewed similar books by people I actually knew. I solved that problem by using the last two Wednesdays to post belated reviews of Emily Priddy’s Route 66 for Kids 2026 and Anne Slanina’s Annie Mouse’s Route 66 Adventure. Apologies, ladies. I hope you believe that late is at least a little better than never.
Beth Bacon has all the right credentials. There’s an MFA degree in Writing for Children and Young Adults, a string of books for kids, and a bunch of awards for them that include a couple each from Mom’s Choice and Chanticleer Little Peeps. She has illustrated some of those books herself and worked with various artists on others. As far as I know, this is her first time working with Jodi Woolsey, but it is hardly Woolsey’s first time working with authors. She teaches art at the college level and runs her own freelance studio. Her illustrations tell much of this book’s story and do an excellent job framing the names and other details in Bacon’s words.
Those names, and the places too, seem carefully chosen. A road that’s 100 years old and nearly 2,500 miles long certainly has plenty of both. It’s easy enough for adults to be swamped and even easier, I imagine, for the 5-10 year olds that are the book’s target readers. Bacon picks subjects likely to interest the 5-10 crowd and doesn’t overwhelm by trying to include everything. The book opens with a few bits of information about the entire road and about Cyrus Avery, who was instrumental in establishing it. That’s followed by one- and two-page sections on each of the route’s eight states. One of the names appearing for Illinois is Bob Waldmire, who traveled the route in a Volkswagen bus. Missouri’s pages include Alberta Ellis, who operated a hotel and other businesses where people of color were welcome at a time when that was often not the case. This brief, casual mention of the topic earns a bonus point from me. The Blue Whale of Catoosa, Oklahoma, is an obvious kid-friendly subject, and Bacon introduces its creator, Hugh Davis, and his wife, Zelta, to her readers. Bacon also identifies more key names and places for these three states, along with a handful for each of the other five. A personal favorite is Bacon’s mention that Snoopy’s brother Spike lives near the Route 66 town of Needles, California.
I have a hunch that recognizing the publisher had a little bit to do with me wanting to review this book. The list of Reedy Press authors contains quite a few familiar names. Two of my recent reviews (Aprons Away and Route 66: The First 100 Years) were of Reedy Press publications, which left me impressed with their product. And they’re just a couple of miles off Route 66.
Route 66: Faces and Places Along America’s Most Famous Road, Beth Bacon (author) and Jodi Woolsey (illustrator), Reedy Press (August 15, 2026), 11 x 9 inches, 32 pages, ISBN 978-1681066776
Available through Amazon.
I’ve known Dr.
Three of the Annie Mouse books involve Route 66. The author is a big fan of the road and travels it frequently. That is where, of course, I met her. In Annie Mouse’s Route 66 Adventure, she applies not only the road knowledge she gained through her travels, but also photographs she took herself. The book covers a near full-length drive of the historic route from Joliet, IL, to Needles, CA. Making the journey is the Mouse family. There’s Mommy and Daddy, of course. The Mouse children include Annie’s older brothers, Sam and Bobby; older sister Jenny; and some unnamed younger siblings. The trip’s purpose is to visit Mommy Mouse’s cousins in Needles.
Annie is the journal’s narrator. She is also its photographer. When Annie first learns of the planned trip, her excitement grows even bigger when she is told she would be allowed to take her own pictures. Those pictures appear exactly as you might expect from a young mouse making a scrapbook-style journal of her family vacation. More importantly, they appear exactly as they should to help young humans flesh out the words beside them. Sometimes, with the help of illustrator Kelsey Collins, Mouse family members appear in those pictures just as you would expect in vacation snapshots. There are also plenty of Collins’ delightful drawings in the book outside the frames of the photographs.
This book first appeared in 2003 as a real paper and ink publication. I got a signed copy in 2004, which, because it was small and easy to stuff between seats or in the glovebox, I kept in the car for quite some time. Based on the copyright dates, it was revised several times, but I never got a newer one, and my copy became increasingly out of date. Prior to February of this year, it looks like the most recent revision was 2016, so even the newer editions might not have been all that trustworthy. The print editions sold for next to nothing (I paid $5 for mine), and when Priddy updated things in February, she went beyond next and made it available for just plain nothing via Google Docs.
It’s definitely reasonable to ask why someone who is about as far from kidness as it’s possible to get, ever kept this close at hand. I mentioned the size of the hard copy. The size of the entries is another positive, as is their organization. States and the towns within them are listed east to west. The list of attractions associated with each town does not appear to be in any particular sequence. Below each attraction’s identifier is a single paragraph containing a brief description, address, telephone number, and website. The descriptions typically include cost, hours, and any other special considerations. They are not written by AI or someone following a formula who has never been there. Priddy often shares personal insights.



I was aware of this book when it was published, and I was interested in reading it. But not so interested, it seems, to actually order it. My interest in the book came from a general interest in early aviation history that anyone growing up in the land of Wilbur and Orville, as I did, should come by naturally. The lack of urgency came from the fact that its proclaimed subject was an airport in another state. It was a nearby state, but it wasn’t my state. It took a visit by the authors to a nearer and more familiar airport to finally put a copy in my hands.
I really was not surprised that Morris and Butkos begin their story long before there were any such things as airports or even airplanes. They do it with a Pittsburgh twist, of course, and tell about early inventors and adventurers connected to the city. I got a chuckle from a quote they share about a 1897 flight by Professor Carl E. Myers and his skycycle. The skycycle appears to be a balloon with a seat and pedals suspended below it. As reported by The Pittsburgh Press, it did fly and eventually floated out of sight while “The professor, if he had any control over the skycycle, did not exercise it.”
Of course, skycycles and other “Fanciful Fliers” fell out of favor once airplanes came along, and particularly after they were proven practical in World War I. Morris and Butko share the stories of several Pittsburghers involved in wartime aviation and the barnstorming that war-surplus aircraft gave rise to after the hostilities ended. It was a group of Pittsburgh barnstormers that gave birth to the airport that would be named Bettis Field in 1926. One of them, Clifford Ball, provided a slogan that would eventually be modified for a different field and some different dreams: “Build the nests and the birds will come.”
Also in 1926, Ball sold his interest in the airport to form Skyline Transportation to pursue a government airmail contract. He did get the contract and purchased three airplanes to service it. Here’s where that WACO connection mentioned earlier comes in. The three planes were WACOs named Miss Pittsburgh, Miss McKeesport, and Miss Youngstown. Miss Youngstown was destroyed in a wreck; Miss Pittsburgh hangs at the Pittsburgh Airport; and Miss McKeesport is in the WACO Museum, parked behind Sue and Brian in the photograph above. There is another view, sans authors,
Morris and Butko have uncovered and included an impressive number of stories about people and events connected with Bettis Airfield. It was one of the stops on Charles Lindbergh’s tour following his cross-Atlantic flight, but the Spirit of Saint Louis had to be slid sideways into a hangar because its wings were wider than the door. Quite a few black pilots trained at Bettis, but for a period, had to go to another state to be licensed because the designated federal inspector simply refused to pass them. A fairly large number of female pilots, some of whom were rather famous, were associated with Bettis. Passengers were sometimes flown on airmail flights, sitting on bags of mail; then, in 1929, real passenger service — with seats — was added.
Although I have since figured it out, when I pulled Fifty Inventions That Shaped the Modern Economy from my to-read list, I wasn’t sure how it got there. I was, however, quite certain that beginning it immediately after reviewing 



This book, just like its subject, is bright, colorful, eye-catching, and informative. That subject, quite obviously, is the 25-year-old
Museum founder Tod Swormstedt provided a welcome page and an introduction, and his influence is evident throughout. It’s a given that some of the information presented in Roberts’ text came from Tod and others. To me, it seems almost as obvious that a guy so adept at organizing walls, rooms, and buildings filled with signs would have a hand in organizing sign-filled pages, and I have a strong hunch that he might have suggested a few targets for Grilli’s camera.
As Tod describes in the introduction, the book consists of three sections. The first describes what the museum is. It begins with some statistics, such as size (40,000 sq ft), oldest sign (155 years), and tallest sign (21 ft). That is followed by “A Founder’s Vision” (written by Tod), some words about the museum’s mission and its relationship with the community, and recognition of some of the many individuals who have been instrumental in the museum’s development and ongoing operation.
The second section concerns signs in general. There is a condensed history of signs in America that starts with carved and painted signs and progresses through materials like glass and plastic. The major changes electricity brought and the development of various illumination methods are covered. The section concludes with a glossary of sign types and the techniques and materials used in their construction.
I first became aware of the museum with the 2005 opening of its original Walnut Hills location. To someone not involved with the sign business in any way, it seemed to me that this wonderful new attraction had magically appeared, fully formed, in my city overnight. However, we all know that’s not how things work, and I soon learned about some, but far from all, of the work behind that magic. The first part of section three nicely covers the period between forming a board of directors in 1999, incorporating as a non-profit in 2000, and that delightful grand opening on April 28, 2005. This is also where I found more photos of Tod wearing a tie (3) than I’d ever seen before.
That first home in Essex Studios in the Walnut Hills neighborhood of Cincinnati was outgrown before it was occupied. Behind-the-scenes coverage continues as the current location in Camp Washington is acquired and made ready for another grand opening in June 2012. Central to “A Founder’s Vision” was the desire to not just display signs but to tell the story of American signage. Two envisioned methods for doing that were a Letter Wall showing the evolution of sign lettering and a faux street where signs were displayed in period-appropriate settings. A short Letter Wall existed at Essex, and some signs were sort of arranged as if they were on a street, but the backing was mostly plain white walls. In the new location, there was room to create proper versions of these two features. A much longer Letter Wall was constructed at the entrance to the main display area, and a Main Street was built with various storefronts lining both sides. To add another layer of realism, a diverse group of sign painters known as Letterheads descended on the museum to add signs to windows and doors to augment the big signs hanging on the storefronts and standing in the street. The store windows serve as natural display locations for items like painter kits and books.
The Letterheads and the museum have a wonderful relationship that is well documented in the book. The museum hosted the group’s 40th and 50th reunions in 2015 and 2025, and the group added murals and other features to the museum each time. When the museum expanded and Main Street doubled in length in 2024, the Letterheads returned to work their magic on the new storefronts. The Letterhead story is just one of many that show how the museum is appreciated by sign makers as well as sign fans.
There is something akin to a fourth section spread throughout the book. It is made up of things called “Sign Stories”, which are like sidebars in that they are standalone and not tied to the main flow of the book. But each is at least one full page, and some fill a two-page spread. Most describe a sign or group of signs in the museum’s collection. They typically provide a date and original location and identify the sign material and type. Then the page is filled with details about the sign’s original owner, its acquisition, or some other truly interesting aspect of the sign. I didn’t count them, but there’s a bunch. Enough to believe that some people might think the book worthy of purchase if these were all it contained.











