Hesse, Karen. 2001. WITNESS. New York NY: Scholastic Press. ISBN 0-439-27199-1.
Plot Summary: Witness is a verse novel that tells the story of the residents of a small Vermont town in 1924. The two main characters, Leonora Sutter and Esther Hirsch, experience racism and anti-Semitism, respectively, as the Ku Klux Klan takes root in their community. The reactions of the characters to these events are diverse and often evolving. Although the novel begins with a town divided over the ascendancy of racism and anti-Semitism in their community, by the end, most come to see the light of reason and the Klan is driven out.
Along the way, the reader gets a glimpse into presidential politics (the election of 1924), the life of a bootlegger (in this case a woman named Iris Weaver), and the rise of fundamentalism in the persona of Johnny Reeves. Divisions within families over the social issues of the 1920s is represented by the marriage of Harvey and Viola Pettibone, owners of the local dry goods store.
Two events, the attempted murder of Esther’s father by an unknown assailant and the discovery of a two-day old abandoned baby, provide the reader with a mystery that must be solved within the context of the larger narrative.
Critical Analysis: Witness is written in free verse style and contains conversational, colloquial language. The eleven main characters present a sequence of events from varied perspectives. Hesse’s inclusion of vintage photographs representing the characters helps the reader to keep track of the often complex thoughts and feelings of the town folk.
A brief visit to the town by John Philip Sousa and references to events of the 1920s (flappers, Clarence Darrow, Leopold and Loeb, and Helen Keller) help the reader to remain anchored in an historical context while at the same time being drawn seamlessly into the lives of the two children, Leonora and Esther. The mixed emotions of the towns’ adult population are reflected in the author’s choice of language and use of imagery. Leonora’s clear, perceptive narration contrasts with Esther’s stream-of-consciousness style, reminiscent of Faulkner’s The Sound and the Fury.
By using free-verse poetry and a five-act format, Hesse takes an extremely important watershed decade in U.S. History and makes it come to life through the genuine and often poignant observations of the residents.
Reviews:
Winner of the 2002 Christopher Award (for works which affirm the highest values of the human spirit).
Publishers Weekly: “The author…turns language into music. Easily read in one sitting, this novel powerfully records waves of change and offers insightful glimpses into the hearts of victims, their friends and their enemies.”
School Library Journal: “…this is much more than a social tract. It's a thoughtful look at people and their capacity for love and hate.”
Booklist: “Using real events, Hesse tells a story of the Ku Klux Klan in a small town in Vermont in 1924…the book will spark discussion about how such a thing can happen even now.”
Kirkus Reviews: “What Copeland created with music, and Hopper created with paint, Hesse deftly and unerringly creates with words.”
Connections:
Prior to reading the book, students should be given a solid background on the social, cultural, and political turbulence of the 1920s including the resurgence of the Ku Klux Klan, a rise in anti-Semitism, the Leopold and Loeb trial, racial tensions, and the impact of Prohibition. This book would work well in a U.S. History class as an end-of-unit activity.
This book can easily be adapted for Readers Theater. Although the entire book could be used, I would suggest an abridged reading focusing on the main characters and their experience with racism and anti-Semitism.
Watch a clip of the silent classic “Birth of a Nation” (mentioned in the book). Discuss with students how a film of this nature could spark racism (as it glorifies the role of the Ku Klux Klan during Reconstruction).
In researching the novel, many teachers pair it with To Kill a Mockingbird. Connections can also be made to the Holocaust and the Civil Rights Movement.
Have students research the Harlem Renaissance and the poetry of Langston Hughes, Countee Cullen, and Claude McKay. Cullen’s poem “Incident”, McKay’s poem “America”, and Hughes poem “Democracy” or the more well-known “I, Too” would be good choices. Have them identify common themes and compare them to Hesse’s themes in Witness.
The use of music in the classroom can motivate students and spark discussion. Pair the song “The Klan” by Richie Havens with a writing activity using the characters in Witness. For example, assign the students various characters from the book and have them write a response to the song (paragraph, journal entry, letter to the editor, song review) from that perspective.
Sunday, June 28, 2009
Poetry: Night Garden: Poems from the World of Dreams by Janet S. Wong, illustrated by Julie Paschkis
Wong, Janet S. 2000. NIGHT GARDEN. Illustrated by Julie Paschkis. New York, NY: Margaret K. McElderry Books (Simon and Shuster). ISBN 0-689-82617-6.
Critical Analysis: Night Garden is a lavishly illustrated journey into the world of dreams. Wong taps into the psyche of children by including poems about their basic feelings, fears, and desires. This fifteen poem collection explores topics such as identity, death, friendship, fear, conflict, loss, and hope. An example is “Old Friend”:
I had forgotten you, friend
Is that why you came
into my dream?
I had forgotten you.
When I fall asleep again
will you leave your address
on my pillow?
The majority of the poems do not rhyme yet have a unique rhythm such as “Gently Down the Stream” in which each line contains either six, seven or eight syllables, thus creating an ideal vehicle for a unison reading activity. The children will enjoy the predictable rhythms and could even create a six, seven, or eight syllable line of their own to add to the poem.
Imagery is particularly strong in these poems such as in “Night Garden” (deep in the earth, a tangle of roots, green shoots, dandelion weeds, alive with seeds) and “Turnip Cake” (orange shrimp, red sausage, soggy mouth watering, crisp to the teeth, soft to the tongue). Strong emotions such as betrayal and terror are also present as in “Even in my Sleep” (You monster, how can I ever forgive you), and “Flying” (I think I would be terrified).
The illustrations by Julie Paschkis can only be described as perfect and masterfully complement the poems, and in some cases, encourage new interpretations that the poems alone would not support. The illustrations reflect Asian influences and often have a psychedelic-like quality that dovetails nicely with the books’ topic: dreams. Night Garden is a wonderful addition to a child’s book collection where it will quickly become a bedtime reading classic.
Reviews:
Publishers Weekly: "Paschkis's swirling imagery and Wong's quiet yet haunting words skillfully simulate the reveries they recount.”
School Library Journal: “This is a particularly fine collection for libraries in which young writers and painters are encouraged.”
Booklist: “Wong, an accomplished and versatile poet, finds dream images that children will know…the illustrations are magnificent.”
Kirkus Reviews: “…a collection of 15 soulful poems that commands attention and keeps until the end, with a canny, singular take on the familiar imagery of dreamtime.”
Connections:
Incorporate other books by Wong such as “A Suitcase of Seaweed” or “Good Luck Gold”.
Find other books illustrated by Paschkis such as “Knock on Wood” (poems by Wong), or “Twist” (a collection of poems about yoga).
Read the poem, Nightmare. Lead a discussion about nightmares and what the children are afraid of (the dark, bugs, falling) and – depending on the age of the group – brainstorm what abstractions these represent. It will help to introduce simile, __________ is like ___________ to create a concrete model. Guide the discussion as the children speculate that a fear of falling may represent a fear that no one will be there to catch them (loss of parent), a fear of the dark might represent a fear of death, etc. This discussion must be carefully crafted and adapted based on the age of the children and may take time to perfect but with practice and consistent exposure to abstractions, the children will learn to see that something concrete may represent an abstract concept, an idea, a fear, love, etc. This will prepare them well for the higher level thinking required in middle and high school.
Pairing Poetry: Combine Leonardo and the Flying Boy by Laurence Anholt (36 pages, ages 4-8) with the poem "Flying". Sylvia Vardell states “If you regularly read a picture book out loud, try following up with a poem that has a similar subject or theme” (Children’s Literature in Action, 134).
The use of Magnetic Poetry would work well here. Although there is a commercial product (various words with magnets), an adaptation of this concept would be to have words typed on cardstock and laminated. Distribute the words (8-10 per child) and have them create their own poem about any of the topics in the book including friendship, flying, falling, dreams, dogs or a topic of their choosing. Younger children can create illustrations.
NOTE: The librarian must be sensitive to cultural beliefs about dreams. Many cultures emphasize the importance of analyzing dreams but may come to different conclusions. Be sure that a discussion of dreams does not go against the cultural norms of the audience. The age of the children will also determine how far to take these activities.
This book would be a great resource in working with older children, even those studying Psychology in High School. Reading a few of these poems and generating a class discussion would make a great segway to the study of Carl Jung or Joseph Campbell. In English, these poems might be analyzed and interpreted from the perspective of various cultural, ethnic, or racial groups.
Critical Analysis: Night Garden is a lavishly illustrated journey into the world of dreams. Wong taps into the psyche of children by including poems about their basic feelings, fears, and desires. This fifteen poem collection explores topics such as identity, death, friendship, fear, conflict, loss, and hope. An example is “Old Friend”:
I had forgotten you, friend
Is that why you came
into my dream?
I had forgotten you.
When I fall asleep again
will you leave your address
on my pillow?
The majority of the poems do not rhyme yet have a unique rhythm such as “Gently Down the Stream” in which each line contains either six, seven or eight syllables, thus creating an ideal vehicle for a unison reading activity. The children will enjoy the predictable rhythms and could even create a six, seven, or eight syllable line of their own to add to the poem.
Imagery is particularly strong in these poems such as in “Night Garden” (deep in the earth, a tangle of roots, green shoots, dandelion weeds, alive with seeds) and “Turnip Cake” (orange shrimp, red sausage, soggy mouth watering, crisp to the teeth, soft to the tongue). Strong emotions such as betrayal and terror are also present as in “Even in my Sleep” (You monster, how can I ever forgive you), and “Flying” (I think I would be terrified).
The illustrations by Julie Paschkis can only be described as perfect and masterfully complement the poems, and in some cases, encourage new interpretations that the poems alone would not support. The illustrations reflect Asian influences and often have a psychedelic-like quality that dovetails nicely with the books’ topic: dreams. Night Garden is a wonderful addition to a child’s book collection where it will quickly become a bedtime reading classic.
Reviews:
Publishers Weekly: "Paschkis's swirling imagery and Wong's quiet yet haunting words skillfully simulate the reveries they recount.”
School Library Journal: “This is a particularly fine collection for libraries in which young writers and painters are encouraged.”
Booklist: “Wong, an accomplished and versatile poet, finds dream images that children will know…the illustrations are magnificent.”
Kirkus Reviews: “…a collection of 15 soulful poems that commands attention and keeps until the end, with a canny, singular take on the familiar imagery of dreamtime.”
Connections:
Incorporate other books by Wong such as “A Suitcase of Seaweed” or “Good Luck Gold”.
Find other books illustrated by Paschkis such as “Knock on Wood” (poems by Wong), or “Twist” (a collection of poems about yoga).
Read the poem, Nightmare. Lead a discussion about nightmares and what the children are afraid of (the dark, bugs, falling) and – depending on the age of the group – brainstorm what abstractions these represent. It will help to introduce simile, __________ is like ___________ to create a concrete model. Guide the discussion as the children speculate that a fear of falling may represent a fear that no one will be there to catch them (loss of parent), a fear of the dark might represent a fear of death, etc. This discussion must be carefully crafted and adapted based on the age of the children and may take time to perfect but with practice and consistent exposure to abstractions, the children will learn to see that something concrete may represent an abstract concept, an idea, a fear, love, etc. This will prepare them well for the higher level thinking required in middle and high school.
Pairing Poetry: Combine Leonardo and the Flying Boy by Laurence Anholt (36 pages, ages 4-8) with the poem "Flying". Sylvia Vardell states “If you regularly read a picture book out loud, try following up with a poem that has a similar subject or theme” (Children’s Literature in Action, 134).
The use of Magnetic Poetry would work well here. Although there is a commercial product (various words with magnets), an adaptation of this concept would be to have words typed on cardstock and laminated. Distribute the words (8-10 per child) and have them create their own poem about any of the topics in the book including friendship, flying, falling, dreams, dogs or a topic of their choosing. Younger children can create illustrations.
NOTE: The librarian must be sensitive to cultural beliefs about dreams. Many cultures emphasize the importance of analyzing dreams but may come to different conclusions. Be sure that a discussion of dreams does not go against the cultural norms of the audience. The age of the children will also determine how far to take these activities.
This book would be a great resource in working with older children, even those studying Psychology in High School. Reading a few of these poems and generating a class discussion would make a great segway to the study of Carl Jung or Joseph Campbell. In English, these poems might be analyzed and interpreted from the perspective of various cultural, ethnic, or racial groups.
Wednesday, June 24, 2009
Poetry: Summersaults: Poems and Paintings by Douglas Florian
Florian, Douglas. 2002. Summersaults. New York, NY: Greenwillow Books.
ISBN 0-06-029267-9
Critical Analysis: Summersaults is a whimsical celebration of the joys and pitfalls of summer presented through twenty eight poems that reflect the perspective of children. Employing rhythm, rhyme, sound, figurative language, imagery, and emotion, Florian presents poems that provide a glimpse into that very special time in a child’s life. In “Dog Day” the author uses hazy, lazy, clinging, singing, torrid, horrid, thrown and bone to evoke the physical manifestations felt during the dog days of summer. In “Some Summers” he employs a similar technique using blaze, haze, simmer, shimmer, sizzle, fizzle, and flame to show that no two summers are alike. Florian creatively places the words on the page to complement the poem, for example the title poem, “Summersaults” where the word ‘vaulting’ and the word ‘tumbles’ is placed on the page to evoke the feeling of vaulting and tumbling (similar to concrete poetry and evocative of E.E. Cummings or e.e. cummings).
Through the use of imagery in “The Summer Trees” (‘the winter trees are sparse”) the reader can almost feel the cold and see the barren limbs of the winter trees while anticipating the beauty of the summer trees, with their “flocks and flocks and flocks and flocks” of birds. The repetition of the word flocks at the end of the poem is a creative use of rhythm and sound to help the reader imagine the summer trees filled with birds. In “Three Words” a very short poem (seven words), he uses the words cruel and school to take the reader to the moment that truly represents the end of summer, “back to school”.
The watercolor paintings (by Florian) are simple and almost childlike, allowing the reader to imagine themselves as part of the poem. The simplicity of the paintings complements not only the poetry but also the innocence of youth and encourages the reader to take their summer memories and “pack them for a snow-packed day”.
Reviews:
Publishers Weekly: “From the playful initial poems What I Love About Summer and What I Hate About Summer to the final contemplation of a future snowy day, Florian's companion volume to Winter Eyes overflows with inventive verses celebrating the delights and discontents of summer.”
School Library Journal: “Florian's intriguing art and lighthearted facility with words make this offering a winner.”
Booklist: “Florian ably captures the freedom and exuberance of the season in bright, new greens, sun-baked browns, and images of leaping, grinning figures. The gleeful puns, wordplay, and creative grammar will charm youngsters.”
Connections:
Read other books by Florian such as A Pig is Big, Beast Feast, and In the Swim. Compare the poetry in those books with Summersaults. Discuss similarities and differences.
Lead a discussion using two poems, “What I Like About Summer” and “What I Hate About Summer”. Use cutouts of clouds, leaves, balloons, or butterflies. Give each child two, and have them write what they like on one and what they hate on the other. Invite them to share with the group (voluntarily) and then create two visuals of a summer scene, adding in the clouds, leaves, balloons, and butterflies with the children’s likes and dislikes.
At the end of summer, read the poem “Three Words”. Discuss the children’s feelings about the end of summer and the start of school. Have them create a “time capsule” of their summer – ticket stubs, a vacation photo, a journal entry (or if they are young children a drawing) - that describes their best summer day. The container can be decorated coffee cans or oatmeal boxes. Encourage them to open and look at their time capsule when it is winter and summer seems far away.
Use “Three Words” to encourage the children to anticipate their return to school with optimism. Brainstorm all the good things about school (seeing a favorite teacher, playing with friends, joining a sports team or club). Have them create their own poem about going back to school but encourage a positive outlook (of course if a student wants to write a negative poem that is OK too).
ISBN 0-06-029267-9
Critical Analysis: Summersaults is a whimsical celebration of the joys and pitfalls of summer presented through twenty eight poems that reflect the perspective of children. Employing rhythm, rhyme, sound, figurative language, imagery, and emotion, Florian presents poems that provide a glimpse into that very special time in a child’s life. In “Dog Day” the author uses hazy, lazy, clinging, singing, torrid, horrid, thrown and bone to evoke the physical manifestations felt during the dog days of summer. In “Some Summers” he employs a similar technique using blaze, haze, simmer, shimmer, sizzle, fizzle, and flame to show that no two summers are alike. Florian creatively places the words on the page to complement the poem, for example the title poem, “Summersaults” where the word ‘vaulting’ and the word ‘tumbles’ is placed on the page to evoke the feeling of vaulting and tumbling (similar to concrete poetry and evocative of E.E. Cummings or e.e. cummings).
Through the use of imagery in “The Summer Trees” (‘the winter trees are sparse”) the reader can almost feel the cold and see the barren limbs of the winter trees while anticipating the beauty of the summer trees, with their “flocks and flocks and flocks and flocks” of birds. The repetition of the word flocks at the end of the poem is a creative use of rhythm and sound to help the reader imagine the summer trees filled with birds. In “Three Words” a very short poem (seven words), he uses the words cruel and school to take the reader to the moment that truly represents the end of summer, “back to school”.
The watercolor paintings (by Florian) are simple and almost childlike, allowing the reader to imagine themselves as part of the poem. The simplicity of the paintings complements not only the poetry but also the innocence of youth and encourages the reader to take their summer memories and “pack them for a snow-packed day”.
Reviews:
Publishers Weekly: “From the playful initial poems What I Love About Summer and What I Hate About Summer to the final contemplation of a future snowy day, Florian's companion volume to Winter Eyes overflows with inventive verses celebrating the delights and discontents of summer.”
School Library Journal: “Florian's intriguing art and lighthearted facility with words make this offering a winner.”
Booklist: “Florian ably captures the freedom and exuberance of the season in bright, new greens, sun-baked browns, and images of leaping, grinning figures. The gleeful puns, wordplay, and creative grammar will charm youngsters.”
Connections:
Read other books by Florian such as A Pig is Big, Beast Feast, and In the Swim. Compare the poetry in those books with Summersaults. Discuss similarities and differences.
Lead a discussion using two poems, “What I Like About Summer” and “What I Hate About Summer”. Use cutouts of clouds, leaves, balloons, or butterflies. Give each child two, and have them write what they like on one and what they hate on the other. Invite them to share with the group (voluntarily) and then create two visuals of a summer scene, adding in the clouds, leaves, balloons, and butterflies with the children’s likes and dislikes.
At the end of summer, read the poem “Three Words”. Discuss the children’s feelings about the end of summer and the start of school. Have them create a “time capsule” of their summer – ticket stubs, a vacation photo, a journal entry (or if they are young children a drawing) - that describes their best summer day. The container can be decorated coffee cans or oatmeal boxes. Encourage them to open and look at their time capsule when it is winter and summer seems far away.
Use “Three Words” to encourage the children to anticipate their return to school with optimism. Brainstorm all the good things about school (seeing a favorite teacher, playing with friends, joining a sports team or club). Have them create their own poem about going back to school but encourage a positive outlook (of course if a student wants to write a negative poem that is OK too).
Sunday, June 21, 2009
Book Review: Porch Lies: Tales of Slicksters, Tricksters, and other Wily Characters by Patricia C. McKissack, illustrated by Andre Carrilho
McKissack, Patricia C. 2006. PORCH LIES: TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILY CHARACTERS. Illustrated by Andre Carrilho. New York, NY: Schwartz and Wade Books. ISBN 0-375-93619-X.
Plot Summary: This anthology of African American porch lies, a variant of the trickster genre, presents ten stories that are entertaining and engaging while also teaching a lesson or moral. “The Devil’s Guitar” is based on the Robert Johnson legend where Johnson sells his soul to the devil in order to gain fame and fortune as a guitar player. In this version, a young man impersonates Johnson and is quite surprised when the Devil shows up for his soul. He must then convince the Devil that he is not Johnson and in doing so, realizes that, like Baum’s Dorothy, he need not travel far from home to find his heart’s desire.
“By the Weight of a Feather” involves a n’er-do-well groom with cold feet who, after spending the night before his wedding among spirits (reminiscent of Dickens), discovers that his soul has been saved by one good deed (one feather), turns his life around, and lives ‘happily ever after’ with his bride. Other stories in the anthology include “Change,” about the creative use of a hundred dollar bill, “Aunt Gran and the Outlaws,” which involves a hunt for gold and the infamous James Brothers, and “Cake Norris Lives On,” (Parts One and Two), a story where floors and an elevator take the place of Dante’s levels of hell.
This anthology is not only a delight to read but also thought provoking and offers a fascinating glimpse into the African American oral tradition. Each story contains a lesson or a moral presented in an entertaining and engaging format and is accompanied by a brief description of the tale’s origin and the individual storyteller. After reading this book, one is left wishing for a summer evening after the dishes are done, a whitewashed porch, a glass of fresh lemonade, and a good story.
Critical Analysis: Falling under the category of literary tales, McKissack has presented new tales using the motifs and style of the traditional folk story. Though based on the African oral tradition, these stories are the original creation of McKissack based on her memories of her childhood spent on her grandparents’ porch. The stories’ structure follows the rhythm and wisdom of the African American storytellers of the American South. The characters are archetypes of good and evil representing the best and worst of humanity and are somewhat stereotypical and symbolic. The plots are simple and follow a linear storyline with a satisfying if somewhat predictable conclusion. Each story leaves the reader with a moral lesson or at the very least the inspiration to become a better person.
Settings vary from story to story depending on the plot and include a haunted house, heaven and hell, and the home of a rich spinster. The settings are integral to establish the plot but do not dominate the story. The messages imparted in these tales reflect the desire of people to make sense of the world around them and to understand universal truths. The style of McKissack’s writing draws on the African American oral tradition and it is this rhythm that makes these stories ideal to be read out loud. Being porch lies, the main motif is trickery, with each protagonist ultimately prevailing over a cunning antagonist. African American history is interwoven in the stories, including references to the Civil War, the Ku Klux Klan, and the impact of the Great Depression on the African American community. The author employs elements of African American dialect (idiomatic expressions) such as ‘cause instead of because and s’pose instead of suppose. The pervasive use of nicknames reflects both the African influence as well as the nature of slavery in the antebellum South.
The black and white illustrations by Andre Carrilho are caricatures which exaggerate features yet allow the reader to identify with the characters and settings. The illustrations show strong African American characters, proud of their heritage, and often have a jazz-like quality that fits well with the Depression-era settings. Cultural markers reflect both the African and African American influence on the genre and include the aforementioned idioms and use of nicknames, the significance of family and religion, and a justifiable wariness and deference when dealing with whites (for example Link’s relationship with Mis Crickett).
Reviews:
Winner of the Parents’ Choice Silver Honor Book (2006), ALA Notable Children’s Book (2007)
Random House: “A worthy successor to McKissack’s The Dark Thirty. Side-splittingly funny, spine-chilling spooky…”
School Library Journal: “Great fun to read aloud…(these) stories make for great leisure listening and knowing chuckles.”
Booklist: “Surprising twists and turns that are true to trickster tradition…Great for sharing, on the porch and in the classroom.”
Connections:
Ask the children if they have heard any stories told by their friends or relatives. Have them share these stories with the group. Have the librarian/teacher share a story from their own childhood.
This book has been adapted into a play by Ron Himes and Linda Kennedy. It is performed by the St. Louis Black Rep in and around St. Louis and the Midwest. Research local storytellers and invite one to come to your school or library to make a presentation.
Compare a story from this book with a trickster tale from another culture. Example: Native American trickster tales like How Rabbit Tricked Otter and How Coyote Stole Fire or African trickster tales such as The Cat and the Rat or How Chameleon became a Ride. Use a graphic organizer to examine similarities and differences.
Take one story in the collection and create an illustrated flow chart. This can be done together or as a small group or independent activity. Perhaps the teacher/librarian can model one as a large group activity and then have the children choose another for their flow chart.
Have the children write their own trickster tale once they understand the purpose and structure. Provide them with a worksheet to guide their writing (who is the trickster, is it a person or an animal, what is the trick, who gets tricked, what is the lesson or moral, what is the title). Choose two or three and have the students read their tale to the group or class.
Plot Summary: This anthology of African American porch lies, a variant of the trickster genre, presents ten stories that are entertaining and engaging while also teaching a lesson or moral. “The Devil’s Guitar” is based on the Robert Johnson legend where Johnson sells his soul to the devil in order to gain fame and fortune as a guitar player. In this version, a young man impersonates Johnson and is quite surprised when the Devil shows up for his soul. He must then convince the Devil that he is not Johnson and in doing so, realizes that, like Baum’s Dorothy, he need not travel far from home to find his heart’s desire.
“By the Weight of a Feather” involves a n’er-do-well groom with cold feet who, after spending the night before his wedding among spirits (reminiscent of Dickens), discovers that his soul has been saved by one good deed (one feather), turns his life around, and lives ‘happily ever after’ with his bride. Other stories in the anthology include “Change,” about the creative use of a hundred dollar bill, “Aunt Gran and the Outlaws,” which involves a hunt for gold and the infamous James Brothers, and “Cake Norris Lives On,” (Parts One and Two), a story where floors and an elevator take the place of Dante’s levels of hell.
This anthology is not only a delight to read but also thought provoking and offers a fascinating glimpse into the African American oral tradition. Each story contains a lesson or a moral presented in an entertaining and engaging format and is accompanied by a brief description of the tale’s origin and the individual storyteller. After reading this book, one is left wishing for a summer evening after the dishes are done, a whitewashed porch, a glass of fresh lemonade, and a good story.
Critical Analysis: Falling under the category of literary tales, McKissack has presented new tales using the motifs and style of the traditional folk story. Though based on the African oral tradition, these stories are the original creation of McKissack based on her memories of her childhood spent on her grandparents’ porch. The stories’ structure follows the rhythm and wisdom of the African American storytellers of the American South. The characters are archetypes of good and evil representing the best and worst of humanity and are somewhat stereotypical and symbolic. The plots are simple and follow a linear storyline with a satisfying if somewhat predictable conclusion. Each story leaves the reader with a moral lesson or at the very least the inspiration to become a better person.
Settings vary from story to story depending on the plot and include a haunted house, heaven and hell, and the home of a rich spinster. The settings are integral to establish the plot but do not dominate the story. The messages imparted in these tales reflect the desire of people to make sense of the world around them and to understand universal truths. The style of McKissack’s writing draws on the African American oral tradition and it is this rhythm that makes these stories ideal to be read out loud. Being porch lies, the main motif is trickery, with each protagonist ultimately prevailing over a cunning antagonist. African American history is interwoven in the stories, including references to the Civil War, the Ku Klux Klan, and the impact of the Great Depression on the African American community. The author employs elements of African American dialect (idiomatic expressions) such as ‘cause instead of because and s’pose instead of suppose. The pervasive use of nicknames reflects both the African influence as well as the nature of slavery in the antebellum South.
The black and white illustrations by Andre Carrilho are caricatures which exaggerate features yet allow the reader to identify with the characters and settings. The illustrations show strong African American characters, proud of their heritage, and often have a jazz-like quality that fits well with the Depression-era settings. Cultural markers reflect both the African and African American influence on the genre and include the aforementioned idioms and use of nicknames, the significance of family and religion, and a justifiable wariness and deference when dealing with whites (for example Link’s relationship with Mis Crickett).
Reviews:
Winner of the Parents’ Choice Silver Honor Book (2006), ALA Notable Children’s Book (2007)
Random House: “A worthy successor to McKissack’s The Dark Thirty. Side-splittingly funny, spine-chilling spooky…”
School Library Journal: “Great fun to read aloud…(these) stories make for great leisure listening and knowing chuckles.”
Booklist: “Surprising twists and turns that are true to trickster tradition…Great for sharing, on the porch and in the classroom.”
Connections:
Ask the children if they have heard any stories told by their friends or relatives. Have them share these stories with the group. Have the librarian/teacher share a story from their own childhood.
This book has been adapted into a play by Ron Himes and Linda Kennedy. It is performed by the St. Louis Black Rep in and around St. Louis and the Midwest. Research local storytellers and invite one to come to your school or library to make a presentation.
Compare a story from this book with a trickster tale from another culture. Example: Native American trickster tales like How Rabbit Tricked Otter and How Coyote Stole Fire or African trickster tales such as The Cat and the Rat or How Chameleon became a Ride. Use a graphic organizer to examine similarities and differences.
Take one story in the collection and create an illustrated flow chart. This can be done together or as a small group or independent activity. Perhaps the teacher/librarian can model one as a large group activity and then have the children choose another for their flow chart.
Have the children write their own trickster tale once they understand the purpose and structure. Provide them with a worksheet to guide their writing (who is the trickster, is it a person or an animal, what is the trick, who gets tricked, what is the lesson or moral, what is the title). Choose two or three and have the students read their tale to the group or class.
Saturday, June 20, 2009
Book Review: Baba Yaga, A Russian Folktale, retold by Eric A. Kimmel, illustrated by Megan Lloyd
Kimmel, Eric A. 1991. BABA YAGA, A RUSSIAN FOLKTALE. Illustrated by Megan Lloyd. New York, NY: Holiday House. ISBN 0-8234-0854-X.
Plot Summary: In this folktale from Russia, a young girl named Marina is a Cinderella-like character. When her mother dies, her father (a wealthy merchant) marries a “proud, haughty woman” with a daughter named Marusia. When the father fails to return from a business trip, stepmother and stepsister make Marina their servant, forcing her to work while they live a life of leisure. There is one other feature that makes this story unique. Marina has “a great ugly horn growing out of the middle of her forehead.” When Marusia tells her mother that she can no longer stand to see Marina and her horn, the stepmother sends Marina on a mission to obtain a needle and thread from Baba Yaga, a witch, knowing full well that the witch has a propensity for eating children. Thus starts Marina’s quest through the forest where she meets a frog who gives her some valuable advice, advice that will later help her escape the clutches of Baba Yaga.
After convincing Baba Yaga to remove her horn and using the information given to her by the frog to return home safely, Marina discovers that her father has returned. When her father hears of Marina’s abuse at the hands of the stepmother and stepsister, the father banishes them. Realizing that the only answer to their problems is for Marusia to marry a wealthy merchant or a prince, the stepmother sends Marusia to Baba Yaga with the request to “make (her) just like your stepsister.” Ignoring the frog’s friendly greeting (and thus his sage advice), Marusia faces Baba Yaga without any magical assistance. When Marusia requests that she be just like her stepsister, Baba Yaga grants her wish by placing the horn on Marusia’s forehead. While Marina and her father live happily ever after, the reader is left to believe that the stepmother and Marusia do not fare as well and that Marusia may have to wear the horn for the rest of her life.
Critical Analysis: This version has many of the typical elements of a Cinderella Story including the widowed father, the stepmother and (one) stepsister, magical creatures (the frog), and a satisfying ending. There is no prince, no ball, and instead of a fairy godmother there is a witch. The setting is purposefully vague but from the illustrations and story we are told that they live at the edge of a dark forest, thereby setting up a need to travel through the forest (quest) on the way to see Baba Yaga. Again we see the strong, resourceful female (Marina), the covetous and slothful stepmother and stepsister, the creature from nature (the frog), and the embodiment of evil, Baba Yaga. The only human male in the story is the father and his brief appearance at the beginning and at the end serves only to establish context and provide closure.
The themes include good triumphing over evil, the virtue of hard work and tenacity, the lesson of friendliness and humility, even when dealing with something lower on the evolutionary scale, and the true nature of beauty and ugliness. The style of this version remains true to most standard folk tales, beginning with “Once upon a time…” however there is no “and they lived happily ever after” as the reader is led to assume that Marina and her father do and that the stepmother and stepsister do not. The storyline is linear and predictable and the author does not stray from a formulaic presentation, therefore, this is a particularly good read-aloud book.
The illustrations by Megan Lloyd have a wood-cut quality that complements the story without overpowering it. The illustrations also have a cartoon-like feel which is appropriate for the storyline and the target audience. A more realistic depiction of the witch for instance might frighten younger children.
Review Excerpts:
Publishers Weekly: “This engrossing story is both fanciful and suspenseful. Lloyd’s …somewhat cartoony illustrations…are just right.”
School Library Journal: “This offering may have use in comparative folklore, but, taken as a whole, it does not do justice to Baba Yaga.”
Connections:
There are many versions of the Baba Yaga character in Eastern European folklore. Find two other versions such as Baba Yaga and the Wise Doll by Oram Hiawyn and Baba Yaga and the Stolen Baby by Alison Lurie and Jessica Souhami and compare and contrast them. While she is typically portrayed as evil, in some folktales she provides guidance. See how these versions compare to Eric Kimmel’s version.
This book could be adapted for Reader’s Theater. Depending on the age of the children, the script could be prepared or older children could adapt the story themselves and perform it for a younger audience.
Aural connections: Have students listen to Mussorgsky’s Pictures at an Exhibition: The Hut on Hen’s Legs. Have the children make connections between the music and the story. Is the music scary? Is it fast or slow? Does it complement the story? If you close your eyes, does it make you feel like you are at Baba Yaga’s house?
Have the children draw their own version of Baba Yaga. Make a display of the children’s artwork along with alternate versions of the story, a DVD of Pictures at an Exhibition, a map of Eastern Europe, a Baba Yaga ragdoll, a horn, etc.
Plot Summary: In this folktale from Russia, a young girl named Marina is a Cinderella-like character. When her mother dies, her father (a wealthy merchant) marries a “proud, haughty woman” with a daughter named Marusia. When the father fails to return from a business trip, stepmother and stepsister make Marina their servant, forcing her to work while they live a life of leisure. There is one other feature that makes this story unique. Marina has “a great ugly horn growing out of the middle of her forehead.” When Marusia tells her mother that she can no longer stand to see Marina and her horn, the stepmother sends Marina on a mission to obtain a needle and thread from Baba Yaga, a witch, knowing full well that the witch has a propensity for eating children. Thus starts Marina’s quest through the forest where she meets a frog who gives her some valuable advice, advice that will later help her escape the clutches of Baba Yaga.
After convincing Baba Yaga to remove her horn and using the information given to her by the frog to return home safely, Marina discovers that her father has returned. When her father hears of Marina’s abuse at the hands of the stepmother and stepsister, the father banishes them. Realizing that the only answer to their problems is for Marusia to marry a wealthy merchant or a prince, the stepmother sends Marusia to Baba Yaga with the request to “make (her) just like your stepsister.” Ignoring the frog’s friendly greeting (and thus his sage advice), Marusia faces Baba Yaga without any magical assistance. When Marusia requests that she be just like her stepsister, Baba Yaga grants her wish by placing the horn on Marusia’s forehead. While Marina and her father live happily ever after, the reader is left to believe that the stepmother and Marusia do not fare as well and that Marusia may have to wear the horn for the rest of her life.
Critical Analysis: This version has many of the typical elements of a Cinderella Story including the widowed father, the stepmother and (one) stepsister, magical creatures (the frog), and a satisfying ending. There is no prince, no ball, and instead of a fairy godmother there is a witch. The setting is purposefully vague but from the illustrations and story we are told that they live at the edge of a dark forest, thereby setting up a need to travel through the forest (quest) on the way to see Baba Yaga. Again we see the strong, resourceful female (Marina), the covetous and slothful stepmother and stepsister, the creature from nature (the frog), and the embodiment of evil, Baba Yaga. The only human male in the story is the father and his brief appearance at the beginning and at the end serves only to establish context and provide closure.
The themes include good triumphing over evil, the virtue of hard work and tenacity, the lesson of friendliness and humility, even when dealing with something lower on the evolutionary scale, and the true nature of beauty and ugliness. The style of this version remains true to most standard folk tales, beginning with “Once upon a time…” however there is no “and they lived happily ever after” as the reader is led to assume that Marina and her father do and that the stepmother and stepsister do not. The storyline is linear and predictable and the author does not stray from a formulaic presentation, therefore, this is a particularly good read-aloud book.
The illustrations by Megan Lloyd have a wood-cut quality that complements the story without overpowering it. The illustrations also have a cartoon-like feel which is appropriate for the storyline and the target audience. A more realistic depiction of the witch for instance might frighten younger children.
Review Excerpts:
Publishers Weekly: “This engrossing story is both fanciful and suspenseful. Lloyd’s …somewhat cartoony illustrations…are just right.”
School Library Journal: “This offering may have use in comparative folklore, but, taken as a whole, it does not do justice to Baba Yaga.”
Connections:
There are many versions of the Baba Yaga character in Eastern European folklore. Find two other versions such as Baba Yaga and the Wise Doll by Oram Hiawyn and Baba Yaga and the Stolen Baby by Alison Lurie and Jessica Souhami and compare and contrast them. While she is typically portrayed as evil, in some folktales she provides guidance. See how these versions compare to Eric Kimmel’s version.
This book could be adapted for Reader’s Theater. Depending on the age of the children, the script could be prepared or older children could adapt the story themselves and perform it for a younger audience.
Aural connections: Have students listen to Mussorgsky’s Pictures at an Exhibition: The Hut on Hen’s Legs. Have the children make connections between the music and the story. Is the music scary? Is it fast or slow? Does it complement the story? If you close your eyes, does it make you feel like you are at Baba Yaga’s house?
Have the children draw their own version of Baba Yaga. Make a display of the children’s artwork along with alternate versions of the story, a DVD of Pictures at an Exhibition, a map of Eastern Europe, a Baba Yaga ragdoll, a horn, etc.
Thursday, June 18, 2009
Book Review: Princess Furball, retold by Charlotte Huck, illustrated by Anita Lobel
Huck, Charlotte S. 1989. PRINCESS FURBALL. Illustrated by Anita Lobel. New York, NY: Greenwillow. ISBN 0-688-13107-7.
Plot Summary: This entertaining variation of the classic Cinderella story has two Kings and one princess but no evil stepmother or stepsisters. In this version, the motherless daughter of a king is betrothed to an ogre. Luckily, the princess had been raised by a wise and loving nurse who helped the princess become a capable young woman, before herself dying. The princess chooses to leave the castle rather than marry the ogre but takes with her several items that would later serve her well: three dresses (one of gold, one of silver, one “as glittering as the stars”), a coat made from the fur of every animal in the kingdom (hence the name Princess Furball), her mother’s ring, thimble, and spinning wheel, and lastly a mix of special herbs to season soup.
After much adventure, Princess Furball winds up as a kitchen servant in another King’s realm. This retelling includes not one but three royal balls and ends with the King (not the prince) and the princess living happily ever after with, according to the last illustration, three beautiful children.
Critical Analysis: The “Cinderella variant” in this tale is quite resourceful, going against the sometimes stereotypical depiction of the helpless female often found in fairy tales. The archetypes of good and evil are represented by, respectively, the princess and the nurse and the ogre and the princess’s father, the King. Princess Furball is the embodiment of goodness, beauty, and tenacity. The embodiment of evil and ugliness is not as strong: the ogre and the cook are one-dimensional characters whose only purpose is to move the story along.
The plot is linear and predictable (as is expected in this genre) with the Princess going from her father’s castle, to the forest, to the King’s kitchen, and ends with Furball as the Queen. It follows the paradigm of the journey with obstacles that must be overcome and a satisfying resolution.
The setting is not described in detail (again as is common with fairy tales) but from the illustrations appears to be European, High Middle Ages. The theme – independence, resourcefulness, and tenacity – are reinforced through Furball’s “spunk and good sense.” The style is typical of the standard Cinderella story, beginning with “Once upon a time…” and ending with “and they lived happily ever after” thus providing the reader with familiar motifs including the magical objects and the number three.
The illustrations by Anita Lobel are colorful and detailed and evince an artistic style that blends realism with an exaggerated folk art quality. They complement the story and provide a warm yet vibrant backdrop that serves to anchor the reader in the fairy tale realm. Cultural markers reflect the European tradition, although variations of the Cinderella story from Africa, Latin America, and China could be used to compare and contrast cultural traditions. The value of the folk tale or fairy story is that it taps into the collective unconscious and reflects the abstract concept of universal truths.
Review Excerpts:
Publishers Weekly: “Huck deftly retells a variant of the Cinderella story…(and)…Lobel’s elegantly composed paintings…are as lovely as the princess herself.”
School Library Journal: “Huck’s telling is smooth and graceful…(and)…author and illustrator have created a strong female character…resourceful and charming throughout.” “Fresh and satisfying.”
The Horn Book: “A handsome, substantive retelling.”
A reader’s review: “I am five years old and I thought Princess Furball…was so good it should have gotten an award.” (December, 2004, Amazon web site)
Connections:
Read Mufaro’s Beautiful Daughters (an African Cinderella variant) and compare and contrast the two using a Venn diagram, Book Comparison Chart, or other graphic organizer. This should be done as a group discussion activity utilizing a whiteboard, butcher paper, or Smart board. This activity will also expose the children to multicultural literature and how many themes and literary elements are universal. Gender differences could also be compared and contrasted using the Bible story of Joseph. Even in a public library or public school, religious stories approached as literature “(have) an important and rightful place in any comprehensive discussion of traditional literature” (Vardell, 85). This sentiment was validated by the U.S. Supreme Court in 1963: “The Bible is worthy of study for its literary and historic qualities” (ibid).
Make soup!! Assign ingredients and have the children bring in their ingredient. All items could be placed in the pot by the children. Since cooking it in the library might be problematic, the librarian could make the soup at home and bring it the next day. Then the librarian could bring out a special seasoning packet and sprinkle it in. As the children enjoy the soup (perhaps while listening to a second reading of Furball) it will really bring the story to life by engaging the sense of smell and taste. Before doing this activity, the librarian should be sure that there are no dietary restrictions and that all children have permission to sample the soup (permission slip).
Brown Bag Book Report: This story really lends itself to this strategy for retelling a story. The librarian/reader simply fills a paper bag with things that represent the story. For Princess Furball, examples would be a packet of herbs, a gold ring, a thimble, a crown, a picture of an ogre (the uglier the better!), pieces of gold and silver lame’, a piece of fake fur, a walnut, a cook’s spoon, a star (or cloth with stars on it), a spinning wheel (or a picture), a picture of the sun, the moon, the stars, a picture of a wedding cake. The story can be told and retold using the items in the bag. This is also an excellent tactile activity that not only brings the children into the storytelling process but also stimulates tactile awareness in young children.
Plot Summary: This entertaining variation of the classic Cinderella story has two Kings and one princess but no evil stepmother or stepsisters. In this version, the motherless daughter of a king is betrothed to an ogre. Luckily, the princess had been raised by a wise and loving nurse who helped the princess become a capable young woman, before herself dying. The princess chooses to leave the castle rather than marry the ogre but takes with her several items that would later serve her well: three dresses (one of gold, one of silver, one “as glittering as the stars”), a coat made from the fur of every animal in the kingdom (hence the name Princess Furball), her mother’s ring, thimble, and spinning wheel, and lastly a mix of special herbs to season soup.
After much adventure, Princess Furball winds up as a kitchen servant in another King’s realm. This retelling includes not one but three royal balls and ends with the King (not the prince) and the princess living happily ever after with, according to the last illustration, three beautiful children.
Critical Analysis: The “Cinderella variant” in this tale is quite resourceful, going against the sometimes stereotypical depiction of the helpless female often found in fairy tales. The archetypes of good and evil are represented by, respectively, the princess and the nurse and the ogre and the princess’s father, the King. Princess Furball is the embodiment of goodness, beauty, and tenacity. The embodiment of evil and ugliness is not as strong: the ogre and the cook are one-dimensional characters whose only purpose is to move the story along.
The plot is linear and predictable (as is expected in this genre) with the Princess going from her father’s castle, to the forest, to the King’s kitchen, and ends with Furball as the Queen. It follows the paradigm of the journey with obstacles that must be overcome and a satisfying resolution.
The setting is not described in detail (again as is common with fairy tales) but from the illustrations appears to be European, High Middle Ages. The theme – independence, resourcefulness, and tenacity – are reinforced through Furball’s “spunk and good sense.” The style is typical of the standard Cinderella story, beginning with “Once upon a time…” and ending with “and they lived happily ever after” thus providing the reader with familiar motifs including the magical objects and the number three.
The illustrations by Anita Lobel are colorful and detailed and evince an artistic style that blends realism with an exaggerated folk art quality. They complement the story and provide a warm yet vibrant backdrop that serves to anchor the reader in the fairy tale realm. Cultural markers reflect the European tradition, although variations of the Cinderella story from Africa, Latin America, and China could be used to compare and contrast cultural traditions. The value of the folk tale or fairy story is that it taps into the collective unconscious and reflects the abstract concept of universal truths.
Review Excerpts:
Publishers Weekly: “Huck deftly retells a variant of the Cinderella story…(and)…Lobel’s elegantly composed paintings…are as lovely as the princess herself.”
School Library Journal: “Huck’s telling is smooth and graceful…(and)…author and illustrator have created a strong female character…resourceful and charming throughout.” “Fresh and satisfying.”
The Horn Book: “A handsome, substantive retelling.”
A reader’s review: “I am five years old and I thought Princess Furball…was so good it should have gotten an award.” (December, 2004, Amazon web site)
Connections:
Read Mufaro’s Beautiful Daughters (an African Cinderella variant) and compare and contrast the two using a Venn diagram, Book Comparison Chart, or other graphic organizer. This should be done as a group discussion activity utilizing a whiteboard, butcher paper, or Smart board. This activity will also expose the children to multicultural literature and how many themes and literary elements are universal. Gender differences could also be compared and contrasted using the Bible story of Joseph. Even in a public library or public school, religious stories approached as literature “(have) an important and rightful place in any comprehensive discussion of traditional literature” (Vardell, 85). This sentiment was validated by the U.S. Supreme Court in 1963: “The Bible is worthy of study for its literary and historic qualities” (ibid).
Make soup!! Assign ingredients and have the children bring in their ingredient. All items could be placed in the pot by the children. Since cooking it in the library might be problematic, the librarian could make the soup at home and bring it the next day. Then the librarian could bring out a special seasoning packet and sprinkle it in. As the children enjoy the soup (perhaps while listening to a second reading of Furball) it will really bring the story to life by engaging the sense of smell and taste. Before doing this activity, the librarian should be sure that there are no dietary restrictions and that all children have permission to sample the soup (permission slip).
Brown Bag Book Report: This story really lends itself to this strategy for retelling a story. The librarian/reader simply fills a paper bag with things that represent the story. For Princess Furball, examples would be a packet of herbs, a gold ring, a thimble, a crown, a picture of an ogre (the uglier the better!), pieces of gold and silver lame’, a piece of fake fur, a walnut, a cook’s spoon, a star (or cloth with stars on it), a spinning wheel (or a picture), a picture of the sun, the moon, the stars, a picture of a wedding cake. The story can be told and retold using the items in the bag. This is also an excellent tactile activity that not only brings the children into the storytelling process but also stimulates tactile awareness in young children.
Monday, June 15, 2009
Book Review: A Caldecott Celebration by Leonard S. Marcus
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION. New York, NY: Walker and Company. ISBN 10: 0-8027-9703-2.
Summary and Analysis:
This nonfiction book profiles seven Caldecott Medal recipients and provides an insight into their training, motivation, inspiration, process, and philosophy as it relates to the illustration of picture books for children. The seven artists profiled are:
Robert McCloskey (Make Way for Ducklings, 1942)
Marcia Brown (Cinderella, 1955)
Maurice Sendak (Where the Wild Things Are, 1964)
William Steig (Sylvester and the Magic Pebble, 1970)
Chris Van Allsburg (Jumanji, 1982)
David Wiesner (Tuesday, 1992)
Mordicai Gerstein (The Man Who Walked Between the Towers, 2004)
Each artist is profiled, including their upbringing and education as well as their path to the Caldecott Medal. The authors’ media are also included, from McCloskey’s crayon on zinc plates to Van Allsburg’s Conte pencil with Conte dust as well as the more traditional approaches of Brown and Steig (watercolor and ink). One can follow the evolution of the finished product from the numerous rough draft sketches and pictures of models provided. Photographs of the authors are helpful in that one almost feels that they know them after reading the profiles.
The creation of a picture book is not a simple one and while some can be completed in less than a year, others are the product of years of thought, revision, and experimentation. It was interesting to find out that Robert McCloskey lived with sixteen ducks to observe the way they moved and to capture features not typically visible when watching ducks in the wild (the underside of their bills for example). Marcia Brown visited numerous museums and art galleries to make her illustrations of eighteenth-century Europe as accurate as possible. In contrast, Maurice Sendak had no real-life models to observe; other than using a friend’s child as the model for Max, Sendak’s illustrations for Where the Wild Things Are came from his own imagination.
The quotes are also helpful in getting to know the illustrators as are excerpts from children’s’ letters. One child wrote to Chris Van Allsburg, “Dear Mr. Allsburg…I am so glad your books are so weird because I am weird. I think you are weird but great.” The power of the picture book in children’s lives cannot be minimized. For many, the picture book validates who they are, even if they often feel different from those around them.
Awards and Reviews:
An ALA Notable Book
Children’s Book of the Year, Bank Street College
One Hundred Titles for Reading and Sharing Selection, New York Public Library
Publishers Weekly: “Readers will find cause for celebration.”
Booklist: “A beautifully made book.”
School Library Journal: “This title has just about everything readers might want.”
Connections:
This book is useful both for older children who appreciate picture books and want to learn more about the creative process (perhaps being inspired to become authors/illustrators themselves) and librarians, who will be better prepared to present the picture book to young audiences and may find ways to incorporate the artistic process into their sharing of picture books.
Librarians can use this book, as well as other nonfiction books on this topic (see below) to create bulletin boards and displays of picture books including author profiles. These displays and profiles might spark children’s interest in this format, encourage them to seek out other titles, and perhaps inspire them to create their own picture books based on real and/or imaginary experiences in their own lives.
Illustrating Children’s Books: Creating Pictures for Publication by Martin Salisbury
A Picture Book Primer: Understanding and Using Picture Books by Denise I. Matulka
Show and Tell: Exploring the Fine Art of Children’s Book Illustration by Dilys Evans
Literature Pockets: Caldecott Winners, Grades 4-6+ by Jo Ellen Moore, Jill Norris, Debby Reum
Summary and Analysis:
This nonfiction book profiles seven Caldecott Medal recipients and provides an insight into their training, motivation, inspiration, process, and philosophy as it relates to the illustration of picture books for children. The seven artists profiled are:
Robert McCloskey (Make Way for Ducklings, 1942)
Marcia Brown (Cinderella, 1955)
Maurice Sendak (Where the Wild Things Are, 1964)
William Steig (Sylvester and the Magic Pebble, 1970)
Chris Van Allsburg (Jumanji, 1982)
David Wiesner (Tuesday, 1992)
Mordicai Gerstein (The Man Who Walked Between the Towers, 2004)
Each artist is profiled, including their upbringing and education as well as their path to the Caldecott Medal. The authors’ media are also included, from McCloskey’s crayon on zinc plates to Van Allsburg’s Conte pencil with Conte dust as well as the more traditional approaches of Brown and Steig (watercolor and ink). One can follow the evolution of the finished product from the numerous rough draft sketches and pictures of models provided. Photographs of the authors are helpful in that one almost feels that they know them after reading the profiles.
The creation of a picture book is not a simple one and while some can be completed in less than a year, others are the product of years of thought, revision, and experimentation. It was interesting to find out that Robert McCloskey lived with sixteen ducks to observe the way they moved and to capture features not typically visible when watching ducks in the wild (the underside of their bills for example). Marcia Brown visited numerous museums and art galleries to make her illustrations of eighteenth-century Europe as accurate as possible. In contrast, Maurice Sendak had no real-life models to observe; other than using a friend’s child as the model for Max, Sendak’s illustrations for Where the Wild Things Are came from his own imagination.
The quotes are also helpful in getting to know the illustrators as are excerpts from children’s’ letters. One child wrote to Chris Van Allsburg, “Dear Mr. Allsburg…I am so glad your books are so weird because I am weird. I think you are weird but great.” The power of the picture book in children’s lives cannot be minimized. For many, the picture book validates who they are, even if they often feel different from those around them.
Awards and Reviews:
An ALA Notable Book
Children’s Book of the Year, Bank Street College
One Hundred Titles for Reading and Sharing Selection, New York Public Library
Publishers Weekly: “Readers will find cause for celebration.”
Booklist: “A beautifully made book.”
School Library Journal: “This title has just about everything readers might want.”
Connections:
This book is useful both for older children who appreciate picture books and want to learn more about the creative process (perhaps being inspired to become authors/illustrators themselves) and librarians, who will be better prepared to present the picture book to young audiences and may find ways to incorporate the artistic process into their sharing of picture books.
Librarians can use this book, as well as other nonfiction books on this topic (see below) to create bulletin boards and displays of picture books including author profiles. These displays and profiles might spark children’s interest in this format, encourage them to seek out other titles, and perhaps inspire them to create their own picture books based on real and/or imaginary experiences in their own lives.
Illustrating Children’s Books: Creating Pictures for Publication by Martin Salisbury
A Picture Book Primer: Understanding and Using Picture Books by Denise I. Matulka
Show and Tell: Exploring the Fine Art of Children’s Book Illustration by Dilys Evans
Literature Pockets: Caldecott Winners, Grades 4-6+ by Jo Ellen Moore, Jill Norris, Debby Reum
Sunday, June 14, 2009
Book Review: He’s Got the Whole World in His Hands by Kadir Nelson
Nelson, Kadir. 2005. HE’S GOT THE WHOLE WORLD IN HIS HANDS. Illustrated by the author. New York, NY: Viking Penguin. ISBN 0-8037-2850-6.
Plot Summary:
This picture book is a visual representation of the spiritual. There is more than one version of the song; the version used in this book focuses on the rain, the moon, the stars, the clouds, the oceans, the seas, and ends with you and me and everybody. The illustrations reinforce the lyrics and range from a child’s simple picture to realistic depictions of activities such as fishing and swimming to more dreamlike images of the sunrise and the earth and moon. The emphasis on family unity is juxtaposed with world unity quite seamlessly, and taken as a whole, the book is an uplifting and inspiring vision of an idealized global community.
Critical Analysis:
There is not a typical plot, no dialogue, and no named characters. The settings are significant as they show interaction between parents and children in varied venues. The role of the male in the family is emphasized as the father/father figure is seen with the children at a beach, fishing, working on a crossword puzzle, etc. The author chose to use San Francisco as the representative city. This is significant because of the known diversity and tolerance of that city. The theme of family unity and ultimately world unity is woven throughout the book. The concept that God is watching over the children and their families and that they are “in his hands” is a very comforting idea for a child, especially in this highly mobile society where the nuclear family is no longer the norm for many children.
The illustrations effectively represent the lyrics and are drawn from varied perspectives. One especially beautiful image is of a father and son looking up at the moon in awe. The way the artist oriented the two, with the artist’s perspective looking up at the father and son from a lower point, serves to create an almost three dimensional image; the reader can almost feel the immensity and power of the universe from this one illustration. The cultural markers are distinctive. The illustrator shows his pride for his African American culture by exaggerating the features in some of the pictures and including elements such as hairstyles, skin color, and facial expressions that convey a sense of racial pride to the reader. It is important for children to see positive images of their own culture, race, or ethnicity and it is equally important for children of other races and ethnicities to see this positive portrayal of black culture and family structure. Finally, Nelson’s use of a rainbow on the page which states “He’s got everybody, everywhere in his hands” sends a symbolic yet clear message of tolerance and appreciation for diversity.
Review Excerpts:
School Library Review: “Nelson's vibrant signature illustrations rendered in pencil, oil, and watercolor breathe new meaning and life into this favorite Sunday school spiritual in which families, communities, and forces of nature are celebrated with lively images and inspiring scenes.”
Publisher’s Weekly: “The popular spiritual finds new life as a picture book celebrating diversity and community.”
Kirkus Reviews: “…a springboard to celebrate family togetherness…Moving, reverent, spiritual indeed.”
Connections:
Other books illustrated and/or coauthored by Kadir Nelson: Ellington Was Not a Street (winner of the Coretta Scott King Award for illustration, 2005), Abe’s Honest Words: The Life of Abraham Lincoln, Henry’s Freedom Box
Any of Mr. Nelson’s books would make a great display for Black History Month.
If money is available, the library can purchase an original piece of art by Kadir Nelson and have it framed and displayed (prices from $250+) The Collection Shop, www.thecollectionshop.com
Involving Families: This book lends itself to this strategy and would be an excellent book to use with a family reading program involving parents, grandparents, siblings, and extended family. “Connecting parents and kids via picture books is a natural activity for promoting…early literacy development” (Vardell, 68).
Geography Skills: This book lends itself to teaching and reinforcing geography skills. The librarian could use a large world map. Using pushpins, the children could identify oceans, rivers, mountains, San Francisco (the city used in the book), continents, etc.
Once the story has been read, the children can sing the song. To make it even more fun, the students could be given (or make) percussion instruments and play along. If a musician (guitar player, keyboard player) were available, it would become an even richer and memorable aural experience.
Follow Up: This book could be paired with a related poem. Here is an example by Frederick St. Pierre:
God's Dawn
The morning is awake, bright and blue,
New light from the heavens shines for you,
Birds, Bees, Clouds and Trees, yes fresh
morning dew,
All nature works to wake for you
Open your eyes and look out far,
Catch last night’s fleeting star,
Behold God's new day upon your eyes,
Save the thought my child,
Start to rise,
Let your happiness reflect your soul,
Live and learn, a young child's goal
2002. Under a Quicksilver Moon. International Library of Poetry. ISBN-0-7951-5065-2.
Plot Summary:
This picture book is a visual representation of the spiritual. There is more than one version of the song; the version used in this book focuses on the rain, the moon, the stars, the clouds, the oceans, the seas, and ends with you and me and everybody. The illustrations reinforce the lyrics and range from a child’s simple picture to realistic depictions of activities such as fishing and swimming to more dreamlike images of the sunrise and the earth and moon. The emphasis on family unity is juxtaposed with world unity quite seamlessly, and taken as a whole, the book is an uplifting and inspiring vision of an idealized global community.
Critical Analysis:
There is not a typical plot, no dialogue, and no named characters. The settings are significant as they show interaction between parents and children in varied venues. The role of the male in the family is emphasized as the father/father figure is seen with the children at a beach, fishing, working on a crossword puzzle, etc. The author chose to use San Francisco as the representative city. This is significant because of the known diversity and tolerance of that city. The theme of family unity and ultimately world unity is woven throughout the book. The concept that God is watching over the children and their families and that they are “in his hands” is a very comforting idea for a child, especially in this highly mobile society where the nuclear family is no longer the norm for many children.
The illustrations effectively represent the lyrics and are drawn from varied perspectives. One especially beautiful image is of a father and son looking up at the moon in awe. The way the artist oriented the two, with the artist’s perspective looking up at the father and son from a lower point, serves to create an almost three dimensional image; the reader can almost feel the immensity and power of the universe from this one illustration. The cultural markers are distinctive. The illustrator shows his pride for his African American culture by exaggerating the features in some of the pictures and including elements such as hairstyles, skin color, and facial expressions that convey a sense of racial pride to the reader. It is important for children to see positive images of their own culture, race, or ethnicity and it is equally important for children of other races and ethnicities to see this positive portrayal of black culture and family structure. Finally, Nelson’s use of a rainbow on the page which states “He’s got everybody, everywhere in his hands” sends a symbolic yet clear message of tolerance and appreciation for diversity.
Review Excerpts:
School Library Review: “Nelson's vibrant signature illustrations rendered in pencil, oil, and watercolor breathe new meaning and life into this favorite Sunday school spiritual in which families, communities, and forces of nature are celebrated with lively images and inspiring scenes.”
Publisher’s Weekly: “The popular spiritual finds new life as a picture book celebrating diversity and community.”
Kirkus Reviews: “…a springboard to celebrate family togetherness…Moving, reverent, spiritual indeed.”
Connections:
Other books illustrated and/or coauthored by Kadir Nelson: Ellington Was Not a Street (winner of the Coretta Scott King Award for illustration, 2005), Abe’s Honest Words: The Life of Abraham Lincoln, Henry’s Freedom Box
Any of Mr. Nelson’s books would make a great display for Black History Month.
If money is available, the library can purchase an original piece of art by Kadir Nelson and have it framed and displayed (prices from $250+) The Collection Shop, www.thecollectionshop.com
Involving Families: This book lends itself to this strategy and would be an excellent book to use with a family reading program involving parents, grandparents, siblings, and extended family. “Connecting parents and kids via picture books is a natural activity for promoting…early literacy development” (Vardell, 68).
Geography Skills: This book lends itself to teaching and reinforcing geography skills. The librarian could use a large world map. Using pushpins, the children could identify oceans, rivers, mountains, San Francisco (the city used in the book), continents, etc.
Once the story has been read, the children can sing the song. To make it even more fun, the students could be given (or make) percussion instruments and play along. If a musician (guitar player, keyboard player) were available, it would become an even richer and memorable aural experience.
Follow Up: This book could be paired with a related poem. Here is an example by Frederick St. Pierre:
God's Dawn
The morning is awake, bright and blue,
New light from the heavens shines for you,
Birds, Bees, Clouds and Trees, yes fresh
morning dew,
All nature works to wake for you
Open your eyes and look out far,
Catch last night’s fleeting star,
Behold God's new day upon your eyes,
Save the thought my child,
Start to rise,
Let your happiness reflect your soul,
Live and learn, a young child's goal
2002. Under a Quicksilver Moon. International Library of Poetry. ISBN-0-7951-5065-2.
Saturday, June 13, 2009
Book Review: Joseph Had a Little Overcoat by Simms Taback
Taback, Simms. 1999. JOSEPH HAD A LITTLE OVERCOAT. Illustrated by the author. New York, NY: The Penguin Group. ISBN 0-670-87855-3.
Plot Summary: This book tells the story of Joseph and his overcoat. When the overcoat becomes worn, Joseph does not throw it away but finds new and innovative ways to use it to make new things. As the overcoat becomes worn, it is made into a jacket, a vest, a scarf, a necktie, a handkerchief, and finally a button. With each new incarnation of the original overcoat, Joseph has many experiences including dancing at his nephew’s wedding, singing in a men’s chorus, visiting his sister in the city, drinking hot tea with lemon, and finally writing a story about the overcoat’s metamorphosis. This book is based on a Yiddish folk song that the author heard as a child. In the song, once there was nothing left of the overcoat, a song was created. Taback creatively modified the original story by substituting a book for the song. The messages conveyed include finding value in something old and worn, sharing rich experiences with family and friends, and finding continuity in loss by remembering something in a creative way.
Critical Analysis: Taback takes a simple Yiddish folk song and creates an engaging and colorful picture book. Joseph is the main character but there are supporting characters such as his nephew, his sister, his friends and extended family. In addition, pets and animals play a role in the story by their presence in the colorful illustrations. The simple plot is made more engaging by this being an engineered book, whereby the author incorporates die-cut pages to heighten the reader’s anticipation of what will come next. Although the story transcends the setting, the author uses the various settings to impart cultural authenticity, with an emphasis on his Jewish heritage. The rich illustrations are done in a simple yet colorful folk style and are an adventure unto themselves as the reader can spend time on each page exploring the exquisite details included by the author: newspaper headlines (Fiddler on Roof falls off roof), pictures of famous people with Jewish heritage (Freud, Sholom Aleichem), snippets of wisdom (Better to have an ugly patch than a beautiful hole), and even the words and music to the original folk song.
Although there is no dialogue, the repeated phrase, “Joseph had a little…” and “so he made a _______ out of it” keeps the reader intrigued and provides a structure that allows this to be an excellent read-aloud book, allowing for children to follow the story and make predictions. The theme fits well into today’s society, reminding us that everything has value, even an old and worn out overcoat. It would seem to be an even timelier story in light of the new focus on recycling and thrift. It is truly a timeless story whose time has come again.
Review Excerpts: This book won the Caldecott Medal and the New York Times Best Illustrated book of 1997.
Publisher’s Weekly: “With its effective repetition and an abundance of visual humor, this is tailor-made for reading aloud. Children of all ages will joyfully swallow this book whole.”
School Library Journal: “A book bursting at the seams with ingenuity and creative spirit.”
Bookreporter.com: “Cheery, mixed-texture paintings and a folk-art style make this a particularly snappy story.”
Connections:
Another book by Simms Taback: There was an Old Lady who Swallowed a Fly
Predicting: the die-cut pages are ideal to encourage young readers to predict what will be made next from the overcoat; they can also suggest alternatives, for example a hat, a quilt.
Building visual literacy: Page through the book showing children the illustrations. Take time to explore the images before reading the story. Have the children try to tell the story from the visuals alone.
Interactive Read Aloud: The phrase “Joseph had a little” is ideal for this strategy. Decide ahead of time that the audience will say out loud “Joseph had a little ____________” and the reader will pick it up from there.
Lead a discussion about recycling and thrift. Have the children give examples of something “old” in their home that can be made into something new. The librarian might have examples to start the discussion, such as an old cowboy boot that becomes a decorative planter for dried flowers or an old book that is turned into a scrapbook or photo album. This would also be an excellent opportunity for a craft activity based on the story.
Find other books about the Jewish Heritage (The Christmas Menorahs: How a Town Fought Hate by Janice Cohn. Illustrated by Bill Farnsworth) or recycling (The Dumpster Diver by Janet S. Wong. Illustrated by David Roberts).
Plot Summary: This book tells the story of Joseph and his overcoat. When the overcoat becomes worn, Joseph does not throw it away but finds new and innovative ways to use it to make new things. As the overcoat becomes worn, it is made into a jacket, a vest, a scarf, a necktie, a handkerchief, and finally a button. With each new incarnation of the original overcoat, Joseph has many experiences including dancing at his nephew’s wedding, singing in a men’s chorus, visiting his sister in the city, drinking hot tea with lemon, and finally writing a story about the overcoat’s metamorphosis. This book is based on a Yiddish folk song that the author heard as a child. In the song, once there was nothing left of the overcoat, a song was created. Taback creatively modified the original story by substituting a book for the song. The messages conveyed include finding value in something old and worn, sharing rich experiences with family and friends, and finding continuity in loss by remembering something in a creative way.
Critical Analysis: Taback takes a simple Yiddish folk song and creates an engaging and colorful picture book. Joseph is the main character but there are supporting characters such as his nephew, his sister, his friends and extended family. In addition, pets and animals play a role in the story by their presence in the colorful illustrations. The simple plot is made more engaging by this being an engineered book, whereby the author incorporates die-cut pages to heighten the reader’s anticipation of what will come next. Although the story transcends the setting, the author uses the various settings to impart cultural authenticity, with an emphasis on his Jewish heritage. The rich illustrations are done in a simple yet colorful folk style and are an adventure unto themselves as the reader can spend time on each page exploring the exquisite details included by the author: newspaper headlines (Fiddler on Roof falls off roof), pictures of famous people with Jewish heritage (Freud, Sholom Aleichem), snippets of wisdom (Better to have an ugly patch than a beautiful hole), and even the words and music to the original folk song.
Although there is no dialogue, the repeated phrase, “Joseph had a little…” and “so he made a _______ out of it” keeps the reader intrigued and provides a structure that allows this to be an excellent read-aloud book, allowing for children to follow the story and make predictions. The theme fits well into today’s society, reminding us that everything has value, even an old and worn out overcoat. It would seem to be an even timelier story in light of the new focus on recycling and thrift. It is truly a timeless story whose time has come again.
Review Excerpts: This book won the Caldecott Medal and the New York Times Best Illustrated book of 1997.
Publisher’s Weekly: “With its effective repetition and an abundance of visual humor, this is tailor-made for reading aloud. Children of all ages will joyfully swallow this book whole.”
School Library Journal: “A book bursting at the seams with ingenuity and creative spirit.”
Bookreporter.com: “Cheery, mixed-texture paintings and a folk-art style make this a particularly snappy story.”
Connections:
Another book by Simms Taback: There was an Old Lady who Swallowed a Fly
Predicting: the die-cut pages are ideal to encourage young readers to predict what will be made next from the overcoat; they can also suggest alternatives, for example a hat, a quilt.
Building visual literacy: Page through the book showing children the illustrations. Take time to explore the images before reading the story. Have the children try to tell the story from the visuals alone.
Interactive Read Aloud: The phrase “Joseph had a little” is ideal for this strategy. Decide ahead of time that the audience will say out loud “Joseph had a little ____________” and the reader will pick it up from there.
Lead a discussion about recycling and thrift. Have the children give examples of something “old” in their home that can be made into something new. The librarian might have examples to start the discussion, such as an old cowboy boot that becomes a decorative planter for dried flowers or an old book that is turned into a scrapbook or photo album. This would also be an excellent opportunity for a craft activity based on the story.
Find other books about the Jewish Heritage (The Christmas Menorahs: How a Town Fought Hate by Janice Cohn. Illustrated by Bill Farnsworth) or recycling (The Dumpster Diver by Janet S. Wong. Illustrated by David Roberts).
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