Krull, Kathleen. 2004. THE BOY ON FAIRFIELD STREET: How Ted Geisel Grew Up to Become Dr. Seuss. New York, NY: Random House. ISNB 0-375-92298-9.
Summary: This heavily-illustrated biography of Theodore Geisel chronicles his boyhood in Springfield, Massachusetts, the influence of his parents, his education, and finally his early successes as an illustrator. The book ends with the future Dr. Seuss, age 22, living in Greenwich Village, immersed in his art, with his whole career ahead of him. Krull chooses to end the book here, however, in an addendum “On Beyond Fairfield Street” provides a four-page summary of his life and a comprehensive list of the “Great Works Written and Illustrated by Dr. Seuss.”
Ted Geisel was born in 1904 to a first-generation German-American family who nurtured Geisel’s curiosity and creativity. His mother read to him at bedtime and his father, who eventually became superintendent of parks in Springfield, told the younger Geisel about the antics of the zoo animals. His idyllic childhood was not without trials. He was often teased for being different, suffered discrimination during the WW I years, and was rebuked by an art teacher who told him “he would never be successful at art” (20). In addition, me met with mixed success at college, being more interested in drawing and creating fanciful stories than academics.
Ted Geisel did not give up in the face of adversity and rejection. He persisted, encouraged by a fellow student who would later become his wife, and sold his first cartoon to The Saturday Evening Post for $25. This was the beginning of an illustrious career. His mother always wanted him to become a doctor and he did indeed become one of the most famous in the world: Dr. Seuss.
Analysis: This picture book biography is both informative and engaging. The illustrations, along with the inclusion of original Seuss drawings, are helpful not only in understanding his youth but his later career as well. Johnson and Fancher use detailed watercolor paintings executed in a style reminiscent of turn-of-the-century Americana. They portray a warm and inviting childhood using figures that, while not cartoonish and definitely not caricature are not realistic either. They are not sharp images and their soft, hazy character enhances the feeling of going back in time to experience Geisel’s world. They complement the storyline without being obtrusive.
Krull’s prose is simple, straightforward, and linear, with no attempt made at humor, conjectured dialogue, or evaluation. It is a gentle narration of an ideal childhood and as a read-aloud book will create a feeling of calm, optimism, and empowerment. It is designed to be read in one sitting and does not lend itself to skimming. No table of contents or index is provided and no glossary is required, as Krull does not use complex language or terminology. The few instances of words that may be unfamiliar to a student (skeet shooting, bratwurst) do not justify a glossary and can be explained ahead of time. Perhaps here is the only place where the illustrations fall short as the illustrators could have easily incorporated these into their drawings.
A “For Further Reading” list is provided, leading the reader to assume that the majority of information for this book was gleaned from those sources. If this is indeed the author’s sources of information, it would be better to call it a Bibliography. As it is, it is unclear as to what the author’s sources are and therefore difficult to determine the accuracy of the information, although there is no reason to believe that any inaccurate information is present. Including a comprehensive list of all of Dr. Seuss’ published works, while not encouraging critical thinking, may stimulate evaluation and a desire to seek out and read more Seuss titles.
This book is a wonderful introduction to the life of Dr. Seuss as well as a glimpse into a simpler time. For children living an increasingly complex and hectic lifestyle, this book will serve as a delightful respite, a glimpse into early 20th Century life, and an inspiration to follow their dreams.
Reviews:
Booklist: “Krull's pithy text is extended by full-page paintings that glow with the memory of yesteryear and capture the mix of humor and poignancy that comes with trying to fit in. Spot art from Geisel's own books enlivens the text pages.”
Publishers Weekly: “Nostalgic paintings effectively evoke both the period and Geisel's appealingly puckish personality. Featured in spot art, familiar Seuss characters frolic through these pages, thematically complementing the illustrations while reminding readers why Geisel's life is worth celebrating.”
Children’s Literature: “Kids who doodle when they are supposed to be doing something else will find redemption in the story of Ted Geisel's childhood. The book is a perfect reminder to teachers of how powerfully early experiences can shape our lives as adults and to kids that a favorite author was once a child himself.”
School Library Journal: “This picture-book biography is a winner. Krull's work is a terrific look at the boyhood of one of the most beloved author/illustrators of the 20th century.”
Kirkus Reviews: “The magic of his name will make this a huge hit, but it's the lively writing that puts the hat on the cat.”
Connections:
Use this biography to motivate children to read other biographies of writers, artists, filmmakers or musicians. Examples of biographies are Walt Disney: Young Movie Maker by Marie Hammontree, Norman Rockwell: Storyteller with a Brush by Beverly Gherman, or Michael Jackson by Theresa Overbey.
Create a display of Dr. Seuss books such as Green Eggs and Ham, The Cat in the Hat, and The Butter Battle Book. Include stuffed characters, other books about Dr. Seuss, DVDs of How the Grinch Stole Christmas and Horton Hears a Who, and an audio book such as the Dr. Seuss Audio Collection narrated by the author. This could be done in March as he was born March 2, 1904.
Create an age-appropriate crossword puzzle or word search based on the book. A good site for creating custom crossword puzzles is available at Online Crossword Puzzle Maker (http://www.puzzle-maker.com/CW/).
A good site for creating word search puzzles is A to Z Teacher Stuff(http://tools.atozteacherstuff.com/word-search-maker/wordsearch.php).
Have the children create an illustrated timeline of the early life of Dr. Seuss. This can either be done free form on blank paper or a format could be provided (such as a street or tree). Have them choose the ten events that had the most impact on Dr. Seuss’ life. This artistic activity also uses one of the higher-level thinking skills, evaluation, as the students themselves must decide which events were most important.
Brainstorm with the students and create a list of ways in which Dr. Seuss felt different (he spoke German, he had a three-legged dog, he didn’t do well at sports). Lead a discussion about being different. Have students share (on a volunteer basis) ways in which they are different. The teacher/librarian might want to go first (“everyone in my family is right-handed but I’m left-handed” for example). Examine the positive aspects of being different as well as the downside (being teased or ostracized). This discussion can be very valuable in showing appreciation for diversity and that it is OK to be different.
Dr. Seuss received a lot of fan mail. After reading more of his books, have the students write a fan letter to Dr. Seuss. These can be displayed in the library or the students may decide to keep them. The students can also create colorful envelopes to keep all their Dr. Seuss activities (word search, puzzle, fan letter, timeline). This can become a craft project using glitter, colored markers, and construction paper and would be a great end-of-unit activity.
Saturday, July 4, 2009
Friday, July 3, 2009
Informational Book Review: Guts: Our Digestive System by Seymour Simon
Simon, Seymour. 2005. GUTS: OUR DIGESTIVE SYSTEM. New York: HarperCollins. ISBN 0-06-054651-4.
Summary: This informational photo essay/picture book by Seymour Simon presents a comprehensive yet easy-to-understand overview of the human digestive system. Starting with food intake and proceeding through the esophagus, stomach, small and large intestines, and finally the anus, this book is both entertaining and informative. The reader is invited to chew on a piece of bread to demonstrate the conversion of starch into sugar and “Point to your stomach. Surprise! It’s not behind your belly button…” These interactive features bring the reader into the story as do the colorful and detailed photographs and illustrations, some by Simon. The importance of good nutrition is also included as is the caveat “If you ever think that there is something wrong…you should talk to a parent, teacher, school nurse, or doctor”. Although written for the elementary student, this book can also be helpful to older readers and adapted for younger readers as well.
Analysis: The book is organized logically from the start of digestion to the end, taking the reader on a step-by-step journey. In dealing with the specific organs, Simon gives the reader a basic definition and overview and then provides concrete examples, dimensions, and analogies to facilitate understanding. The book’s design is inviting and draws the reader in. The combination of black pages with white print and white pages with black print provides a nice contrast to the photographs, many of which are X-Rays or color enhanced to accentuate the distinct features/purpose of the specific organ. Simon’s clear writing style is effective in that he does not talk down to the reader but utilizes an almost conversational tone that is appropriate for the elementary school-aged child. The book also encourages the reader to use the information in their lives by emphasizing good nutrition.
Although an excellent overview with user-friendly text and accompanying photographs and illustrations (most with captions, and/or labels) the book lacks access points. There is no table of contents, glossary, index, or page numbers. The inclusion of these features would help the reader, especially one engaged in research for a school project. Accuracy of the information is validated by the author’s special thanks to a doctoral student (Osteopathic Medicine), although a bibliography would be helpful to direct the reader to other sources and input from more than one expert in the field would ensure the reader’s confidence in the book’s accuracy (although Simon’s reputation in and of itself virtually guarantees the accuracy of this book).
Reviews:
School Library Journal: “Simon’s specialty of drawing in readers through large, detailed, breathtaking photos and then entertaining them with facts is again in evidence…Writers of health-related reports, as well as casual browsers, will surely put this title to use.”
Booklist: “…Accessible without being cute or condescending…Readers older than the target audience may want to look at this, too.”
Childrens Literature: “…Many questions posed by children are answered in a straightforward manner. Highly recommended.”
Kirkus Reviews: “Guts has a lot going for it…free of distracting sidebars and other trendy bells and whistles…”
Connections:
Read other books written by Simon including Bones, Muscles, The Heart, and The Brain.
Have students create a skit, rap, or song about the book. The teacher/librarian could model using one of Simon’s other books (example: “We all really need our heart, It is with us from the start” using Twinkle Twinkle).
Invite a health professional or school nurse in to discuss digestion and proper nutrition. Give each student a copy of the USDA Food Pyramid to take home. Have them design a nutritious meal (or a sample day’s menu) using these guidelines. This information could be compiled into a handout of a model week’s diet or made into a poster for display in the library.
Using craft products (playdoh or clay, pipe cleaners, felt, yarn) have students create 3-D models of the parts of the digestive system. The pipe cleaners would work especially well for the small intestine. Create a display using the students’ finished products. For younger children, have them label and color a worksheet showing the human digestive system.
Explore how other species eat and digest food. A good example is a sponge, a cow (four “stomachs”) or snakes. Older students can be assigned a species; they can then complete research (print and online) and present their findings to the group.
Watch an educational video clip about the digestive system. A good one can be viewed online from KidsHealth: (http://kidshealth.org/PageManager.jsp?lic=1&article_set=59299&cat_id=20607)
Since this clip prompts the students for answers, it should be shown at the end of the activities for Guts.
Summary: This informational photo essay/picture book by Seymour Simon presents a comprehensive yet easy-to-understand overview of the human digestive system. Starting with food intake and proceeding through the esophagus, stomach, small and large intestines, and finally the anus, this book is both entertaining and informative. The reader is invited to chew on a piece of bread to demonstrate the conversion of starch into sugar and “Point to your stomach. Surprise! It’s not behind your belly button…” These interactive features bring the reader into the story as do the colorful and detailed photographs and illustrations, some by Simon. The importance of good nutrition is also included as is the caveat “If you ever think that there is something wrong…you should talk to a parent, teacher, school nurse, or doctor”. Although written for the elementary student, this book can also be helpful to older readers and adapted for younger readers as well.
Analysis: The book is organized logically from the start of digestion to the end, taking the reader on a step-by-step journey. In dealing with the specific organs, Simon gives the reader a basic definition and overview and then provides concrete examples, dimensions, and analogies to facilitate understanding. The book’s design is inviting and draws the reader in. The combination of black pages with white print and white pages with black print provides a nice contrast to the photographs, many of which are X-Rays or color enhanced to accentuate the distinct features/purpose of the specific organ. Simon’s clear writing style is effective in that he does not talk down to the reader but utilizes an almost conversational tone that is appropriate for the elementary school-aged child. The book also encourages the reader to use the information in their lives by emphasizing good nutrition.
Although an excellent overview with user-friendly text and accompanying photographs and illustrations (most with captions, and/or labels) the book lacks access points. There is no table of contents, glossary, index, or page numbers. The inclusion of these features would help the reader, especially one engaged in research for a school project. Accuracy of the information is validated by the author’s special thanks to a doctoral student (Osteopathic Medicine), although a bibliography would be helpful to direct the reader to other sources and input from more than one expert in the field would ensure the reader’s confidence in the book’s accuracy (although Simon’s reputation in and of itself virtually guarantees the accuracy of this book).
Reviews:
School Library Journal: “Simon’s specialty of drawing in readers through large, detailed, breathtaking photos and then entertaining them with facts is again in evidence…Writers of health-related reports, as well as casual browsers, will surely put this title to use.”
Booklist: “…Accessible without being cute or condescending…Readers older than the target audience may want to look at this, too.”
Childrens Literature: “…Many questions posed by children are answered in a straightforward manner. Highly recommended.”
Kirkus Reviews: “Guts has a lot going for it…free of distracting sidebars and other trendy bells and whistles…”
Connections:
Read other books written by Simon including Bones, Muscles, The Heart, and The Brain.
Have students create a skit, rap, or song about the book. The teacher/librarian could model using one of Simon’s other books (example: “We all really need our heart, It is with us from the start” using Twinkle Twinkle).
Invite a health professional or school nurse in to discuss digestion and proper nutrition. Give each student a copy of the USDA Food Pyramid to take home. Have them design a nutritious meal (or a sample day’s menu) using these guidelines. This information could be compiled into a handout of a model week’s diet or made into a poster for display in the library.
Using craft products (playdoh or clay, pipe cleaners, felt, yarn) have students create 3-D models of the parts of the digestive system. The pipe cleaners would work especially well for the small intestine. Create a display using the students’ finished products. For younger children, have them label and color a worksheet showing the human digestive system.
Explore how other species eat and digest food. A good example is a sponge, a cow (four “stomachs”) or snakes. Older students can be assigned a species; they can then complete research (print and online) and present their findings to the group.
Watch an educational video clip about the digestive system. A good one can be viewed online from KidsHealth: (http://kidshealth.org/PageManager.jsp?lic=1&article_set=59299&cat_id=20607)
Since this clip prompts the students for answers, it should be shown at the end of the activities for Guts.
Sunday, June 28, 2009
Verse Novel: Witness by Karen Hesse
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.
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.
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.
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