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.
Thursday, June 18, 2009
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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