Poetry
1. Bibliography
Florian, Douglas. COMETS, STARS, THE MOON, AND MARS. New York: Harcourt, 2007. ISBN 0152053727.
2. Plot Summary
Twenty poems provide commentary, trivia, and facts regarding outer space. Specifically considered are the universe, the galaxy, the sun, the moon, the solar system, each individual planet, minor planets, comets, constellations, black holes, and "the Great Beyond."
3. Critical Analysis
Florian is the writer and illustrator of this book about space. He opens with the poem, "Skywatch" to encourage the reader to actually look into the sky and see the stars. Whether within the text of the poems or contained within the captions of the illustrations, this book contains proper names which may inspire further research. "Alpha Centauri" or "Sirius" are two such examples. However, Florian does make the effort to define and explain space terminology in simple terms. Florian's book informs while it entertains. The poem "Pluto" is a good example: "Pluto was a planet...Till one day it got fired."
Florian's illustrations are eclectic. Each page has a feeling of watercolor wash, and the wash effect makes the subject matter seem fluid. The watercolor backgrounds are juxtaposed with collage cut outs imposed into the foreground. Simplistic drawings are also used, such as of constellation patterns, and interesting color mixes are utilized in the drawings of the planets. The style feels very abstract, lacking the encyclopedic quality and content in favor of science as art.
This book appears to have the goal of inspiring readers to learn more about space. It could have been a straight-forward, precisely drawn, non-fiction dry read. However, Florian made it interesting subject matter. His work draws from facts, and creatively combines the scientific with the artistic.
4. Review Excerts
The Horn Book review:
"Florian sums up the heavens in twenty snappy rhymes, all agreeably tongue-in-cheek but never so much so as to distort the information he conveys. Variants of flame-orange and its complementary blues predominate in the full-spread paintings. . . . With its gorgeous palette, sweeping vistas, and ingenious effects (including occasional die-cut holes), this is an expansive and illuminating view of its subject..."
Natural History review:
"In his latest children's book, Douglas Florian, an accomplished poet-painter and father of five, romps through the universe. Each spread features light verse printed over gouache images of planets and other heavenly bodies decorated with collage and rubber stamps. As always, Florian loads his paintings with witty details..."
School Library Journal review:
"Nothing gladdens the heart of believers in good poetry for children more than a new collection by Florian, whose verses and paintings consistently capture the essence of his featured themes. This one literally sings the music of the spheres..."
Connections:
This book could be used supplementary to a unit on the space. It could be used after studying the planets, such as having the students pick a planet, research it, and write a poem about it.
Monday, June 29, 2009
Book Review -- My Man Blue (Module 3)
Poetry
1. Bibliography
Grimes, Nikki. MY MAN BLUE. New York: Dial Books for Young Readers, 1999. ISBN 0142301973.
2. Plot Summary
Fourteen poems show the progression of a relationship between a man named Blue and a young boy named Damon. The first poem professes Damon's admiration for this man, this "Gentle giant." In the following poem, we are taken backward in time to the day Blue and Damon met. Initially, Damon suspects that Blue's attentions are meant to impress Damon's single-parent mother, and this is not a scenario Damon favors at all. However, we are shown later in the poem and in the succeeding ones that Blue is sincere and has no alterior motives in befriending young Damon. Blue earns Damon's respect and affinity through his insight, genuine concern, and example. In the final poem, Damon concludes, "One day I'll be like Blue."
3. Critical Analysis
These poems show the risks and rewards of trusting through the eyes of a skeptical young boy named Damon. Serving as the narrator, Damon carries around the distrust and pain from having an absentee father. When a man named Blue comes into his life, Damon must decide whether or not to allow him to matter. Initially he fights the impulse. Blue wins him over and becomes a father figure. Each poem shows an interaction with Blue, or an event in which Blue's advice or insight are useful to Damon to get through the situation. We are shown two people with their own pain and issues - one having lost a son, one with an absentee father - whose individual losses help them connect in a complimentary and meaningful way. The language is very conversational and frank, descriptive and flowing. The rhyme scheme is fairly precise.
The illustrations by Jerome Lagarrigue look like oil paintings created with dark colors or colors in dark shades, presented in a somewhat impressionistic style. The lighting in most pictures gives the effect of a thunderstorm, in that most of the scenes are outside, and the sky is never clear and blue. It is shown as cloudy and gray with only some hints of blue at times; other times, the sky consists of mixed shades of brown, yellow, and green. The illustration for the opening poem, "My Man Blue" fittingly shows a close-up of Blue wearing a very pensive expression, with faint traces of blue paint woven into the contours of his dark brown skin.
Damon recounts an encounter with a "Class Bully", who happens to be a girl named Tiffany. Damon draws on Blue's admonition that "Guys don't hit girls" and acts accordingly, even though he is taunted as though he is weak as a result. Again he remembers Blue telling him that true strength comes from not hitting back. These poems show Blue's increasingly positive influence on Damon's life. The story, told through poems, not only pays homage to a man named Blue, but to the comfort forged through alternate families that often come into being by choice rather than by birth.
4. Review Excerts
Booklist review:
"In a simple, lyrical series of poems, Grimes speaks in the voice of Damon, a child in Harlem, whose "missing daddy's left a hole" and who finds a mentor in Blue, who lost a son to the streets. It's a scary place ("A boy got shot / At school last month"). Lagarrigue's strong realistic acrylic paintings show the poignant connection between the needy child and the gentle, heavily built man in the dangerous neighborhood, where wedges of blue sky are sandwiched in between the roofs."
School Library Journal review:
"A child's suspicion of the new man in his mother's life grows into admiration and love. . . . By the end, Damon is hoping, one day, to be 'Like Blue'; 'Not fierce/ In black leather/ Or built like/ A heavyweight/ Boxing machine/ But like that/ Other Blue I've seen/ The one who/ Says he cares/ And shows it.'"
5. Connections
This story could be used supplementary to lessons and discussion on character traits. It could be used to inspire writing about a person who had made a difference in the lives of the children. It could be used in a study of poetry to show a style of poetry that is conversational.
1. Bibliography
Grimes, Nikki. MY MAN BLUE. New York: Dial Books for Young Readers, 1999. ISBN 0142301973.
2. Plot Summary
Fourteen poems show the progression of a relationship between a man named Blue and a young boy named Damon. The first poem professes Damon's admiration for this man, this "Gentle giant." In the following poem, we are taken backward in time to the day Blue and Damon met. Initially, Damon suspects that Blue's attentions are meant to impress Damon's single-parent mother, and this is not a scenario Damon favors at all. However, we are shown later in the poem and in the succeeding ones that Blue is sincere and has no alterior motives in befriending young Damon. Blue earns Damon's respect and affinity through his insight, genuine concern, and example. In the final poem, Damon concludes, "One day I'll be like Blue."
3. Critical Analysis
These poems show the risks and rewards of trusting through the eyes of a skeptical young boy named Damon. Serving as the narrator, Damon carries around the distrust and pain from having an absentee father. When a man named Blue comes into his life, Damon must decide whether or not to allow him to matter. Initially he fights the impulse. Blue wins him over and becomes a father figure. Each poem shows an interaction with Blue, or an event in which Blue's advice or insight are useful to Damon to get through the situation. We are shown two people with their own pain and issues - one having lost a son, one with an absentee father - whose individual losses help them connect in a complimentary and meaningful way. The language is very conversational and frank, descriptive and flowing. The rhyme scheme is fairly precise.
The illustrations by Jerome Lagarrigue look like oil paintings created with dark colors or colors in dark shades, presented in a somewhat impressionistic style. The lighting in most pictures gives the effect of a thunderstorm, in that most of the scenes are outside, and the sky is never clear and blue. It is shown as cloudy and gray with only some hints of blue at times; other times, the sky consists of mixed shades of brown, yellow, and green. The illustration for the opening poem, "My Man Blue" fittingly shows a close-up of Blue wearing a very pensive expression, with faint traces of blue paint woven into the contours of his dark brown skin.
Damon recounts an encounter with a "Class Bully", who happens to be a girl named Tiffany. Damon draws on Blue's admonition that "Guys don't hit girls" and acts accordingly, even though he is taunted as though he is weak as a result. Again he remembers Blue telling him that true strength comes from not hitting back. These poems show Blue's increasingly positive influence on Damon's life. The story, told through poems, not only pays homage to a man named Blue, but to the comfort forged through alternate families that often come into being by choice rather than by birth.
4. Review Excerts
Booklist review:
"In a simple, lyrical series of poems, Grimes speaks in the voice of Damon, a child in Harlem, whose "missing daddy's left a hole" and who finds a mentor in Blue, who lost a son to the streets. It's a scary place ("A boy got shot / At school last month"). Lagarrigue's strong realistic acrylic paintings show the poignant connection between the needy child and the gentle, heavily built man in the dangerous neighborhood, where wedges of blue sky are sandwiched in between the roofs."
School Library Journal review:
"A child's suspicion of the new man in his mother's life grows into admiration and love. . . . By the end, Damon is hoping, one day, to be 'Like Blue'; 'Not fierce/ In black leather/ Or built like/ A heavyweight/ Boxing machine/ But like that/ Other Blue I've seen/ The one who/ Says he cares/ And shows it.'"
5. Connections
This story could be used supplementary to lessons and discussion on character traits. It could be used to inspire writing about a person who had made a difference in the lives of the children. It could be used in a study of poetry to show a style of poetry that is conversational.
Sunday, June 21, 2009
Book Review -- Horse Hooves and Chicken Feet: Mexican Folktales (Module 2)
Folktale Collection
1. Bibliography
Philip, Neil, ed. HORSE HOOVES AND CHICKEN FEET: MEXICAN FOLKTALES. New York: Clarion Books, 2003. ISBN 0618194630.
2. Plot Summary
Philip selected 14 folktales from Mexican folklore for inclusion in this book, including a Cinderella variant, “The Two Marias.” These fanciful and imaginative stories reference magic and religion in numerous instances. In “The Flea,” a young magician wins consent to marry the girl he loves only by meeting the challenge of outwitting the girl’s magician father. In “Pedro the Trickster,” the main character is so skilled at persuasion and deception that he manages to manipulate Saint Peter, the devils, Death, and even the Lord in getting his own way. Twelve other stories in combination with these two seem to be told with the intent not to elevate the listeners to model citizenship, but rather to observe the human character with all its foibles. These stories show mankind as he is – prone to brilliance and stupidity, selfishness and humanitarianism. They exhibit a fascination with the supernatural in stories about devils and witches, or with the great unknown through tales of bargaining with God for a glimpse of heaven or a longer life span.
3. Critical Analysis
The fourteen folktales chosen for this book vary in subject matter and length. Some are very simple, while others are more complicated. Details and endings are often unexpected in the way they unfold, with unique imagery and interactions. In “The Flea,” a boy turns himself into a flea and sleeps on a sombrero to avoid being found. In “The Tailor Who Sold His Soul to the Devil,” a tailor outwits the Devil in a sewing contest. In “The Two Marias,” two women visit the Virgin Mary’s home separately. One calms the crying baby Jesus, and is rewarded with a gold star on her head, while the other spanks the baby Jesus to “shut Him up,” and two horns grow out of her head. These stories are highly imaginative and descriptive even in small details. Many concepts are perhaps unique to the culture, not commonly found in mainstream Western literature, giving them a unique, fresh perspective.
The illustrations by Jacqueline Mair use a highly colorful palette. The pictures bring to mind Mexican tiles and pottery, or a vibrant marketplace where such goods are sold. Many illustrations are cluttered with so many images that is becomes difficult to concentrate on any one image very long. For example, page 48 provides an illustration from “The Two Marias” with six separate images framed on a single page. Chili peppers run almost throughout the book above the page numbers, giving the book a little extra Mexican “flavor.”
As with other folktales, these stories provide an opportunity to observe aspects of another culture. Younger children are not as likely to find these stories entertaining; some concepts need insight, the stories tend to be much longer than stories told in picture books, and not every page is illustrated. Older children, on the other hand, would likely be amused by the craftiness or silliness of some of the characters. Understanding of symbolism and irony would be helpful to fully understand the points of the stories, also a developmental milestone of older children.
4. Review Exert(s)
Booklist review: “Philip brings together a useful and attractively presented selection of 14 folktales from Mexico and people of Mexican decent from the American Southwest. The stories are simply yet effectively retold, usually in five or six pages, with many reflecting the strong influence of the Catholic Church on Mexican culture. Adding considerably to the overall appeal of the book are Mair's exuberant illustrations, accomplished in the style of Mexican folk art.”
School Library Journal review: “From the familiar "Cinderella" variant presented in "The Two Marias" to the Chelm-like stupidity of the "The Mule Drivers Who Lost Their Feet," this richly varied collection presents the unique blend of folkloric elements and Catholicism that defines Mexican folklore. In an informative introduction, Philip delineates the distinctive flavor of Mexican tales, their blend of religion and humor, and the particular pointed bite of many of the stories.”
Awards
2003 Aesop Prize
5. Connections
This book could be used to learn about Mexican folktales and discuss their unique traits. They could be used for a cross-cultural study of folktales.
1. Bibliography
Philip, Neil, ed. HORSE HOOVES AND CHICKEN FEET: MEXICAN FOLKTALES. New York: Clarion Books, 2003. ISBN 0618194630.
2. Plot Summary
Philip selected 14 folktales from Mexican folklore for inclusion in this book, including a Cinderella variant, “The Two Marias.” These fanciful and imaginative stories reference magic and religion in numerous instances. In “The Flea,” a young magician wins consent to marry the girl he loves only by meeting the challenge of outwitting the girl’s magician father. In “Pedro the Trickster,” the main character is so skilled at persuasion and deception that he manages to manipulate Saint Peter, the devils, Death, and even the Lord in getting his own way. Twelve other stories in combination with these two seem to be told with the intent not to elevate the listeners to model citizenship, but rather to observe the human character with all its foibles. These stories show mankind as he is – prone to brilliance and stupidity, selfishness and humanitarianism. They exhibit a fascination with the supernatural in stories about devils and witches, or with the great unknown through tales of bargaining with God for a glimpse of heaven or a longer life span.
3. Critical Analysis
The fourteen folktales chosen for this book vary in subject matter and length. Some are very simple, while others are more complicated. Details and endings are often unexpected in the way they unfold, with unique imagery and interactions. In “The Flea,” a boy turns himself into a flea and sleeps on a sombrero to avoid being found. In “The Tailor Who Sold His Soul to the Devil,” a tailor outwits the Devil in a sewing contest. In “The Two Marias,” two women visit the Virgin Mary’s home separately. One calms the crying baby Jesus, and is rewarded with a gold star on her head, while the other spanks the baby Jesus to “shut Him up,” and two horns grow out of her head. These stories are highly imaginative and descriptive even in small details. Many concepts are perhaps unique to the culture, not commonly found in mainstream Western literature, giving them a unique, fresh perspective.
The illustrations by Jacqueline Mair use a highly colorful palette. The pictures bring to mind Mexican tiles and pottery, or a vibrant marketplace where such goods are sold. Many illustrations are cluttered with so many images that is becomes difficult to concentrate on any one image very long. For example, page 48 provides an illustration from “The Two Marias” with six separate images framed on a single page. Chili peppers run almost throughout the book above the page numbers, giving the book a little extra Mexican “flavor.”
As with other folktales, these stories provide an opportunity to observe aspects of another culture. Younger children are not as likely to find these stories entertaining; some concepts need insight, the stories tend to be much longer than stories told in picture books, and not every page is illustrated. Older children, on the other hand, would likely be amused by the craftiness or silliness of some of the characters. Understanding of symbolism and irony would be helpful to fully understand the points of the stories, also a developmental milestone of older children.
4. Review Exert(s)
Booklist review: “Philip brings together a useful and attractively presented selection of 14 folktales from Mexico and people of Mexican decent from the American Southwest. The stories are simply yet effectively retold, usually in five or six pages, with many reflecting the strong influence of the Catholic Church on Mexican culture. Adding considerably to the overall appeal of the book are Mair's exuberant illustrations, accomplished in the style of Mexican folk art.”
School Library Journal review: “From the familiar "Cinderella" variant presented in "The Two Marias" to the Chelm-like stupidity of the "The Mule Drivers Who Lost Their Feet," this richly varied collection presents the unique blend of folkloric elements and Catholicism that defines Mexican folklore. In an informative introduction, Philip delineates the distinctive flavor of Mexican tales, their blend of religion and humor, and the particular pointed bite of many of the stories.”
Awards
2003 Aesop Prize
5. Connections
This book could be used to learn about Mexican folktales and discuss their unique traits. They could be used for a cross-cultural study of folktales.
Book Review -- The Rough-Face Girl (Module 2)
Cinderella Variant
1. Bibliography
Martin, Rafe. THE ROUGH-FACE GIRL. New York: G.P. Putnam's Sons, 1992. ISBN 0399218559.
2. Plot Summary
This version of Cinderella, derived from the folklore of the Algonquin Indians of Lake Ontario, tells of a village where there lives a mysterious man, or being, described as a “very great, rich, powerful and supposedly handsome Invisible Being.” Only his sister can see him; to all others, a clear sighting of him is elusive. To marry this Invisible Being is a wish of many women in the village, but his sister makes it plain that “Only the one who can see him can marry him.” As with other variants of the Cinderella theme, two beautiful sisters are cruel to the third kind and timid sister, while their father does nothing to prevent this. Once again, it is virtue that triumphs in the end.
3. Critical Analysis
In the Author’s Note in the beginning of this book, the author (Martin) purports that Cinderella tales illustrate the cross-cultural wish “[t]o see good rewarded and evil punished…” As with many variations of morality tales, the characters in The Rough-Face Girl are one-dimensional. The cruel sisters are shown as consistently selfish women without mercy, and the rough-face girl never appears to resent her lot – she remains perpetually kind and humble. The father, in his failure to administer justice, represents indifference and weakness. The characters are representational as concepts of good and evil, rather than flesh-and-blood people. With this approach, this story from the Algonquin culture emphasizes a greater value placed on spirituality than physical beauty.
This story deals with the concept of an “Invisible Being.” Nearly every illustration by David Shannon retains that mysterious quality in some way. Darkness, Shadowy figures, and faces either partially covered by hair or turned away from the reader are some of the methods Shannon uses to denote mystery. The illustrations of the Invisible Being as a man made out of a cloud or made out of a constellation compliment the spiritual emphasis of this story. Shannon’s most powerful illustration is used for the book cover. It depicts the rough-face girl, silhouetted by darkness, covering her face with both hands, hiding herself, despairing, peeking out at the reader with one fearful eye.
This story provides an interesting Cinderella variant and a glimpse into the culture of the Algonquin Indians. One concept that might require some further research and explanation occurs when the two cruel sisters set out to marry the Invisible Being in cooperation with each other, rather than in competition with each other. They are questioned at the same time, as though it is a collaborative effort. This seems to imply both women would marry him simultaneously. Not enough information is provided within the story itself to determine if polygamy was an accepted custom for the Algonquin Indians. If so, this concept would have to be explained. Additionally, when the rough-face girl decides to seek out the Invisible Being to marry, there is no explanation for her sudden courage and conviction where cruelty had kept her in bondage to her sisters her entire life. A sudden, decisive outburst of this kind seems a bit out of character with this gap left in the story. Still, the story is thought-provoking.
4. Review Exert(s)
Publisher’s Weekly review: “Shannon (How Many Spots Does a Leopard Have?) paints powerful, stylized figures and stirring landscapes, heightening their impact with varied use of mist, shadows and darkness.”
School Library Journal review: “Another in the recent succession of Cinderella stories, The Rough-Face Girl begs for comparison with Princess Furball (Greenwillow, 1989), Tattercoats (Putnam, 1989), Mufaro's Beautiful Daughters (Lothrop, 1987), Moss Gown (Clarion, 1987), etc., and will provide both entertainment and a cultural lesson..”
Kirkus review: "...Martin's retelling is spare and understated, but never dry; the two sisters are richly comic figures, the climax and ending uncontrived yet magically romantic..."
Awards:
Winner of multiple awards including:
1993 IRA Teacher's Choice Award
1993 Association of Booksellers for Children Booksellers' Choice Award
1994 Golden Sower Award
5. Connections
This book could be used to compare and contrast Cinderella variants. After reading other stories utilizing the Cinderella formula, it could be used for a basis for children to write their own Cinderella variant.
1. Bibliography
Martin, Rafe. THE ROUGH-FACE GIRL. New York: G.P. Putnam's Sons, 1992. ISBN 0399218559.
2. Plot Summary
This version of Cinderella, derived from the folklore of the Algonquin Indians of Lake Ontario, tells of a village where there lives a mysterious man, or being, described as a “very great, rich, powerful and supposedly handsome Invisible Being.” Only his sister can see him; to all others, a clear sighting of him is elusive. To marry this Invisible Being is a wish of many women in the village, but his sister makes it plain that “Only the one who can see him can marry him.” As with other variants of the Cinderella theme, two beautiful sisters are cruel to the third kind and timid sister, while their father does nothing to prevent this. Once again, it is virtue that triumphs in the end.
3. Critical Analysis
In the Author’s Note in the beginning of this book, the author (Martin) purports that Cinderella tales illustrate the cross-cultural wish “[t]o see good rewarded and evil punished…” As with many variations of morality tales, the characters in The Rough-Face Girl are one-dimensional. The cruel sisters are shown as consistently selfish women without mercy, and the rough-face girl never appears to resent her lot – she remains perpetually kind and humble. The father, in his failure to administer justice, represents indifference and weakness. The characters are representational as concepts of good and evil, rather than flesh-and-blood people. With this approach, this story from the Algonquin culture emphasizes a greater value placed on spirituality than physical beauty.
This story deals with the concept of an “Invisible Being.” Nearly every illustration by David Shannon retains that mysterious quality in some way. Darkness, Shadowy figures, and faces either partially covered by hair or turned away from the reader are some of the methods Shannon uses to denote mystery. The illustrations of the Invisible Being as a man made out of a cloud or made out of a constellation compliment the spiritual emphasis of this story. Shannon’s most powerful illustration is used for the book cover. It depicts the rough-face girl, silhouetted by darkness, covering her face with both hands, hiding herself, despairing, peeking out at the reader with one fearful eye.
This story provides an interesting Cinderella variant and a glimpse into the culture of the Algonquin Indians. One concept that might require some further research and explanation occurs when the two cruel sisters set out to marry the Invisible Being in cooperation with each other, rather than in competition with each other. They are questioned at the same time, as though it is a collaborative effort. This seems to imply both women would marry him simultaneously. Not enough information is provided within the story itself to determine if polygamy was an accepted custom for the Algonquin Indians. If so, this concept would have to be explained. Additionally, when the rough-face girl decides to seek out the Invisible Being to marry, there is no explanation for her sudden courage and conviction where cruelty had kept her in bondage to her sisters her entire life. A sudden, decisive outburst of this kind seems a bit out of character with this gap left in the story. Still, the story is thought-provoking.
4. Review Exert(s)
Publisher’s Weekly review: “Shannon (How Many Spots Does a Leopard Have?) paints powerful, stylized figures and stirring landscapes, heightening their impact with varied use of mist, shadows and darkness.”
School Library Journal review: “Another in the recent succession of Cinderella stories, The Rough-Face Girl begs for comparison with Princess Furball (Greenwillow, 1989), Tattercoats (Putnam, 1989), Mufaro's Beautiful Daughters (Lothrop, 1987), Moss Gown (Clarion, 1987), etc., and will provide both entertainment and a cultural lesson..”
Kirkus review: "...Martin's retelling is spare and understated, but never dry; the two sisters are richly comic figures, the climax and ending uncontrived yet magically romantic..."
Awards:
Winner of multiple awards including:
1993 IRA Teacher's Choice Award
1993 Association of Booksellers for Children Booksellers' Choice Award
1994 Golden Sower Award
5. Connections
This book could be used to compare and contrast Cinderella variants. After reading other stories utilizing the Cinderella formula, it could be used for a basis for children to write their own Cinderella variant.
Monday, June 15, 2009
Book Review -- The Hunter (Module 2)
Picture Book - Folktale
1. Bibliography
Casanova, Mary. THE HUNTER: A CHINESE FOLKTALE. New York: Atheneum Books, 2000. ISBN 068982906.
2. Plot Summary
This Chinese folktale centers on the ideas of credibility and self-sacrifice. Hai Li Bu was a good hunter as well as a man of conscience in a time when food was scarce. The prospect of keeping the people of his village fed weighed on him daily, and daily Hai Li Bu set out in search of food. One such day he saved a snake from being devoured by a crane, and the Dragon King of the Sea rewarded him for his compassion with a gift of a luminous stone. However, the gift had a condition placed upon it. This condition would test the depths of Hai Li Bu's love for his people.
3. Critical Analysis
This folktale is told in an unpredictable narrative style. As each page turns, more details combine to set up Hai Li Bu’s eventual fate. It is engaging in its likeable, selfless hero, trying to save his village from starvation and destruction against the odds.
The illustrations throughout are drawn as if with a calligraphy pen. There is the impression of small splatters of ink, reminding the reader of ancient Chinese scrolls. The images are simply drawn primarily in black ink outlines with some color embellishment, and forms tend to be hinted at rather than completely defined. Perhaps this is meant to hint at the tenuous quality of life.
This story is poignant in its dual lessons: a person with a record of selfless behavior should be believed even if his statement seems absurd, and sometimes the only way to save others is through extreme self-sacrifice.
4. Review Exert(s)
Awards:
2000 Parent's Choice Award
2000 Aesop Accolade
Reviews:
Booklist review: "Casanova, who lists several sources for the story, tells the tale in a dignified yet moving way that is complemented by the stark artwork."
Parent's Choice review: "The reader/viewer has the sense of having been transported to ancient China and seeing the story unfold through the eyes of a gifted Chinese scroll painter. A rare work of picture-book art."
5. Connections
This book could be used in a study of folktales in general or a study of folktales around the world. It could be used to show how stories told for useful life lessons cross cultures. It might be used to study the concept of the dragon across cultures; in this particular story the dragon is seen as essential and benevolent.
1. Bibliography
Casanova, Mary. THE HUNTER: A CHINESE FOLKTALE. New York: Atheneum Books, 2000. ISBN 068982906.
2. Plot Summary
This Chinese folktale centers on the ideas of credibility and self-sacrifice. Hai Li Bu was a good hunter as well as a man of conscience in a time when food was scarce. The prospect of keeping the people of his village fed weighed on him daily, and daily Hai Li Bu set out in search of food. One such day he saved a snake from being devoured by a crane, and the Dragon King of the Sea rewarded him for his compassion with a gift of a luminous stone. However, the gift had a condition placed upon it. This condition would test the depths of Hai Li Bu's love for his people.
3. Critical Analysis
This folktale is told in an unpredictable narrative style. As each page turns, more details combine to set up Hai Li Bu’s eventual fate. It is engaging in its likeable, selfless hero, trying to save his village from starvation and destruction against the odds.
The illustrations throughout are drawn as if with a calligraphy pen. There is the impression of small splatters of ink, reminding the reader of ancient Chinese scrolls. The images are simply drawn primarily in black ink outlines with some color embellishment, and forms tend to be hinted at rather than completely defined. Perhaps this is meant to hint at the tenuous quality of life.
This story is poignant in its dual lessons: a person with a record of selfless behavior should be believed even if his statement seems absurd, and sometimes the only way to save others is through extreme self-sacrifice.
4. Review Exert(s)
Awards:
2000 Parent's Choice Award
2000 Aesop Accolade
Reviews:
Booklist review: "Casanova, who lists several sources for the story, tells the tale in a dignified yet moving way that is complemented by the stark artwork."
Parent's Choice review: "The reader/viewer has the sense of having been transported to ancient China and seeing the story unfold through the eyes of a gifted Chinese scroll painter. A rare work of picture-book art."
5. Connections
This book could be used in a study of folktales in general or a study of folktales around the world. It could be used to show how stories told for useful life lessons cross cultures. It might be used to study the concept of the dragon across cultures; in this particular story the dragon is seen as essential and benevolent.
Sunday, June 14, 2009
Book Review -- Talking to Artists (Module 1)
Non-fiction Picture Book
1. Bibliography
Cummings, Pat, ed. TALKING WITH ARTISTS, VOLUME THREE. New York: Clarion Books, 1999. ISBN 0395891329.
2. Plot Summary
This third volume of the TALKING WITH ARTISTS series focuses on the beginnings, early inspiration, and artistic training of thirteen illustrators of children’s books. These illustrators are Peter Catalanotto, Raul Colon, Lisa Desimini, Jane Dyer, Kevin Hawkes, G. Brian Karas, Betsy Lewin, Ted Lewin, Keiko Narahashi, Elise Primavera, Anna Rich, Peter Sis, and Paul O. Zelinsky. Each illustrator describes his or her early, childhood inclinations in art, training, and the process of how that led to careers in children’s book illustration for each. In the back of the book, drawing tips are provided by some of the illustrators, and each listed five favorite books for which he or she provided illustrations.
3. Critical Analysis
Each artist provides background information and anecdotes in a very casual, often humorous manner, intended for interaction with children. Rather than simply writing about the illustrators, Cummings allows the illustrators to communicate their background information for themselves. This approach makes the book flow; it seems more like the reader is meeting each person rather than simply reading about them. Within each artist profile, the artists follow up background and anecdotal information by answering questions of interest, such as whether or not they use family members and friends as models for their illustrations. Again, this allows the individual personalities of the artists to be known from their own words rather than purely through description by the editor.
Included are portraits of the illustrators as children, as well as portraits current to the publication date of this volume. Most profiles show a sample picture drawn by the artist as a child, as well as an illustration drawn by the artist as an adult, for a children’s book. This demonstrates that the illustrators began as children with interest in art and continued to pursue that interest through practice, training, and eventual acceptance by children’s book publishers. It reinforces the idea that this achievement requires effort and focus, but that the children reading this volume have the capabilities to do likewise.
This volume was easy to read and very encouraging in tone. For the child reader, it is a pep rally in print for “follow your dream,” especially if that dream involves art. For the parent or teacher, it might have a similar effect as well, or perhaps it might simply induce the adult reader to venture to the library and purposefully seek out some books by these talented artists.
4. Review Exert(s)
Awards: 1992 Boston Globe/Horn Book Award for Nonfiction
School Library Journal review: “While many readers will find the artists' tips that conclude the volume useful, all will appreciate these insightful conversations.”
Booklist review: “A special treat for budding artists and wonderful for teachers.”
5. Connections
This book could be used to tie into books children are already reading, in also exploring the illustrators who collaborated on the craft of the book publication. In addition, it could be used to promote self-esteem in showing the students that the illustrators were once children like themselves, who simply pursued their interests in art to achieve their career as illustrators.
1. Bibliography
Cummings, Pat, ed. TALKING WITH ARTISTS, VOLUME THREE. New York: Clarion Books, 1999. ISBN 0395891329.
2. Plot Summary
This third volume of the TALKING WITH ARTISTS series focuses on the beginnings, early inspiration, and artistic training of thirteen illustrators of children’s books. These illustrators are Peter Catalanotto, Raul Colon, Lisa Desimini, Jane Dyer, Kevin Hawkes, G. Brian Karas, Betsy Lewin, Ted Lewin, Keiko Narahashi, Elise Primavera, Anna Rich, Peter Sis, and Paul O. Zelinsky. Each illustrator describes his or her early, childhood inclinations in art, training, and the process of how that led to careers in children’s book illustration for each. In the back of the book, drawing tips are provided by some of the illustrators, and each listed five favorite books for which he or she provided illustrations.
3. Critical Analysis
Each artist provides background information and anecdotes in a very casual, often humorous manner, intended for interaction with children. Rather than simply writing about the illustrators, Cummings allows the illustrators to communicate their background information for themselves. This approach makes the book flow; it seems more like the reader is meeting each person rather than simply reading about them. Within each artist profile, the artists follow up background and anecdotal information by answering questions of interest, such as whether or not they use family members and friends as models for their illustrations. Again, this allows the individual personalities of the artists to be known from their own words rather than purely through description by the editor.
Included are portraits of the illustrators as children, as well as portraits current to the publication date of this volume. Most profiles show a sample picture drawn by the artist as a child, as well as an illustration drawn by the artist as an adult, for a children’s book. This demonstrates that the illustrators began as children with interest in art and continued to pursue that interest through practice, training, and eventual acceptance by children’s book publishers. It reinforces the idea that this achievement requires effort and focus, but that the children reading this volume have the capabilities to do likewise.
This volume was easy to read and very encouraging in tone. For the child reader, it is a pep rally in print for “follow your dream,” especially if that dream involves art. For the parent or teacher, it might have a similar effect as well, or perhaps it might simply induce the adult reader to venture to the library and purposefully seek out some books by these talented artists.
4. Review Exert(s)
Awards: 1992 Boston Globe/Horn Book Award for Nonfiction
School Library Journal review: “While many readers will find the artists' tips that conclude the volume useful, all will appreciate these insightful conversations.”
Booklist review: “A special treat for budding artists and wonderful for teachers.”
5. Connections
This book could be used to tie into books children are already reading, in also exploring the illustrators who collaborated on the craft of the book publication. In addition, it could be used to promote self-esteem in showing the students that the illustrators were once children like themselves, who simply pursued their interests in art to achieve their career as illustrators.
Friday, June 12, 2009
Book Review -- Henry's Freedom Box (Module 1)
Kadir Nelson as Illustrator Picture Book Review
Henry’s Freedom Box
1. Bibliography
Levine, Ellen. HENRY’S FREEDOM BOX. Ill. by Kadir Nelson. New York: Scholastic Press, 2007. ISBN 0439428788
2. Plot Summary
This story recounts the childhood enslavement and eventual flight to freedom through the Underground Railroad system of a historical figure by the name of Henry Brown. The tone is very straight-forward and factual. Twice in his life, Henry Brown is separated from loved ones through the selling of himself or his slave family members to other slave masters. This occurred as a small child, when he was sold away from his mother, and then as an adult, when he watched his wife and children call out to him as they were sold and carried away from him. The pain of such great loss and sorrow eventually inspired Henry Brown to escape his enslavement through the historic Underground Railroad.
3. Critical Analysis
The narrative style is very direct. Truths about slavery and the pain inflicted upon the enslaved are stated without any embellishment. This makes the story about a serious subject all the more grave. If the author’s purpose was to make the readers of this book feel pain along with the main character, Henry Brown, it seems she likely succeeds in this endeavor. The book ends abruptly, leaving unanswered questions as to the fate of Brown's family, what his life might have been like as a free man, what further contributions he might have made to the cause of emancipation, and the like.
The illustrations by Kadir Nelson are highly realistic, varying from silent poses of people in thought to people moving in action. Some elements of the illustration style, though very colorful, are vaguely reminiscent of the lithographs or block drawings seen in history books where pictures from the nineteenth century or earlier are displayed. The infusion of bright colors, while hinting at a more primitive means of creating an image, give the story its remnants of history while creating images children can relate to in our current century.
The subject matter of this picture book is historical, but some information related in this story seems better suited for older children. For instance, the concept of being sold away from one’s family may be too disturbing and abstract for the mind of a very young child, whose limited life experience makes it difficult to adequately explain the many moral and historical implications of slavery. Levine’s style is so forthright that some unpleasant or horrific facts are stated without any preemptive explanation.
4. Review Exert(s)
Caldecott Honor Book
PUBLISHER’S WEEKLY review: “Readers never learn about Henry's life as a free man—or, perhaps unavoidably, whether he was ever reunited with his family. Still, these powerful illustrations will make readers feel as if they have gained insight into a resourceful man and his extraordinary story.
SCHOOL LIBRARY JOURNAL review: “While some of the specifics are unfortunately questionable, this book solidly conveys the generalities of Henry Brown's story.”
5. Connections
This book seems most useful as a supplemental story for a study of the Underground Railroad in Social Studies.
Henry’s Freedom Box
1. Bibliography
Levine, Ellen. HENRY’S FREEDOM BOX. Ill. by Kadir Nelson. New York: Scholastic Press, 2007. ISBN 0439428788
2. Plot Summary
This story recounts the childhood enslavement and eventual flight to freedom through the Underground Railroad system of a historical figure by the name of Henry Brown. The tone is very straight-forward and factual. Twice in his life, Henry Brown is separated from loved ones through the selling of himself or his slave family members to other slave masters. This occurred as a small child, when he was sold away from his mother, and then as an adult, when he watched his wife and children call out to him as they were sold and carried away from him. The pain of such great loss and sorrow eventually inspired Henry Brown to escape his enslavement through the historic Underground Railroad.
3. Critical Analysis
The narrative style is very direct. Truths about slavery and the pain inflicted upon the enslaved are stated without any embellishment. This makes the story about a serious subject all the more grave. If the author’s purpose was to make the readers of this book feel pain along with the main character, Henry Brown, it seems she likely succeeds in this endeavor. The book ends abruptly, leaving unanswered questions as to the fate of Brown's family, what his life might have been like as a free man, what further contributions he might have made to the cause of emancipation, and the like.
The illustrations by Kadir Nelson are highly realistic, varying from silent poses of people in thought to people moving in action. Some elements of the illustration style, though very colorful, are vaguely reminiscent of the lithographs or block drawings seen in history books where pictures from the nineteenth century or earlier are displayed. The infusion of bright colors, while hinting at a more primitive means of creating an image, give the story its remnants of history while creating images children can relate to in our current century.
The subject matter of this picture book is historical, but some information related in this story seems better suited for older children. For instance, the concept of being sold away from one’s family may be too disturbing and abstract for the mind of a very young child, whose limited life experience makes it difficult to adequately explain the many moral and historical implications of slavery. Levine’s style is so forthright that some unpleasant or horrific facts are stated without any preemptive explanation.
4. Review Exert(s)
Caldecott Honor Book
PUBLISHER’S WEEKLY review: “Readers never learn about Henry's life as a free man—or, perhaps unavoidably, whether he was ever reunited with his family. Still, these powerful illustrations will make readers feel as if they have gained insight into a resourceful man and his extraordinary story.
SCHOOL LIBRARY JOURNAL review: “While some of the specifics are unfortunately questionable, this book solidly conveys the generalities of Henry Brown's story.”
5. Connections
This book seems most useful as a supplemental story for a study of the Underground Railroad in Social Studies.
Book Review -- The Hello, Goodbye Window (Module 1)
Picture Book Review
The Hello, Goodbye Window
1. Bibliography
Juster, Norton. THE HELLO, GOODBYE WINDOW. Ill. by Chris Raschka. Hyperion, 2007. ISBN 0786809140
2. Plot Summary
This picture book by Juster Norton is told through the eyes of a young girl, who is not specifically given a name in the story, serving as the universal child. This story is void of any conflict, but rather depicts a child’s loving relationship with her caretaker grandparents, Nanna and Poppy. The window referenced as the title of the book is a window located at the front of the house where the girl typically meets and is lovingly received by her grandparents before entering the house. The book describes the young girl’s interactions with her grandparents, and the words, gestures, and actions that show their reciprocal affection for one another.
3. Critical Analysis
The narrative style utilized by Juster is that of the narrator, a young girl. Not only does the girl factually relate the details of typical interactions with her grandparents, but a young child’s perceptions and imagination come through, often with a sense of humor or quirkiness. When describing some of the possible visitors she might encounter while sitting in the kitchen and staring outside through the window, her list includes a dinosaur: “Tyrannosaurus Rex (He’s extinct, so he doesn’t come around much.)” This story serves as a window itself – glimpses into the affectionate relationship between a young girl and her beloved grandparents.
The illustrations by Chris Raschka are colorful and detailed. The characters are distinct and consistent page by page, implicit with individual personality. Yet the pictures bring to mind the crayon drawings of small children, typically unconcerned with borders or boundaries, letting one element bleed into another. There is a strong sense of movement. The colors flow, and are cheerfully presented throughout. Additionally, the characters are shown through the artwork as being people of color, and varying shades of color, indicating the diversity within a family where so much love is present.
This book is universal in theme. The love of family members for each other transcends ethnicity. The content is whimsical and cheerful. Only one mention is made of any sadness at all, and this occurs when the young girl’s parents come to take her home at the end of the day. She is reluctant to leave her grandparents. She says “I’m glad because I know we’re going home, but it makes me sad too because I have to leave Nanna and Poppy. You can be happy and sad at the same time, you know.” Many children and adults can easily relate to this sentiment, and to this book.
4. Review Exert(s)
The Caldecott Medal 2006
Starred review in KIRKUS REVIEWS: “Juster adopts the voice of the child, whose present-tense narration is just right, describing pleasures (saying good night to the stars) and perils (the tiger at the back of the garden) with a steady, sweet candor.”
Starred review in SCHOOL LIBRARY JOURNAL: “While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family.”
5. Connections
This story could be read, then followed with children picking a relative or relatives they enjoy visiting and writing a story about the activities that bond them. It could also serve as a light-hearted read that shows the diversity in the world, and that people can differ from one another in physical characteristics or even in the way they perceive the world, and still care for one another.
The Hello, Goodbye Window
1. Bibliography
Juster, Norton. THE HELLO, GOODBYE WINDOW. Ill. by Chris Raschka. Hyperion, 2007. ISBN 0786809140
2. Plot Summary
This picture book by Juster Norton is told through the eyes of a young girl, who is not specifically given a name in the story, serving as the universal child. This story is void of any conflict, but rather depicts a child’s loving relationship with her caretaker grandparents, Nanna and Poppy. The window referenced as the title of the book is a window located at the front of the house where the girl typically meets and is lovingly received by her grandparents before entering the house. The book describes the young girl’s interactions with her grandparents, and the words, gestures, and actions that show their reciprocal affection for one another.
3. Critical Analysis
The narrative style utilized by Juster is that of the narrator, a young girl. Not only does the girl factually relate the details of typical interactions with her grandparents, but a young child’s perceptions and imagination come through, often with a sense of humor or quirkiness. When describing some of the possible visitors she might encounter while sitting in the kitchen and staring outside through the window, her list includes a dinosaur: “Tyrannosaurus Rex (He’s extinct, so he doesn’t come around much.)” This story serves as a window itself – glimpses into the affectionate relationship between a young girl and her beloved grandparents.
The illustrations by Chris Raschka are colorful and detailed. The characters are distinct and consistent page by page, implicit with individual personality. Yet the pictures bring to mind the crayon drawings of small children, typically unconcerned with borders or boundaries, letting one element bleed into another. There is a strong sense of movement. The colors flow, and are cheerfully presented throughout. Additionally, the characters are shown through the artwork as being people of color, and varying shades of color, indicating the diversity within a family where so much love is present.
This book is universal in theme. The love of family members for each other transcends ethnicity. The content is whimsical and cheerful. Only one mention is made of any sadness at all, and this occurs when the young girl’s parents come to take her home at the end of the day. She is reluctant to leave her grandparents. She says “I’m glad because I know we’re going home, but it makes me sad too because I have to leave Nanna and Poppy. You can be happy and sad at the same time, you know.” Many children and adults can easily relate to this sentiment, and to this book.
4. Review Exert(s)
The Caldecott Medal 2006
Starred review in KIRKUS REVIEWS: “Juster adopts the voice of the child, whose present-tense narration is just right, describing pleasures (saying good night to the stars) and perils (the tiger at the back of the garden) with a steady, sweet candor.”
Starred review in SCHOOL LIBRARY JOURNAL: “While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family.”
5. Connections
This story could be read, then followed with children picking a relative or relatives they enjoy visiting and writing a story about the activities that bond them. It could also serve as a light-hearted read that shows the diversity in the world, and that people can differ from one another in physical characteristics or even in the way they perceive the world, and still care for one another.
Purpose
This blog is created for the purpose of book reviews for the course I am taking: Literature for Children and Young Adults at Texas Woman's University toward my Master's Degree in Library and Information Science.
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