Biography by Kathleen Krull
1. Bibliography
Krull, Kathleen. THE ROAD TO OZ: TWISTS, TURNS, BUMPS, AND TRIUMPHS IN THE LIFE OF L. FRANK BAUM. New York: Alfred A. Knopf, 2008. ISBN 03759322168.
2. Plot Summary
This autobiography of L. Frank Baum by Kathleen Krull details the colorful life of the creator of "The Wizard of Oz" and the Oz books that followed. We learn of Baum's wealthy upbringing, his vivid imagination, and his love of children and storytelling. We learn of his various careers and his great love of his family life. "The Wizard of Oz" was published in 1900. In the "Storyteller's Note" at the back of the book, the author points out, "...Oz was the Harry Potter of it's day..."
3. Critical Analyis
The reader learns how very likeable and yet how very human Baum was. Children learn of some of Baum's inspirations for the book. Although several examples are given, one example is that the tin man likely came into being from Baum's stint as a window dresser in a hardware store, in which he made a unique display - a man made of metal parts.
Many of Kevin Hawkes illustrations hint at other inspirations. A scarecrow on a hillside, poppies growing roadside, and a broom being used for a prop for one of Baum's stories are several examples. The pictures throughout are very colorful. They carry the action on associated pages well.
4. Review Excerpts
Bulletin of the Center for Children's Books review:
"...Sprinkled through with wry parenthetical asides, Krull's text is witty and reader-friendly, and it provides a narrative yellow brick road that makes the writing of the Oz books seem inevitable, a natural out'growth of all of the experiences Baum had along the way..."
Hornbook review:
"Though Baum's financial ups and downs before Oz offer dramatic "bumps," that may not be the most appropriate structure for his life story... Krull's frequent parentheses produce a distracting stop-start rhythm: "Finally it dawned on Frank that he could be writing down those bedtime fantasies he told the children. (Actually, his mother-in-law was the one who pointed this out.)" Krull does describe Baum's anti-Native editorials in his small Dakota newspaper more forthrightly than previous biographers. In all, an entertaining look at how a peripatetic man in a rapidly changing society produced a lasting fantasy tale."
The Christian Science Monitor review:
"Younger readers will enjoy the vibrant, detailed illustrations, while older readers (or history buffs) will delight in the little-known facts and literary allusions. . . . Sharp-eyed readers will also spot references to the story of the girl from Kansas who trekked to the Emerald city--even on the first page of this colorful biography..."
5. Connections
This book could be used in a unit to show what biographies are. It could also be incorporated supplementally into a study of "The Wizard of Oz" or any of the Oz books. It could also be used to illustrate the value of focus and perserverance.
Saturday, July 11, 2009
Book Review -- Giant Snakes (Module 4)
Non-fiction book by Seymour Simon
1. Bibliography
Simon, Seymour. GIANT SNAKES. San Francisco, CA: Chronicle Books, 2006. ISBN 0118854108.
2. Plot Summary
Boa Constrictors and Pythons are the giant snakes of our world. This book describes and explains details about these two types of giant snakes. The reader finds that these snakes differ from each other in some ways - the boa gives birth to live young, while the python lays eggs which she guards until they hatch. These snakes are very much alike in other ways, such as their physical characteristics - they both lack outside ears and eyelids. Many facts are presented about the diet, hunting techniques, habitat, and size of these snakes. Full-color photographs of these snakes are provided on every page.
3. Critical Analysis
This book, written as a Level 2 reader for elementary grades 1-3, provides an overview of giant snakes, which are the boa constrictors and pythons of our world. The average lifespan of these snakes is an example of a question that this book does not address, focusing instead mainly on the birth, size, and eating habits of various giant snakes. Still, many interesting facts about these snakes are presented. The book concludes with the reassurance that attacks on human beings by giant snakes are rare, and the call to remember that "snakes are neither good nor bad. Giant Snakes are part of the natural life of the countries in which they live."
One page states that "Anacondas are the largest snakes in the world." The following page states that "[t]he reticulated (re-TICK-u-late-d) python of Southeast Asia is the longest snake in the world." It is difficult to determine which snake is the biggest, since it is unclear whether length or width is the determining factor. Despite this seeming contradiction, the idea that these snakes are quite large does come through, many of them approaching or exceeding 30 feet in length.
The photographs do add to the comprehension of the subject matter. There are some fairly graphic images included. One shows a snake suffocating a mouse, the mouse wearing an agonized expression. Another photo shows a boa constrictor giving birth to live young.
4. Review Excerpts:
Science Books & Films review:
"The text is lively, well organized, and clear, with the many facts it presents cleverly woven into the story. The illustrations, which are beautiful, show distinctly the intricate patterns of the snakes' skin. The differently colored pages of the book are attractive, and often the color is perfect for the information presented. The book is easy to read, and there was only one typo to mar the presentation. This book would be ideal for the classroom or the young reader's bookshelf."
5. Connections
This book could be used to supplement a study of reptiles in general or snakes in particular. It could be used in a compare and contrast study of snakes, some being poisonous, some not, some giant, some small, and the like.
1. Bibliography
Simon, Seymour. GIANT SNAKES. San Francisco, CA: Chronicle Books, 2006. ISBN 0118854108.
2. Plot Summary
Boa Constrictors and Pythons are the giant snakes of our world. This book describes and explains details about these two types of giant snakes. The reader finds that these snakes differ from each other in some ways - the boa gives birth to live young, while the python lays eggs which she guards until they hatch. These snakes are very much alike in other ways, such as their physical characteristics - they both lack outside ears and eyelids. Many facts are presented about the diet, hunting techniques, habitat, and size of these snakes. Full-color photographs of these snakes are provided on every page.
3. Critical Analysis
This book, written as a Level 2 reader for elementary grades 1-3, provides an overview of giant snakes, which are the boa constrictors and pythons of our world. The average lifespan of these snakes is an example of a question that this book does not address, focusing instead mainly on the birth, size, and eating habits of various giant snakes. Still, many interesting facts about these snakes are presented. The book concludes with the reassurance that attacks on human beings by giant snakes are rare, and the call to remember that "snakes are neither good nor bad. Giant Snakes are part of the natural life of the countries in which they live."
One page states that "Anacondas are the largest snakes in the world." The following page states that "[t]he reticulated (re-TICK-u-late-d) python of Southeast Asia is the longest snake in the world." It is difficult to determine which snake is the biggest, since it is unclear whether length or width is the determining factor. Despite this seeming contradiction, the idea that these snakes are quite large does come through, many of them approaching or exceeding 30 feet in length.
The photographs do add to the comprehension of the subject matter. There are some fairly graphic images included. One shows a snake suffocating a mouse, the mouse wearing an agonized expression. Another photo shows a boa constrictor giving birth to live young.
4. Review Excerpts:
Science Books & Films review:
"The text is lively, well organized, and clear, with the many facts it presents cleverly woven into the story. The illustrations, which are beautiful, show distinctly the intricate patterns of the snakes' skin. The differently colored pages of the book are attractive, and often the color is perfect for the information presented. The book is easy to read, and there was only one typo to mar the presentation. This book would be ideal for the classroom or the young reader's bookshelf."
5. Connections
This book could be used to supplement a study of reptiles in general or snakes in particular. It could be used in a compare and contrast study of snakes, some being poisonous, some not, some giant, some small, and the like.
Friday, July 3, 2009
Book Review -- Stop Pretending: What Happened When My Big Sister Went Crazy (Module 3)
Verse Novel
1. Bibliography
Sones, Sonya. STOP PRETENDING: WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY. New York: HarperTempest, 1999. ISBN 0064462188.
2. Plot Summary
When the author was twelve years old, her older sister had a nervous breakdown on Christmas Eve, requiring months of hospitalization in a psychiatric ward. This book was drawn from that time in Sones’s life. The book provides a free verse poetic memoir of what that time was like for the author and her family, and their collective journey as a family toward recovery.
3. Critical Analysis
The strength of this verse novel is its straight-forward style. The narrator, affectionately called “Cookie” by her family, tells about dealing with her sister’s mental illness as if she were writing in her journal; it is offered with candor. We are allowed into her world and into her mind, where as a young adult she must cope with a sudden, tragic, and extreme change in her family status quo – her sister is suffering from a mental breakdown, and her entire family feels powerless to help her. The narrator desperately wants her sister back, as she was before, and wants her family to return to the happiness they knew before the breakdown happened. This verse novel is a journey toward hope.
4. Awards and Review Excerpts
Christopher Award
Claudia Lewis Award for Poetry
Myra Cohn Livingston Poetry Award
Gradiva Award for Pest Poetry Book
ALA Best Book for Young Adults
IRA/CBC Young Adults Choice
(And the list goes on…)
Review Excerpts:
School Library Journal review:
“An unpretentious, accessible book that could provide entry points for a discussion about mental illness-its stigma, its realities, and its affect on family members. Based on the journals Sones wrote at the age of 13 when her 19-year-old sister was hospitalized due to manic depression, the simply crafted but deeply felt poems reflect her thoughts, fears, hopes, and dreams during that troubling time…”
Kirkus review:
“In a story based on real events, and told in poems, Sones explores what happened and how she reacted when her adored older sister suddenly began screaming and hearing voices in her head, and was ultimately hospitalized. Individually, the poems appear simple and unremarkable, snapshot portraits of two sisters, a family, unfaithful friends, and a sweet first love. Collected, they take on life and movement, the individual frames of a movie that in the unspooling become animated, telling a compelling tale and presenting a painful passage through young adolescence…”
5. Connections
This verse novel could be used to discuss mental illness and its effect on the sufferer and their family and friends.
1. Bibliography
Sones, Sonya. STOP PRETENDING: WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY. New York: HarperTempest, 1999. ISBN 0064462188.
2. Plot Summary
When the author was twelve years old, her older sister had a nervous breakdown on Christmas Eve, requiring months of hospitalization in a psychiatric ward. This book was drawn from that time in Sones’s life. The book provides a free verse poetic memoir of what that time was like for the author and her family, and their collective journey as a family toward recovery.
3. Critical Analysis
The strength of this verse novel is its straight-forward style. The narrator, affectionately called “Cookie” by her family, tells about dealing with her sister’s mental illness as if she were writing in her journal; it is offered with candor. We are allowed into her world and into her mind, where as a young adult she must cope with a sudden, tragic, and extreme change in her family status quo – her sister is suffering from a mental breakdown, and her entire family feels powerless to help her. The narrator desperately wants her sister back, as she was before, and wants her family to return to the happiness they knew before the breakdown happened. This verse novel is a journey toward hope.
4. Awards and Review Excerpts
Christopher Award
Claudia Lewis Award for Poetry
Myra Cohn Livingston Poetry Award
Gradiva Award for Pest Poetry Book
ALA Best Book for Young Adults
IRA/CBC Young Adults Choice
(And the list goes on…)
Review Excerpts:
School Library Journal review:
“An unpretentious, accessible book that could provide entry points for a discussion about mental illness-its stigma, its realities, and its affect on family members. Based on the journals Sones wrote at the age of 13 when her 19-year-old sister was hospitalized due to manic depression, the simply crafted but deeply felt poems reflect her thoughts, fears, hopes, and dreams during that troubling time…”
Kirkus review:
“In a story based on real events, and told in poems, Sones explores what happened and how she reacted when her adored older sister suddenly began screaming and hearing voices in her head, and was ultimately hospitalized. Individually, the poems appear simple and unremarkable, snapshot portraits of two sisters, a family, unfaithful friends, and a sweet first love. Collected, they take on life and movement, the individual frames of a movie that in the unspooling become animated, telling a compelling tale and presenting a painful passage through young adolescence…”
5. Connections
This verse novel could be used to discuss mental illness and its effect on the sufferer and their family and friends.
Monday, June 29, 2009
Book Review -- Comets, Stars, The Moon, and Mars (Module 3)
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.
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.
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.
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