Doña Flor
PLOT SUMMARY
Doña Flor is the epitome of the gentle-giant. With a house "as big as a mountain" and hands as "wide as plates," she has a heart to match, inspiring the love and respect of the people in her Southwest village. When a fearsome noise frightens the villagers, Doña Flor comes, as always, to the rescue. Raúl Colon won the 2006 Pura Belpré Illustrator Medal for his contribution to this fresh and inventive tall tale.
CRITICAL ANALYSIS
Pat Mora's, Doña Flor: A Tall Tale About a Giant Lady with a Big Heart, has the hallmarks of a classic tall tale, a multi-faceted heroine and rich details. Despite her overarching kindness, Dona Flor can be tired - as when the wind keeps her from sleep, angry - as she stomps off to find the puma that annoys the village, and indulgent - as she takes a "long, hot bubble bath," the smell of roses rising from the chimney. Her size and kindness are communicated expressively. "When she worked, Flor sang, and birds came and built nests in her hair."
"She gave the school band her hollyhocks to use as trumpets. The music smelled like spring."
Mora introduces multiple Spanish words in Doña Flor with varying techniques and effect. Literal translations are clear to the reader, but interrupt the story flow. "'¿Dónde estás? Where are you?' called her worried neighbors." Nonliteral translations include "Everyone called her Doña Flor because they respected her." and ""Mi casa es su casa," she said...so they knew they were always welcome." Most pleasing are the untranslated words, "Are you the chico who's causing all the trouble?" "Why, you're just a kitten to me, Pumito." These passages allow a smooth rhythm to the story with unfamiliar words fitting contextually into the sentence.
In addition to Spanish words, Doña Flor contains many textual references to the story's Southwest setting. Tortillas are prominently featured in the story; Flor makes tortillas with her huge "plate-sized" hands. The children use them as rafts and villagers use them as roofs for their homes. The village or pueblo is filled with adobe homes and is located near a tall mesa. Pumas, rattlers and coyotes inhabit the village.
Raúl Colon's award winning illustrations are a "combination of watercolor washes, etching, and colored and litho pencils." The muted, yet varied colors, evoke the Southwest atmosphere - dry and serene, yet not without life. Dona Flor herself has skin the color of the Southwestern soil, lips the color of adobe walls, and luxurious long dark hair - wrapped in a braided bun for the day's work and flying loose in the starlight sky at night. She appears to be a child of the Southwest earth itself. Her benevolent brown eye peers in the doorway of a village family. The home is adorned with a woven rug, a clay pot, and a sombrero; and although her eye fills much of the doorway, it does not inspire fear. Her giant tortillas provide rafts for the children, and in the evening, she envelops herself in a woven blanket, cradling the village creatures in her arms. Next to Doña Flor, the sky is the prominent feature in most of Doña Flor's illustrations portraying the vastness of the Southwest; dwarfing the whitewashed adobe homes and tiny villagers dressed in long skirts, serapes, and sombreros.
Doña Flor is an inventive tall tale, beautifully illustrated and told with rich details. When the sun shines upon the giant tortilla roofs of the villagers, the reader can almost smell the corn baking. "Mmmm, the houses smelled corn-good when the sun was hot." It also is a story with deep connections to the earth. Flor's mother sings to her in a voice as "sweet as river music," and in the evening, Flor makes her bed, filling her arms "with clouds smelling of flowery breezes." This is not a retelling or variation of a traditional tale. Readers will enjoy the fresh plot and it's surprising ending, as Flor finds the littlest mountain lion making the biggest of noises.
REVIEW EXCERPTS
Magical watercolor and etching make images whose colors swoop from sun swept to cool shadows.
DeCandido, Graceanne. 2006. "TALL-TALE HEROINES." Teacher Librarian 33, no. 5: 43-43. Academic Search Complete, EBSCOhost (accessed July 3, 2007).
"Set in the American Southwest, this lyrical story features lithesome artwork with swirling textures and serene colors."
2006. "Doña Flor: A Tall Tale about a Giant Lady with a Great Big Heart." School Library Journal 52: 42-42. Academic Search Complete, EBSCOhost (accessed July 3, 2007).
CONNECTIONS
Read the audience-participation poem for Doña Flor found on Pat Mora's website.
http://www.patmora.com/ideas_dona.htm This is suitable and fun for very young children.
Read this story with other "tall-tale heroine" books -
Thunder Rose, by Jerdine Nolan and Ill. by Kadidr Nelson and Sitka Rose by Shelley Gill and Ill. by Shannon Cartwright.
Compare this story to the classic tales of Paul Bunyan.
Friday, June 29, 2007
¡Marimba! Animales from A to Z
¡Marimba! Animales from A to Z
Mora, Pat. 2006. Marimba! Animales from A to Z. Ill. by Doug Cushman. New York: Clarion. ISBN 13: 9780618194537.
PLOT SUMMARY
Once a year, the animals at the zoo awaken in the evening to dance and cavort to the music of the monkey's marimba. Well-known children's author, Pat Mora, works her way through the alphabet from animales to zebúes, regaling the reader with animal antics while simultaneously introducing recognizable Spanish words. Doug Cushman's bright and cheerful illustrations entertain in this rhyming alphabet story.
CRITICAL ANALYSIS
In the author's note, Pat Mora explains the premise of ¡Marimba! - to introduce "cognates - words similar in both languages." In this way, Spanish speakers and non-Spanish speakers alike, will realize that they know twenty-six words in another language. Some of the words, koala and llama, for example, are actually the same in both languages. A translation and pronunciation guide follows the story. The tale is told in rhyme, however, some of the rhymes sound forced. "Parrots cover xilófonos and the calliope. Yellowbirds and wacky yakes hide in the shrubbery." Library Media Connection wisely suggests a "practice run or two" before trying to share this story aloud. In spite of its shortcomings, Mora's idea is an excellent one. Readers will enjoy their new-found knowledge in another language.
Cushman's illustrations in pen, ink, watercolor, with gouache and pencil are the star of Marimba! His pictures are bright and crisp, radiating the gaiety of the evening's activities. In most illustrations (many double page spreads), the dark and starry sky serves heighten and illuminate the colorful festivites at the zoo. Cushman's artwork also serves the practical purpose of providing context clues to unfamiliar words. A quick look at the large pink birds prancing in the water will give the reader the assurance that "flamencos" and "flamingoes" are one and the same. A few of the animal choices may be puzzling to young children - peccaries, quetzales, and vicuñas. Bilingual signage is shown at the ticket booth and zoo exit.
As the title suggests, ¡Marimba! Animales from A to Z has a distinctly Hispanic flair, though it's bordering on "overloading" - the monkey's sombrero, the star piñata, enchiladas, mariachis and more. However, the book is designed for pre-schoolers and the few tired Hispanic icons serve the purpose of opening the door to other Hispanic cultural offerings in ¡Marimba!, namely, a wide variety of Latin-themed dances, music and foods. Music and dance of Latin American cultures from the conga to salsa, pervades the book . The marimba playing monkey makes an appearance in every scene. Flan, enchiladas and other common Latino foods are also mentioned and illustrated. The zoo workers are not identifiably Hispanic, but all have dark hair, if not dark skin. Finally, the zoo itself is adorned with what appears to be Mexican styled artwork on adobe walls.
¡Marimba! Animales from A to Z is a delight for the eyes and a fun introduction to another language. Library Media Connection suggests that "students will especially enjoy hearing this when the reader has fluent Spanish pronunciation." In this reviewer's opinion, it would be a disservice to students to hear it in any other way.
REVIEW EXCERPTS
"Students will especially enjoy hearing this when the reader has fluent Spanish pronunciation - expect to do a practice run or two before sharing this one."
2006. "Marimba! Animales from A to Z." Library Media Connection 25, no. 3: 65-65. Academic Search Complete, EBSCOhost (accessed June 29, 2007).
"Most of the animal names are close enough to their English counterparts to be guessed by young listeners: elefantes, gorilas, manaties, for example. In the back is a brief "translation and pronunciation guide." The verses are simple, and built around the activities the animals are undertaking in the pictures"
2006. "¡MARIMBA!: Animales from A to Z." Kirkus Reviews 74, no. 20: 1075-1075. Academic Search Complete, EBSCOhost (accessed June 29, 2007).
CONNECTIONS
Some of the animals in Marimba!'s zoo may be unfamiliar to young students - wapitis, zebus, quetzals, nutrias and others. Have handouts or books available to use this opportunity to introduce new animals.
Share this book with school-aged ESL students to add confidence and a bit of levity.
Use the pronunciation key to practice saying unfamiliar words aloud.
Allow children to listen to some cha-cha, samba, rumba, or other Latin American music to set the mood.
Mora, Pat. 2006. Marimba! Animales from A to Z. Ill. by Doug Cushman. New York: Clarion. ISBN 13: 9780618194537.
PLOT SUMMARY
Once a year, the animals at the zoo awaken in the evening to dance and cavort to the music of the monkey's marimba. Well-known children's author, Pat Mora, works her way through the alphabet from animales to zebúes, regaling the reader with animal antics while simultaneously introducing recognizable Spanish words. Doug Cushman's bright and cheerful illustrations entertain in this rhyming alphabet story.
CRITICAL ANALYSIS
In the author's note, Pat Mora explains the premise of ¡Marimba! - to introduce "cognates - words similar in both languages." In this way, Spanish speakers and non-Spanish speakers alike, will realize that they know twenty-six words in another language. Some of the words, koala and llama, for example, are actually the same in both languages. A translation and pronunciation guide follows the story. The tale is told in rhyme, however, some of the rhymes sound forced. "Parrots cover xilófonos and the calliope. Yellowbirds and wacky yakes hide in the shrubbery." Library Media Connection wisely suggests a "practice run or two" before trying to share this story aloud. In spite of its shortcomings, Mora's idea is an excellent one. Readers will enjoy their new-found knowledge in another language.
Cushman's illustrations in pen, ink, watercolor, with gouache and pencil are the star of Marimba! His pictures are bright and crisp, radiating the gaiety of the evening's activities. In most illustrations (many double page spreads), the dark and starry sky serves heighten and illuminate the colorful festivites at the zoo. Cushman's artwork also serves the practical purpose of providing context clues to unfamiliar words. A quick look at the large pink birds prancing in the water will give the reader the assurance that "flamencos" and "flamingoes" are one and the same. A few of the animal choices may be puzzling to young children - peccaries, quetzales, and vicuñas. Bilingual signage is shown at the ticket booth and zoo exit.
As the title suggests, ¡Marimba! Animales from A to Z has a distinctly Hispanic flair, though it's bordering on "overloading" - the monkey's sombrero, the star piñata, enchiladas, mariachis and more. However, the book is designed for pre-schoolers and the few tired Hispanic icons serve the purpose of opening the door to other Hispanic cultural offerings in ¡Marimba!, namely, a wide variety of Latin-themed dances, music and foods. Music and dance of Latin American cultures from the conga to salsa, pervades the book . The marimba playing monkey makes an appearance in every scene. Flan, enchiladas and other common Latino foods are also mentioned and illustrated. The zoo workers are not identifiably Hispanic, but all have dark hair, if not dark skin. Finally, the zoo itself is adorned with what appears to be Mexican styled artwork on adobe walls.
¡Marimba! Animales from A to Z is a delight for the eyes and a fun introduction to another language. Library Media Connection suggests that "students will especially enjoy hearing this when the reader has fluent Spanish pronunciation." In this reviewer's opinion, it would be a disservice to students to hear it in any other way.
REVIEW EXCERPTS
"Students will especially enjoy hearing this when the reader has fluent Spanish pronunciation - expect to do a practice run or two before sharing this one."
2006. "Marimba! Animales from A to Z." Library Media Connection 25, no. 3: 65-65. Academic Search Complete, EBSCOhost (accessed June 29, 2007).
"Most of the animal names are close enough to their English counterparts to be guessed by young listeners: elefantes, gorilas, manaties, for example. In the back is a brief "translation and pronunciation guide." The verses are simple, and built around the activities the animals are undertaking in the pictures"
2006. "¡MARIMBA!: Animales from A to Z." Kirkus Reviews 74, no. 20: 1075-1075. Academic Search Complete, EBSCOhost (accessed June 29, 2007).
CONNECTIONS
Some of the animals in Marimba!'s zoo may be unfamiliar to young students - wapitis, zebus, quetzals, nutrias and others. Have handouts or books available to use this opportunity to introduce new animals.
Share this book with school-aged ESL students to add confidence and a bit of levity.
Use the pronunciation key to practice saying unfamiliar words aloud.
Allow children to listen to some cha-cha, samba, rumba, or other Latin American music to set the mood.
Wednesday, June 27, 2007
The Afterlife
The Afterlife
Soto, Gary. 2003. The Afterlife. Orlando:Harcourt. ISBN 0152052208.
PLOT SUMMARY
Seventeen-year-old Jesús, known as Chuy, is brutally murdered in a nightclub restroom by a cholo, a gangster. But that is not the end of the story, it is the beginning, as Chuy's ghost rises from his body and begins a new life, an afterlife. Chuy negotiates his new world with a sense of purpose and wonderment. He seeks to find closure as he bids farewell to his old life, friends, and family; and his "afterlife" takes on new meaning as he meets the ghosts of a homeless man, and a beautiful girl. Can a not-so-handsome ghost find a girlfriend? Through it all, he retains his boyish sense of humor and wonderment.
CRITICAL ANALYSIS
The Afterlife, by prolific and acclaimed author, Gary Soto, is both a serious and a humorous look at the meaning of a life. Upon his demise, Chuy is able to view his world from a new perspective, both literally and figuratively, as he floats above his hometown of Fresno.
He sees the distress of his friends and family, but notes that he will soon be forgotten, “a photo in a yearbook, nada más”. He realizes the value of a single life, as he tries with mixed success to save the life of a homeless man. He learns the uselessness of revenge as he faces his murderer. He meets Crystal, a ghost who may be his true love.
Characteristic of his short life, Chuy is able to float through the afterlife with a sense of wonder, as well as a sense of humor. Watching the police break up a loud fighting couple, Chuy kicks back in the couple’s recliner, feet up. “This was better than a telenovela.” Unable to eat or drink, he spies a pot of coffee at his home, “I can’t believe it…I hadn’t even lived long enough to have coffee.”
In the end, the only answers to the mystery of the afterlife are the answers that Chuy finds for himself. He continues his journey through the unknown; not regretful, but grateful.
The Afterlife is an intralingual young adult novel, liberally peppered with Spanish words and phrases. The use of Spanish gives color and authenticity to the story, however those readers unfamiliar with any Spanish words may find themselves constantly flipping to the included glossary. Some Spanish words can only be determined through contextual translation.
Other cultural markers in the story include a strong connection to the Roman Catholic faith, the intimate relationships between family and close family friends, and frequent references to common Mexican foods. The Afterlife is not a stereotypical Mexican story featuring holidays, immigrants, migrants or food. Rather, The Afterlife is a fine example of Hispanic Literature that embraces the Mexican culture, yet appeals to any audience.
REVIEW EXCERPTS
"While the premise could sound dark and morose, the novel is instead filled with hope and elegance. The author counterbalances difficult ideas with moments of genuine tenderness as well as a provocative lesson about the importance of savoring every moment--a lesson that Chuy, once fretful and insecure, comes to understand."
Roback, Diane, Brown, Jennifer M., Bean, Joy, Chenowith, Emily, and Jeff Zaleski. 2003. "THE AFTERLIFE (Book)." Publishers Weekly 250, no. 34: 65-66. Academic Search Premier, EBSCOhost (accessed June 27, 2007).
Soto writes with a much as light as Chuy's ghost and with humor, wonderment, and a generosity toward life.
2003. "THE AFTERLIFE (Book)." Kirkus Reviews 71, no. 18: 1183. Academic Search Complete, EBSCOhost (accessed June 27, 2007).
CONNECTIONS
Make a class project of writing letters to author, Gary Soto. Soto's website indicates that he is willing to answer letters when submitted from a class in a single envelope. Encourage students to ask meaningful questions. http://www.garysoto.com/faq.html#
Read other Gary Soto books, including Taking Sides or the short stories in Baseball in April.
Ask the students if their town has a neighborhood similar to Chuy's. Estimate the number or percentage of Mexican Americans in your town or county. Has the number increased, decreased? Why? Research the facts online using the US Census Bureau's QuickFacts database. http://quickfacts.census.gov/qfd/index.html
Soto, Gary. 2003. The Afterlife. Orlando:Harcourt. ISBN 0152052208.
PLOT SUMMARY
Seventeen-year-old Jesús, known as Chuy, is brutally murdered in a nightclub restroom by a cholo, a gangster. But that is not the end of the story, it is the beginning, as Chuy's ghost rises from his body and begins a new life, an afterlife. Chuy negotiates his new world with a sense of purpose and wonderment. He seeks to find closure as he bids farewell to his old life, friends, and family; and his "afterlife" takes on new meaning as he meets the ghosts of a homeless man, and a beautiful girl. Can a not-so-handsome ghost find a girlfriend? Through it all, he retains his boyish sense of humor and wonderment.
CRITICAL ANALYSIS
The Afterlife, by prolific and acclaimed author, Gary Soto, is both a serious and a humorous look at the meaning of a life. Upon his demise, Chuy is able to view his world from a new perspective, both literally and figuratively, as he floats above his hometown of Fresno.
He sees the distress of his friends and family, but notes that he will soon be forgotten, “a photo in a yearbook, nada más”. He realizes the value of a single life, as he tries with mixed success to save the life of a homeless man. He learns the uselessness of revenge as he faces his murderer. He meets Crystal, a ghost who may be his true love.
Characteristic of his short life, Chuy is able to float through the afterlife with a sense of wonder, as well as a sense of humor. Watching the police break up a loud fighting couple, Chuy kicks back in the couple’s recliner, feet up. “This was better than a telenovela.” Unable to eat or drink, he spies a pot of coffee at his home, “I can’t believe it…I hadn’t even lived long enough to have coffee.”
In the end, the only answers to the mystery of the afterlife are the answers that Chuy finds for himself. He continues his journey through the unknown; not regretful, but grateful.
The Afterlife is an intralingual young adult novel, liberally peppered with Spanish words and phrases. The use of Spanish gives color and authenticity to the story, however those readers unfamiliar with any Spanish words may find themselves constantly flipping to the included glossary. Some Spanish words can only be determined through contextual translation.
Other cultural markers in the story include a strong connection to the Roman Catholic faith, the intimate relationships between family and close family friends, and frequent references to common Mexican foods. The Afterlife is not a stereotypical Mexican story featuring holidays, immigrants, migrants or food. Rather, The Afterlife is a fine example of Hispanic Literature that embraces the Mexican culture, yet appeals to any audience.
REVIEW EXCERPTS
"While the premise could sound dark and morose, the novel is instead filled with hope and elegance. The author counterbalances difficult ideas with moments of genuine tenderness as well as a provocative lesson about the importance of savoring every moment--a lesson that Chuy, once fretful and insecure, comes to understand."
Roback, Diane, Brown, Jennifer M., Bean, Joy, Chenowith, Emily, and Jeff Zaleski. 2003. "THE AFTERLIFE (Book)." Publishers Weekly 250, no. 34: 65-66. Academic Search Premier, EBSCOhost (accessed June 27, 2007).
Soto writes with a much as light as Chuy's ghost and with humor, wonderment, and a generosity toward life.
2003. "THE AFTERLIFE (Book)." Kirkus Reviews 71, no. 18: 1183. Academic Search Complete, EBSCOhost (accessed June 27, 2007).
CONNECTIONS
Make a class project of writing letters to author, Gary Soto. Soto's website indicates that he is willing to answer letters when submitted from a class in a single envelope. Encourage students to ask meaningful questions. http://www.garysoto.com/faq.html#
Read other Gary Soto books, including Taking Sides or the short stories in Baseball in April.
Ask the students if their town has a neighborhood similar to Chuy's. Estimate the number or percentage of Mexican Americans in your town or county. Has the number increased, decreased? Why? Research the facts online using the US Census Bureau's QuickFacts database. http://quickfacts.census.gov/qfd/index.html
Thursday, June 14, 2007
Bird
Bird
Johnson, Angela. 2004. Bird. New York: Dial Books. ISBN 0803728476.
PLOT SUMMARY
Thirteen-year-old "Bird" is determined to find her stepfather and return him to the house she shares with her mother in Cleveland, Ohio. So much so, that she's willing to hop a bus and track him down in Alabama, where she hides out in a shed hoping to find him. She finds Cecil, but perhaps Cecil is not the key to her happiness. Perhaps she carries that key within herself.
Bird is told through the voices of three struggling young teens, Bird, Jay and Ethan, whose lives converge and become entwined in the small town of Acorn, Alabama. As their stories unfold, the mystery of their connection unravels and the light of possibility enters each of their lives.
CRITICAL ANALYSIS
Angela Johnson's Bird succeeds on many levels, outweighing its shortcomings. Bird, the 13-year-old runaway, is a warm and caring character that will have readers caring about her, however, the plot is contrived and as Hornbook noted, occasionally vague in details. Bird travels to Alabama to find Cecil, the stepfather who abandoned her and her mother in Cleveland. Her trip takes her to Alabama, where she hides out in the shed of Cecil's nephew, Ethan. Ethan is aware of her existence but not of her relation to him. The reader also is unaware of this connection for several chapters, making Bird's choice of this particular shed perplexing Ethan is a fragile boy with a recent heart transplant. Conveniently, the brother of the donor, Jay, is also a young teen in the same town. Again, the connection between the two is not fully disclosed. In another convenient connection, Bird also takes refuge in the home of an elderly widow with a connection to Jay, a troubled teen under house arrest.
Despite these contrivances, Bird, Jay, and Ethan are well-developed characters, each speaking in his own voice, each struggling with difficulties beyond those of the average teen. Bird's father is deceased and her stepfather has left her. Ethan struggles with his health and frequent disappearances of the wandering Cecil. Jay struggles with the loss of his brother and the knowledge that his brother's heart lives on in another boy. Angela Johnson is able to offer insight into the seemingly arbitrary and sometimes contradictory acts of young teens - Jay's frequent escapes from house arrest, Bird's intrusion into Ethan's home, Ethan's silence on Bird's existence. The greatest success of Bird is it's uplifting tone. Bird, Ethan, and Jay don't evoke the reader's pity, only empathy and understanding. While the mechanics of the plot may be manufactured, the protagonists are not. The three teens are believable and likable. The ending is not neat and orderly, but rather a gradual realization that some events in life must be accepted before one can move on.
Although Angela Johnson is a well-known African American author, Bird transcends race. The cover art depicts a young black girl's legs as she sits in a tree, and there are slight references to Bird's braids and subsequent Afro hairstyle, but there are very few other race-related references. Bird, Jay, and Ethan could be teens of any race or ethnicity. In Bird, it is the stories of the children that matter, not their race.
REVIEW EXCERPTS
All three introspective teens seem mature beyond their years, even when they do stupid things (such as riding along in a stolen car), and Johnson's lyric touch occasionally lapses into twee moments (as when Ethan spies Bird dancing in the moonlight on his family's property). But the overwhelming kindness of these characters (Ethan keeps Bird's secret, Ethan's parents plant flowers, without explanation, in Jay's yard) trumps the occasional lapses in verisimilitude.
2004. "BIRD (Book)." Publishers Weekly 251, no. 42: 65-65. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
Some key conversations apparently happen offstage, and it can be frustrating to discover, for instance, that Bird knows about Ethan's medical history when we didn't see her receive the information. Nevertheless, these interwoven stories, strong and intriguing on their own, are all the more powerful for how they fit together.
Heppermann, Christine M. 2004. "Bird (Book)." Horn Book Magazine 80, no. 5: 587-588. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
CONNECTIONS
A responsible connection to a reading of Bird would be a discussion on the real-life dangers that face runaways. Explain that "artistic license" allows Bird's experiences to be different than those faced by real teens.
Suggest other Angela Johnson titles, especially,
Heaven, the 1999 Coretta Scott King Award winner and The First Part Last.
Check the link to Angela Johnson from the African American Literature Book Club site, http://aalbc.com/authors/angela.htm
Johnson, Angela. 2004. Bird. New York: Dial Books. ISBN 0803728476.
PLOT SUMMARY
Thirteen-year-old "Bird" is determined to find her stepfather and return him to the house she shares with her mother in Cleveland, Ohio. So much so, that she's willing to hop a bus and track him down in Alabama, where she hides out in a shed hoping to find him. She finds Cecil, but perhaps Cecil is not the key to her happiness. Perhaps she carries that key within herself.
Bird is told through the voices of three struggling young teens, Bird, Jay and Ethan, whose lives converge and become entwined in the small town of Acorn, Alabama. As their stories unfold, the mystery of their connection unravels and the light of possibility enters each of their lives.
CRITICAL ANALYSIS
Angela Johnson's Bird succeeds on many levels, outweighing its shortcomings. Bird, the 13-year-old runaway, is a warm and caring character that will have readers caring about her, however, the plot is contrived and as Hornbook noted, occasionally vague in details. Bird travels to Alabama to find Cecil, the stepfather who abandoned her and her mother in Cleveland. Her trip takes her to Alabama, where she hides out in the shed of Cecil's nephew, Ethan. Ethan is aware of her existence but not of her relation to him. The reader also is unaware of this connection for several chapters, making Bird's choice of this particular shed perplexing Ethan is a fragile boy with a recent heart transplant. Conveniently, the brother of the donor, Jay, is also a young teen in the same town. Again, the connection between the two is not fully disclosed. In another convenient connection, Bird also takes refuge in the home of an elderly widow with a connection to Jay, a troubled teen under house arrest.
Despite these contrivances, Bird, Jay, and Ethan are well-developed characters, each speaking in his own voice, each struggling with difficulties beyond those of the average teen. Bird's father is deceased and her stepfather has left her. Ethan struggles with his health and frequent disappearances of the wandering Cecil. Jay struggles with the loss of his brother and the knowledge that his brother's heart lives on in another boy. Angela Johnson is able to offer insight into the seemingly arbitrary and sometimes contradictory acts of young teens - Jay's frequent escapes from house arrest, Bird's intrusion into Ethan's home, Ethan's silence on Bird's existence. The greatest success of Bird is it's uplifting tone. Bird, Ethan, and Jay don't evoke the reader's pity, only empathy and understanding. While the mechanics of the plot may be manufactured, the protagonists are not. The three teens are believable and likable. The ending is not neat and orderly, but rather a gradual realization that some events in life must be accepted before one can move on.
Although Angela Johnson is a well-known African American author, Bird transcends race. The cover art depicts a young black girl's legs as she sits in a tree, and there are slight references to Bird's braids and subsequent Afro hairstyle, but there are very few other race-related references. Bird, Jay, and Ethan could be teens of any race or ethnicity. In Bird, it is the stories of the children that matter, not their race.
REVIEW EXCERPTS
All three introspective teens seem mature beyond their years, even when they do stupid things (such as riding along in a stolen car), and Johnson's lyric touch occasionally lapses into twee moments (as when Ethan spies Bird dancing in the moonlight on his family's property). But the overwhelming kindness of these characters (Ethan keeps Bird's secret, Ethan's parents plant flowers, without explanation, in Jay's yard) trumps the occasional lapses in verisimilitude.
2004. "BIRD (Book)." Publishers Weekly 251, no. 42: 65-65. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
Some key conversations apparently happen offstage, and it can be frustrating to discover, for instance, that Bird knows about Ethan's medical history when we didn't see her receive the information. Nevertheless, these interwoven stories, strong and intriguing on their own, are all the more powerful for how they fit together.
Heppermann, Christine M. 2004. "Bird (Book)." Horn Book Magazine 80, no. 5: 587-588. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
CONNECTIONS
A responsible connection to a reading of Bird would be a discussion on the real-life dangers that face runaways. Explain that "artistic license" allows Bird's experiences to be different than those faced by real teens.
Suggest other Angela Johnson titles, especially,
Heaven, the 1999 Coretta Scott King Award winner and The First Part Last.
Check the link to Angela Johnson from the African American Literature Book Club site, http://aalbc.com/authors/angela.htm
In My Daddy's Arms I Am Tall
In My Daddy's Arms I Am Tall: African Americans Celebrating Fathers
1997. In Daddy's Arms I Am Tall: African Americans Celebrating Fathers. Ill. by Javaka Steptoe. New York: Lee and Low. ISBN 1880000318.
PLOT SUMMARY
In Daddy's Arms I Am Tall is a collection of poetry focused on delivering a positive look at African American fathers. Twelve authors are featured in the book, including Coretta Scott King Award winners Angela Johnson, Davida Adedjouma, and David A. Anderson. The varied artwork is created by the hand of Javaka Steptoe, son of the late artist, John Steptoe. Steptoe also contributes a poem.
CRITICAL ANALYSIS
In Daddy's Arms is a compilation of twelve poems by African American writers that celebrate African American fathers from various viewpoints. Davida Adedjouma's poem, "Artist to Artist" is one of thankfulness for her father's willingness to forgo his passion for art, working instead for the postal service to provide a good life for his family. He wore the blue uniform and black shoes of a postal worker and "rode the bus feeling black and blue." Davida's thankfulness is honest and simple, "I write, hew drew. Daddy, thank you!"
Several poems evoke the rural life of Southern Blacks, telling of "red Alabama roads" as in Angela Johnson's, "Her Daddy's Hands" and "red Georgia clay" in "The Farmer." The father in Dakari Hru's "Tickle Tickle" shows the African American father as a joyful, playful father. "me scream and run (but OH WHAT FUN!) when papa tickle me feet." The poem has a musical speech pattern, either Black dialect or possibly a Caribbean infused dialect. "Lightning Jumpshot" evokes an image of an urban father in a basketball related haiku. The title poem, "in daddy's arms," employs repetition for impact. "in daddy's arms i am tall & close to the sun & warm in daddy's arms."
A curious addition to the collection is Lenard D. Moore's "Black Father Man." While it is laudable in its evocation of a universal Black father figure, its concept and verbiage is too abstract and complicated for a picture book collection. "We all bleed his blood....Black Father Man, heal blustering blues, mend fragmented minds, teach the maleness, ... a branching grain, springing up to shudder the land." This poem would be better suited to an older audience.
Each poem is presented in small type, imposed over a double-spread image by Javaka Steptoe. Steptoe is a second generation African American book illustrator, son of the well-respected John Steptoe. Javaka Steptoe's artwork is an eclectic mix of collage, cut paper, pastels, "found objects" and painting. His work ranges from abstract to realistic. The artwork for "Lightning Jumpshot" contains actual floorboards. For this work, Steptoe won the 1998 Coretta Scott King Illustrator Award.
The Ashanti proverb which precedes the book "When you follow in the path of your father, you learn to walk like him," is a central theme, the importance and permanence of the father's influence in the family. The art and the poems are so varied as to encompass many views of the African American father, showing diversity within the race and commonality within the individuals. Taken together, the verse and images in Daddy's Arms offers an uplifting and encompassing view of African American fathers. Children used to viewing themselves and others through racial stereotypes will find this book a breath of fresh air.
A short biography of each author and a note on the artwork appears on the last page. Many of the authors are winners of multiple prestigious awards including the Coretta Scott King and Ezra Jack Keats Awards.
REVIEW EXCERPT
Certain poems, particularly those by Angela Johnson, E. Ethelbert Miller, Davida Adedjouma, and Steptoe himself, elevate this collection above the mundane, but it is the illustrations that set this volume apart.
Taylor, Deborah. 1998. "In Daddy's Arms I Am Tall: African Americans Celebrating Fathers." Horn Book Magazine 74, no. 1: 87-87. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
The artwork vibrates with emotion; even the simplest pieces, showing torn-paper figures on a solid background, capture the powerful bond between parent and child.
Amsberry, Dawn. 1998. "Grades 5 & up: Nonfiction." School Library Journal 44, no. 2: 118. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
CONNECTIONS
Use this book as an example for a lesson in creating collage art.
Share this book for Father's Day programs at public libraries or schools.
Encourage children to celebrate their own fathers in verse.
1997. In Daddy's Arms I Am Tall: African Americans Celebrating Fathers. Ill. by Javaka Steptoe. New York: Lee and Low. ISBN 1880000318.
PLOT SUMMARY
In Daddy's Arms I Am Tall is a collection of poetry focused on delivering a positive look at African American fathers. Twelve authors are featured in the book, including Coretta Scott King Award winners Angela Johnson, Davida Adedjouma, and David A. Anderson. The varied artwork is created by the hand of Javaka Steptoe, son of the late artist, John Steptoe. Steptoe also contributes a poem.
CRITICAL ANALYSIS
In Daddy's Arms is a compilation of twelve poems by African American writers that celebrate African American fathers from various viewpoints. Davida Adedjouma's poem, "Artist to Artist" is one of thankfulness for her father's willingness to forgo his passion for art, working instead for the postal service to provide a good life for his family. He wore the blue uniform and black shoes of a postal worker and "rode the bus feeling black and blue." Davida's thankfulness is honest and simple, "I write, hew drew. Daddy, thank you!"
Several poems evoke the rural life of Southern Blacks, telling of "red Alabama roads" as in Angela Johnson's, "Her Daddy's Hands" and "red Georgia clay" in "The Farmer." The father in Dakari Hru's "Tickle Tickle" shows the African American father as a joyful, playful father. "me scream and run (but OH WHAT FUN!) when papa tickle me feet." The poem has a musical speech pattern, either Black dialect or possibly a Caribbean infused dialect. "Lightning Jumpshot" evokes an image of an urban father in a basketball related haiku. The title poem, "in daddy's arms," employs repetition for impact. "in daddy's arms i am tall & close to the sun & warm in daddy's arms."
A curious addition to the collection is Lenard D. Moore's "Black Father Man." While it is laudable in its evocation of a universal Black father figure, its concept and verbiage is too abstract and complicated for a picture book collection. "We all bleed his blood....Black Father Man, heal blustering blues, mend fragmented minds, teach the maleness, ... a branching grain, springing up to shudder the land." This poem would be better suited to an older audience.
Each poem is presented in small type, imposed over a double-spread image by Javaka Steptoe. Steptoe is a second generation African American book illustrator, son of the well-respected John Steptoe. Javaka Steptoe's artwork is an eclectic mix of collage, cut paper, pastels, "found objects" and painting. His work ranges from abstract to realistic. The artwork for "Lightning Jumpshot" contains actual floorboards. For this work, Steptoe won the 1998 Coretta Scott King Illustrator Award.
The Ashanti proverb which precedes the book "When you follow in the path of your father, you learn to walk like him," is a central theme, the importance and permanence of the father's influence in the family. The art and the poems are so varied as to encompass many views of the African American father, showing diversity within the race and commonality within the individuals. Taken together, the verse and images in Daddy's Arms offers an uplifting and encompassing view of African American fathers. Children used to viewing themselves and others through racial stereotypes will find this book a breath of fresh air.
A short biography of each author and a note on the artwork appears on the last page. Many of the authors are winners of multiple prestigious awards including the Coretta Scott King and Ezra Jack Keats Awards.
REVIEW EXCERPT
Certain poems, particularly those by Angela Johnson, E. Ethelbert Miller, Davida Adedjouma, and Steptoe himself, elevate this collection above the mundane, but it is the illustrations that set this volume apart.
Taylor, Deborah. 1998. "In Daddy's Arms I Am Tall: African Americans Celebrating Fathers." Horn Book Magazine 74, no. 1: 87-87. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
The artwork vibrates with emotion; even the simplest pieces, showing torn-paper figures on a solid background, capture the powerful bond between parent and child.
Amsberry, Dawn. 1998. "Grades 5 & up: Nonfiction." School Library Journal 44, no. 2: 118. Academic Search Complete, EBSCOhost (accessed June 19, 2007).
CONNECTIONS
Use this book as an example for a lesson in creating collage art.
Share this book for Father's Day programs at public libraries or schools.
Encourage children to celebrate their own fathers in verse.
Ain't Nobody a Stranger to Me
Ain't Nobody a Stranger to Me
Grifalconi, Ann. 2007. Ain't Nobody a Stranger to Me. Ill. by Jerry Pinkney. New York: Hyperion. ISBN 13 9780786818570.
PLOT SUMMARY
In Ain’t Nobody a Stranger to Me, loosely based on historical persons, a Grandfather shares with his young granddaughter his tale of escape from Southern slavery with his wife and baby. He recalls the helpfulness of strangers on the Underground Railroad, including Quaker James Stanton. His sense of gratitude has shaped his belief that “ain’t nobody a stranger.” The story appears to be set in the 1930s.
CRITICAL ANALYSIS
Ain't Nobody a Stranger to Me is a story of fortitude, gratitude, forgiveness, and a spirit of optimism. As a slave, Gran'pa collected apple seeds in hope of a day that he might be free to plant them on his own land as a free man. He tells of his flight to freedom and the generosity of strangers. Grifalconi tells this story in a manner appropriate to introduce this heartbreaking topic to young children. The text expresses Gran'pa's belief in the goodness of mankind and his faith in God. "We had to put our trust in the Good Lord. We'd set our hearts right, and along the way help came when we needed it."
The darker aspects of slavery and the dangers of the Underground Railroad are expressed not in words, but in Jerry Pinkney's line and watercolor paintings. The harrowing escape of Gran'pa his wife and baby, and their subsequent struggle to survive as free people are depicted in shades of browns and greys, evoking dark moments. The expressive eyes of Grandfather and his wife in these scenes are alternately fearful, wary, and weary.
In contrast, the scenes of Gran'pa with his granddaughter are joyful colors and expressions of tenderness and love. In a colorful and heartwarming ending, Gran'pa and the young girl eat apples in the orchard he planted as a freed man. The apple blossoms are a riot of cheerful pink, and the young girl plants a new seed and promises to remember.
Grifalconi's story is a solid, age-appropriate (5-9) introduction to the Underground Railroad, however her choice of story delivery is awkward at times. Grandfather's story is told within the confines of the girl's first person account, and the girl often speaks in language styles that are conflicting or unusual for a young girl (Black or White) in the 1930s or any time period. In quoted passages, she speaks in a voice more typical of a Black child from the South in the 1930s. "They be from our stone cellar, Grandpa?" and "...could I one day plant me a seed of memory here, too?" In other passages, she speaks as an educated adult, "He grinned happily down at me" and "Soon, the spring air began to carry the fresh, sweet smell of apple blossoms to us." The frequent switching of dialect and narrator may be confusing to readers.
Jerry Pinkey's credentials as an African American illustrator are numerous and impressive. The jacket notes that he has "illustrated more than one hundred books for children" and is the recipient of Caldecott Honors, Coretta Scott King Awards, and more. His artwork for this story sets the period (a horse-drawn ice wagon, long-skirted women with hats and boots) and sets the tone (the darkness of hiding, the green grass of freedom).
Kirkus Reviews refers to an "author's note" explaining the attribution of the title phrase, "Ain't Nobody a Stranger to Me." The book, however, does not contain any author's notes. The dust jacket only explains that the phrase was inspired by former slave, Orleans Finger.
Overall, this book can be recommended on the basis of Pinkney's expressive artwork and Grifalconi's presentation of a difficult picture book topic.
REVIEW EXCERPTS
"The story of the man's determination is described as "loosely based on the story of a former slave." Pinkney, once again, provides affectionate illustrations to a moving story."
2007. "Truth Be Told." Black Issues Book Review 9, no. 2: 22-22. MasterFILE Premier, EBSCOhost (accessed June 12, 2007).
"The title is actually a quote, and though here it's taken out of context and, in the author's note, incorrectly attributed to a man, it makes a powerful statement across racial lines, nationalities and generations. "2007. "AIN'T NOBODY A STRANGER TO ME." Kirkus Reviews 75, no. 6: 277-277. MasterFILE Premier, EBSCOhost (accessed June 12, 2007).
CONNECTIONS
This is a picture book that can be used to introduce older students (3rd and 4th grades) to the Underground Railroad experience. A follow-up to the story can be an exploration of the excellent National Geographic site that allows for a guided, interactive journey from slavery to freedom on the Underground Railroad. http://www.nationalgeographic.com/features/99/railroad/
Pair this book with Caldecott Honor Book, Moses: When Harriet Tubman Led Her People to Freedom, by Carole Boston Weatherfield, Illustrated by Kadir Nelson.
Grifalconi, Ann. 2007. Ain't Nobody a Stranger to Me. Ill. by Jerry Pinkney. New York: Hyperion. ISBN 13 9780786818570.
PLOT SUMMARY
In Ain’t Nobody a Stranger to Me, loosely based on historical persons, a Grandfather shares with his young granddaughter his tale of escape from Southern slavery with his wife and baby. He recalls the helpfulness of strangers on the Underground Railroad, including Quaker James Stanton. His sense of gratitude has shaped his belief that “ain’t nobody a stranger.” The story appears to be set in the 1930s.
CRITICAL ANALYSIS
Ain't Nobody a Stranger to Me is a story of fortitude, gratitude, forgiveness, and a spirit of optimism. As a slave, Gran'pa collected apple seeds in hope of a day that he might be free to plant them on his own land as a free man. He tells of his flight to freedom and the generosity of strangers. Grifalconi tells this story in a manner appropriate to introduce this heartbreaking topic to young children. The text expresses Gran'pa's belief in the goodness of mankind and his faith in God. "We had to put our trust in the Good Lord. We'd set our hearts right, and along the way help came when we needed it."
The darker aspects of slavery and the dangers of the Underground Railroad are expressed not in words, but in Jerry Pinkney's line and watercolor paintings. The harrowing escape of Gran'pa his wife and baby, and their subsequent struggle to survive as free people are depicted in shades of browns and greys, evoking dark moments. The expressive eyes of Grandfather and his wife in these scenes are alternately fearful, wary, and weary.
In contrast, the scenes of Gran'pa with his granddaughter are joyful colors and expressions of tenderness and love. In a colorful and heartwarming ending, Gran'pa and the young girl eat apples in the orchard he planted as a freed man. The apple blossoms are a riot of cheerful pink, and the young girl plants a new seed and promises to remember.
Grifalconi's story is a solid, age-appropriate (5-9) introduction to the Underground Railroad, however her choice of story delivery is awkward at times. Grandfather's story is told within the confines of the girl's first person account, and the girl often speaks in language styles that are conflicting or unusual for a young girl (Black or White) in the 1930s or any time period. In quoted passages, she speaks in a voice more typical of a Black child from the South in the 1930s. "They be from our stone cellar, Grandpa?" and "...could I one day plant me a seed of memory here, too?" In other passages, she speaks as an educated adult, "He grinned happily down at me" and "Soon, the spring air began to carry the fresh, sweet smell of apple blossoms to us." The frequent switching of dialect and narrator may be confusing to readers.
Jerry Pinkey's credentials as an African American illustrator are numerous and impressive. The jacket notes that he has "illustrated more than one hundred books for children" and is the recipient of Caldecott Honors, Coretta Scott King Awards, and more. His artwork for this story sets the period (a horse-drawn ice wagon, long-skirted women with hats and boots) and sets the tone (the darkness of hiding, the green grass of freedom).
Kirkus Reviews refers to an "author's note" explaining the attribution of the title phrase, "Ain't Nobody a Stranger to Me." The book, however, does not contain any author's notes. The dust jacket only explains that the phrase was inspired by former slave, Orleans Finger.
Overall, this book can be recommended on the basis of Pinkney's expressive artwork and Grifalconi's presentation of a difficult picture book topic.
REVIEW EXCERPTS
"The story of the man's determination is described as "loosely based on the story of a former slave." Pinkney, once again, provides affectionate illustrations to a moving story."
2007. "Truth Be Told." Black Issues Book Review 9, no. 2: 22-22. MasterFILE Premier, EBSCOhost (accessed June 12, 2007).
"The title is actually a quote, and though here it's taken out of context and, in the author's note, incorrectly attributed to a man, it makes a powerful statement across racial lines, nationalities and generations. "2007. "AIN'T NOBODY A STRANGER TO ME." Kirkus Reviews 75, no. 6: 277-277. MasterFILE Premier, EBSCOhost (accessed June 12, 2007).
CONNECTIONS
This is a picture book that can be used to introduce older students (3rd and 4th grades) to the Underground Railroad experience. A follow-up to the story can be an exploration of the excellent National Geographic site that allows for a guided, interactive journey from slavery to freedom on the Underground Railroad. http://www.nationalgeographic.com/features/99/railroad/
Pair this book with Caldecott Honor Book, Moses: When Harriet Tubman Led Her People to Freedom, by Carole Boston Weatherfield, Illustrated by Kadir Nelson.
Saturday, June 9, 2007
An Innocent Soldier
An Innocent Soldier
Holub, Josef. 2005. An Innocent Soldier. New York: Arthur A. Levine. ISBN 0439627729.
PLOT SUMMARY
The year is 1812, and Napoleon is gathering his Grande Armée for an assault on Russia. When a privileged farmer’s son is sought as a new recruit, the farmer sends his unwitting farmhand, Adam, to serve in his stead. The poor servant boy is exposed to grueling conditions –depravity, deprivation, and the horrors of war, as he struggles to survive the ordeal and make sense of it all.
CRITICAL ANALYSIS
An Innocent Soldier is a historical fiction novel best suited for a YA audience due to its mature subject matter. The book is the 2006 winner of the Mildred Batchelder Award for an outstanding children's book first published in a foreign language. The story by Josef Holub and translated from German by Michael Hofmann, tells the story of Napoleon's grand march to Russia and subsequent retreat, through the eyes of an uneducated, though not unintelligent, teenaged farm boy, Adam. Betrayed by his master and forced to substitute for the master's son, Adam travels with the army through the Germanic Kingdoms, Prussia and Poland and finally to Moscow itself. French spellings (Armée and troupe) are scattered throughout the text to remind the reader that Adam has been thrust into a foreign army, while the names of the soldiers in his troop are indicative of Adam's home in Wurttemburg (Konrad Klara, Kleinknecht, Krauter). Adam tells the story in a kind of musing format, with sparse dialogue. "On the street lies an upset barrel. Thousands of kopek pieces have spilled onto the dirt. What riches! But no one is interested. If only it were bread. What would we do with metal coin?" This format suits his position and condition; an innocent farmhand assigned as a lieutenant's servant in a cold, miserable, and eventually pointless military campaign.
Although set amidst a tragic military campaign, the overriding theme of Soldier is one of friendship. Through shared hardships, Adam becomes the friend and confidant of the noble-born, Konrad Klara, and becomes respected in his own right. Ironically, Adam receives succor from an elderly Russian woman, and his greatest enemy is a sadistic member of his own regiment, underscoring the perplexities of war and the transforming power it has over human nature.
The story of An Innocent Soldier is timely despite its 1812 setting. The weapons, tactics, and adversaries may change, but the moral questions of war remain constant throughout the years. Young teens should relate to Adam as he grows in maturity and overcomes adversity. A period map and historical notes precede the book.
REVIEW EXCERPTS
"Arthur A, Levine Books has been awarded the 2006 Mildred L, Batchelder Award for its publication of An Innocent Soldier, The award is given for the most outstanding children's book originally published in a foreign language and subsequently translated into English for publication in the United States, The book was written by Josef Holub, translated from the German version by Michael Hofmann."
2006. "Mildred L. Batchelder Award." Teacher Librarian 33, no. 4: 12-12. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
"This is a well-wrought psychological tale that might have a difficult time finding an audience, but has a lot to offer to those seeking to build a deep historical fiction collection."
Stenson-Carey, Christina, Jones, Trevelyn E., Toth, Luann, Charnizon, Marlene, Grabarek, Daryl, and Dale Raben. 2005. "An Innocent Soldier." School Library Journal 51, no. 12: 148-148. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
CONNECTIONS
This book is an obvious choice for an integrated curriculum based on this period in history. The rich historical details of daily wartime struggles can add life to the study of this era.
Though it may be a difficult sell because of its unappealing cover art (Adam appears too feminine and childlike to be a battle-weary soldier, and Konrad Klara appears more as an "add-on" than an integral part of the cover), this book has great possibilities for a book discussion group. The themes of friendship, war, and morality are sure to engage older teens.
Read Thura's Diary: My Life in Wartime Iraq (2004) by Thura al-Windawi for a view of the current war through the eyes of a teen.
Holub, Josef. 2005. An Innocent Soldier. New York: Arthur A. Levine. ISBN 0439627729.
PLOT SUMMARY
The year is 1812, and Napoleon is gathering his Grande Armée for an assault on Russia. When a privileged farmer’s son is sought as a new recruit, the farmer sends his unwitting farmhand, Adam, to serve in his stead. The poor servant boy is exposed to grueling conditions –depravity, deprivation, and the horrors of war, as he struggles to survive the ordeal and make sense of it all.
CRITICAL ANALYSIS
An Innocent Soldier is a historical fiction novel best suited for a YA audience due to its mature subject matter. The book is the 2006 winner of the Mildred Batchelder Award for an outstanding children's book first published in a foreign language. The story by Josef Holub and translated from German by Michael Hofmann, tells the story of Napoleon's grand march to Russia and subsequent retreat, through the eyes of an uneducated, though not unintelligent, teenaged farm boy, Adam. Betrayed by his master and forced to substitute for the master's son, Adam travels with the army through the Germanic Kingdoms, Prussia and Poland and finally to Moscow itself. French spellings (Armée and troupe) are scattered throughout the text to remind the reader that Adam has been thrust into a foreign army, while the names of the soldiers in his troop are indicative of Adam's home in Wurttemburg (Konrad Klara, Kleinknecht, Krauter). Adam tells the story in a kind of musing format, with sparse dialogue. "On the street lies an upset barrel. Thousands of kopek pieces have spilled onto the dirt. What riches! But no one is interested. If only it were bread. What would we do with metal coin?" This format suits his position and condition; an innocent farmhand assigned as a lieutenant's servant in a cold, miserable, and eventually pointless military campaign.
Although set amidst a tragic military campaign, the overriding theme of Soldier is one of friendship. Through shared hardships, Adam becomes the friend and confidant of the noble-born, Konrad Klara, and becomes respected in his own right. Ironically, Adam receives succor from an elderly Russian woman, and his greatest enemy is a sadistic member of his own regiment, underscoring the perplexities of war and the transforming power it has over human nature.
The story of An Innocent Soldier is timely despite its 1812 setting. The weapons, tactics, and adversaries may change, but the moral questions of war remain constant throughout the years. Young teens should relate to Adam as he grows in maturity and overcomes adversity. A period map and historical notes precede the book.
REVIEW EXCERPTS
"Arthur A, Levine Books has been awarded the 2006 Mildred L, Batchelder Award for its publication of An Innocent Soldier, The award is given for the most outstanding children's book originally published in a foreign language and subsequently translated into English for publication in the United States, The book was written by Josef Holub, translated from the German version by Michael Hofmann."
2006. "Mildred L. Batchelder Award." Teacher Librarian 33, no. 4: 12-12. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
"This is a well-wrought psychological tale that might have a difficult time finding an audience, but has a lot to offer to those seeking to build a deep historical fiction collection."
Stenson-Carey, Christina, Jones, Trevelyn E., Toth, Luann, Charnizon, Marlene, Grabarek, Daryl, and Dale Raben. 2005. "An Innocent Soldier." School Library Journal 51, no. 12: 148-148. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
CONNECTIONS
This book is an obvious choice for an integrated curriculum based on this period in history. The rich historical details of daily wartime struggles can add life to the study of this era.
Though it may be a difficult sell because of its unappealing cover art (Adam appears too feminine and childlike to be a battle-weary soldier, and Konrad Klara appears more as an "add-on" than an integral part of the cover), this book has great possibilities for a book discussion group. The themes of friendship, war, and morality are sure to engage older teens.
Read Thura's Diary: My Life in Wartime Iraq (2004) by Thura al-Windawi for a view of the current war through the eyes of a teen.
Tuesday, June 5, 2007
My Father's Shop
My Father's Shop
Ichikawa, Satomi. 2006. My Father's Shop. La Jolla, CA: Kane/Miller. (originally published in Paris by l'ecole de loisirs) ISBN13 9781929132997.
PLOT SUMMARY
Young Mustafa's father owns a carpet shop in a busy Moroccan marketplace. When Mustafa requests a carpet with a hole in it to keep for himself, his father makes a deal. Mustafa must agree to learn the foreign languages necessary for working in the shop. When the foreign language lessons become boring, Mustafa dashes off into the bazaar wearing his brightly colored carpet, peering through its convenient hole. A similarly attired rooster follows him and Mustafa calls to the rooster in his native tongue, "Kho Kho Hou Houuu!!!" Tourists from France, England, Spain, and Japan offer their own rooster calls, "Co-co-ri-co!" "Qui-qui-ri-qi!" "Cock-a-doodle-doo!" and "Koke-ko-kooo!" Mustafa races back to the shop, carpet flying. Trailing behind him are his new-found feathered friend, and all of the foreign tourists. Not only has he brought many customers to his father's shop, he has learned to speak rooster in five languages as well!
CRITICAL ANALYSIS
My Father's Shop is a multicultural book in every sense of the word. Although its setting is Morocco, Mustafa interacts with tourists and shoppers from Spain, France, England, and Japan. The book simultaneously points out cultural differences and brings cultures together. Each group of tourists is dressed in the fashion of their country and calls the rooster in their own language; yet all of the rooster calls are similar, and all of the characters delight in Mustafa's garb - a brightly colored carpet over his head with a hole for his eyes.
Japanese born Satomi Ichikawa may seem an unlikely author and illustrator for a book about a Moroccan carpet shop; however, she has lived in Paris for over thirty years. Morocco has a strong French presence, being once a protectorate of France. I have been fortunate enough to have visited Morocco and shopped in the busy Casbah marketplace. Ichikawa's colorful double spread paintings evoke the essence of the bazaar in their bright colors and details. The abundant, richly colored and patterned carpets are warm, typical and inviting, as is the silver teapot for mint tea, a common offering in shops and restaurants. Only the teeming crowds are missing. The locals are depicted in the varying head coverings, robes, sandals and slippers typical for the hot desert climate.
My Father's Shop has an exotic setting, but it is a story of inclusion and humor. The antics of little boy and a rooster are enough to warm the hearts of people from any country. The liner notes on the artwork are sparse, noting only that Ichikawa never attended art school.
REVIEW EXCERPTS
"A joyous story that brings people from different cultures together."
2006. "MY FATHER'S SHOP." Kirkus Reviews 74, no. 6: 292-292. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
"Besides a gentle cultural lesson in how animals sound in different countries, Ichikawa's glowing pictures, with their radiant colors...., present an engaging image of a Moroccan marketplace and of a boy who can find a dozen ways of playing with a rug with a small hole."
DeCandido, GraceAnne. 2006. "My Father's Shop." Booklist 102, no. 12: 102. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
On the 2007 United States Board on Books for Young People (USBBY) Outstanding International Booklist
CONNECTIONS
My Father's Shop makes an excellent introduction to a study of Morocco, and can also serve as a segue to a lesson on map reading or globes - finding the location of Morocco and the home countries of the tourists.
The colorful carpets can serve as an inspiration for an art class, examining the woven rugs of different cultures.
Public librarians might follow a reading of this story with multicultural or multilingual children's music.
Ichikawa, Satomi. 2006. My Father's Shop. La Jolla, CA: Kane/Miller. (originally published in Paris by l'ecole de loisirs) ISBN13 9781929132997.
PLOT SUMMARY
Young Mustafa's father owns a carpet shop in a busy Moroccan marketplace. When Mustafa requests a carpet with a hole in it to keep for himself, his father makes a deal. Mustafa must agree to learn the foreign languages necessary for working in the shop. When the foreign language lessons become boring, Mustafa dashes off into the bazaar wearing his brightly colored carpet, peering through its convenient hole. A similarly attired rooster follows him and Mustafa calls to the rooster in his native tongue, "Kho Kho Hou Houuu!!!" Tourists from France, England, Spain, and Japan offer their own rooster calls, "Co-co-ri-co!" "Qui-qui-ri-qi!" "Cock-a-doodle-doo!" and "Koke-ko-kooo!" Mustafa races back to the shop, carpet flying. Trailing behind him are his new-found feathered friend, and all of the foreign tourists. Not only has he brought many customers to his father's shop, he has learned to speak rooster in five languages as well!
CRITICAL ANALYSIS
My Father's Shop is a multicultural book in every sense of the word. Although its setting is Morocco, Mustafa interacts with tourists and shoppers from Spain, France, England, and Japan. The book simultaneously points out cultural differences and brings cultures together. Each group of tourists is dressed in the fashion of their country and calls the rooster in their own language; yet all of the rooster calls are similar, and all of the characters delight in Mustafa's garb - a brightly colored carpet over his head with a hole for his eyes.
Japanese born Satomi Ichikawa may seem an unlikely author and illustrator for a book about a Moroccan carpet shop; however, she has lived in Paris for over thirty years. Morocco has a strong French presence, being once a protectorate of France. I have been fortunate enough to have visited Morocco and shopped in the busy Casbah marketplace. Ichikawa's colorful double spread paintings evoke the essence of the bazaar in their bright colors and details. The abundant, richly colored and patterned carpets are warm, typical and inviting, as is the silver teapot for mint tea, a common offering in shops and restaurants. Only the teeming crowds are missing. The locals are depicted in the varying head coverings, robes, sandals and slippers typical for the hot desert climate.
My Father's Shop has an exotic setting, but it is a story of inclusion and humor. The antics of little boy and a rooster are enough to warm the hearts of people from any country. The liner notes on the artwork are sparse, noting only that Ichikawa never attended art school.
REVIEW EXCERPTS
"A joyous story that brings people from different cultures together."
2006. "MY FATHER'S SHOP." Kirkus Reviews 74, no. 6: 292-292. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
"Besides a gentle cultural lesson in how animals sound in different countries, Ichikawa's glowing pictures, with their radiant colors...., present an engaging image of a Moroccan marketplace and of a boy who can find a dozen ways of playing with a rug with a small hole."
DeCandido, GraceAnne. 2006. "My Father's Shop." Booklist 102, no. 12: 102. MasterFILE Premier, EBSCOhost (accessed June 7, 2007).
On the 2007 United States Board on Books for Young People (USBBY) Outstanding International Booklist
CONNECTIONS
My Father's Shop makes an excellent introduction to a study of Morocco, and can also serve as a segue to a lesson on map reading or globes - finding the location of Morocco and the home countries of the tourists.
The colorful carpets can serve as an inspiration for an art class, examining the woven rugs of different cultures.
Public librarians might follow a reading of this story with multicultural or multilingual children's music.
Monday, June 4, 2007
A Particular Cow
A Particular Cow
Fox, Mem. 2006. A Particular Cow. Ill. by Terry Denton. Orlando, FL: Harcourt. ISBN13 97800152002502.
PLOT SUMMARY
A Particular Cow begins as the particular cow sets out on her accustomed Saturday morning particular walk. She accidentally becomes entangled in a pair of bloomers hanging on a clothesline, setting in motion a chain of amusing and unexpected events. The cow, whose vision is often obscured by the flowered bloomers, is blissfully unperturbed by the entire sequence of misadventures. Terry Denton's black ink and bright watercolor illustrations accompany the sparse text.
CRITICAL ANALYSIS
The text of A Particular Cow may be sparse, but the fun is abundant. Children should relate to the accidental chaos let loose by the cow's innocent blunder; and they may secretly rejoice in its conclusion, as the particular cow goes merrily on her way without regard to the chaos in her wake. What child does not dream of such a scenario? The repeated use of the word 'particular' gives the text a particular predictability which makes it an excellent read-aloud. Additionally, the illustrations are bright and full of interest. All are double-spreads and contain humorous asides by the human characters and animals alike.
Cultural markers in this book are few, but distinct. Readers may note the mild swearword "bloomin'," and the use of the words "Blimey" and "bloomers." Visual clues to the book's location are more obscure - only the vast semi-arid plains and the presence of Dingoes are possible references to author Mem Fox's or illustrator, Terry Denton's Australian roots.
REVIEW EXCERPTS
"Denton captures the chaos in simple, bland cartoon illustrations, and Fox's repeated use of "particular" gives the text a playful beat--but it's all over almost before it begins. Similar excursions, such as John Burningham's Mr. Gumpy's Outing (1970) or Cynthia Rylant's Great Gracie Chase: Stop That Dog! (2001), illustrated by Mark Teague, will give readers and listeners more time to become engaged in the goings-on."
2006. "A Particular Cow." Kirkus Reviews 74, no. 15: 14-786. MasterFILE Premier, EBSCOhost (accessed June 5, 2007).
"The story is told with a dry wit and an economy of words, and the illustrations interpret the action with panache."
Loch-Wouters, Marge. 2006. "A Particular Cow." School Library Journal 52, no. 9: 171-171. MasterFILE Premier, EBSCOhost (accessed June 5, 2007).
CONNECTIONS
This book is an excellent example of cause and effect and sequencing. Use this text with an exercise in story order. Students can be given jumbled and wordless story frames to place in sequence, teaching cause and effect, sequencing, and the use of visual clues.
Pair this book with an author study and explorations of other Mem Fox titles, searching for cultural markers from her Australian home or her native Zimbabwe.
Fox, Mem. 2006. A Particular Cow. Ill. by Terry Denton. Orlando, FL: Harcourt. ISBN13 97800152002502.
PLOT SUMMARY
A Particular Cow begins as the particular cow sets out on her accustomed Saturday morning particular walk. She accidentally becomes entangled in a pair of bloomers hanging on a clothesline, setting in motion a chain of amusing and unexpected events. The cow, whose vision is often obscured by the flowered bloomers, is blissfully unperturbed by the entire sequence of misadventures. Terry Denton's black ink and bright watercolor illustrations accompany the sparse text.
CRITICAL ANALYSIS
The text of A Particular Cow may be sparse, but the fun is abundant. Children should relate to the accidental chaos let loose by the cow's innocent blunder; and they may secretly rejoice in its conclusion, as the particular cow goes merrily on her way without regard to the chaos in her wake. What child does not dream of such a scenario? The repeated use of the word 'particular' gives the text a particular predictability which makes it an excellent read-aloud. Additionally, the illustrations are bright and full of interest. All are double-spreads and contain humorous asides by the human characters and animals alike.
Cultural markers in this book are few, but distinct. Readers may note the mild swearword "bloomin'," and the use of the words "Blimey" and "bloomers." Visual clues to the book's location are more obscure - only the vast semi-arid plains and the presence of Dingoes are possible references to author Mem Fox's or illustrator, Terry Denton's Australian roots.
REVIEW EXCERPTS
"Denton captures the chaos in simple, bland cartoon illustrations, and Fox's repeated use of "particular" gives the text a playful beat--but it's all over almost before it begins. Similar excursions, such as John Burningham's Mr. Gumpy's Outing (1970) or Cynthia Rylant's Great Gracie Chase: Stop That Dog! (2001), illustrated by Mark Teague, will give readers and listeners more time to become engaged in the goings-on."
2006. "A Particular Cow." Kirkus Reviews 74, no. 15: 14-786. MasterFILE Premier, EBSCOhost (accessed June 5, 2007).
"The story is told with a dry wit and an economy of words, and the illustrations interpret the action with panache."
Loch-Wouters, Marge. 2006. "A Particular Cow." School Library Journal 52, no. 9: 171-171. MasterFILE Premier, EBSCOhost (accessed June 5, 2007).
CONNECTIONS
This book is an excellent example of cause and effect and sequencing. Use this text with an exercise in story order. Students can be given jumbled and wordless story frames to place in sequence, teaching cause and effect, sequencing, and the use of visual clues.
Pair this book with an author study and explorations of other Mem Fox titles, searching for cultural markers from her Australian home or her native Zimbabwe.
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