Bibliography
Johnson, Angela. 2003. The First Part Last. New York: Simon & Schuster.
ISBN: 0-689-84922-2
Summary
Bobby, a teenager, becomes a father of a baby girl, Feather. His life changes completely after her birth.
Critical Analysis
Award winning author, Angela Johnson, has written a young adult novel that is easy to read with her then and now chapters and short, eloquent sentences in her story The First Part Last.
The story is set in contemporary New York City, where the characters are suggestive of today's people. The main character, Bobby is a sixteen year old boy who has just fathered a child with his teen girlfriend, Nia. Minor characters include Bobby's father and mother and his best friends, K-Boy and J.L. After eclampsia leaves Nia permanently disabled, Bobby decides to keep his baby, Feather, rather than giving her up for adoption. During the story, Bobby deals with such things as exhaustion for caring for Feather, skipping school, and getting arrested for spray painting a wall.
Johnson believable storyline creates a plot readers can understand. Throughout the story, Bobby struggles with life as a new father. At the end, Johnson finishes the story with a surprising twist, yet hopeful ending. The theme indicates Bobby's struggles with doing what is right, as many young adults would and provides an extraordinary example of a family, even if the family is different than most.
The First Part Last is a moving story of relationships and the birth of a child from a teenage boy's point of view. Angela Johnson has written a powerful, insightful story.
Review Excerpts
Kirkus Review states, "Told in alternating chapters that take place "then" and "now," Bobby relates the hour-by-hour tribulations and joys of caring for a newborn, and the circumstances that got him there. Managing to cope with support, but little help, from his single mother (who wants to make sure he does this on his own), Bobby struggles to maintain friendships and a school career while giving his daughter the love and care she craves from him at every moment. By narrating from a realistic first-person voice, Johnson manages to convey a story that is always complex, never preachy" (2003).
Booklist announces, "[F]rom the first page, readers feel the physical reality of Bobby's new world: what it's like to hold Feather on his stomach, smell her skin, touch her clenched fists, feel her shiver, and kiss the top of her curly head. Johnson makes poetry with the simplest words in short, spare sentences that teens will read again and again" (2003).
Review excerpts accessed from http://www.titlewave.com/
Connections
Other young adult novels by Angela Johnson:
Heaven
Toning the Sweep
Gone From Home
Humming Whispers
On the Fringe
Other stories by Angela Johnson:
The Aunt in Our House
Do Like Kyla
Daddy Calls Me Man
A Cool Moonlight
The Other Side
Bird
Monday, November 19, 2007
Monday, November 12, 2007
The Higher Power of Lucky by Susan Patron
Bibliography
Patron, Susan. 2006. The Higher Power of Lucky. New York: Atheneum Books.
Illustrator: Matt Phelan
ISBN: 1-41690-194-9
Summary
Ten year old, Lucky Trimble, in her despair over the thought her guardian will return to France, decides to run away. In her run away event, she finds her higher power, giving herself peace and stability.
Critical Analysis
The Newbery Award winning book, The Higher Power of Lucky, is a heartfelt story about a girl afraid of the possible abandonment of her guardian, while dealing the the loss of her mother.
Patron does an excellent job at portraying the characters in a believable, likable way. For example, Lucky, the main character, is a typical ten-year old. She collects insects and dreams of opening an insect museum. She eavesdrops on twelve-step anonymous meetings. After finding her guardian's passport, she is afraid Brigette is going back to France, leaving her alone. Lucky has a "meanness gland" (34) that erupts a few times when Miles, a 5 year old comes around.
The story is set in Hard Pan, California, where the town is so small there are "no markets or restaurants or even a gas station" (44). While unusually small, and unique in its own way, it is still reminiscent of small town USA. The neighbors know each other, where they support and rely on each other. The residents cope with problems like alcoholism or gambling.
Patron's plot leaves the reader with a satisfied feeling, knowing a Higher Power has found Lucky and she is able to release her mothers remains into the wind. The reader finds Lucky dealing with her situations in a true-to-life manner. Lucky lives her life while dealing with the loss of her mother. Also, she devises a plan to run away. Additionally, the themes of abandonment, loss, fear, and courage in Lucky's story of Lucky are perfectly presented. This presentation helps readers relate to Lucky with ease.
Illustrator, Matt Phelan's simple line drawings help round out the story. His illustrations show the simplicity of Hard Pan life and the depth of Patron's characters. This story is a perfect blend of entertainment and excellent storytelling. The Higher Power of Lucky is a perfect story for all young adults.
Review Excerpts
Horn Book announces, "Author Patron's tale of a grieving, insecure little girl is never heavy-handed or maudlin, due in part to quiet bursts of humor. . . . The book's brief chapters reflect the cyclical, episodic nature of life in Hard Pan, while meandering yet meticulously crafted sentences illustrate Lucky's natural curiosity and the importance of storytelling in her life. Patron's sensory descriptions of Hard Pan and the surrounding desert, supported by Phelan's gentle spot art, animate this unique community" (2007).
Kirkus starred reports, "The plot is not what elevates Lucky's memorable story. Hard Pan may be lightly populated, but every soul is uniquely unforgettable, from 5-year-old Miles, shameless cookie hustler, to Lincoln, serious knot-tying addict. Readers will gladly give themselves over to Patron, a master of light but sure characterization and closely observed detail. A small gem" (2007).
Reviews excerpts from http://www.titlewave.com/.
Connections
Other stories by Susan Patron:
Dark Cloud Strong Breeze
Maybe Yes, Maybe No, Maybe Maybe
Bobbin Dustbobbin
Five Bad Boys, Billy Que, and the Dustbobbin
Burgoo Stew
Patron, Susan. 2006. The Higher Power of Lucky. New York: Atheneum Books.
Illustrator: Matt Phelan
ISBN: 1-41690-194-9
Summary
Ten year old, Lucky Trimble, in her despair over the thought her guardian will return to France, decides to run away. In her run away event, she finds her higher power, giving herself peace and stability.
Critical Analysis
The Newbery Award winning book, The Higher Power of Lucky, is a heartfelt story about a girl afraid of the possible abandonment of her guardian, while dealing the the loss of her mother.
Patron does an excellent job at portraying the characters in a believable, likable way. For example, Lucky, the main character, is a typical ten-year old. She collects insects and dreams of opening an insect museum. She eavesdrops on twelve-step anonymous meetings. After finding her guardian's passport, she is afraid Brigette is going back to France, leaving her alone. Lucky has a "meanness gland" (34) that erupts a few times when Miles, a 5 year old comes around.
The story is set in Hard Pan, California, where the town is so small there are "no markets or restaurants or even a gas station" (44). While unusually small, and unique in its own way, it is still reminiscent of small town USA. The neighbors know each other, where they support and rely on each other. The residents cope with problems like alcoholism or gambling.
Patron's plot leaves the reader with a satisfied feeling, knowing a Higher Power has found Lucky and she is able to release her mothers remains into the wind. The reader finds Lucky dealing with her situations in a true-to-life manner. Lucky lives her life while dealing with the loss of her mother. Also, she devises a plan to run away. Additionally, the themes of abandonment, loss, fear, and courage in Lucky's story of Lucky are perfectly presented. This presentation helps readers relate to Lucky with ease.
Illustrator, Matt Phelan's simple line drawings help round out the story. His illustrations show the simplicity of Hard Pan life and the depth of Patron's characters. This story is a perfect blend of entertainment and excellent storytelling. The Higher Power of Lucky is a perfect story for all young adults.
Review Excerpts
Horn Book announces, "Author Patron's tale of a grieving, insecure little girl is never heavy-handed or maudlin, due in part to quiet bursts of humor. . . . The book's brief chapters reflect the cyclical, episodic nature of life in Hard Pan, while meandering yet meticulously crafted sentences illustrate Lucky's natural curiosity and the importance of storytelling in her life. Patron's sensory descriptions of Hard Pan and the surrounding desert, supported by Phelan's gentle spot art, animate this unique community" (2007).
Kirkus starred reports, "The plot is not what elevates Lucky's memorable story. Hard Pan may be lightly populated, but every soul is uniquely unforgettable, from 5-year-old Miles, shameless cookie hustler, to Lincoln, serious knot-tying addict. Readers will gladly give themselves over to Patron, a master of light but sure characterization and closely observed detail. A small gem" (2007).
Reviews excerpts from http://www.titlewave.com/.
Connections
Other stories by Susan Patron:
Dark Cloud Strong Breeze
Maybe Yes, Maybe No, Maybe Maybe
Bobbin Dustbobbin
Five Bad Boys, Billy Que, and the Dustbobbin
Burgoo Stew
The Giver by Lois Lowry
Bibliography
Lowry, Lois. 1993. The Giver. Boston. Houghton Mifflin.
ISBN: 0-39564566-2
Summary
In a society of sameness, at the age of twelve, Jonas is selected for his life job, the receiver of memories. In his training for his assignment, Jonas realizes the terrible things about his society.
Critical Analysis
Two-time Newberry Award author has written an exceptional modern fantasy story in The Giver.
Lowry's human characters are believable. They differ from humans in that they live in a society of sameness, where they don't have feelings, emotions or memories. The main character, Jonas, is the only one with memories and feelings and has to deal with the idea that his society's ways are wrong. Jonas is well-developed, where we can understand his actions, root for him, and feel his emotions.
The story takes place in Jonas' community, a place where they live in houses, go to work and school, and function as families. The fantasy aspect is noticed when we learn about the way their community functions. For example, married couples are "assigned" two children. Also, at the age of 12, community members are assigned their role as an adult. There is also no inequality, no injustice, and no poverty.
Jonas struggles with the way his community lives and is shocked when Gabriel is going to be "released." His struggles are plausible and maintain the plot through out the story. Also, the plot is also internally consistent, where Jonas stays in his community of sameness until he escapes to elsewhere at the end of the story.
Jonas' love for Gabriel is powerful and an undercurrent theme, until the end of the story, where we learn Jonas has escaped with Gabriel to elsewhere to save Gabriel's life. Additionally, Lowry's writing style helps us believe in Jonas' world. For example, the dialogue among characters is very precise, almost seeming formal. Jonas' world is a world where preciseness is of utmost importance.
Exciting and entertaining, the audio book version narrated by Ron Rifkin makes the story even more enjoyable. Rifkin manipulates his voice to help the reader grasp the emotions and events in the story. The background music played intermittently throughout the story keeps the listener engaged.
The Giver, in book or audio book format, can be enjoyed by adults and young adults. In any format, it is a story well worth your time.
Review Excerpts
Horn Book reports, "The story is skillfully written; the air of disquiet is delicately insinuated; and the theme of balancing the values of freedom and security is beautifully presented" (1993).
Amy Kelleman with School Library Journal reports, "In a complete departure from her other novels, Lowry has written an intriguing story set in a society that is uniformly run by a Committee of Elders. . . . The author makes real abstract concepts, such as the meaning of a life in which there are virtually no choices to be made and no experiences with deep feelings. This tightly plotted story and its believable characters will stay with readers for a long time" (1993).
Review excerpts accessed from http://www.titlewave.com/
Connections
The Giver is a perfect story as a springboard for a class discussion about the value of life. There are two sequels to The Giver by Lois Lowry:
Gathering Blue
The Messenger
Lowry, Lois. 1993. The Giver. Boston. Houghton Mifflin.
ISBN: 0-39564566-2
Summary
In a society of sameness, at the age of twelve, Jonas is selected for his life job, the receiver of memories. In his training for his assignment, Jonas realizes the terrible things about his society.
Critical Analysis
Two-time Newberry Award author has written an exceptional modern fantasy story in The Giver.
Lowry's human characters are believable. They differ from humans in that they live in a society of sameness, where they don't have feelings, emotions or memories. The main character, Jonas, is the only one with memories and feelings and has to deal with the idea that his society's ways are wrong. Jonas is well-developed, where we can understand his actions, root for him, and feel his emotions.
The story takes place in Jonas' community, a place where they live in houses, go to work and school, and function as families. The fantasy aspect is noticed when we learn about the way their community functions. For example, married couples are "assigned" two children. Also, at the age of 12, community members are assigned their role as an adult. There is also no inequality, no injustice, and no poverty.
Jonas struggles with the way his community lives and is shocked when Gabriel is going to be "released." His struggles are plausible and maintain the plot through out the story. Also, the plot is also internally consistent, where Jonas stays in his community of sameness until he escapes to elsewhere at the end of the story.
Jonas' love for Gabriel is powerful and an undercurrent theme, until the end of the story, where we learn Jonas has escaped with Gabriel to elsewhere to save Gabriel's life. Additionally, Lowry's writing style helps us believe in Jonas' world. For example, the dialogue among characters is very precise, almost seeming formal. Jonas' world is a world where preciseness is of utmost importance.
Exciting and entertaining, the audio book version narrated by Ron Rifkin makes the story even more enjoyable. Rifkin manipulates his voice to help the reader grasp the emotions and events in the story. The background music played intermittently throughout the story keeps the listener engaged.
The Giver, in book or audio book format, can be enjoyed by adults and young adults. In any format, it is a story well worth your time.
Review Excerpts
Horn Book reports, "The story is skillfully written; the air of disquiet is delicately insinuated; and the theme of balancing the values of freedom and security is beautifully presented" (1993).
Amy Kelleman with School Library Journal reports, "In a complete departure from her other novels, Lowry has written an intriguing story set in a society that is uniformly run by a Committee of Elders. . . . The author makes real abstract concepts, such as the meaning of a life in which there are virtually no choices to be made and no experiences with deep feelings. This tightly plotted story and its believable characters will stay with readers for a long time" (1993).
Review excerpts accessed from http://www.titlewave.com/
Connections
The Giver is a perfect story as a springboard for a class discussion about the value of life. There are two sequels to The Giver by Lois Lowry:
Gathering Blue
The Messenger
Monday, November 5, 2007
When My Name was Keoko by Linda Sue Park
Bibliography
Park, Linda Sue. 2002. When My Name was Keoko. New York: Clarion Books.
ISBN: 0-618-13335-6
Summary
When My Name was Keoko, is a parallel story told through the viewpoints of a sister and a brother. They relate their difficult lives during the Japanese occupation of Korea.
Critical Analysis
Award-winning author Linda Sue Park, writes an eloquent historical fiction story about a Korean family's life in Korea from 1940-1945. Park's descriptive words help set the scene of the setting, whether taking place in the family's home or out in public.
Also, Park does an excellent job at making the plot believable and the theme universal. Readers can connect with the two narrators. For example, at the start of the story, Sun-Hee and Tae-yul find out the Japanese are forcing them to rename themselves with Japanese names. Tau-yul states, "A different name? I can't imagine it. I look at Sun-Hee and I can tell she's thinking the same thing" (5). The parallel stories of the siblings helps readers connect to the theme. Sun-hee and Tae-yul react differently to situations, displaying the different emotions, feelings, and actions we may all feel.
Park's writing style is indicative of the time period, mixing in a few Korean words to help the story flow. Additionally, Park does an amazing job at weaving true historical events into the story, making the story authentic and accurate. For example, kamikaze pilots, leaflets dropped from an airplane, rose of Sharon trees uprooted and burned, and the changing of Korean names are all part of Korean history during this time period (193-4). Linda Sue Park validates the historical events through Author's Notes and a Bibliography at the end of the book.
A poignant story set in a time period that is not well-known, When My Name was Keoko, is an outstanding story for fifth graders to adults.
Review Excerpts
Publishers' Weekly announces, "A brother and sister alternate as narrators in Newbery Medalist Park's (A Single Shard) well-constructed novel, which takes place from 1940-1945 in Japanese-occupied Korea . . . . Through the use of the shifting narrators, Park subtly points up the differences between male and female roles in Korean society; and the father's process of choosing the family's Japanese name speaks volumes about his strength and intelligence. . . . [T]elling details provide a clear picture of Sun-hee and Tae-yul and their world. Readers will come away with an appreciation of this period of history and likely a greater interest in learning more about it" (2002).
Barbara Scotto with School Library Journal reports, "What is outstanding is the insight Park gives into the complex minds of these young people. Each of them reacts to the events in different ways-Sun-hee takes refuge in writing while Tae-yul throws his energies into physical work. Yet in both cases they develop subtle plans to resist the enemy. Like the Rose of Sharon tree, symbol of Korea, which the family pots and hides in their shed until their country is free, Sun-hee and Tae-yul endure and grow. This beautifully crafted and moving novel joins a small but growing body of literature, such as Haemi Balgassi's Peacebound Trains (Clarion, 1996) and Sook Nyul Choi's The Year of Impossible Goodbyes (Houghton, 1991), that expands readers' understanding of this period" (2002).
Connections
Other stories by Linda Sue Park set in Korea:
Archer's Quest
A Single Shard
The Firekeeper's Son
The Kite Fighters
Seesaw Girl
Park, Linda Sue. 2002. When My Name was Keoko. New York: Clarion Books.
ISBN: 0-618-13335-6
Summary
When My Name was Keoko, is a parallel story told through the viewpoints of a sister and a brother. They relate their difficult lives during the Japanese occupation of Korea.
Critical Analysis
Award-winning author Linda Sue Park, writes an eloquent historical fiction story about a Korean family's life in Korea from 1940-1945. Park's descriptive words help set the scene of the setting, whether taking place in the family's home or out in public.
Also, Park does an excellent job at making the plot believable and the theme universal. Readers can connect with the two narrators. For example, at the start of the story, Sun-Hee and Tae-yul find out the Japanese are forcing them to rename themselves with Japanese names. Tau-yul states, "A different name? I can't imagine it. I look at Sun-Hee and I can tell she's thinking the same thing" (5). The parallel stories of the siblings helps readers connect to the theme. Sun-hee and Tae-yul react differently to situations, displaying the different emotions, feelings, and actions we may all feel.
Park's writing style is indicative of the time period, mixing in a few Korean words to help the story flow. Additionally, Park does an amazing job at weaving true historical events into the story, making the story authentic and accurate. For example, kamikaze pilots, leaflets dropped from an airplane, rose of Sharon trees uprooted and burned, and the changing of Korean names are all part of Korean history during this time period (193-4). Linda Sue Park validates the historical events through Author's Notes and a Bibliography at the end of the book.
A poignant story set in a time period that is not well-known, When My Name was Keoko, is an outstanding story for fifth graders to adults.
Review Excerpts
Publishers' Weekly announces, "A brother and sister alternate as narrators in Newbery Medalist Park's (A Single Shard) well-constructed novel, which takes place from 1940-1945 in Japanese-occupied Korea . . . . Through the use of the shifting narrators, Park subtly points up the differences between male and female roles in Korean society; and the father's process of choosing the family's Japanese name speaks volumes about his strength and intelligence. . . . [T]elling details provide a clear picture of Sun-hee and Tae-yul and their world. Readers will come away with an appreciation of this period of history and likely a greater interest in learning more about it" (2002).
Barbara Scotto with School Library Journal reports, "What is outstanding is the insight Park gives into the complex minds of these young people. Each of them reacts to the events in different ways-Sun-hee takes refuge in writing while Tae-yul throws his energies into physical work. Yet in both cases they develop subtle plans to resist the enemy. Like the Rose of Sharon tree, symbol of Korea, which the family pots and hides in their shed until their country is free, Sun-hee and Tae-yul endure and grow. This beautifully crafted and moving novel joins a small but growing body of literature, such as Haemi Balgassi's Peacebound Trains (Clarion, 1996) and Sook Nyul Choi's The Year of Impossible Goodbyes (Houghton, 1991), that expands readers' understanding of this period" (2002).
Connections
Other stories by Linda Sue Park set in Korea:
Archer's Quest
A Single Shard
The Firekeeper's Son
The Kite Fighters
Seesaw Girl
Wednesday, October 31, 2007
Worth by A. LaFaye
Bibliography
LaFaye, A. 2004. Worth. New York: Simon & Schuster.
ISBN: 0-689-85730-6
Summary
Eleven year old, Nate helps father with all the farm work, but after an accident, Nate is no longer able to help. Nate's father brings home John Worth, an orphan, to take Nate's placed with the farm chores. Nate feels even worse about himself once John arrives, creating a wedge between the two boys. As time passes, Nate and John make a connection.
Critical Analysis
The Scott O'Dell Award winning book, Worth by A. LaFaye is a superb story of a boy's pioneer life and the difficult times his family endures. Nate, the main character, mangles his leg in an accident on the farm at the age of 12. Father feels responsible, Nate's heart is broken when he realizes his leg will prevent him from working the farm along with his father, and mother is bitter from the past. In an effort to get help with the work on the farm, father adopts an orphan boy, John Worth.
LaFaye's excellent use of words helps readers make connections to the characters while also develop the style of pioneer life. For example, when Nate thinks what it would be like losing his family like John Worth he was "crushed up inside" (31). Another example can be found when Nate and John "talked death all the way to the house" (99). A third example is found when John is "praying up a storm" when Widow Kerensky points a shotgun at the boys (135).
The story takes place on the plains of Nebraska, where Nate and his father work the land, and mother earns extra money by "tinkering." LaFaye has developed the setting accurately, bringing in the particulars of the time period: orphan train, a soddie school, fighting between ranchers and farmers, fence cutting, lynchings, and horse-drawn wagons.
Additionally, LaFaye designs the plot perfectly for a historical fiction of this time period. She also does an excellent job a maintaining a well balanced historical details.
Worth by A. LaFaye depicts pioneer life perfectly. It is a story that is interesting and heart-felt and could be enjoyed by readers of all ages.
Review Excerpts
Publisher's Weekly reports, "LaFaye paints a realistic picture of the hardships for average families at the time the Orphan Train rode the rails. . . . The author weaves in a subtle message about the power of story, as Nate builds a bond with John by reading him Greek myths out of a borrowed book (2004).
Joel Shoemaker with School Library Journal states, "The author convincingly conveys the boys' gradual realization of the value of one another's friendship. Other themes include the importance of reading and education, meeting challenges head on, relying on and playing a responsible role in your community, and recovering from loss. A special strength of the book is the characterization of Nathaniel's mom, whose fierce anger is emotionally balanced by her dedication to her family's well-being. Although she works as a tinker, she lets her husband take credit in deference to the mores of the time. A satisfying piece of historical fiction (2004).
Review excerpts accessed from http://www.titlewave.com/
Connections
Other stories by A. LaFaye:
The Year of the Sawdust Man
Strawberry Hill
Dad, In Spirit
The Strength of Saints
Other stories about frontier life:
Maude March on the Run!, or, Trouble is Her Middle Name by Audrey Couloumbis
The Misadventures of Maude March, or, Trouble Rides a Fast Horse by Audrey Couloumbis
Sarah, Plain and Tall by Patricia MacLachlan
Bringing Ezra Back by Cynthia C. DeFelice
Little House on the Prairie and other pioneer stories by Laura Ingalls Wilder
LaFaye, A. 2004. Worth. New York: Simon & Schuster.
ISBN: 0-689-85730-6
Summary
Eleven year old, Nate helps father with all the farm work, but after an accident, Nate is no longer able to help. Nate's father brings home John Worth, an orphan, to take Nate's placed with the farm chores. Nate feels even worse about himself once John arrives, creating a wedge between the two boys. As time passes, Nate and John make a connection.
Critical Analysis
The Scott O'Dell Award winning book, Worth by A. LaFaye is a superb story of a boy's pioneer life and the difficult times his family endures. Nate, the main character, mangles his leg in an accident on the farm at the age of 12. Father feels responsible, Nate's heart is broken when he realizes his leg will prevent him from working the farm along with his father, and mother is bitter from the past. In an effort to get help with the work on the farm, father adopts an orphan boy, John Worth.
LaFaye's excellent use of words helps readers make connections to the characters while also develop the style of pioneer life. For example, when Nate thinks what it would be like losing his family like John Worth he was "crushed up inside" (31). Another example can be found when Nate and John "talked death all the way to the house" (99). A third example is found when John is "praying up a storm" when Widow Kerensky points a shotgun at the boys (135).
The story takes place on the plains of Nebraska, where Nate and his father work the land, and mother earns extra money by "tinkering." LaFaye has developed the setting accurately, bringing in the particulars of the time period: orphan train, a soddie school, fighting between ranchers and farmers, fence cutting, lynchings, and horse-drawn wagons.
Additionally, LaFaye designs the plot perfectly for a historical fiction of this time period. She also does an excellent job a maintaining a well balanced historical details.
Worth by A. LaFaye depicts pioneer life perfectly. It is a story that is interesting and heart-felt and could be enjoyed by readers of all ages.
Review Excerpts
Publisher's Weekly reports, "LaFaye paints a realistic picture of the hardships for average families at the time the Orphan Train rode the rails. . . . The author weaves in a subtle message about the power of story, as Nate builds a bond with John by reading him Greek myths out of a borrowed book (2004).
Joel Shoemaker with School Library Journal states, "The author convincingly conveys the boys' gradual realization of the value of one another's friendship. Other themes include the importance of reading and education, meeting challenges head on, relying on and playing a responsible role in your community, and recovering from loss. A special strength of the book is the characterization of Nathaniel's mom, whose fierce anger is emotionally balanced by her dedication to her family's well-being. Although she works as a tinker, she lets her husband take credit in deference to the mores of the time. A satisfying piece of historical fiction (2004).
Review excerpts accessed from http://www.titlewave.com/
Connections
Other stories by A. LaFaye:
The Year of the Sawdust Man
Strawberry Hill
Dad, In Spirit
The Strength of Saints
Other stories about frontier life:
Maude March on the Run!, or, Trouble is Her Middle Name by Audrey Couloumbis
The Misadventures of Maude March, or, Trouble Rides a Fast Horse by Audrey Couloumbis
Sarah, Plain and Tall by Patricia MacLachlan
Bringing Ezra Back by Cynthia C. DeFelice
Little House on the Prairie and other pioneer stories by Laura Ingalls Wilder
Sunday, October 28, 2007
Cleopatra by Diana Stanley
Bibliography
Stanley, Diane. 1994. Cleopatra. New York: Morrow Junior Books.
Illustrator: Peter Vennema
ISBN: 0-688-10413-4
Summary
This biography details the reign of Cleopatra, Queen of Egypt, from the age of 18 and concludes upon her death at the age of 39.
Critical Analysis
Outstanding author and illustrator, Diane Stanley, has written a remarkable biography about Cleopatra, an interesting person from an ancient time period.
Stanley provides a note on ancient sources before the story opens to support the authenticity and accuracy of the facts about Cleopatra. She explains that all writings about Cleopatra were written by her enemies, and the major episodes of her life were recorded by Plutarch. The written works of Plutarch have to be regarded carefully because he lived 100 years after Cleopatra and much of his writings were substantiated by her opponents (Note on Ancient Sources). Also, Stanley reports on her personal website that she travels to areas to do research on her subjects. She traveled to Egypt for research about Cleopatra (www.dianastanley.com).
The preface provided at the beginning of the book provides background information to make the story coherent. The story follows the chronological life of Cleopatra, starting at the age of eighteen and ending upon her death at the age of 39. The epilogue at the end of the book provides a nice closure to the history of the time period. Additionally, the pronunciation guide is a nice addition to make the reading more gratifying.
Stanley is teamed with an amazing illustrator to make the perfect design for this story. Gouache, a specific paint technique, is used to make the illustrations support the interesting text and are a nice complement to the story. The illustrations of the clothing, transportation, gatherings, and settings are authentic to the time period. Also, the maps are helpful resources for the reader.
Stanley's passion for history and accuracy of information keeps the story interesting and easy to read. This is an outstanding, enjoyable biography that should be part of any library's children's collection. Cleopatra by Diane Stanley is deserving of inclusion on numerous book lists, including the ALA Notable Books.
Review Excerpts
Carolyn Noah with School Library Journal reports, "In this lively, well-crafted biography, Stanley and Vennema brush the cobwebs from the popularly held portrait of Cleopatra to reveal a vital, warm, and politically adroit ruler. Lucid writing combines with carefully selected anecdotes, often attributed to the Greek historian Plutarch, to create an engaging narrative" (1994).
Publisher Weekly Review states, "The dazzling Egyptian queen proves a fertile subject for Stanley and Vennema . . . . Here they make a seemingly effortless leap into ancient times, masterfully relating Cleopatra's life story through words and pictures" (1994).
Review excerpts accessed from http://www.fortworthgov.org/library/
Connections
Other biographies/historical fiction about Cleopatra:
The Memoirs of Cleopatra by Margaret George
Cleopatra by Susan Reid
Cleopatra by Rose Blue
Cleopatra: Egypt's Last Pharaoh by Don Nardo
Queen Cleopatra by Thomas Streissguth
Stanley, Diane. 1994. Cleopatra. New York: Morrow Junior Books.
Illustrator: Peter Vennema
ISBN: 0-688-10413-4
Summary
This biography details the reign of Cleopatra, Queen of Egypt, from the age of 18 and concludes upon her death at the age of 39.
Critical Analysis
Outstanding author and illustrator, Diane Stanley, has written a remarkable biography about Cleopatra, an interesting person from an ancient time period.
Stanley provides a note on ancient sources before the story opens to support the authenticity and accuracy of the facts about Cleopatra. She explains that all writings about Cleopatra were written by her enemies, and the major episodes of her life were recorded by Plutarch. The written works of Plutarch have to be regarded carefully because he lived 100 years after Cleopatra and much of his writings were substantiated by her opponents (Note on Ancient Sources). Also, Stanley reports on her personal website that she travels to areas to do research on her subjects. She traveled to Egypt for research about Cleopatra (www.dianastanley.com).
The preface provided at the beginning of the book provides background information to make the story coherent. The story follows the chronological life of Cleopatra, starting at the age of eighteen and ending upon her death at the age of 39. The epilogue at the end of the book provides a nice closure to the history of the time period. Additionally, the pronunciation guide is a nice addition to make the reading more gratifying.
Stanley is teamed with an amazing illustrator to make the perfect design for this story. Gouache, a specific paint technique, is used to make the illustrations support the interesting text and are a nice complement to the story. The illustrations of the clothing, transportation, gatherings, and settings are authentic to the time period. Also, the maps are helpful resources for the reader.
Stanley's passion for history and accuracy of information keeps the story interesting and easy to read. This is an outstanding, enjoyable biography that should be part of any library's children's collection. Cleopatra by Diane Stanley is deserving of inclusion on numerous book lists, including the ALA Notable Books.
Review Excerpts
Carolyn Noah with School Library Journal reports, "In this lively, well-crafted biography, Stanley and Vennema brush the cobwebs from the popularly held portrait of Cleopatra to reveal a vital, warm, and politically adroit ruler. Lucid writing combines with carefully selected anecdotes, often attributed to the Greek historian Plutarch, to create an engaging narrative" (1994).
Publisher Weekly Review states, "The dazzling Egyptian queen proves a fertile subject for Stanley and Vennema . . . . Here they make a seemingly effortless leap into ancient times, masterfully relating Cleopatra's life story through words and pictures" (1994).
Review excerpts accessed from http://www.fortworthgov.org/library/
Connections
Other biographies/historical fiction about Cleopatra:
The Memoirs of Cleopatra by Margaret George
Cleopatra by Susan Reid
Cleopatra by Rose Blue
Cleopatra: Egypt's Last Pharaoh by Don Nardo
Queen Cleopatra by Thomas Streissguth
Sunday, October 21, 2007
Danger! Earthquakes by Seymour Simon
Bibliography
Simon, Seymour. 2002. Danger! Earthquakes. San Francisco: Sea Star Books.
ISBN: 0-329-27815-0
Summary
Danger! Earthquakes discusses the causes, destruction, and locations of earthquakes in an easy to read presentation.
Critical Analysis
Seymour Simon has written over 200 children's books and is an award recipient for numerous awards, including the Lifetime Achievement Award for Excellence in Science Books.
Simon has a vast array of children's books. One of his endeavors is a series for the younger reader. This series is called SeeMore Readers. Danger! Earthquake is one book of this series.
Simon's information about earthquakes is accurate and informative. Readers learn how earthquakes are measured, where earthquakes are located, and what to do in an earthquake. Danger! Earthquakes is organized well. Simon introduces earthquakes, then explains how they are measured. Next, Simon discusses specific earthquakes: the 1811 earthquake in Mississippi, the 1964 earthquake in Anchorage, Alaska, and the 1985 earthquake in Mexico City. Simon concludes the book with information on what to do if you are in an earthquake.
The book is easy to read, and simple enough for the young reader or reluctant reader. Danger! Earthquakes is fashioned after a more advanced edition by Simon, Earthquakes (1991). The text is not as detailed as the earlier version, but Simon does maintain the integrity of the information presented. Simon makes it easier to understand for the younger reader by reducing the amount of text on each page and providing careful word selection. The text on each page is less than 10 sentences and written in an easy to read font.
The book is attractive and interesting with full page photographs and pictures. The pictures provide support to the text, making it easy to comprehend. Some of the pictures are found in both of Simon's earthquake books. Unfortunately, a few of the pictures in Danger! Earthquakes appear to be lesser quality than his first book. In comparison, they are slightly grainy.
It is exciting to have a prolific writer provide books for even the youngest of readers. These books are perfect for the young and inviting enough for the reluctant reader, encouraging a foundation for curiosity about the things around them. Danger! Earthquakes, along with the rest of the series is necessary for a library collection.
Review Excerpts
Horn Book reports, "In two books in this series for beginning readers, clear, color photos and maps show the range and effects of these natural phenomena. The easy-to-read, informative text extends the illustrations and exhibits a knowledge of not only the subject but also the audience" (2002).
Edith Ching with School Library Journal states, "These easy-readers are dominated by large, colorful photographs. Many of those in Danger! appeared in Simon's Earthquakes (Morrow, 1991) and some are poorly reproduced, often grainy. A few lines of generally clear and informative text accompany the illustrations on each page " (2002).
Review excerpts accessed from http://www.titlewave.com/.
Connections
Danger! Earthquakes is part of the See More Readers series, level 2. Other books in the same series include:
Bridges
Cool Cars
Danger! Volcanoes
Giant Snakes
Skyscrapers
Super Storms
Simon, Seymour. 2002. Danger! Earthquakes. San Francisco: Sea Star Books.
ISBN: 0-329-27815-0
Summary
Danger! Earthquakes discusses the causes, destruction, and locations of earthquakes in an easy to read presentation.
Critical Analysis
Seymour Simon has written over 200 children's books and is an award recipient for numerous awards, including the Lifetime Achievement Award for Excellence in Science Books.
Simon has a vast array of children's books. One of his endeavors is a series for the younger reader. This series is called SeeMore Readers. Danger! Earthquake is one book of this series.
Simon's information about earthquakes is accurate and informative. Readers learn how earthquakes are measured, where earthquakes are located, and what to do in an earthquake. Danger! Earthquakes is organized well. Simon introduces earthquakes, then explains how they are measured. Next, Simon discusses specific earthquakes: the 1811 earthquake in Mississippi, the 1964 earthquake in Anchorage, Alaska, and the 1985 earthquake in Mexico City. Simon concludes the book with information on what to do if you are in an earthquake.
The book is easy to read, and simple enough for the young reader or reluctant reader. Danger! Earthquakes is fashioned after a more advanced edition by Simon, Earthquakes (1991). The text is not as detailed as the earlier version, but Simon does maintain the integrity of the information presented. Simon makes it easier to understand for the younger reader by reducing the amount of text on each page and providing careful word selection. The text on each page is less than 10 sentences and written in an easy to read font.
The book is attractive and interesting with full page photographs and pictures. The pictures provide support to the text, making it easy to comprehend. Some of the pictures are found in both of Simon's earthquake books. Unfortunately, a few of the pictures in Danger! Earthquakes appear to be lesser quality than his first book. In comparison, they are slightly grainy.
It is exciting to have a prolific writer provide books for even the youngest of readers. These books are perfect for the young and inviting enough for the reluctant reader, encouraging a foundation for curiosity about the things around them. Danger! Earthquakes, along with the rest of the series is necessary for a library collection.
Review Excerpts
Horn Book reports, "In two books in this series for beginning readers, clear, color photos and maps show the range and effects of these natural phenomena. The easy-to-read, informative text extends the illustrations and exhibits a knowledge of not only the subject but also the audience" (2002).
Edith Ching with School Library Journal states, "These easy-readers are dominated by large, colorful photographs. Many of those in Danger! appeared in Simon's Earthquakes (Morrow, 1991) and some are poorly reproduced, often grainy. A few lines of generally clear and informative text accompany the illustrations on each page " (2002).
Review excerpts accessed from http://www.titlewave.com/.
Connections
Danger! Earthquakes is part of the See More Readers series, level 2. Other books in the same series include:
Bridges
Cool Cars
Danger! Volcanoes
Giant Snakes
Skyscrapers
Super Storms
Wednesday, October 17, 2007
Actual Size by Steve Jenkins
Bibliography
Jenkins, Steve. 2004. Actual Size. Boston: Houghton Mifflin.
ISBN: 0-618-37594-5
Summary
Author, Steve Jenkins presents the size of animals or parts of those animals in collage illustrations. Weight and length/height is included on each page. Information about each animal is also provided at the end of the book.
Critical Analysis
Award winning author/illustrator Steve Jenkins has presented an exceptional nonfiction book in Actual Size.
Jenkins introduces sizes and facts about different animals in accurate detail. The most fascinating part of the book is made obvious in the illustrations. Each illustration is drawn to scale. Jenkins presents the animal where only part of the animal may fit on each page. For example, the great white shark page includes only five full teeth and the top of the mouth. On another page, the pygmy mouse lemur is seen in actual size: 2 1/2 inches tall.
The book is organized well, with a logical and coherent layout. Some pages present two animals so the reader can compare sizes. The presentation of animals is presented in alternating pattern of small and big. The animals' sizes become more concrete through Jenkins carefully planned and detailed comparisons.
Jenkins' illustrations help to make this book inviting for even the youngest of readers. The illustrations are collages of cut and torn paper. The colors of the papers are so creative the texture and details of the animals' covering are made obvious. For example, the Siberian tiger's whiskers and the fuzz of the fur are apparent in the illustration. Also, Jenkins uses font size to his advantage. The font is set as a small Futura type so as to keep the focus on the illustration. The animals' name are set in a bold font to help distinguish the animal on each page.
Jenkins' writing is simple and clear with a concise explanation about each animal presented at the end of the book. Jenkins style and expertise in detail provides an outstanding avenue for critical thinking about other animals and sizes. Students can easily wonder and predict sizes of other animals. Actual Size is a fascinating book, whether used as a tool in the classroom or enjoyed for pleasure reading.
Review excerpts accessed from www.titlewave.com.
Review Excerpts
Dona Rattertree with School Library Journal states, "Mixing deceptive simplicity with absolute clarity, this beautiful book is an enticing way to introduce children to the glorious diversity of our natural world, or to illustrate to budding scientists the importance of comparison, measurement, observation, and record keeping. A thoroughly engaging read-aloud and a must-have for any collection" (2004).
Booklist reports, "The resulting juxtapositions will leave children marveling at one species' daintiness, then shuddering as they mentally sketch in the unseen portions of more formidable beasts. Jenkins' artwork is gorgeous (a gatefold of a frog in midleap is particularly memorable), and, at the end of the book, thumbnail images of the featured animals paired with information about habitat and behavior put the piquant visuals into a broader context. An unusual, unusually effective tool for connecting children to nature's astonishing variety" (2004).
Connections
Actual Size by Steve Jenkins is a perfect book for a study of animals or in a comparison of mathematical measurement.
"Wow, I love this book!" --Jailene (first grader)
"The gorilla's hand is so much bigger than mine." --Osbaldo (first grader)
"The spider scares me. It's so big." --Maria (first grader)
"The frog is longer than my baby sister." --Monica (second grader)
Jenkins, Steve. 2004. Actual Size. Boston: Houghton Mifflin.
ISBN: 0-618-37594-5
Summary
Author, Steve Jenkins presents the size of animals or parts of those animals in collage illustrations. Weight and length/height is included on each page. Information about each animal is also provided at the end of the book.
Critical Analysis
Award winning author/illustrator Steve Jenkins has presented an exceptional nonfiction book in Actual Size.
Jenkins introduces sizes and facts about different animals in accurate detail. The most fascinating part of the book is made obvious in the illustrations. Each illustration is drawn to scale. Jenkins presents the animal where only part of the animal may fit on each page. For example, the great white shark page includes only five full teeth and the top of the mouth. On another page, the pygmy mouse lemur is seen in actual size: 2 1/2 inches tall.
The book is organized well, with a logical and coherent layout. Some pages present two animals so the reader can compare sizes. The presentation of animals is presented in alternating pattern of small and big. The animals' sizes become more concrete through Jenkins carefully planned and detailed comparisons.
Jenkins' illustrations help to make this book inviting for even the youngest of readers. The illustrations are collages of cut and torn paper. The colors of the papers are so creative the texture and details of the animals' covering are made obvious. For example, the Siberian tiger's whiskers and the fuzz of the fur are apparent in the illustration. Also, Jenkins uses font size to his advantage. The font is set as a small Futura type so as to keep the focus on the illustration. The animals' name are set in a bold font to help distinguish the animal on each page.
Jenkins' writing is simple and clear with a concise explanation about each animal presented at the end of the book. Jenkins style and expertise in detail provides an outstanding avenue for critical thinking about other animals and sizes. Students can easily wonder and predict sizes of other animals. Actual Size is a fascinating book, whether used as a tool in the classroom or enjoyed for pleasure reading.
Review excerpts accessed from www.titlewave.com.
Review Excerpts
Dona Rattertree with School Library Journal states, "Mixing deceptive simplicity with absolute clarity, this beautiful book is an enticing way to introduce children to the glorious diversity of our natural world, or to illustrate to budding scientists the importance of comparison, measurement, observation, and record keeping. A thoroughly engaging read-aloud and a must-have for any collection" (2004).
Booklist reports, "The resulting juxtapositions will leave children marveling at one species' daintiness, then shuddering as they mentally sketch in the unseen portions of more formidable beasts. Jenkins' artwork is gorgeous (a gatefold of a frog in midleap is particularly memorable), and, at the end of the book, thumbnail images of the featured animals paired with information about habitat and behavior put the piquant visuals into a broader context. An unusual, unusually effective tool for connecting children to nature's astonishing variety" (2004).
Connections
Actual Size by Steve Jenkins is a perfect book for a study of animals or in a comparison of mathematical measurement.
"Wow, I love this book!" --Jailene (first grader)
"The gorilla's hand is so much bigger than mine." --Osbaldo (first grader)
"The spider scares me. It's so big." --Maria (first grader)
"The frog is longer than my baby sister." --Monica (second grader)
Saturday, October 13, 2007
An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic Plague of 1793 by JIm Murphy
Bibliography
Murphy, Jim. 2003. An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of 1793. New York: Clarion Books.
ISBN: 0-395-77608-2
Summary
A true account of the yellow fever epidemic in Philadelphia, during 1793, leaving thousands dead.
Critical Analysis
Non-fiction and fiction author, Jim Murphy tells the interesting, true story of the Yellow Fever epidemic in Philadelphia during 1793 in his book: An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of 1793.
Murphy does an excellent job of providing accurate information of this epidemic story. He uses information found in letters, journals, newspapers, and other documents to support the story. At the beginning of chapters, excerpts of actual time-period newspapers are included. Additionally, illustrations through out the book support the story. At the end of the book, Murphy includes a list of all sources consulted in the making of this book. The sources are listed in categories, making it very user-friendly.
The organization of An American Plague is written sequentially. The epidemic occurs in 1793, over the course of several months. Murphy uses dates and times, through out the story to document the events. This also helps make the story easy to follow. In fact, each chapter begins with a specific date.
The design of the story provides support for the time period. The simple illustrations are basic in black and white. The use of black and white is appropriate for a story of this time period. The newspaper excerpts appropriately complement the text. The reader can feel like they are reading the newspaper of 1793. The author does mentions very few actual visual documents actually exist from this event in American history. The images he does include replicate, to the best extent they can, the actual events, providing natural support to the text.
Murphy has told a true story that is interesting and intriguing. Murphy has taken a part of American history and presented in a way that is clear, precise, and inviting to read. An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of 1793 is an award book in several categories, including the Robert F. Sibert Award and the Orbis Pictus Award. Murphy's story well-deserving of the many awards, and should be enjoyed by young and old.
Review Excerpts
Kirkus Review states, "Powerful, evocative prose carries along the compelling subject matter. Even as the narrative places readers in the moment with quotations, the design aids and abets this, beginning each chapter with reproductions from contemporary newspapers and other materials, as well as placing period illustrations appropriately throughout the text" (2003).
Horn Book reports, "Quoting diverse voices, from private diaries to published accounts, Murphy fills in the picture of a devastated town . . . . Everywhere, Murphy is attentive to telling detail; he offers representative images in the illustrations, from black-and-white portraits of figures in the narrative to plague scenes themselves, often taken from (clearly labeled) European settings when the visual record didn't exist for Philadelphia" (2003).
Review excerpts accessed from http://www.titlewave.com/
Connections
Other non-fiction stories by Jim Murphy:
The Great Fire
Blizzard!
A Young Patriot: The American Revolution as Experienced by One Boy
The Boys' War
The Long Road to Gettysburg
Inside the Alamo
Across America on an Emigrant Train
Pick and Shovel Poet: The Journeys of Pascal D'Angelo
Gone A-Whaling: The Lure of the Sea and the Hunt of the Great Whale
"This is a really good story. Can I check it out after you are finished?"--Jazmyn (4th grader)
Murphy, Jim. 2003. An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of 1793. New York: Clarion Books.
ISBN: 0-395-77608-2
Summary
A true account of the yellow fever epidemic in Philadelphia, during 1793, leaving thousands dead.
Critical Analysis
Non-fiction and fiction author, Jim Murphy tells the interesting, true story of the Yellow Fever epidemic in Philadelphia during 1793 in his book: An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of 1793.
Murphy does an excellent job of providing accurate information of this epidemic story. He uses information found in letters, journals, newspapers, and other documents to support the story. At the beginning of chapters, excerpts of actual time-period newspapers are included. Additionally, illustrations through out the book support the story. At the end of the book, Murphy includes a list of all sources consulted in the making of this book. The sources are listed in categories, making it very user-friendly.
The organization of An American Plague is written sequentially. The epidemic occurs in 1793, over the course of several months. Murphy uses dates and times, through out the story to document the events. This also helps make the story easy to follow. In fact, each chapter begins with a specific date.
The design of the story provides support for the time period. The simple illustrations are basic in black and white. The use of black and white is appropriate for a story of this time period. The newspaper excerpts appropriately complement the text. The reader can feel like they are reading the newspaper of 1793. The author does mentions very few actual visual documents actually exist from this event in American history. The images he does include replicate, to the best extent they can, the actual events, providing natural support to the text.
Murphy has told a true story that is interesting and intriguing. Murphy has taken a part of American history and presented in a way that is clear, precise, and inviting to read. An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of 1793 is an award book in several categories, including the Robert F. Sibert Award and the Orbis Pictus Award. Murphy's story well-deserving of the many awards, and should be enjoyed by young and old.
Review Excerpts
Kirkus Review states, "Powerful, evocative prose carries along the compelling subject matter. Even as the narrative places readers in the moment with quotations, the design aids and abets this, beginning each chapter with reproductions from contemporary newspapers and other materials, as well as placing period illustrations appropriately throughout the text" (2003).
Horn Book reports, "Quoting diverse voices, from private diaries to published accounts, Murphy fills in the picture of a devastated town . . . . Everywhere, Murphy is attentive to telling detail; he offers representative images in the illustrations, from black-and-white portraits of figures in the narrative to plague scenes themselves, often taken from (clearly labeled) European settings when the visual record didn't exist for Philadelphia" (2003).
Review excerpts accessed from http://www.titlewave.com/
Connections
Other non-fiction stories by Jim Murphy:
The Great Fire
Blizzard!
A Young Patriot: The American Revolution as Experienced by One Boy
The Boys' War
The Long Road to Gettysburg
Inside the Alamo
Across America on an Emigrant Train
Pick and Shovel Poet: The Journeys of Pascal D'Angelo
Gone A-Whaling: The Lure of the Sea and the Hunt of the Great Whale
"This is a really good story. Can I check it out after you are finished?"--Jazmyn (4th grader)
Sunday, October 7, 2007
Toasting Marshmallows: Camping Poems by Kristine O'Connell George
Bibliography
George, Kristine O'Connell. 2001. Toasting Marshmallows: Camping Poems. Ill.: Kate Kiesler. New York: Houghton Mifflin.
ISBN: 0-618-04597-x
Summary
Toasting Marshmallows: Camping Poems is a collection of thirty poems detailing the fun and adventure of camping.
Critical Analysis
Texas Bluebonnet Award Nominee, Toasting Marshmallows: Camping Poems, is a fun and entertaining collection of poetry by Kristine O'Connell George. George's camping poems, as seen through the eyes of a child, are dynamic and engaging. Her use of detail and quality of descriptions in her poems help conjure images in a reader's mind. The experienced camper can make connections, while the non-camper can get a feel for the adventure of camping through the timelessness of her poems.
George uses a variety of techniques to keep her collection interesting. The shape poems, "Eavesdropping", "Tent", and "Storm" bring much delight. "Two Voices in a Tent at Night" is perfect for a choral reading, while other free voice poems, like "Campfire", "Forest Walk" and "Flashlight" offer entertainment through strong imagery. All the senses are brought to life in her poems.
George's collection of poems are organized superbly--in the order of events of a real camping trip. Illustrator, Kate Kiesler supports the collection through her excellent illustrations. The details of each painting bring the poems to life.
Grab your camping gear, light a campfire, and pitch your tent. . . it's time for some Toasting Marshmallows, the perfect book to make an enjoyable night.
Review Excerpts
Luann Toth with School Library Journal explains, "The poems are varied and inventive, replete with marvelous images and universal truths. There's even a selection devoted to the "Mosquito Song." Each one is accompanied by a well-executed and evocative acrylic painting" (2001) .
Publisher's Weekly reports, "Like their previous collaborations, The Great Frog Race and Old Elm Speaks, this volume by George and Kiesler is as delicious as a toasted marshmallow treat. George's poems are well crafted, varied and easily accessible. . . .Though Kiesler's human figures are sometimes wooden, she suffuses her acrylic landscapes with light filtered through leaves. . . . Yet George's poems shine, the images clear and startling" (2001).
Reviews accessed from http://www.titlewave.com/
Connections
Other books by Kristine O'Connell George:
Fold Me a Poem
The Great Frog Race and Other Poems
Hummingbird Nest: A Journal of Poems
Little Dog and Duncan: Poems
Little Dog Poems
Old Elm Speaks: Tree Poems
Swimming Upstream: Middle School Poems
George, Kristine O'Connell. 2001. Toasting Marshmallows: Camping Poems. Ill.: Kate Kiesler. New York: Houghton Mifflin.
ISBN: 0-618-04597-x
Summary
Toasting Marshmallows: Camping Poems is a collection of thirty poems detailing the fun and adventure of camping.
Critical Analysis
Texas Bluebonnet Award Nominee, Toasting Marshmallows: Camping Poems, is a fun and entertaining collection of poetry by Kristine O'Connell George. George's camping poems, as seen through the eyes of a child, are dynamic and engaging. Her use of detail and quality of descriptions in her poems help conjure images in a reader's mind. The experienced camper can make connections, while the non-camper can get a feel for the adventure of camping through the timelessness of her poems.
George uses a variety of techniques to keep her collection interesting. The shape poems, "Eavesdropping", "Tent", and "Storm" bring much delight. "Two Voices in a Tent at Night" is perfect for a choral reading, while other free voice poems, like "Campfire", "Forest Walk" and "Flashlight" offer entertainment through strong imagery. All the senses are brought to life in her poems.
George's collection of poems are organized superbly--in the order of events of a real camping trip. Illustrator, Kate Kiesler supports the collection through her excellent illustrations. The details of each painting bring the poems to life.
Grab your camping gear, light a campfire, and pitch your tent. . . it's time for some Toasting Marshmallows, the perfect book to make an enjoyable night.
Review Excerpts
Luann Toth with School Library Journal explains, "The poems are varied and inventive, replete with marvelous images and universal truths. There's even a selection devoted to the "Mosquito Song." Each one is accompanied by a well-executed and evocative acrylic painting" (2001) .
Publisher's Weekly reports, "Like their previous collaborations, The Great Frog Race and Old Elm Speaks, this volume by George and Kiesler is as delicious as a toasted marshmallow treat. George's poems are well crafted, varied and easily accessible. . . .Though Kiesler's human figures are sometimes wooden, she suffuses her acrylic landscapes with light filtered through leaves. . . . Yet George's poems shine, the images clear and startling" (2001).
Reviews accessed from http://www.titlewave.com/
Connections
Other books by Kristine O'Connell George:
Fold Me a Poem
The Great Frog Race and Other Poems
Hummingbird Nest: A Journal of Poems
Little Dog and Duncan: Poems
Little Dog Poems
Old Elm Speaks: Tree Poems
Swimming Upstream: Middle School Poems
Insectlopedia: Poems and Paintings by Douglas Florian
Bibliography
Florian, Douglas. 1998. Insectlopedia: Poems and Paintings. San Diego: Harcourt Brace.
ISBN: 0-15-201306-7
Summary
In Insectlopedia, Florian presents a selection of poems about a variety of insects, such as inchworm, mayfly, termites, caterpillar, and mosquito.
Critical Analysis
Poet, Douglas Florian writes an entertaining and interesting collection of poems about insects in his book, Insectlopedia. His poems are creative and imaginative, while portraying insects realistically. For example, in the poem, The Dragonfly, Florian writes, "Behold my bold enormous eyes." Also, Florian's poems provide factual information about the insects, making his book timeless and universal.
Florian's poems are factual and entertaining. He does an excellent job of presenting a variety of poems. For example, some of his poems are free verse, while others have strong rhythm and rhyme. There are even a few shape poems that are indicative of that insect. Readers can create images in their mind from Florian's use of strong descriptive words. Another creative technique Florian uses is assonance, for lunch I munch, (9) and consonance, They're hip. They hop, (30).
Insectlopedia is well organized and beautifully illustrated. Florian's watercolor illustrations are a perfect complement to each poem, making this book inviting to readers of all ages.
In the twenty-one insect poem collection, Insectlopedia, outshines many other sources of information about insects. Florian's collection will hook children into being fascinated by the world of insects, as well as encourage a love of poetry.
Review Excerpts
Carolyn Angus with School Library Journal reports, "The verse form is as varied as the creatures presented. Shaped or pattern poems about the inchworm, whirligig beetles, and mound-building termites work particularly well. The words are arranged in pleasing patterns and the rhythms fit the characteristics of the subjects. The design adds to the overall appeal. Each selection is given its own page, allowing for the use of large type and plenty of glossy white space, and paired with a full-page watercolor with a neat border of white. These portraits build on the imaginatively integrated realistic and anthropomorphic images created in the text. There are other books of poetry about insects and lots of collections of humorous verses about animals but none match Insectlopedia" (1998).
Kirkus Review announces, "Some of the entries rely on clever wordplay, while others are examples of concrete poetry; the text takes on the hump of the inchworm or the spiral movements of the whirligig beetle. The watercolor illustrations, abstract and stylized, achieve a comic effect by incorporating collage elements reminiscent of an entomologists field notes (1998).
Review excerpts accessed from http://www.titlewave.com/
Connections
Florian's poems are so lively and entertaining, they would make a great poetry study:
Autumnblings: Poems and Paintings
Beast Feast: Poems and Paintings
Bing Bang Bong: Poems and Drawings
Bow Wow Meow Meow, It's Rhyming Cats and Dogs
Handsprings: Poems and Paintings
Comets, Stars, the Moon, and Mars: Space Poems and Paintings
In the Swim: Poems and Paintings
Florian, Douglas. 1998. Insectlopedia: Poems and Paintings. San Diego: Harcourt Brace.
ISBN: 0-15-201306-7
Summary
In Insectlopedia, Florian presents a selection of poems about a variety of insects, such as inchworm, mayfly, termites, caterpillar, and mosquito.
Critical Analysis
Poet, Douglas Florian writes an entertaining and interesting collection of poems about insects in his book, Insectlopedia. His poems are creative and imaginative, while portraying insects realistically. For example, in the poem, The Dragonfly, Florian writes, "Behold my bold enormous eyes." Also, Florian's poems provide factual information about the insects, making his book timeless and universal.
Florian's poems are factual and entertaining. He does an excellent job of presenting a variety of poems. For example, some of his poems are free verse, while others have strong rhythm and rhyme. There are even a few shape poems that are indicative of that insect. Readers can create images in their mind from Florian's use of strong descriptive words. Another creative technique Florian uses is assonance, for lunch I munch, (9) and consonance, They're hip. They hop, (30).
Insectlopedia is well organized and beautifully illustrated. Florian's watercolor illustrations are a perfect complement to each poem, making this book inviting to readers of all ages.
In the twenty-one insect poem collection, Insectlopedia, outshines many other sources of information about insects. Florian's collection will hook children into being fascinated by the world of insects, as well as encourage a love of poetry.
Review Excerpts
Carolyn Angus with School Library Journal reports, "The verse form is as varied as the creatures presented. Shaped or pattern poems about the inchworm, whirligig beetles, and mound-building termites work particularly well. The words are arranged in pleasing patterns and the rhythms fit the characteristics of the subjects. The design adds to the overall appeal. Each selection is given its own page, allowing for the use of large type and plenty of glossy white space, and paired with a full-page watercolor with a neat border of white. These portraits build on the imaginatively integrated realistic and anthropomorphic images created in the text. There are other books of poetry about insects and lots of collections of humorous verses about animals but none match Insectlopedia" (1998).
Kirkus Review announces, "Some of the entries rely on clever wordplay, while others are examples of concrete poetry; the text takes on the hump of the inchworm or the spiral movements of the whirligig beetle. The watercolor illustrations, abstract and stylized, achieve a comic effect by incorporating collage elements reminiscent of an entomologists field notes (1998).
Review excerpts accessed from http://www.titlewave.com/
Connections
Florian's poems are so lively and entertaining, they would make a great poetry study:
Autumnblings: Poems and Paintings
Beast Feast: Poems and Paintings
Bing Bang Bong: Poems and Drawings
Bow Wow Meow Meow, It's Rhyming Cats and Dogs
Handsprings: Poems and Paintings
Comets, Stars, the Moon, and Mars: Space Poems and Paintings
In the Swim: Poems and Paintings
Monday, October 1, 2007
Out of the Dust by Karen Hesse
Bibliography
Hesse, Karen. 1997. Out of the Dust. New York: Scholastic Press.
ISBN: 0-590-36080-9
Summary
The novel is written in poetic form about fifteen year old Billie Jo and the hardships she endures growing up on a farm during the Depression and the dust bowl period.
Critical Analysis
Out of the Dust by Karen Hesse received the John Newbery Award in 1998. An eloquently written novel, written completely in free verse, is an exceptional story of a young girl's life during the dust bowl years in Oklahoma.
Hesse develops the main character, Billie Jo, well through her descriptive voice. Billie Jo is stubborn, loving, strong, but yet yearning for forgiveness and contentment. The setting is also developed well through Hesse's excellent use of imagery.
Hesse uses a variety of poetic elements to express her story. The dust scenes are so descriptive a reader almost feels as if they are in the dust storm. For example, through out the novel there are several poems, like "Blankets of Black" or "Hope Smothered" that allow the reader to understand the the dust storm. The technical and artistic qualities of Hesse's poetic verse make an excellent historical fiction story. A good example of using line breaks well can be found in the poem, "The Accident." Another poem, "The Dream" is formed by distinctive line spacing. The spacing allows for pauses between lines and a encourages the reader to read slowly. While the use of puns, word plays and humor are inappropriate for this type of story, the story is so well written, it is enjoyable for young adults to adults.
Additionally, the first person viewpoint of Hesse's story makes, this an excellent story to be enjoyed in an audio version format. Narrator, Marika Mashburn, does an outstanding job of sounding like a young Oklahoma girl living in the 1930's.
Out of the Dust is an excellent historical fiction story. Read it, listen to it--just don't miss it.
Review Excerpts
Book Report announces, "Sparse, poignant, painful, and touching, Out of the Dust evokes photographic-clear images of the Dust Bowl and the Depression, told from the perspective of 13-year-old Billie Jo. . . . While billed as a novel and clearly a narrative, the entire book is formatted in prose-like free verse poetry structure, which enhances the accessibility, the clarity, and haunting nature of its storyline" (1997).
Booklist reports, "The story is bleak, but Hesse's writing transcends the gloom and transforms it into a powerfully compelling tale of a girl with enormous strength, courage, and love. The entire novel is written in very readable blank verse, a superb choice for bringing out the exquisite agony and delight to be found in such a difficult period lived by such a vibrant character. It also spares the reader the trouble of wading through pages of distressing text, distilling all the experiences into brief, acutely observed phrases" (1997).
Reviews accessed at http://www.titlewave.com/
Connections
Other stories set during the depression era:
Treasures in the Dust by Tracey Porter
Bud, Not Buddy by Christopher Paul Curtis
Dust to Eat: Drought and Depression in the 1930's by Michael Cooper
The Dust Bowl by Therese DeAngelis
Other stories by Karen Hesse:
Wish on a Unicorn
Letters from Rifka
Poppy's Chair
Lester's Dog
Sable
Phoenix Rising
Aleutian Sparrow
Hesse, Karen. 1997. Out of the Dust. New York: Scholastic Press.
ISBN: 0-590-36080-9
Summary
The novel is written in poetic form about fifteen year old Billie Jo and the hardships she endures growing up on a farm during the Depression and the dust bowl period.
Critical Analysis
Out of the Dust by Karen Hesse received the John Newbery Award in 1998. An eloquently written novel, written completely in free verse, is an exceptional story of a young girl's life during the dust bowl years in Oklahoma.
Hesse develops the main character, Billie Jo, well through her descriptive voice. Billie Jo is stubborn, loving, strong, but yet yearning for forgiveness and contentment. The setting is also developed well through Hesse's excellent use of imagery.
Hesse uses a variety of poetic elements to express her story. The dust scenes are so descriptive a reader almost feels as if they are in the dust storm. For example, through out the novel there are several poems, like "Blankets of Black" or "Hope Smothered" that allow the reader to understand the the dust storm. The technical and artistic qualities of Hesse's poetic verse make an excellent historical fiction story. A good example of using line breaks well can be found in the poem, "The Accident." Another poem, "The Dream" is formed by distinctive line spacing. The spacing allows for pauses between lines and a encourages the reader to read slowly. While the use of puns, word plays and humor are inappropriate for this type of story, the story is so well written, it is enjoyable for young adults to adults.
Additionally, the first person viewpoint of Hesse's story makes, this an excellent story to be enjoyed in an audio version format. Narrator, Marika Mashburn, does an outstanding job of sounding like a young Oklahoma girl living in the 1930's.
Out of the Dust is an excellent historical fiction story. Read it, listen to it--just don't miss it.
Review Excerpts
Book Report announces, "Sparse, poignant, painful, and touching, Out of the Dust evokes photographic-clear images of the Dust Bowl and the Depression, told from the perspective of 13-year-old Billie Jo. . . . While billed as a novel and clearly a narrative, the entire book is formatted in prose-like free verse poetry structure, which enhances the accessibility, the clarity, and haunting nature of its storyline" (1997).
Booklist reports, "The story is bleak, but Hesse's writing transcends the gloom and transforms it into a powerfully compelling tale of a girl with enormous strength, courage, and love. The entire novel is written in very readable blank verse, a superb choice for bringing out the exquisite agony and delight to be found in such a difficult period lived by such a vibrant character. It also spares the reader the trouble of wading through pages of distressing text, distilling all the experiences into brief, acutely observed phrases" (1997).
Reviews accessed at http://www.titlewave.com/
Connections
Other stories set during the depression era:
Treasures in the Dust by Tracey Porter
Bud, Not Buddy by Christopher Paul Curtis
Dust to Eat: Drought and Depression in the 1930's by Michael Cooper
The Dust Bowl by Therese DeAngelis
Other stories by Karen Hesse:
Wish on a Unicorn
Letters from Rifka
Poppy's Chair
Lester's Dog
Sable
Phoenix Rising
Aleutian Sparrow
Sunday, September 23, 2007
Seven Blind Mice by Ed Young
Bibliography
Young, Ed. 1992. Seven Blind Mice. New York: Philomel Books.
ISBN: 0-399-22261-8
Summary
Seven blind make guesses about what they are feeling. All guesses are wrong until the last mouse feels the elephant in its entirety, making the moral obvious.
Critical Analysis
Ed Young writes an adaptation of the Indian folktale, The Blind Men and the Elephant, in his colorful Caldecott Honor book, Seven Blind Mice.
Young establishes the setting of the story quickly, as most folktales do. The story takes in place in the duration of one week. One day a week, one mouse ventures from home, to discover what the strange something is.
Another indicator of a folktale is seen in the plot. The plot is a logical sequence of events where each mouse explores different parts of the elephant, returning home with an explanation. Each mouse has a different explanation until the last one tries. The last mouse puts all the parts together to discover the strange something is an elephant.
The style of the story also represents a folktale. The repeated attempts by each mouse is a repeating pattern in the story. Additionally, the story reads like it is being told orally.
The story's theme is also a good illustration of a folktale. The theme is universal, and a moral lesson can be learned. The mice learn "wisdom comes from seeing the whole."
Young's illustrations are an interesting complement to the simple, direct text of the folktale. The colorful mice and the brown, collaged elephant seem to jump off the black pages. In this story, Young's artistic talents are fascinating.
A folktale many children can understand, this is a great story to share with children of all ages.
Review Excerpts
Kirkus Review reports, "Exquisitely crafted: a simple, gracefully honed text, an appealing story, real but unobtrusive values and levels of meaning, and outstanding illustrations and design--all add up to a perfect book (1992).
Shirley Wilton from School Library Journal, states, "A real winner, on many levels. The first impression is visual delight. Brilliant colors and varied textures of paper collage are placed in striking contrast against velvety black pages. Bold white lettering imposed on the dark background tells of seven blind mice, seen in seven bright colors . . . .The tale ends with the moral that wisdom comes from seeing "the whole.'' Adapting the old fable of the blind men and the elephant by weaving in the days of the week, the mice, and the beautiful shapes of the things they see, Young gives children a clever story, wise words, and a truly exciting visual experience" (1992).
Review excerpts accessed from http://www.titlewave.com/
Connections
Students could compare/contrast Blind Men and the Elephant to Seven Blind Mice
Students could compare/contrast other folktales to Seven Blind Mice
Students could compare/contrast other stories written by Ed Young:
Cat and Rat: The Legend of the Chinese Zodiac
I, Doko: A Tale of a Basket
The Lost Horse: A Chinese Folktale
Lon Po Po: A Red-Riding Hood Story from China
Young, Ed. 1992. Seven Blind Mice. New York: Philomel Books.
ISBN: 0-399-22261-8
Summary
Seven blind make guesses about what they are feeling. All guesses are wrong until the last mouse feels the elephant in its entirety, making the moral obvious.
Critical Analysis
Ed Young writes an adaptation of the Indian folktale, The Blind Men and the Elephant, in his colorful Caldecott Honor book, Seven Blind Mice.
Young establishes the setting of the story quickly, as most folktales do. The story takes in place in the duration of one week. One day a week, one mouse ventures from home, to discover what the strange something is.
Another indicator of a folktale is seen in the plot. The plot is a logical sequence of events where each mouse explores different parts of the elephant, returning home with an explanation. Each mouse has a different explanation until the last one tries. The last mouse puts all the parts together to discover the strange something is an elephant.
The style of the story also represents a folktale. The repeated attempts by each mouse is a repeating pattern in the story. Additionally, the story reads like it is being told orally.
The story's theme is also a good illustration of a folktale. The theme is universal, and a moral lesson can be learned. The mice learn "wisdom comes from seeing the whole."
Young's illustrations are an interesting complement to the simple, direct text of the folktale. The colorful mice and the brown, collaged elephant seem to jump off the black pages. In this story, Young's artistic talents are fascinating.
A folktale many children can understand, this is a great story to share with children of all ages.
Review Excerpts
Kirkus Review reports, "Exquisitely crafted: a simple, gracefully honed text, an appealing story, real but unobtrusive values and levels of meaning, and outstanding illustrations and design--all add up to a perfect book (1992).
Shirley Wilton from School Library Journal, states, "A real winner, on many levels. The first impression is visual delight. Brilliant colors and varied textures of paper collage are placed in striking contrast against velvety black pages. Bold white lettering imposed on the dark background tells of seven blind mice, seen in seven bright colors . . . .The tale ends with the moral that wisdom comes from seeing "the whole.'' Adapting the old fable of the blind men and the elephant by weaving in the days of the week, the mice, and the beautiful shapes of the things they see, Young gives children a clever story, wise words, and a truly exciting visual experience" (1992).
Review excerpts accessed from http://www.titlewave.com/
Connections
Students could compare/contrast Blind Men and the Elephant to Seven Blind Mice
Students could compare/contrast other folktales to Seven Blind Mice
Students could compare/contrast other stories written by Ed Young:
Cat and Rat: The Legend of the Chinese Zodiac
I, Doko: A Tale of a Basket
The Lost Horse: A Chinese Folktale
Lon Po Po: A Red-Riding Hood Story from China
The Rough-Face Girl by Rafe Martin
Bibliography
Martin, Rafe. 1992. The Rough-Face Girl. Ill. David Shannon. New York: G.P. Putnam's Sons.
ISBN: 0-399-21859-9
Summary
The Rough-Face Girl is an Algonquin version of Cinderella. Two mean sisters and one sister, scarred from tending the fire, desire to become the wife of the Invisible Being.
Critical Analysis
The traditional Cinderella folktale is seen in a new light in the Alonquin version, The Rough-Face Girl by Rafe Martin. The likeness of the Alonquin tale to the traditional Cinderella tale is remarkable, however, it is refreshing to have this tale presented from the eyes of a different culture.
Indicative of traditional folktales, the characters are the epitome of good and evil. The youngest sister is the portrayal of the good character. She is forced to tend to the fire, where the popping of the burning branches scars her face, hands, and arms. Her two, older sisters are the evil ones. All three characters are representative of basic human traits, such as beauty, greed, and kindness. For example, the two sisters say to father, "Give us some necklaces. Give us some new buckskin dresses. Give us some pretty beaded moccasins." These two sisters are so greedy they do not share these things with their younger sister. The younger sister is representative of other human qualities. She is full of kindness and beauty.
In traditional folktales, settings are established quickly. In this folktale, the location is established very early in the story. On the second page, a reader understands the story takes place in a village of wigwams. Another common trait of a folktale is the story takes place quickly. In The Rough-Face Girl the story is resolved in a matter of days.
The plot, theme, and style are also indicative of a traditional folktale. For example, the resolution of the story, where the sisters get what they deserve, comes quickly. Additionally, this story has a universal, obvious theme: goodness is rewarded and evil is punished. Of course, the story ends happily, with the scarred girl receiving the love of the Invisible Being and being released of her disfigurements. Certain motifs of traditional folktales is also apparent in this story. The transformation of the scarred sister into a beautiful being is one example. Also, this Native American tale incorporates nature (rainbow and Milky Way) into its story. Nature is a very prominent attribute in the Native American culture.
Illustrator, David Shannon, supports the text through his fascinating paintings. In his pictures, he draws the sisters wearing their buckskin and beads, as referred to in the writing. Shannon also portrays the hurt and despair of the youngest sister through the darkness of the color choices. He draws the Invisible Being through examples of nature. A bird in the sky, leaves on a tree, and distant mountains make up the Invisible Beings face.
The Rough-Face Girl is a superb folktale, eloquently written. Martin does a fine job of expressing the Cinderella tale from the Alonquin perspective, while Shannon incorporates accurate details through his illustrations. The folktale, The Rough-Face Girl, is worth the story.
Review Excerpts
Susan Scheps with School Library Journal states, "Simply, in the words of an oral storyteller, Martin retells an Algonquin folktale. . . [and] is a splendid read-aloud. It is the only single illustrated version available. Shannon's finely crafted full- and double-page acrylic paintings in the rich hues of the earth embody the full flavor of the story. His stunning cover portrait shows at one glance both the girl's beauty and her frightful scars" (1992).
Booklist reports, "Given the beauty of the story, the strength of many of the illustrations, and the current interest in comparing variants of folktales from different cultures, libraries will find this a well-used picture book" (1992).
Connections
Students could compare/contrast other Cinderella versions, such as:
Adelita by Tomie dePaola
The Egyptian Cinderella by Shirley Climo
The Persian Cinderella by Shirley Climo
Yeh-Shen retold by Ai-Ling Louie
Bubba the Cowboy Prince by Helen Ketteman
Other stories written by Rafe Martin:
Birdwing
The Brave Little Parrot
The Language of Birds
The Shark God
The Storytelling Princess
Martin, Rafe. 1992. The Rough-Face Girl. Ill. David Shannon. New York: G.P. Putnam's Sons.
ISBN: 0-399-21859-9
Summary
The Rough-Face Girl is an Algonquin version of Cinderella. Two mean sisters and one sister, scarred from tending the fire, desire to become the wife of the Invisible Being.
Critical Analysis
The traditional Cinderella folktale is seen in a new light in the Alonquin version, The Rough-Face Girl by Rafe Martin. The likeness of the Alonquin tale to the traditional Cinderella tale is remarkable, however, it is refreshing to have this tale presented from the eyes of a different culture.
Indicative of traditional folktales, the characters are the epitome of good and evil. The youngest sister is the portrayal of the good character. She is forced to tend to the fire, where the popping of the burning branches scars her face, hands, and arms. Her two, older sisters are the evil ones. All three characters are representative of basic human traits, such as beauty, greed, and kindness. For example, the two sisters say to father, "Give us some necklaces. Give us some new buckskin dresses. Give us some pretty beaded moccasins." These two sisters are so greedy they do not share these things with their younger sister. The younger sister is representative of other human qualities. She is full of kindness and beauty.
In traditional folktales, settings are established quickly. In this folktale, the location is established very early in the story. On the second page, a reader understands the story takes place in a village of wigwams. Another common trait of a folktale is the story takes place quickly. In The Rough-Face Girl the story is resolved in a matter of days.
The plot, theme, and style are also indicative of a traditional folktale. For example, the resolution of the story, where the sisters get what they deserve, comes quickly. Additionally, this story has a universal, obvious theme: goodness is rewarded and evil is punished. Of course, the story ends happily, with the scarred girl receiving the love of the Invisible Being and being released of her disfigurements. Certain motifs of traditional folktales is also apparent in this story. The transformation of the scarred sister into a beautiful being is one example. Also, this Native American tale incorporates nature (rainbow and Milky Way) into its story. Nature is a very prominent attribute in the Native American culture.
Illustrator, David Shannon, supports the text through his fascinating paintings. In his pictures, he draws the sisters wearing their buckskin and beads, as referred to in the writing. Shannon also portrays the hurt and despair of the youngest sister through the darkness of the color choices. He draws the Invisible Being through examples of nature. A bird in the sky, leaves on a tree, and distant mountains make up the Invisible Beings face.
The Rough-Face Girl is a superb folktale, eloquently written. Martin does a fine job of expressing the Cinderella tale from the Alonquin perspective, while Shannon incorporates accurate details through his illustrations. The folktale, The Rough-Face Girl, is worth the story.
Review Excerpts
Susan Scheps with School Library Journal states, "Simply, in the words of an oral storyteller, Martin retells an Algonquin folktale. . . [and] is a splendid read-aloud. It is the only single illustrated version available. Shannon's finely crafted full- and double-page acrylic paintings in the rich hues of the earth embody the full flavor of the story. His stunning cover portrait shows at one glance both the girl's beauty and her frightful scars" (1992).
Booklist reports, "Given the beauty of the story, the strength of many of the illustrations, and the current interest in comparing variants of folktales from different cultures, libraries will find this a well-used picture book" (1992).
Connections
Students could compare/contrast other Cinderella versions, such as:
Adelita by Tomie dePaola
The Egyptian Cinderella by Shirley Climo
The Persian Cinderella by Shirley Climo
Yeh-Shen retold by Ai-Ling Louie
Bubba the Cowboy Prince by Helen Ketteman
Other stories written by Rafe Martin:
Birdwing
The Brave Little Parrot
The Language of Birds
The Shark God
The Storytelling Princess
Wednesday, September 19, 2007
And the Green Grass Grew All Around by Alvin Schwartz
Bibliography
Schwartz, Alvin. 1992. And the Green Grass Grew All Around: Folk Poetry from Everyone. Ill. Sue G. Truesdell. Harper Collins.
ISBN: 0-06-022757-5
Summary
This book is a compilation of American folk poetry.
Critical Analysis
Alvin Schwartz does a fantastic job of compiling a complete collection of all sorts of American folk poetry. Schwartz's selections are perfect examples of strong repetition and rhythm that are characteristic of traditional literature. Additionally, his selections are chants, jump rope rhymes, songs, puns, jokes, riddles, and more examples of traditional literature. Schwartz's collection is reminiscent of the oral-telling these samplings originated from. The rhyming and rhythm throughout the book make this en enjoyable, easy-to-read book.
Schwartz's selections are organized into categories, such as people, food, teases and taunts, riddles, and more. A table of contents and first line index are also included. A bonus to the book is the historical information provided at the end. This information provides intriguing facts about out American folk poetry past.
Sue Truesdell provides simple, black and white illustrations to accompany the text. The illustrations are done in caricature/cartoon fashion and provide interest without overpowering all the fun.
Children will enjoy the nonsense and adults will enjoy the memories this book will bring. A fun collection for all, And the Green Grass Grew All Around is sure to bring a smile to many faces and a laugh to many souls. . . and that's a fact because, "I"m the boss, applesauce" (37).
Review Excerpts
From School Library Journal, "A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children's folk poetry heard on school grounds and wherever else kids are having fun. Adults who stew over the appropriateness of Roald Dahl's books or Shel Silverstein's poetry may have concerns here, but kids will love having all their underground playground rhymes in one volume."
From Kirkus Review, "In b&w pen and watercolor, Truesdell's marvelous characters dance across the generously broad pages, peering inquisitively at the hilarious goings-on or gleefully joining in the shenanigans. It's hard to imagine a child who wouldn't greet this treasure trove with enthusiasm."
Reviews accessed from http://www.amazon.com/
Connections
Other stories by Alvin Schwartz:
The Cat's Elbow: and Other Secret Languages
All of Our Noses are Here and Other Noodle Tales
Whoppers: Tall Tales and Other Lies
Tomfoolery: Trickery and Foolery With Words
Witcracks: Jokes and Jests from American Folklore
This book would be useful in a study of American poetry. After reading poems from this collection, students could write their own American folk poetry.
Schwartz, Alvin. 1992. And the Green Grass Grew All Around: Folk Poetry from Everyone. Ill. Sue G. Truesdell. Harper Collins.
ISBN: 0-06-022757-5
Summary
This book is a compilation of American folk poetry.
Critical Analysis
Alvin Schwartz does a fantastic job of compiling a complete collection of all sorts of American folk poetry. Schwartz's selections are perfect examples of strong repetition and rhythm that are characteristic of traditional literature. Additionally, his selections are chants, jump rope rhymes, songs, puns, jokes, riddles, and more examples of traditional literature. Schwartz's collection is reminiscent of the oral-telling these samplings originated from. The rhyming and rhythm throughout the book make this en enjoyable, easy-to-read book.
Schwartz's selections are organized into categories, such as people, food, teases and taunts, riddles, and more. A table of contents and first line index are also included. A bonus to the book is the historical information provided at the end. This information provides intriguing facts about out American folk poetry past.
Sue Truesdell provides simple, black and white illustrations to accompany the text. The illustrations are done in caricature/cartoon fashion and provide interest without overpowering all the fun.
Children will enjoy the nonsense and adults will enjoy the memories this book will bring. A fun collection for all, And the Green Grass Grew All Around is sure to bring a smile to many faces and a laugh to many souls. . . and that's a fact because, "I"m the boss, applesauce" (37).
Review Excerpts
From School Library Journal, "A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children's folk poetry heard on school grounds and wherever else kids are having fun. Adults who stew over the appropriateness of Roald Dahl's books or Shel Silverstein's poetry may have concerns here, but kids will love having all their underground playground rhymes in one volume."
From Kirkus Review, "In b&w pen and watercolor, Truesdell's marvelous characters dance across the generously broad pages, peering inquisitively at the hilarious goings-on or gleefully joining in the shenanigans. It's hard to imagine a child who wouldn't greet this treasure trove with enthusiasm."
Reviews accessed from http://www.amazon.com/
Connections
Other stories by Alvin Schwartz:
The Cat's Elbow: and Other Secret Languages
All of Our Noses are Here and Other Noodle Tales
Whoppers: Tall Tales and Other Lies
Tomfoolery: Trickery and Foolery With Words
Witcracks: Jokes and Jests from American Folklore
This book would be useful in a study of American poetry. After reading poems from this collection, students could write their own American folk poetry.
Sunday, September 9, 2007
Talking with Artists compiled and edited by Pat Cummings
Bibliography
Cummings, Pat. 1992. Talking with Artists: Conversations with Victoria Chess, Pat Cummings, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pickney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner. New York: Bradbury Press.
ISBN: 0-02724245-5
Summary
Talking with Artists is a collection of answers to interview questions with short, biographical information about fourteen different artists, along with inspirational thoughts for becoming an illustrator. Examples of each artists' works are included.
Critical Analysis
Talking with Artists is an informational book, giving inspirational words, pointers, and suggestions for becoming a book illustrator. Fourteen different illustrators provide insight into the beginning of their career and into their current life. The style of writing, as an interview format, is appropriate as a compilation of authors' perspectives. The biographical essays range from serious to humorous.
To be a book about illustrating books, the illustrations seem to be lacking. There are only one to three pictures per each illustrator in their designated sections. Even though the number of illustrations is small, the examples of illustrations do show a variety of artistic styles.
This book is not overly exciting, but could still be a good springboard for class discussion about illustrating books. The concept is a fascinating one, but the use of visual elements is disappointing.
Review Excerpts
Shirly Wilton with School Library Journal reviews, "Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum" (1992).
Publisher Weekly Review states, "Each subject is represented by one or two samples of his or her current work and one childhood piece, usually a real charmer. Unfortunately, the often poignant reminiscences and outstanding talent on display cannot overcome the book's unimaginative layout and distractingly pragmatic text. Some interview topics--how to get that first book contract, for example--seem less suited to children than to parents, who might be reassured to learn that making art can be financially as well as personally rewarding" (1992).
Reviews accessed from Fort Worth Public Library.
Connections
This book would be a good tool to use in art class, as an introduction to illustrating books.
An accompanying book could be: Talking with Artists, Volume Two compiled and edited by Pat Cummings.
Cummings, Pat. 1992. Talking with Artists: Conversations with Victoria Chess, Pat Cummings, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pickney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner. New York: Bradbury Press.
ISBN: 0-02724245-5
Summary
Talking with Artists is a collection of answers to interview questions with short, biographical information about fourteen different artists, along with inspirational thoughts for becoming an illustrator. Examples of each artists' works are included.
Critical Analysis
Talking with Artists is an informational book, giving inspirational words, pointers, and suggestions for becoming a book illustrator. Fourteen different illustrators provide insight into the beginning of their career and into their current life. The style of writing, as an interview format, is appropriate as a compilation of authors' perspectives. The biographical essays range from serious to humorous.
To be a book about illustrating books, the illustrations seem to be lacking. There are only one to three pictures per each illustrator in their designated sections. Even though the number of illustrations is small, the examples of illustrations do show a variety of artistic styles.
This book is not overly exciting, but could still be a good springboard for class discussion about illustrating books. The concept is a fascinating one, but the use of visual elements is disappointing.
Review Excerpts
Shirly Wilton with School Library Journal reviews, "Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum" (1992).
Publisher Weekly Review states, "Each subject is represented by one or two samples of his or her current work and one childhood piece, usually a real charmer. Unfortunately, the often poignant reminiscences and outstanding talent on display cannot overcome the book's unimaginative layout and distractingly pragmatic text. Some interview topics--how to get that first book contract, for example--seem less suited to children than to parents, who might be reassured to learn that making art can be financially as well as personally rewarding" (1992).
Reviews accessed from Fort Worth Public Library.
Connections
This book would be a good tool to use in art class, as an introduction to illustrating books.
An accompanying book could be: Talking with Artists, Volume Two compiled and edited by Pat Cummings.
Monday, September 3, 2007
The Hello, Goodbye Window by Norton Juster
Bibliography
Juster, Norton. 2005. The Hello, Goodbye Window. Ill. by Chris Raschka. Hyperion Books for Children.
ISBN: 0-7868-0914-0
Summary
At Nanna and Poppy's house, a little girl gets to see all the things, real and imaginary, say hello and goodbye through the big kitchen window.
Critical Analysis
The 2006 Caldecott Medal Winner, The Hello, Goodbye Window is a sensational story in both pictures and words. This story is a good example of a picture storybook, where the illustrations and text are in perfect harmony.
Author, Norton Juster, uses a variety of techniques to enhance his story. Juster uses language style and language to his advantage. For example, the varied sentence structure makes for a story that sounds like the girl is talking. Another example is in the imagery Juster uses to describe the cat in the garden, which the girl believes is a tiger. Juster also sets the scene at Nanna and Poppy's house by vividly describing the house, and more importantly, the kitchen and kitchen window where all the action takes place.
Another important aspect to Juster's writing style is noticed in the point of view and mood in the story. The main character is a little girl. She is telling the story from her own perspective, using accurate language for a child. Juster also establishes an upbeat, exciting mood through the use of this words.
The illustrations by Chris Raschka are an extraordinary complement to Juster's words. Appealing to a child, his illustrations are done in a painterly technique, suggestive of a child's fingerpainting, along with line drawings to accent shapes, features, and details. Using bright colors and exaggerated proportions like in the facial features and child-like drawings with full shapes, Raschka's techniques are a blend of expressionism and folk art, which makes for unique illustrations.
Juster's talents as an author and Rashka's talents as an illustrator are matched perfectly in this story. The union of the two talents makes a wonderful story for children. The Hello, Goodbye Window appeals to children, being told from a little girl's perspective and most importantly the colorful, inviting illustrations.
Illustrations.
Review Excerpts
Angela J. Reynolds with School Library Journal states, "While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand. Perfect for lap-sharing, this book will find favor with children and adults alike (2005).
Kirkus Review announces, "Juster adopts the voice of the child, whose present-tense narration is just right, describing pleasures (saying good night to the stars) and perils (the tiger at the back of the garden) with a steady, sweet candor. Raschka's mixed-media illustrations are characteristically loose and energetic, depicting this happy, biracial family with jewel tones and extravagant swirls (2005).
Review excerpts accessed from http://www.titlewave.com/
Connections
This story would be a good story for Grandparent's Day at an elementary school. Other stories about grandparents:
My Most Favorite Thing by Nicola Moon
I'm Going to Grandma's by Mary Ann Hoberman
Ain't Nobody a Stranger to Me by Ann Grifalconi
The Just-Right Perfect Present by Fran Kennedy
Juster, Norton. 2005. The Hello, Goodbye Window. Ill. by Chris Raschka. Hyperion Books for Children.
ISBN: 0-7868-0914-0
Summary
At Nanna and Poppy's house, a little girl gets to see all the things, real and imaginary, say hello and goodbye through the big kitchen window.
Critical Analysis
The 2006 Caldecott Medal Winner, The Hello, Goodbye Window is a sensational story in both pictures and words. This story is a good example of a picture storybook, where the illustrations and text are in perfect harmony.
Author, Norton Juster, uses a variety of techniques to enhance his story. Juster uses language style and language to his advantage. For example, the varied sentence structure makes for a story that sounds like the girl is talking. Another example is in the imagery Juster uses to describe the cat in the garden, which the girl believes is a tiger. Juster also sets the scene at Nanna and Poppy's house by vividly describing the house, and more importantly, the kitchen and kitchen window where all the action takes place.
Another important aspect to Juster's writing style is noticed in the point of view and mood in the story. The main character is a little girl. She is telling the story from her own perspective, using accurate language for a child. Juster also establishes an upbeat, exciting mood through the use of this words.
The illustrations by Chris Raschka are an extraordinary complement to Juster's words. Appealing to a child, his illustrations are done in a painterly technique, suggestive of a child's fingerpainting, along with line drawings to accent shapes, features, and details. Using bright colors and exaggerated proportions like in the facial features and child-like drawings with full shapes, Raschka's techniques are a blend of expressionism and folk art, which makes for unique illustrations.
Juster's talents as an author and Rashka's talents as an illustrator are matched perfectly in this story. The union of the two talents makes a wonderful story for children. The Hello, Goodbye Window appeals to children, being told from a little girl's perspective and most importantly the colorful, inviting illustrations.
Illustrations.
Review Excerpts
Angela J. Reynolds with School Library Journal states, "While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand. Perfect for lap-sharing, this book will find favor with children and adults alike (2005).
Kirkus Review announces, "Juster adopts the voice of the child, whose present-tense narration is just right, describing pleasures (saying good night to the stars) and perils (the tiger at the back of the garden) with a steady, sweet candor. Raschka's mixed-media illustrations are characteristically loose and energetic, depicting this happy, biracial family with jewel tones and extravagant swirls (2005).
Review excerpts accessed from http://www.titlewave.com/
Connections
This story would be a good story for Grandparent's Day at an elementary school. Other stories about grandparents:
My Most Favorite Thing by Nicola Moon
I'm Going to Grandma's by Mary Ann Hoberman
Ain't Nobody a Stranger to Me by Ann Grifalconi
The Just-Right Perfect Present by Fran Kennedy
Don't Let the Pigeon Drive the Bus by Mo Willems
Bibliography
Willems, Mo. 2003. Don't Let the Pigeon Drive the Bus. Ill. by Mo Willems. New York: Hyperion Books.
ISBN: 0-7868-1988-x
Summary
When the bus driver needs to take a break, he warns the readers "don't let the pigeon drive the bus." A determined pigeon begs and pleads in every way imaginable to be allowed to drive the bus.
Critical Analysis
In the book, Don't Let the Pigeon Drive the Bus, author and illustrator, Mo Willems does a superb job at making an entertaining picture book, perfect for even the youngest of readers. The text is written in short, simple sentences inside cartoon-like balloons, where the pigeon is having a dialogue with the reader. Willems' writing style is perfect to develop the pigeon as an annoying, conniving, and determined character. Children can relate to many of the things pigeon says, like "I never get to do anything" and "I'll be your best friend."
Willems' illustrations are done in simple, line drawings reminiscent of naive art. The simplicity of pigeon with minimal background detail makes the illustrations child-like. Willems also uses color to his advantage. For example, at the end of the story, it becomes obvious through the illustrations and the text, pigeon is throwing a fit as he is yelling, "Let me drive the bus!!!" Willems portrays pigeon in six locations on the two-page spread in a frenzied state by the use of lines to show movement and expression. Also, Willems changes the background color from muted browns, pinks, and purples to a red on these two pages. The red background color shows pigeon is completely agitated at this point.
This story is a huge hit with readers of all ages. It is also versatile. For example, when presented to a group of children, this story can be a participation picture book, where the children respond to the pigeon's begging and pleading with a resounding "NO." Don't Let the Pigeon Drive the Bus is a hilarious story for all readers.
Review Excerpts
Dona Ratterree with School Library Journal reports, "Pigeon is an unflinching and hilarious look at a child's potential for mischief. In a plain palette, with childishly elemental line drawings, Willems has captured the essence of unreasonableness in the very young. The genius of this book is that the very young will actually recognize themselves in it" (2003).
Horn Book states, "Story-hour listeners (and beginning readers) will be hooked by this silly title. As soon as the bus driver walks away, leaving his bus unattended, the brazen pigeon gets right to the point: "Hey, can I drive the bus?" Clean, sparely designed pages focus attention on the simply drawn but wildly expressive (and emotive) pigeon. This well-paced story encourages audience interaction; in fact, like the wide-eyed pigeon, the book demands it (2003).
Review accessed from http://www.titlewave.com/
Connections
"I love this book. It is my favorite." ~Eduardo (kindergartner)
"Read it again. That was funny!" ~Samantha (Pre-kindergartner)
"Can I check out this book? I want to read it to my brother." ~Maribel (first grader)
Other stories by Mo Willems:
Don't Let the Pigeon Stay Up Late
Edwina, the Dinosaur Who Didn't Know She Was Extinct
Knuffle Bunny: A Cautionary Tale
I'm Invited to a Party
Leonardo the Terrible Monster
My Friend is Sad
The Pigeon Find a Hotdog
Willems, Mo. 2003. Don't Let the Pigeon Drive the Bus. Ill. by Mo Willems. New York: Hyperion Books.
ISBN: 0-7868-1988-x
Summary
When the bus driver needs to take a break, he warns the readers "don't let the pigeon drive the bus." A determined pigeon begs and pleads in every way imaginable to be allowed to drive the bus.
Critical Analysis
In the book, Don't Let the Pigeon Drive the Bus, author and illustrator, Mo Willems does a superb job at making an entertaining picture book, perfect for even the youngest of readers. The text is written in short, simple sentences inside cartoon-like balloons, where the pigeon is having a dialogue with the reader. Willems' writing style is perfect to develop the pigeon as an annoying, conniving, and determined character. Children can relate to many of the things pigeon says, like "I never get to do anything" and "I'll be your best friend."
Willems' illustrations are done in simple, line drawings reminiscent of naive art. The simplicity of pigeon with minimal background detail makes the illustrations child-like. Willems also uses color to his advantage. For example, at the end of the story, it becomes obvious through the illustrations and the text, pigeon is throwing a fit as he is yelling, "Let me drive the bus!!!" Willems portrays pigeon in six locations on the two-page spread in a frenzied state by the use of lines to show movement and expression. Also, Willems changes the background color from muted browns, pinks, and purples to a red on these two pages. The red background color shows pigeon is completely agitated at this point.
This story is a huge hit with readers of all ages. It is also versatile. For example, when presented to a group of children, this story can be a participation picture book, where the children respond to the pigeon's begging and pleading with a resounding "NO." Don't Let the Pigeon Drive the Bus is a hilarious story for all readers.
Review Excerpts
Dona Ratterree with School Library Journal reports, "Pigeon is an unflinching and hilarious look at a child's potential for mischief. In a plain palette, with childishly elemental line drawings, Willems has captured the essence of unreasonableness in the very young. The genius of this book is that the very young will actually recognize themselves in it" (2003).
Horn Book states, "Story-hour listeners (and beginning readers) will be hooked by this silly title. As soon as the bus driver walks away, leaving his bus unattended, the brazen pigeon gets right to the point: "Hey, can I drive the bus?" Clean, sparely designed pages focus attention on the simply drawn but wildly expressive (and emotive) pigeon. This well-paced story encourages audience interaction; in fact, like the wide-eyed pigeon, the book demands it (2003).
Review accessed from http://www.titlewave.com/
Connections
"I love this book. It is my favorite." ~Eduardo (kindergartner)
"Read it again. That was funny!" ~Samantha (Pre-kindergartner)
"Can I check out this book? I want to read it to my brother." ~Maribel (first grader)
Other stories by Mo Willems:
Don't Let the Pigeon Stay Up Late
Edwina, the Dinosaur Who Didn't Know She Was Extinct
Knuffle Bunny: A Cautionary Tale
I'm Invited to a Party
Leonardo the Terrible Monster
My Friend is Sad
The Pigeon Find a Hotdog
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