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
Sunday, September 23, 2007
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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