BIBLIOGRAPHY
Frost, Helen. 2003. KEESHA'S HOUSE. New York, NY: Frances Foster Books Farrar,
Straus and Giroux. ISBN 9780374400125
PLOT SUMMARY
This book of poetry for teens is written as a contemporary novel. The plot revolves around a cast of characters who are interconnected. Stephie is a pregnant teenager afraid to tell her parents and the girlfriend of star athlete Jason who is worried about his college options. Keesha is a friend who moves out to get away from her father who is abusive when he drinks. Dontay is unhappy in foster care; Carmen lands in jail when she's caught drinking. Harris is a gay teen whose parents don't understand. Katie's mother has boyfriends who molests her. Helen Frost also gives the parents of these teens a voice as their lives begin to unravel.
CRITICAL ANALYSIS
Helen Frost has written a moving story in chapter book form. With the turn of every page, a new character has a voice. Their name is written next to the title to keep the characters straight as you read this disturbing but realistic tale of teenagers in crisis. Once the six characters are introduced, the voices of adults are also portrayed so the reader can interpret both sides of the story. The voices are realistic and the reader can form a picture of them in their mind as they hear them speak on the page. Even though many different character are featured, it is easy to keep their stories straight because of the way Frost depicts them speaking.
Most teens reading this book would not realize it is poetry as it's not presented in a traditional form. Frost succeeds in creating a compelling, realistic story about teens that would make them want to turn the page, regardless of the genre. The reader learns of the poetry methods used when they finish the story.
At the end of the book, Frost gives notes on the forms of poetry utilized in her novel. The reader then learns about Sestinas which is a poem of six six-line stanzas, originally without rhyme, in which each stanza repeats the end words of the lines of the first stanza. (For example, in THAT ONE WORD she writes as her ending stanza line, "Freeze frame on that one word: Did you say". The first line of the next stanza reads, "him? I used to try to think of I'd say", ending with the same word as the last line of the stanza above. Frost also writes in sonnet form and gives specific chapter notations which enables the reader to refer back to the poem. The author employs English, Italian, crown and hybrid sonnets in this sad but realistic tale.
PERSONAL OPINION
I really enjoyed this book and will recommend it to our high school librarians. The book can be read in a short amount of time and I found myself going back to reread specific characters stories. The anguish of the parents dealing with their children's situation is real. Frost's biography details her work with juvenile detention facilities. She has used their stories to weave this believable tale. I learned about crown sonnets and referred back to the poems to determine how they were written.
REVIEW EXCERPTS
From School Library Journal
"Frost has taken the poem-story to a new level with well-crafted sestinas and sonnets, leading readers into the souls and psyches of her teen protagonists. It sounds like a soap opera, but the poems that recount these stories unfold realistically. Revealing heartbreak and hope, these poems could stand alone, but work best as a story collection. Teens may read this engaging novel without even realizing they are reading poetry."
From Booklist
"Like Virginia Euwer Wolff's True Believer (2001) and much contemporary YA fiction, this moving first novel tells the story in a series of dramatic monologues that are personal, poetic, and immediate, with lots of line breaks that make for easy reading, alone or in readers' theater. Frost talks about the poetic forms she has used, the sestina and the sonnet. But most readers will be less interested in that framework than in the characters, drawn with aching realism, who speak poetry in ordinary words and make connections."
AWARDS
Michael L. Printz Honor Book
CONNECTIONS
Students would enjoy dividing up these characters and reading them aloud as if it were a play (and it reads that way). Discussion of ways to portray the voice of the character could be done as a class as the readers work through this novel.
Readers who enjoyed this might like:
Going, K.L. FAT KID RULES THE WORLD. ISBN 0399239901
Johnson, Angela. THE FIRST PART LAST. ISBN 9780689849237
Lynch, Chris. FREE WILL. ISBN 9780064472029
Wednesday, February 27, 2008
Tuesday, February 26, 2008
ZOO'S WHO
BIBLIOGRAPHY
Florian, Douglas. 2005. ZOO'S WHO. Orlando, FL: harcourt, inc. ISBN 9780152046392
PLOT SUMMARY
In this book of poems written and painted by Douglas Florian his thoughts are given on twenty-one animals found in the zoo. The poetry is short and sometimes nonsensical verse.
CRITICAL ANALYSIS
Florian's book is fun to read. The use of made up words in this book are an unexpected treat. When describing a penguin, the author uses the phrase "penguindy weather" which conjures up a visual image. The girth of a penguin - it has "penguinsulation". The poem on slugs employs the use of a space between each letter. This slows down the reading of the poem much like the movement of a slug. My favorite poem about a snake has the letter "s" repeated in the shape of a snake moving and eventually spelling out the word "snake". Other poems are done in rhyme and shapes. The poem about an ant uses words with ANT in them capitalized. It's very effective.
Just taking a picture walk through the book before reading is a dessert for the primitive eyes. The simplistic art employs stamped letters, words, collaged pieces and paint. Each animal has its name stamped somewhere in the piece. On the opposite page, each corresponding poem is centered with vast white space around to draw the reader into the words.
PERSONAL OPINION
Elementary students like to be silly. This book of poetry would fill that need. The poems are usually only four lines which would also appeal to a younger age group. The primitive art work is a change from most artwork portrayed in children's books.
REVIEW EXCERPTS
From Booklist:
"Florian continues his series of books that deal with animal life in all its permutations. These short poems often make their points in clever ways: "Lizards laze / And lizards bask. / What's their favorite food? / Don't ask!" Or "I'm not a seagull. / I'm royal. / I'm regal. / All birds are not / Created eagle." Not all the poems are so pithy, but there's plenty of humor throughout to keep kids going. However, children will need a certain sensibility to understand the wordplay. The artwork, which is simple enough for them to enjoy, always has unexpected bits. For instance, a painting of a shark--mouth open, teeth bared----is highlighted by a collage of what's inside his mouth: a tiny fan, a small pliers, and other miniature objects. "
From School Library Journal:
"Quick quips, wordplay, and poetic license mark Florian's continuing scheme of paying homage to animals in short verse and imaginative paintings. Though readers may expect to meet zoo animals this time around, they will encounter quite an eclectic assortment of creatures as the term "zoo" is apparently intended in a wider sense. "Slugs are ugly./Slugs are lowly./Slugs climb mountains/Very slowly." If the verses seem rather slow, too, they're mostly quite short and some will evoke a chuckle. The mixed-media art facing each of the 21 entries is intriguing."
CONNECTIONS
After reading this book orally, the class could be asked to compose a four line poem about an animal not mentioned in this book. For younger grades it could be done together as a class. For upper elementary they could each write an animal poem. When they have finished, they could employ Florian's technique of stamping the animal name and creating a piece of art using collage, stamps and paint.
Students who enjoyed this would also enjoy:
Florian, Douglas. BOW WOW MEOW MEOW IT'S RHYMING CATS AND DOGS.
ISBN 0152163956
Florian, Douglas. BEAST FEAST. ISBN 9780152017378
Florian, Douglas. MAMMALABILIA. ISBN 9780152050245
Florian, Douglas. LIZARDS, FROGS AND POLLIWOGS. ISBN 9780152052485
Florian, Douglas. 2005. ZOO'S WHO. Orlando, FL: harcourt, inc. ISBN 9780152046392
PLOT SUMMARY
In this book of poems written and painted by Douglas Florian his thoughts are given on twenty-one animals found in the zoo. The poetry is short and sometimes nonsensical verse.
CRITICAL ANALYSIS
Florian's book is fun to read. The use of made up words in this book are an unexpected treat. When describing a penguin, the author uses the phrase "penguindy weather" which conjures up a visual image. The girth of a penguin - it has "penguinsulation". The poem on slugs employs the use of a space between each letter. This slows down the reading of the poem much like the movement of a slug. My favorite poem about a snake has the letter "s" repeated in the shape of a snake moving and eventually spelling out the word "snake". Other poems are done in rhyme and shapes. The poem about an ant uses words with ANT in them capitalized. It's very effective.
Just taking a picture walk through the book before reading is a dessert for the primitive eyes. The simplistic art employs stamped letters, words, collaged pieces and paint. Each animal has its name stamped somewhere in the piece. On the opposite page, each corresponding poem is centered with vast white space around to draw the reader into the words.
PERSONAL OPINION
Elementary students like to be silly. This book of poetry would fill that need. The poems are usually only four lines which would also appeal to a younger age group. The primitive art work is a change from most artwork portrayed in children's books.
REVIEW EXCERPTS
From Booklist:
"Florian continues his series of books that deal with animal life in all its permutations. These short poems often make their points in clever ways: "Lizards laze / And lizards bask. / What's their favorite food? / Don't ask!" Or "I'm not a seagull. / I'm royal. / I'm regal. / All birds are not / Created eagle." Not all the poems are so pithy, but there's plenty of humor throughout to keep kids going. However, children will need a certain sensibility to understand the wordplay. The artwork, which is simple enough for them to enjoy, always has unexpected bits. For instance, a painting of a shark--mouth open, teeth bared----is highlighted by a collage of what's inside his mouth: a tiny fan, a small pliers, and other miniature objects. "
From School Library Journal:
"Quick quips, wordplay, and poetic license mark Florian's continuing scheme of paying homage to animals in short verse and imaginative paintings. Though readers may expect to meet zoo animals this time around, they will encounter quite an eclectic assortment of creatures as the term "zoo" is apparently intended in a wider sense. "Slugs are ugly./Slugs are lowly./Slugs climb mountains/Very slowly." If the verses seem rather slow, too, they're mostly quite short and some will evoke a chuckle. The mixed-media art facing each of the 21 entries is intriguing."
CONNECTIONS
After reading this book orally, the class could be asked to compose a four line poem about an animal not mentioned in this book. For younger grades it could be done together as a class. For upper elementary they could each write an animal poem. When they have finished, they could employ Florian's technique of stamping the animal name and creating a piece of art using collage, stamps and paint.
Students who enjoyed this would also enjoy:
Florian, Douglas. BOW WOW MEOW MEOW IT'S RHYMING CATS AND DOGS.
ISBN 0152163956
Florian, Douglas. BEAST FEAST. ISBN 9780152017378
Florian, Douglas. MAMMALABILIA. ISBN 9780152050245
Florian, Douglas. LIZARDS, FROGS AND POLLIWOGS. ISBN 9780152052485
Monday, February 18, 2008
THE TURKEY GIRL
BIBLIOGRAPHY
Pollack, Penny. THE TURKEY GIRL. 1996. Illustrated by Ed Young. Boston, MA: Little, Brown and Company. ISBN 0316713147
PLOT SUMMARY
A Native American Zuni girl who spends her days herding turkeys is nicknamed The Turkey Girl. In this Indian version of Cinderella, she learns why it is important to keep promises.
CRITICAL ANALYSIS
The similarities between this tale and the standard Cinderella includes a poor orphan girl in tattered clothing, talking animals, an upcoming dancing celebration requiring fancy clothing and a promise that will be broken.
The cultural differences in this story are evident in both the illustrations and choice of words used. The young girl pictured throughout the book is a Native American Zuni Indian. You don't get a clear picture of her features until the middle of the book, as Ed Young chooses to use pastels to suggest images. When her facial features are shown in one drawing, the black braids outlining her face suggest an Indian heritage.
Young covers all space with subtle colors but most drawings are not clearly defined to leave the definition up to the imagination of the reader. The story opens with an outside look of Turkey Girl's pueblo village, all done in light pinks, purples and white. The turkeys are simple in their design. Young uses chalk and oil crayon in tones of orange to depict the heat of the day in this Native American desert.
Penny Pollock retells this story by defining how she came upon the story using language Zuni's would use to describe the sun rising. Pollock immerses us in their culture by describing the yucca-cactus sandals, pinon nut gathering and a doeskin dress with rare shells and turkey feathers.
The only joy in the story is at the dance where Turkey Girl was not an outcast. Like the traditional story, she gets caught up in the moment and forgets her promise to leave on time. The somber moral at the end of the story reminds us of the importance of keeping one's promise.
PERSONAL OPINION
Although this is a folk tale, I would not share it with younger children. The illustrations are very subtle and the tale is told for an older audience. There were several pages that were hard to read due to the choice of print on top of the pastel colored page.
REVIEW EXCERPTS
From Publishers Weekly
"In this sobering Native American variation of the Cinderella story, the focus is not on finding true love but on remaining true to one's promises. To repay the kindness of the poor orphan girl who tends them, the tribe's turkeys dress her in a fine doeskin robe so she can attend the Dance of the Sacred Bird. So enthralled is she with the dancing that she breaks her promise to return to the turkeys before dawn and consequently loses her friends forever. Pollock frequently interrupts the narrative with references to Zuni clothing and dwellings-the girl's yucca sandals, her "turquoise necklaces and earrings of delicate beauty." In contrast, Young's (Lon Po Po) characteristically abstract illustrations evoke the sunlight and heat of the pueblo villages with few visual clues about the story itself. Except for the heroine's beautiful face, the characters and setting are hazy shadows, often appearing simply as dark silhouettes."
From School Library Journal
"In this version of the Cinderella story, a poor outcast Zuni girl who tends turkeys longs to attend the Dance of the Sacred Bird. Observing her suffering, the turkeys outfit her in a white doeskin dress adorned with rare shells, as well as turquoise necklaces and earrings, and silver bracelets. To prove that she remembers them, she promises to return from the dance "before Sun-Father returns to his sacred place." As in other retellings, she does not keep her word. At this point, the story diverges greatly from the version with which most American children will be familiar: when she finally returns home, the turkeys have abandoned her forever. As an author's note points out, the story symbolically reinforces the moral that "when we break our trust with Mother Earth, we pay a price."
AWARD
Aesop Accolade Award
CONNECTIONS
Students who enjoy this book could retell another fairy tale in their own words, using the Indian setting as a backdrop.
Students might also enjoy:
Reinhart, Jewell. DOMITILA: A CINDERELLA TALE FROM THE MEXICAN TRADITION.
ISBN 9781885008138
Reinhart, Jewell. ANGKHAT: THE CAMBODIAN CINDERELLA. ISBN 9781885008091
San Souci, Robert D. LITTLE GOLD STAR: A SPANISH AMERICAN CINDERELLA TALE.
ISBN 9780688147808
Pollack, Penny. THE TURKEY GIRL. 1996. Illustrated by Ed Young. Boston, MA: Little, Brown and Company. ISBN 0316713147
PLOT SUMMARY
A Native American Zuni girl who spends her days herding turkeys is nicknamed The Turkey Girl. In this Indian version of Cinderella, she learns why it is important to keep promises.
CRITICAL ANALYSIS
The similarities between this tale and the standard Cinderella includes a poor orphan girl in tattered clothing, talking animals, an upcoming dancing celebration requiring fancy clothing and a promise that will be broken.
The cultural differences in this story are evident in both the illustrations and choice of words used. The young girl pictured throughout the book is a Native American Zuni Indian. You don't get a clear picture of her features until the middle of the book, as Ed Young chooses to use pastels to suggest images. When her facial features are shown in one drawing, the black braids outlining her face suggest an Indian heritage.
Young covers all space with subtle colors but most drawings are not clearly defined to leave the definition up to the imagination of the reader. The story opens with an outside look of Turkey Girl's pueblo village, all done in light pinks, purples and white. The turkeys are simple in their design. Young uses chalk and oil crayon in tones of orange to depict the heat of the day in this Native American desert.
Penny Pollock retells this story by defining how she came upon the story using language Zuni's would use to describe the sun rising. Pollock immerses us in their culture by describing the yucca-cactus sandals, pinon nut gathering and a doeskin dress with rare shells and turkey feathers.
The only joy in the story is at the dance where Turkey Girl was not an outcast. Like the traditional story, she gets caught up in the moment and forgets her promise to leave on time. The somber moral at the end of the story reminds us of the importance of keeping one's promise.
PERSONAL OPINION
Although this is a folk tale, I would not share it with younger children. The illustrations are very subtle and the tale is told for an older audience. There were several pages that were hard to read due to the choice of print on top of the pastel colored page.
REVIEW EXCERPTS
From Publishers Weekly
"In this sobering Native American variation of the Cinderella story, the focus is not on finding true love but on remaining true to one's promises. To repay the kindness of the poor orphan girl who tends them, the tribe's turkeys dress her in a fine doeskin robe so she can attend the Dance of the Sacred Bird. So enthralled is she with the dancing that she breaks her promise to return to the turkeys before dawn and consequently loses her friends forever. Pollock frequently interrupts the narrative with references to Zuni clothing and dwellings-the girl's yucca sandals, her "turquoise necklaces and earrings of delicate beauty." In contrast, Young's (Lon Po Po) characteristically abstract illustrations evoke the sunlight and heat of the pueblo villages with few visual clues about the story itself. Except for the heroine's beautiful face, the characters and setting are hazy shadows, often appearing simply as dark silhouettes."
From School Library Journal
"In this version of the Cinderella story, a poor outcast Zuni girl who tends turkeys longs to attend the Dance of the Sacred Bird. Observing her suffering, the turkeys outfit her in a white doeskin dress adorned with rare shells, as well as turquoise necklaces and earrings, and silver bracelets. To prove that she remembers them, she promises to return from the dance "before Sun-Father returns to his sacred place." As in other retellings, she does not keep her word. At this point, the story diverges greatly from the version with which most American children will be familiar: when she finally returns home, the turkeys have abandoned her forever. As an author's note points out, the story symbolically reinforces the moral that "when we break our trust with Mother Earth, we pay a price."
AWARD
Aesop Accolade Award
CONNECTIONS
Students who enjoy this book could retell another fairy tale in their own words, using the Indian setting as a backdrop.
Students might also enjoy:
Reinhart, Jewell. DOMITILA: A CINDERELLA TALE FROM THE MEXICAN TRADITION.
ISBN 9781885008138
Reinhart, Jewell. ANGKHAT: THE CAMBODIAN CINDERELLA. ISBN 9781885008091
San Souci, Robert D. LITTLE GOLD STAR: A SPANISH AMERICAN CINDERELLA TALE.
ISBN 9780688147808
Wednesday, February 13, 2008
MOONBEAMS, DUMPLINGS AND DRAGON BOATS
BIBLIOGRAPHY
Simonds, Nina, Leslie Swartz and the Children's Museum, Boston. 2002. MOONBEAMS, DUMPLINGS AND DRAGON BOATS. Ill. by Meilo So. New York, NY: Gulliver Books.
ISBN 9780152019839
PLOT SUMMARY
This wonderful collection of folk tales, recipes and crafts can be enjoyed by both young and old. Simonds and Swartz, in conjunction with the Children's Museum of Boston have compiled a celebration of the five major Chinese Festivals. Each festival begins with a brief description of the event and appropriate recipes and crafts to make for the festival.
CRITICAL ANALYSIS
In this treaury, Simonds and Swartz showcase major Chinese celebrations. Simplistic terms make it easy for those unfamiliar to understand what takes place during each festival. Most are familiar with Chinese New Year. This book give equal time to The Lantern Festival, Cold Foods Festival, Dragon Boat Festival and the Mild Autumn Moon Festival. Chinese calliagraphy is shown on each page, below the title. The last page of the book lists a pronunciation guide to Chinese vowels and consonants.
Illustrator Meilo So effectively uses watercolor and gently washes her depictions across each page. Her pictures are vibrant with color. So creates a detailed, busy visual description of the each festival. One gets a sense of what takes place without actually being there. The cover is recreated within, a busy festival scene that captures your eye. All that is missing is the smell of the food being prepared.
For Chinese American children who may not be familiar with every festival, this book is a visual treat. Families could take all or some of the ideas and celebrate them together as a way to celebrate their heritage.
PERSONAL OPINION
This book was a pleasure to read. The whimsical illustrations showcased the joy of these festivals. If my own children were younger, I'd like to do some of the activities listed in the book.
REVIEW EXCERPTS
From School Library Journal
"Each section begins with a one-page description of the history and customs of the festival and is followed by a four- to six-page story, from one to three recipes, and two or three crafts or games. The headings on each page appear in both English typeface and Chinese calligraphy; a guide to Chinese pronunciation is included. The ample white space surrounding the text is filled with small, whimsical watercolor illustrations. Each of the four sections is introduced by a dynamic, detailed watercolor painting on a double-page spread."
From Booklist
"Each section explains the holiday, tells stories related to it, and offers at least one activity and one recipe. Attractively designed, the pages include plenty of white space, creating a fine background for So's brilliantly colored, stylized paintings. The recipes, some of which require the use of food processors and hot woks, are often beyond the culinary skills of the average child, though interested adults can use them to broaden their children's experience of Chinese culture."
AWARDS
Parents Choice Award
Book Award Red Cedar Books Award
CONNECTIONS - READERS MIGHT ALSO ENJOY:
One of these festivals could be chosen to study for a week. Each day a different story, art project or activity could be done together as a class. This could culminate on the final day of displaying the art work and cooking using some of the recipes provided in the book.
This book could be a part of a study on cultures in the classroom. Books on other countries could be used to compare similar recipes or folk tales.
Dorow, Sara. WHEN YOU WERE BORN IN CHINA: A MEMORY BOOK. ISBN 9780963847218
Chan, Hingman. CELEBRATING CHINESE NEW YEAR: AN ACTIVITY BOOK. ISBN 9781932457049
Lewis, Rose A. I LOVE YOU LIKE CRAZY CAKES. ISBN 9780316525381
Simonds, Nina, Leslie Swartz and the Children's Museum, Boston. 2002. MOONBEAMS, DUMPLINGS AND DRAGON BOATS. Ill. by Meilo So. New York, NY: Gulliver Books.
ISBN 9780152019839
PLOT SUMMARY
This wonderful collection of folk tales, recipes and crafts can be enjoyed by both young and old. Simonds and Swartz, in conjunction with the Children's Museum of Boston have compiled a celebration of the five major Chinese Festivals. Each festival begins with a brief description of the event and appropriate recipes and crafts to make for the festival.
CRITICAL ANALYSIS
In this treaury, Simonds and Swartz showcase major Chinese celebrations. Simplistic terms make it easy for those unfamiliar to understand what takes place during each festival. Most are familiar with Chinese New Year. This book give equal time to The Lantern Festival, Cold Foods Festival, Dragon Boat Festival and the Mild Autumn Moon Festival. Chinese calliagraphy is shown on each page, below the title. The last page of the book lists a pronunciation guide to Chinese vowels and consonants.
Illustrator Meilo So effectively uses watercolor and gently washes her depictions across each page. Her pictures are vibrant with color. So creates a detailed, busy visual description of the each festival. One gets a sense of what takes place without actually being there. The cover is recreated within, a busy festival scene that captures your eye. All that is missing is the smell of the food being prepared.
For Chinese American children who may not be familiar with every festival, this book is a visual treat. Families could take all or some of the ideas and celebrate them together as a way to celebrate their heritage.
PERSONAL OPINION
This book was a pleasure to read. The whimsical illustrations showcased the joy of these festivals. If my own children were younger, I'd like to do some of the activities listed in the book.
REVIEW EXCERPTS
From School Library Journal
"Each section begins with a one-page description of the history and customs of the festival and is followed by a four- to six-page story, from one to three recipes, and two or three crafts or games. The headings on each page appear in both English typeface and Chinese calligraphy; a guide to Chinese pronunciation is included. The ample white space surrounding the text is filled with small, whimsical watercolor illustrations. Each of the four sections is introduced by a dynamic, detailed watercolor painting on a double-page spread."
From Booklist
"Each section explains the holiday, tells stories related to it, and offers at least one activity and one recipe. Attractively designed, the pages include plenty of white space, creating a fine background for So's brilliantly colored, stylized paintings. The recipes, some of which require the use of food processors and hot woks, are often beyond the culinary skills of the average child, though interested adults can use them to broaden their children's experience of Chinese culture."
AWARDS
Parents Choice Award
Book Award Red Cedar Books Award
CONNECTIONS - READERS MIGHT ALSO ENJOY:
One of these festivals could be chosen to study for a week. Each day a different story, art project or activity could be done together as a class. This could culminate on the final day of displaying the art work and cooking using some of the recipes provided in the book.
This book could be a part of a study on cultures in the classroom. Books on other countries could be used to compare similar recipes or folk tales.
Dorow, Sara. WHEN YOU WERE BORN IN CHINA: A MEMORY BOOK. ISBN 9780963847218
Chan, Hingman. CELEBRATING CHINESE NEW YEAR: AN ACTIVITY BOOK. ISBN 9781932457049
Lewis, Rose A. I LOVE YOU LIKE CRAZY CAKES. ISBN 9780316525381
DAYS OF THE BLACKBIRD
BIBLIOGRAPHY
dePaola, Tomie. DAYS OF THE BLACKBIRD. 1997. New York, NY: G.P. Putnam's Sons.
ISBN 9780590686945
PLOT SUMMARY
Tomie dePaola retells an Italian folk tale of a father and his devoted daughter. During the three coldest days of the year in January, doves would warm themselves in the chimney tops. When finally emerging they were no longer white, but permanently black from the soot of the chimney. dePaola uses this explanation to weave his tale by adding a devoted daughter caring for her father and the song of the bird (La Columba) who makes him well.
CRITICAL ANALYSIS
Many folk tales have their roots in coming up with ways to explain things they couldn't understand. The stories are basically the same in plot but may vary in location and cultural surroundings. Many of Tomie dePaola's books are set in Italy, the country of his ancestors. We don't need to be Italian to appreciate this story. In it dePaola embellishes a folk tale by adding human characters. Most could relate to a devoted daughter caring for her sick father, willing to do whatever it took to make him well.
The illustrations dePaola has created are rich in detail. Italian art is very detailed and even though his scenes are simple, bold color fills each page with attention to detail. The illustrations are flat and without shading but the detail makes the reader examine each picture before turning the page.
Throughout the story dePaola introduces the reader to several Italian words. Il concerto - the concert, carissimi - dear ones, restate vi prego - please stay, la merla - a blackbird are some of the phrases interspersed throughout the story to draw us into this Italian tale. Even the father and daughter's names are Italian - Duca Gennaro and Gemma. When this story is finished, the reader has travelled to Italy and back without leaving the comfort of his chair.
PERSONAL OPINION
Tomie dePaola is one of my favorite authors/illustrator. His stories are always fairly simple and the illustrations mirror the story he is telling on the page. dPaola's stories can be for the very young or young at heart.
REVIEW EXCERPTS
From Publishers Weekly
"DePaola spins the tale with panache, imbuing it with a folktale-like timelessness, and artistically it's clear he was delighted to return once again to his beloved Italy for visual cues. The pages radiate warmth, from the picturesque late medieval setting and the terra cotta or blue-green houses with their tiled roofs, to the jewel-colored birds and flowers of the duke's garden."
From School Library Journal
"The moving story is elegantly, yet simply, told. The artist combines his recognizable style with visual elements reminiscent of Italian frescoes. Watercolor background washes create a marbleized effect. Color choices portray the warmth and serenity the story suggests. A successful and satisfying union of narration and illustration."
READERS MIGHT ALSO LIKE:
dePaola, Tomie. STREGA NONA'S MAGIC LESSONS. ISBN 9780152817862
dePaola, Tomie. PASCAL AND THE KITCHEN ANGELS. ISBN 0399242147
Schroedel, Jenny. THE BLACKBIRD'S NEST: SAINT KEVIN OF IRELAND.
ISBN 9780881412581
dePaola, Tomie. DAYS OF THE BLACKBIRD. 1997. New York, NY: G.P. Putnam's Sons.
ISBN 9780590686945
PLOT SUMMARY
Tomie dePaola retells an Italian folk tale of a father and his devoted daughter. During the three coldest days of the year in January, doves would warm themselves in the chimney tops. When finally emerging they were no longer white, but permanently black from the soot of the chimney. dePaola uses this explanation to weave his tale by adding a devoted daughter caring for her father and the song of the bird (La Columba) who makes him well.
CRITICAL ANALYSIS
Many folk tales have their roots in coming up with ways to explain things they couldn't understand. The stories are basically the same in plot but may vary in location and cultural surroundings. Many of Tomie dePaola's books are set in Italy, the country of his ancestors. We don't need to be Italian to appreciate this story. In it dePaola embellishes a folk tale by adding human characters. Most could relate to a devoted daughter caring for her sick father, willing to do whatever it took to make him well.
The illustrations dePaola has created are rich in detail. Italian art is very detailed and even though his scenes are simple, bold color fills each page with attention to detail. The illustrations are flat and without shading but the detail makes the reader examine each picture before turning the page.
Throughout the story dePaola introduces the reader to several Italian words. Il concerto - the concert, carissimi - dear ones, restate vi prego - please stay, la merla - a blackbird are some of the phrases interspersed throughout the story to draw us into this Italian tale. Even the father and daughter's names are Italian - Duca Gennaro and Gemma. When this story is finished, the reader has travelled to Italy and back without leaving the comfort of his chair.
PERSONAL OPINION
Tomie dePaola is one of my favorite authors/illustrator. His stories are always fairly simple and the illustrations mirror the story he is telling on the page. dPaola's stories can be for the very young or young at heart.
REVIEW EXCERPTS
From Publishers Weekly
"DePaola spins the tale with panache, imbuing it with a folktale-like timelessness, and artistically it's clear he was delighted to return once again to his beloved Italy for visual cues. The pages radiate warmth, from the picturesque late medieval setting and the terra cotta or blue-green houses with their tiled roofs, to the jewel-colored birds and flowers of the duke's garden."
From School Library Journal
"The moving story is elegantly, yet simply, told. The artist combines his recognizable style with visual elements reminiscent of Italian frescoes. Watercolor background washes create a marbleized effect. Color choices portray the warmth and serenity the story suggests. A successful and satisfying union of narration and illustration."
READERS MIGHT ALSO LIKE:
dePaola, Tomie. STREGA NONA'S MAGIC LESSONS. ISBN 9780152817862
dePaola, Tomie. PASCAL AND THE KITCHEN ANGELS. ISBN 0399242147
Schroedel, Jenny. THE BLACKBIRD'S NEST: SAINT KEVIN OF IRELAND.
ISBN 9780881412581
Monday, February 4, 2008
A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL
BIBLIOGRAPHY
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL. New York, NY: Walker and Company. ISBN 9780802786562
PLOT SUMMARY
A CALDECOTT CELEBRATION examines the lives of six award winning illustrators. Each artist won the coveted Caldecott medal, awarded to the best illustrated children's book in the United States. To showcase differences in artistry, six decades are represented in this book.
CRITICAL ANALYSIS
The primary theme of the book is to inform the reader there is no conventional method to becoming an award winning illustrator. The style between 1942's Robert McCloskey and 1992's David Weisner is vast. McCloskey studied live ducks in his New York apartment and drew realistic detailed depictions. Weisner used clay to study his main character, the frog, depicted in his book TUESDAY. Marcia Brown filled sketchbooks researching the style she wanted in the 1955 version of Cinderella. Sendak's visualization of the complete picture before he begins his drawing is unique. Steig wanted to humanize his donkey in SYLVESTER AND THE MAGIC PEBBLE to make him likeable.
With a new fifteen member selection committee each year the style awarded will never be constant. Illustration is a personal form of interpretation. The Caldecott medal is awarded to the artists who marries their art work with the text to make a memorable story.
Biographies give the reader an inside view into the personal lives of famous people. This book shares insights with their path to becoming an award winning illustrator. It's never overnight success, but rather a progression that enables the artist to use what he has learned to create something new. Being able to interpret a story with artwork is not an easy task. Doing it well enough to win this coveted award is an amazing accomplishment and one that is not usually repeated (although a few have won more than one Caldecott medal).
PERSONAL OPINION
I have always been fascinated with biographies. This book was was a behind the scenes look at how the art work was created for these six award winning books. For a student that enjoys art, this book would be a good choice for them to read.
REVIEW EXCERPTS
PUBLISHERS WEEKLY
"Filled with witty anecdotes and pithy observations, Marcus's (Dear Genius: The Letters of Ursula Nordstrom) approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers. He has chosen one book from each decade, "so that viewed together, the six offer an informal cross section through time of the American picture book": Robert McCloskey's Make Way for Ducklings, Marcia Brown's Cinderella; or, The Little Glass Slipper, Maurice Sendak's Where the Wild Things Are, William Steig's Sylvester and the Magic Pebble, Chris Van Allsburg's Jumanji and David Wiesner's Tuesday."
SCHOOL LIBRARY JOURNAL
"Each chapter opens with a photo of the illustrator, some information about the Caldecott-winning book, and a quote from his or her acceptance speech. While the focus is on the creation of the award-winning book, a great deal of background about the artists' lives and the way in which they work is given."
CONNECTIONS
For older students, divide them into 4 - 6 groups. Have them choose a Caldecott award winner not mentioned in this book and research their life. Present the information found to the class orally and compare/contrast their similarities and differences.
Books like this one:
Carle, Eric. ARTIST TO ARTIST; 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART. ISBN 9780399246005
Bang, Molly. PICTURE THIS; HOW PICTURES WORK. ISBN 9781587170302
Marcus, Leonard. SIDE BY SIDE: FIVE FAVORITE PICTURE BOOK TEAMS GO TO WORK. ISBN 9780802796165
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL. New York, NY: Walker and Company. ISBN 9780802786562
PLOT SUMMARY
A CALDECOTT CELEBRATION examines the lives of six award winning illustrators. Each artist won the coveted Caldecott medal, awarded to the best illustrated children's book in the United States. To showcase differences in artistry, six decades are represented in this book.
CRITICAL ANALYSIS
The primary theme of the book is to inform the reader there is no conventional method to becoming an award winning illustrator. The style between 1942's Robert McCloskey and 1992's David Weisner is vast. McCloskey studied live ducks in his New York apartment and drew realistic detailed depictions. Weisner used clay to study his main character, the frog, depicted in his book TUESDAY. Marcia Brown filled sketchbooks researching the style she wanted in the 1955 version of Cinderella. Sendak's visualization of the complete picture before he begins his drawing is unique. Steig wanted to humanize his donkey in SYLVESTER AND THE MAGIC PEBBLE to make him likeable.
With a new fifteen member selection committee each year the style awarded will never be constant. Illustration is a personal form of interpretation. The Caldecott medal is awarded to the artists who marries their art work with the text to make a memorable story.
Biographies give the reader an inside view into the personal lives of famous people. This book shares insights with their path to becoming an award winning illustrator. It's never overnight success, but rather a progression that enables the artist to use what he has learned to create something new. Being able to interpret a story with artwork is not an easy task. Doing it well enough to win this coveted award is an amazing accomplishment and one that is not usually repeated (although a few have won more than one Caldecott medal).
PERSONAL OPINION
I have always been fascinated with biographies. This book was was a behind the scenes look at how the art work was created for these six award winning books. For a student that enjoys art, this book would be a good choice for them to read.
REVIEW EXCERPTS
PUBLISHERS WEEKLY
"Filled with witty anecdotes and pithy observations, Marcus's (Dear Genius: The Letters of Ursula Nordstrom) approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers. He has chosen one book from each decade, "so that viewed together, the six offer an informal cross section through time of the American picture book": Robert McCloskey's Make Way for Ducklings, Marcia Brown's Cinderella; or, The Little Glass Slipper, Maurice Sendak's Where the Wild Things Are, William Steig's Sylvester and the Magic Pebble, Chris Van Allsburg's Jumanji and David Wiesner's Tuesday."
SCHOOL LIBRARY JOURNAL
"Each chapter opens with a photo of the illustrator, some information about the Caldecott-winning book, and a quote from his or her acceptance speech. While the focus is on the creation of the award-winning book, a great deal of background about the artists' lives and the way in which they work is given."
CONNECTIONS
For older students, divide them into 4 - 6 groups. Have them choose a Caldecott award winner not mentioned in this book and research their life. Present the information found to the class orally and compare/contrast their similarities and differences.
Books like this one:
Carle, Eric. ARTIST TO ARTIST; 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART. ISBN 9780399246005
Bang, Molly. PICTURE THIS; HOW PICTURES WORK. ISBN 9781587170302
Marcus, Leonard. SIDE BY SIDE: FIVE FAVORITE PICTURE BOOK TEAMS GO TO WORK. ISBN 9780802796165
THE MAN WHO WALKED BETWEEN THE TOWERS
BIBLIOGRAPHY
Gerstein, Mordicai. 2003. THE MAN WHO WALKED BETWEEN THE TOWERS. Brookfield, CT: Roaring Brook Press. ISBN 9780312368784
PLOT SUMMARY
This is the true story of tightrope walker Phillipe Petit who walked between the World Trade Center Towers in 1974. Author Mordicai Gerstein writes a simple but adventurous story from eyewitness accounts.
CRITICAL ANALYSIS
Gerstein uses oil and ink to make simple drawings in muted hues. While the illustrations are pleasing to the eye, they compliment rather than overwhlem the story. As the tightrope walker begins balancing between the towers, the author/illustrator puts a close up of his ballet shoes on the narrow rope. A bonus to this book is the fold out page in the middle as if to make the reader aware of the vast space between the buildings.
The print on each page is small. While Gerstein wants the reader to know the story, his emphasis is on the illustrations. Reading through this book reminded me of a comic book format. The drawings are detailed, but not overly so. The illustrations at night are merely outlines of what we need to see; except for one close up detail of the twisted rope to be used in the illegal walk.
Readers would find the story compelling. Mr. Phillipe was trying something unusual and without permission. Why did the authorities want to keep him from walking on a tight rope between city buildings? Would he be successful in New York City?
PERSONAL OPINION
I was surprised that this book won the Caldecott Medal. This is the highest honor given to a children's illustrator and the artwork is not worthy of the medal in my opinion. I know that a 15 member panel chooses every year and this panel changes with each selection. Art is personal and I am sure there are those who appreciate it more than me! I would not share this book with young students ( age 7 and under) as they may not be aware of the terrorism with the World Trade Center. After reading this book a discussion would probably ensue about what happened to the World Trade Towers and why they are not pictured on the last page of this book.
REVIEW EXCERPTS
PUBLISHERS WEEKLY
"Gerstein's dramatic paintings include some perspectives bound to take any reader's breath away. Truly affecting is the book's final painting of the imagined imprint of the towers, now existing "in memory"-linked by Philippe and his high wire."
SCHOOL LIBRARY JOURNAL
"The pacing of the narrative is as masterful as the placement and quality of the oil-and-ink paintings. The interplay of a single sentence or view with a sequence of thoughts or panels builds to a riveting climax."
AWARDS
2004 Caldecott Medal
CONNECTIONS
Students of all ages would say they could walk on a tightrope. To remind them how hard it is to do, let them try walking on a balance beam. Then take a jump rope and have them try to walk on that. Ask them to imagine stretching the jump rope between their school building and the building next to it. Most would admit that they wouldn't try it. Then as a class figure out how many feet up Mr. Phillipe was when he walked between the two towers.
Books like this one:
Students could choose any Caldecott Award book and be asked to explain the similarities and differences in the artwork.
Gerstein, Mordicai. 2003. THE MAN WHO WALKED BETWEEN THE TOWERS. Brookfield, CT: Roaring Brook Press. ISBN 9780312368784
PLOT SUMMARY
This is the true story of tightrope walker Phillipe Petit who walked between the World Trade Center Towers in 1974. Author Mordicai Gerstein writes a simple but adventurous story from eyewitness accounts.
CRITICAL ANALYSIS
Gerstein uses oil and ink to make simple drawings in muted hues. While the illustrations are pleasing to the eye, they compliment rather than overwhlem the story. As the tightrope walker begins balancing between the towers, the author/illustrator puts a close up of his ballet shoes on the narrow rope. A bonus to this book is the fold out page in the middle as if to make the reader aware of the vast space between the buildings.
The print on each page is small. While Gerstein wants the reader to know the story, his emphasis is on the illustrations. Reading through this book reminded me of a comic book format. The drawings are detailed, but not overly so. The illustrations at night are merely outlines of what we need to see; except for one close up detail of the twisted rope to be used in the illegal walk.
Readers would find the story compelling. Mr. Phillipe was trying something unusual and without permission. Why did the authorities want to keep him from walking on a tight rope between city buildings? Would he be successful in New York City?
PERSONAL OPINION
I was surprised that this book won the Caldecott Medal. This is the highest honor given to a children's illustrator and the artwork is not worthy of the medal in my opinion. I know that a 15 member panel chooses every year and this panel changes with each selection. Art is personal and I am sure there are those who appreciate it more than me! I would not share this book with young students ( age 7 and under) as they may not be aware of the terrorism with the World Trade Center. After reading this book a discussion would probably ensue about what happened to the World Trade Towers and why they are not pictured on the last page of this book.
REVIEW EXCERPTS
PUBLISHERS WEEKLY
"Gerstein's dramatic paintings include some perspectives bound to take any reader's breath away. Truly affecting is the book's final painting of the imagined imprint of the towers, now existing "in memory"-linked by Philippe and his high wire."
SCHOOL LIBRARY JOURNAL
"The pacing of the narrative is as masterful as the placement and quality of the oil-and-ink paintings. The interplay of a single sentence or view with a sequence of thoughts or panels builds to a riveting climax."
AWARDS
2004 Caldecott Medal
CONNECTIONS
Students of all ages would say they could walk on a tightrope. To remind them how hard it is to do, let them try walking on a balance beam. Then take a jump rope and have them try to walk on that. Ask them to imagine stretching the jump rope between their school building and the building next to it. Most would admit that they wouldn't try it. Then as a class figure out how many feet up Mr. Phillipe was when he walked between the two towers.
Books like this one:
Students could choose any Caldecott Award book and be asked to explain the similarities and differences in the artwork.
HE'S GOT THE WHOLE WORLD IN HIS HANDS
BIBLIOGRAPHY
Kadir, Nelson. 2005. HE'S GOT THE WHOLE WORLD IN HIS HANDS. New York, NY: Dial Books For Young Readers. ISBN 9780803728509
PLOT SUMMARY
Depicting a multiethnic family, Nelson takes an age old spiritual and illustrates it in a modern city. The refrain "He's got the whole world in his hands" is repeated throughout the book. It's hard not to begin singing as you turn the pages of this familiar song with rich illustrations, shown through the eyes of a small boy.
CRITICAL ANALYSIS
Once the book is opened, Nelson captures the reader in a two page spread that is primarily black with the sun peeking over our planet in a view from outer space. As the pages are turned, the reader is pulled into the skyline of San Francisco, then into the house of a boy holding his artwork and continuing to a close-up of his drawing. The realistic detail of the black family using pencil, watercolor and oil is shown in the dad's muscular back, the beads and cornrows on the daughter's hair and the sheer joy on the cover boy's face. On one double page spread, we see the young boy in a slicker with his face to the sky as rain falls. You can almost feel the moisture on his face with the rich detail. Each page is its own color explosion.
The rhythm of the song begins on the first page. The simple text lets the reader focus on the illustrations. Because the words are a familiar spiritual, the reader can anticipate what will be found on the next page.
Comfort is the word that comes to mind when reading this book. The depiction of a loving family in a daily routine reminds us all of the simple pleasures we can enjoy with each other. Nelson has created a beautiful book that should be part of a family ritual at bedtime.
REVIEW EXCERPTS
SCHOOL LIBRARY JOURNAL
"The simple, repetitious flow of the words and the refrain make this an excellent read-aloud choice as well as a sing-along favorite. A moving, artistic celebration of our world and the people who share in its splendors."
BOOKLIST
"The last double-page spread carries the piano music and four verses of the song, followed by a historical note. Winner of the Coretta Scott King Award for illustration for Ellington Was Not a Street (2004), Nelson envisions the song in a highly personal and involving manner while embodying its strength and spirit. "
PERSONAL OPINION
There are books that you save and those you enjoy and pass on to others. This book is one I'd keep. It appeals to any age group. There is a sense of familiarity when you read a book and know the words from the beginning. The portrayal of an ethnic family is appealing to me. We don't have enough books with multicultural influences. Nelson's artwork is captivating, rich and I enjoyed studying each page after I'd read the book through the first time.
CONNECTIONS
The class could create their own "world" by having each student depict his home, classroom or city. Put the pictures together in book form and read it together as a group.
Use the music given on the last page to play the music on the piano. Have the class sing the song as someone turns the pages of the book. Repeat the first line of each verse before singing it as a class.
Other books like this one:
Harrick, Sheldon. SUNRISE SUNSET. ISBN 9780060515252
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