BIBLIOGRAPHY
Lowry, Lois. 1993. The Giver. New York: Houghton Mifflin. ISBN 395645662
PLOT SUMMARY
The story if The Giver is told and revealed through the thoughts and experiences of Jonas, the young boy turning 12 years old who has been named The Receiver. Through bizarre dystopia, people living in this community have no decisions to make or other considerations to take into account. The entire little “world” has controlled everything, down to what people may feel, what rules are made and who carries the babies, where the babies are assigned and what life partners, or spouses, each will have. The quirks are consistent throughout the whole book, often understandable, but definitely not logical. In the end, Jonas defies the “rules” and takes baby Gabriel in search of Elsewhere. The reader is left with the query of whether the two actually die or not.
CRITICAL ANALYSIS
Upon first glance, this story is fascinating, yet begins to fade into simply odd and peculiar as Jonas begins his receiving of memory. Characters are revealed through the interactions with Jonas and are not strongly developed, except for The Giver and Jonas.
As for universal themes, one can expect that for a fantasy novel reader, this will appeal. Yet, the dysfunction spoils the humanness of the relationships.
The style of writing does leave questions which are not answered right away and providing a venue for discussion.
REVIEWS
Booklist starred (Vol. 89, No. 16 (April 15, 1993))
This one makes an especially good introduction to the genre because it doesn't load the dice by presenting the idea of a community structured around safety as totally negative. There's a distinctly appealing comfort in sameness that kids--especially junior high kids--will recognize. Yet the choice is clear. Sameness versus freedom, happiness at the risk of pain. Something to talk about.
Horn Book starred (September, 1993)
In a departure from her well-known and favorably regarded realistic works, Lowry has written a fascinating, thoughtful science-fiction novel. The story takes place in a nameless, utopian community, at an unidentified future time. Although life seems perfect -- there is no hunger, no disease, no pollution, no fear -- the reader becomes uneasily aware that all is not well. 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.
CONNECTIONS
This story continues to spawn great conversation within our family! I remember when my own daughter read it for the first time and how odd I thought it sounded. Now that I have read the book, I understand her much better, yet, I realize that she is much more factual about this genre of fantasy. I have more emotional responses to this type of literature, so my opinions are stronger in either direction.
The novel could be used to encourage original poetry writing by students.
One could also adapt this as skits and/or reader’s theater. I’m reminded of a Destination Imagination project when I think of this story!
Friday, November 30, 2007
The First Part Last
BIBLIOGRAPHY
Johnson, Angela. 2003. The First Part Last. New York: Simon and Schuster.
ISBN 689849222
PLOT SUMMARY
Just as the plot moves between the “now” and “then” of Bobby’s life, we see the stark difference in his life compared to Nia’s as they leave the adoption counseling: “We’re still blowing bubbles when we walk out of the office hand in hand, then get into separate taxis with our parents and head to different parts of the city.” (Johnson 99) The plot paints the very realistic picture of teen pregnancy with the inclusion of the teens’ parents and friends. The young adult audience will be able to identify with many characters and themes with the short sentences, slang-type language and real-life scenarios. The scenes are described with little words but powerful emotion, as seen when Bobby walks away from hearing about the coma and condition of Nia. “…I feel like a three-year-old when I walk out the room between my parents while they hold my hands. Mr. Wilkins starts crying, then falls to his kneeds, and it’s only then that Ni’s mom comes back from the invisible place and rocks him in her arms.” (Johnson 122).
CRITICAL ANALYSIS
Bobby’s character is revealed in the similar short choppy sentences that are persistent throughout the story. Though sometimes hard to follow, the other characterizations are much more narrow. Nia’s role is described through Bobby’s narration and memories of her. Johnson does allow the reader to see the vulnerabilities of the characters, especially Bobby, and to some extent, his mother.
The setting is in New York city and it is the characters who make this seem real. Bobby’s friends give views of life for teens looking for identity, yet the setting seems not as important.
The pervasive theme is one of parental love that develops strong and fast while other relationships for the teen father seem troubled at times and not quite as distinct. The language, while sparce, does utilize profanity in context.
The story is presented in a style of “now” and “then” information, which slowly gets closer and closer chronologically. Until, at last, Bobby sets out with Feather for a place called Heaven.
REVIEWS
Kirkus Review (June 1, 2003)
"The rules: If she hollers, she is mine. If she needs to be changed, she is always mine. In the dictionary next to 'sitter,' there is not a picture of Grandma. It's time to grow up. Too late, you're out of time. Be a grown-up." Sixteen-year-old Bobby has met the love of his life: his daughter. 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.
School Library Journal (June 1, 2003)
Gr 8 Up-Brief, poetic, and absolutely riveting, this gem of a novel tells the story of a young father struggling to raise an infant. Bobby, 16, is a sensitive and intelligent narrator. His parents are supportive but refuse to take over the child-care duties, so he struggles to balance parenting, school, and friends who don't comprehend his new role. Alternate chapters go back to the story of Bobby's relationship with his girlfriend Nia and how parents and friends reacted to the news of her pregnancy
CONNECTIONS
This is a very realistic fview of teen pregnancy, with some sexual and language overtures mixed in. This could also be a great piece of literature to illustrate a male/father’s view of teen pregnancy and ensuing parenthood.
Johnson, Angela. 2003. The First Part Last. New York: Simon and Schuster.
ISBN 689849222
PLOT SUMMARY
Just as the plot moves between the “now” and “then” of Bobby’s life, we see the stark difference in his life compared to Nia’s as they leave the adoption counseling: “We’re still blowing bubbles when we walk out of the office hand in hand, then get into separate taxis with our parents and head to different parts of the city.” (Johnson 99) The plot paints the very realistic picture of teen pregnancy with the inclusion of the teens’ parents and friends. The young adult audience will be able to identify with many characters and themes with the short sentences, slang-type language and real-life scenarios. The scenes are described with little words but powerful emotion, as seen when Bobby walks away from hearing about the coma and condition of Nia. “…I feel like a three-year-old when I walk out the room between my parents while they hold my hands. Mr. Wilkins starts crying, then falls to his kneeds, and it’s only then that Ni’s mom comes back from the invisible place and rocks him in her arms.” (Johnson 122).
CRITICAL ANALYSIS
Bobby’s character is revealed in the similar short choppy sentences that are persistent throughout the story. Though sometimes hard to follow, the other characterizations are much more narrow. Nia’s role is described through Bobby’s narration and memories of her. Johnson does allow the reader to see the vulnerabilities of the characters, especially Bobby, and to some extent, his mother.
The setting is in New York city and it is the characters who make this seem real. Bobby’s friends give views of life for teens looking for identity, yet the setting seems not as important.
The pervasive theme is one of parental love that develops strong and fast while other relationships for the teen father seem troubled at times and not quite as distinct. The language, while sparce, does utilize profanity in context.
The story is presented in a style of “now” and “then” information, which slowly gets closer and closer chronologically. Until, at last, Bobby sets out with Feather for a place called Heaven.
REVIEWS
Kirkus Review (June 1, 2003)
"The rules: If she hollers, she is mine. If she needs to be changed, she is always mine. In the dictionary next to 'sitter,' there is not a picture of Grandma. It's time to grow up. Too late, you're out of time. Be a grown-up." Sixteen-year-old Bobby has met the love of his life: his daughter. 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.
School Library Journal (June 1, 2003)
Gr 8 Up-Brief, poetic, and absolutely riveting, this gem of a novel tells the story of a young father struggling to raise an infant. Bobby, 16, is a sensitive and intelligent narrator. His parents are supportive but refuse to take over the child-care duties, so he struggles to balance parenting, school, and friends who don't comprehend his new role. Alternate chapters go back to the story of Bobby's relationship with his girlfriend Nia and how parents and friends reacted to the news of her pregnancy
CONNECTIONS
This is a very realistic fview of teen pregnancy, with some sexual and language overtures mixed in. This could also be a great piece of literature to illustrate a male/father’s view of teen pregnancy and ensuing parenthood.
Thursday, November 29, 2007
The Higher Power of Lucky Review
BIBLIOGRAPHY
Patron, Susan. The Higher Power of Lucky. New York: Random House, Listening Library 2006.
PLOT SUMMARY
The format for this audio version was an unabridged production on 3 compact discs. The reader is Cassandra Campbell, adult female voice-over artist.
This contemporary realistic fiction story offers an in-depth look at the life of Lucky, a ten-year-old girl protagonist, living in Hard Pan, California, on the edge of the Mojave desert. The episodic plot is presented in a seemingly disjointed fashion, much like the thought process of a child her age. The development of Lucky’s character is packed with vivid descriptions of her thoughts, feelings, surroundings and people in her life, including her dog, HMS Beagle. Her mother has passed away and her father is not a presence in her life while her guardian is a French woman that he has brought to take car of Lucky. Lucky’s interests mirror those of a preteen, wondering about the word scrotum, while at the same time not sure she wants to know and looking for higher powers, a term garnered from listening to 12-step programs while on-the-job at the Found Object Wind Chime Museum and Visitor Center. The point of view is centered in what Lucky’s mind is thinking. Grappling with issues of abandonment, the plot climaxes with Lucky’s attempt to run away from Brigitte, her guardian.
CRITICAL ANALYSIS
The Higher Power of Lucky reveals characters through the thoughts and interactions of Lucky. Although, her guardian, Brigitte, is one of the most important people in Lucky’s life, she is introduced to us after Short Sammy and HMS Beagle. The character introductions are subtle and matter-of-fact. For example, Brigitte, is the title of chapter 2 and we see her “Inside, Brigitte stood barefoot at the far end, feeding dirty towels into the washer and talking French on the phone.” (Patron, 9). Events in the story are well staged because much of the narration occurs in Lucky’s thoughts. Patron goes to great lengths to explain in much detail what the child is thinking, deciding, and feeling. Based on such detail, mental images of the characters are easily drawn.
The setting is in the desert and the description of the heat, the dust storm, and the poor socio-economic status of the community are not only plausible, but exceptionally believable. Universal implications present are the changing mind of a preteen, beginning to have feelings of “like” for Lincoln, the looming uncertainties of abandonment that the audience can recognize but Lucky may not understand at her young age.
The underlying theme of searching for the higher power to guide one’s life is a universally human trait. The more tangible theme involves Lucky trying to make Brigitte stay with her rather than going back to Paris is one that children can relate to and is more evident. The ending of the story is a great example of what happens when one forms an opinion with not all the facts. Lucky is convinced that Brigitte is returning to France after seeing the course for restaurant management, the passport and Brigitte’s loss of patience.
Another universal theme is extremely common with children. Lucky believes that the way to solve her dilemma is to run away. The detailed style of writing shows us that the character is very prepared yet still packs the toilet paper at the bottom of her survival backpack!
The balance of narration and dialogue seems acceptable, especially through the cd used for the audio listening version. The speaker does not perform obvious speech changes, but does changes the tone and cadence of her voice for the different characters.
I listened to these cd’s in my car with my 9-year-old daughter, who enjoyed the experience as much as I did! She is not a big talker in the car anyway, so this was a great conversation starter for us. The performer gave us a a steady calm voice, providing an even interest without many high or low moments.
REVIEWS
Kirkus starred (October 15, 2006)
The facts of Lucky's life in Hard Pan, Calif. (population 43), scarcely qualify her as "lucky." One parent is dead and the other disinterested. Her future with her unemployed French guardian Brigitte, who was tricked into caring for her, feels uncertain. When Lucky discovers that Brigitte is taking an online course in restaurant management from Paris, she anticipates being abandoned. To find her higher power and take control of her life, Lucky runs away in a dust storm, hoping to cause worry, sadness and a change of Brigitte's heart. Potential disaster leads to Lucky's discovery that Brigitte loves her, which helps her come to terms with her mother's death. 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.
School Library Journal (December 1, 2006)
Gr 4-6-When Lucky's mother is electrocuted and dies after a storm, Lucky's absentee father calls his ex-wife, Brigitte, to fly over from France to take care of the child. Two years later, the 10-year-old worries that Brigitte is tired of being her guardian and of their life in Hard Pan (pop. 42) in the middle of the California desert. While Lucky's best friend ties intricate knots and the little boy down the road cries for attention, she tries to get some control over her life by restocking her survival kit backpack and searching for her "Higher Power." This character-driven novel has an unusually complicated backstory, and a fair amount of exposition. Yet, its quirky cast and local color help to balance this fact, and the desert setting is fascinating.
CONNECTIONS
This story could be used with broken families, blended families or adopted children to help give a framework for discussing and sharing feelins associated with the changes which affect families during the types of trials.
The book could serve as a backdrop for the 12-Step Recovery Process since there is quite a bit of humor about the different types of anonymous groups that met at the Museum and Visitor Center.
My daughter and I enjoyed listening to this story on the cd’s in the car. It was easy to follow, even with numerous interruptions.
Patron, Susan. The Higher Power of Lucky. New York: Random House, Listening Library 2006.
PLOT SUMMARY
The format for this audio version was an unabridged production on 3 compact discs. The reader is Cassandra Campbell, adult female voice-over artist.
This contemporary realistic fiction story offers an in-depth look at the life of Lucky, a ten-year-old girl protagonist, living in Hard Pan, California, on the edge of the Mojave desert. The episodic plot is presented in a seemingly disjointed fashion, much like the thought process of a child her age. The development of Lucky’s character is packed with vivid descriptions of her thoughts, feelings, surroundings and people in her life, including her dog, HMS Beagle. Her mother has passed away and her father is not a presence in her life while her guardian is a French woman that he has brought to take car of Lucky. Lucky’s interests mirror those of a preteen, wondering about the word scrotum, while at the same time not sure she wants to know and looking for higher powers, a term garnered from listening to 12-step programs while on-the-job at the Found Object Wind Chime Museum and Visitor Center. The point of view is centered in what Lucky’s mind is thinking. Grappling with issues of abandonment, the plot climaxes with Lucky’s attempt to run away from Brigitte, her guardian.
CRITICAL ANALYSIS
The Higher Power of Lucky reveals characters through the thoughts and interactions of Lucky. Although, her guardian, Brigitte, is one of the most important people in Lucky’s life, she is introduced to us after Short Sammy and HMS Beagle. The character introductions are subtle and matter-of-fact. For example, Brigitte, is the title of chapter 2 and we see her “Inside, Brigitte stood barefoot at the far end, feeding dirty towels into the washer and talking French on the phone.” (Patron, 9). Events in the story are well staged because much of the narration occurs in Lucky’s thoughts. Patron goes to great lengths to explain in much detail what the child is thinking, deciding, and feeling. Based on such detail, mental images of the characters are easily drawn.
The setting is in the desert and the description of the heat, the dust storm, and the poor socio-economic status of the community are not only plausible, but exceptionally believable. Universal implications present are the changing mind of a preteen, beginning to have feelings of “like” for Lincoln, the looming uncertainties of abandonment that the audience can recognize but Lucky may not understand at her young age.
The underlying theme of searching for the higher power to guide one’s life is a universally human trait. The more tangible theme involves Lucky trying to make Brigitte stay with her rather than going back to Paris is one that children can relate to and is more evident. The ending of the story is a great example of what happens when one forms an opinion with not all the facts. Lucky is convinced that Brigitte is returning to France after seeing the course for restaurant management, the passport and Brigitte’s loss of patience.
Another universal theme is extremely common with children. Lucky believes that the way to solve her dilemma is to run away. The detailed style of writing shows us that the character is very prepared yet still packs the toilet paper at the bottom of her survival backpack!
The balance of narration and dialogue seems acceptable, especially through the cd used for the audio listening version. The speaker does not perform obvious speech changes, but does changes the tone and cadence of her voice for the different characters.
I listened to these cd’s in my car with my 9-year-old daughter, who enjoyed the experience as much as I did! She is not a big talker in the car anyway, so this was a great conversation starter for us. The performer gave us a a steady calm voice, providing an even interest without many high or low moments.
REVIEWS
Kirkus starred (October 15, 2006)
The facts of Lucky's life in Hard Pan, Calif. (population 43), scarcely qualify her as "lucky." One parent is dead and the other disinterested. Her future with her unemployed French guardian Brigitte, who was tricked into caring for her, feels uncertain. When Lucky discovers that Brigitte is taking an online course in restaurant management from Paris, she anticipates being abandoned. To find her higher power and take control of her life, Lucky runs away in a dust storm, hoping to cause worry, sadness and a change of Brigitte's heart. Potential disaster leads to Lucky's discovery that Brigitte loves her, which helps her come to terms with her mother's death. 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.
School Library Journal (December 1, 2006)
Gr 4-6-When Lucky's mother is electrocuted and dies after a storm, Lucky's absentee father calls his ex-wife, Brigitte, to fly over from France to take care of the child. Two years later, the 10-year-old worries that Brigitte is tired of being her guardian and of their life in Hard Pan (pop. 42) in the middle of the California desert. While Lucky's best friend ties intricate knots and the little boy down the road cries for attention, she tries to get some control over her life by restocking her survival kit backpack and searching for her "Higher Power." This character-driven novel has an unusually complicated backstory, and a fair amount of exposition. Yet, its quirky cast and local color help to balance this fact, and the desert setting is fascinating.
CONNECTIONS
This story could be used with broken families, blended families or adopted children to help give a framework for discussing and sharing feelins associated with the changes which affect families during the types of trials.
The book could serve as a backdrop for the 12-Step Recovery Process since there is quite a bit of humor about the different types of anonymous groups that met at the Museum and Visitor Center.
My daughter and I enjoyed listening to this story on the cd’s in the car. It was easy to follow, even with numerous interruptions.
Thursday, November 8, 2007
Michaelangelo
BIBLIOGRAPHY
Stanley, Diane. Michelangelo. Hong Kong: South China Printing, 2000.
PLOT SUMMARY
Michelangelo is a “cradle to grave” account of this renowned artist. The plot guides the reader from the early years of turmoil with his own father, through his first patrons, the long and arduous relationship and work for Pope Julius II. Among his greatest works are the stone sculptors of the Pieta and David and the monumental work of art on the Sistine Chapel for Julius as well as the “tragedy of the tomb” that wrecked his life and was never completed.
CRITICAL ANALYSIS
Stanley provides much detail about the coming and going of Michelangelo, his work, accomplishments and challenges, which were many. Facts are valid and documented through a bibliography. Some of the illustrations were manipulated on the computer and a few pictures were reprinted photographs. Other illustrations are large and full, depicted in a clear and concise manner. The organization of the text and plot are quite clear and follow the pattern of his life exclusively. The author is very well researched and informed, giving much information. Michelangelo can be seen for his wondrous achievements and his tormented life. This book would be better suited for strong readers in the upper elementary grades or middle school. Although it appears to be a picture book, the text is full of information and is more than the typical 32 pages of a true picture book.
REVIEWS
Kirkus starred (July 1, 2000)
“Building on strong preparatory research, Stanley, like the best adult biographers, distills the culture, history, politics, and aesthetic of this unique era. Stanley particularly excels in selecting and integrating just enough contexts and detail to assure a genuine, empathetic treatment. Indeed, she weaves all the major elements of Michelangelo's long and astonishingly creative life into a compelling, anecdote-rich narrative: his country childhood with a wet-nurse and her stonecutter husband; early apprenticeships with the fresco painter Ghirlandaio and the sculptor Bertoldo; his "adoption" by Lorenzo de' Medici of Florence and the benefits of long-term friendships with the Medici family members; his early and dramatic successes with the Pietà and the David; the patronage of Pope Julius II, which led to the Sistine Chapel ceiling and the astonishing Moses; work on the Medici Chapel, the Sistine Chapel's Last Judgement, St. Peter's in Rome (not completed in his lifetime); and finally, his peaceful death at 89. “
Horn Book (November/December, 2000)
“Once again, biographical information is presented in an engaging manner with details selected not only to reveal the subject's character but also to whet the reader's interest, recounting the fight that gave Michelangelo "the crumpled nose of a prizefighter," for example.”
“Care is also given to the correction of popular misconceptions: Michelangelo did not lie on his back while painting the ceiling of the Sistine Chapel; he stood on a scaffolding and painted looking upward-an equally uncomfortable position.”
CONNECTIONS
This book is an art teacher’s dream! The author provides great insight to the preparation of materials and the mind before beginning a monumental work of art.
As a side bar, there are plenty of references to what is happening in the world around Michelangelo, including the influence of the Catholic church at the time.
History of the Italian Renaissance could be a spring board from this book, as well.
Stanley, Diane. Michelangelo. Hong Kong: South China Printing, 2000.
PLOT SUMMARY
Michelangelo is a “cradle to grave” account of this renowned artist. The plot guides the reader from the early years of turmoil with his own father, through his first patrons, the long and arduous relationship and work for Pope Julius II. Among his greatest works are the stone sculptors of the Pieta and David and the monumental work of art on the Sistine Chapel for Julius as well as the “tragedy of the tomb” that wrecked his life and was never completed.
CRITICAL ANALYSIS
Stanley provides much detail about the coming and going of Michelangelo, his work, accomplishments and challenges, which were many. Facts are valid and documented through a bibliography. Some of the illustrations were manipulated on the computer and a few pictures were reprinted photographs. Other illustrations are large and full, depicted in a clear and concise manner. The organization of the text and plot are quite clear and follow the pattern of his life exclusively. The author is very well researched and informed, giving much information. Michelangelo can be seen for his wondrous achievements and his tormented life. This book would be better suited for strong readers in the upper elementary grades or middle school. Although it appears to be a picture book, the text is full of information and is more than the typical 32 pages of a true picture book.
REVIEWS
Kirkus starred (July 1, 2000)
“Building on strong preparatory research, Stanley, like the best adult biographers, distills the culture, history, politics, and aesthetic of this unique era. Stanley particularly excels in selecting and integrating just enough contexts and detail to assure a genuine, empathetic treatment. Indeed, she weaves all the major elements of Michelangelo's long and astonishingly creative life into a compelling, anecdote-rich narrative: his country childhood with a wet-nurse and her stonecutter husband; early apprenticeships with the fresco painter Ghirlandaio and the sculptor Bertoldo; his "adoption" by Lorenzo de' Medici of Florence and the benefits of long-term friendships with the Medici family members; his early and dramatic successes with the Pietà and the David; the patronage of Pope Julius II, which led to the Sistine Chapel ceiling and the astonishing Moses; work on the Medici Chapel, the Sistine Chapel's Last Judgement, St. Peter's in Rome (not completed in his lifetime); and finally, his peaceful death at 89. “
Horn Book (November/December, 2000)
“Once again, biographical information is presented in an engaging manner with details selected not only to reveal the subject's character but also to whet the reader's interest, recounting the fight that gave Michelangelo "the crumpled nose of a prizefighter," for example.”
“Care is also given to the correction of popular misconceptions: Michelangelo did not lie on his back while painting the ceiling of the Sistine Chapel; he stood on a scaffolding and painted looking upward-an equally uncomfortable position.”
CONNECTIONS
This book is an art teacher’s dream! The author provides great insight to the preparation of materials and the mind before beginning a monumental work of art.
As a side bar, there are plenty of references to what is happening in the world around Michelangelo, including the influence of the Catholic church at the time.
History of the Italian Renaissance could be a spring board from this book, as well.
Wednesday, November 7, 2007
Seesaw Girl
BIBLIOGRAPHY
Park, Linda. Seesaw Girl. Ill. by Jean and Mou-sien Tseng. New York: Houghton Mifflin, 1999.
PLOT SUMMARY
Jade Blossom’s curious life inside the wall surrounding her family’s house unfolds as the twelve year old girl loses her best friend, Willow, to marriage. The setting is in Seoul, Korea, during the seventeenth century, when females of her family’s status were not allowed outside the walls until their wedding day. Even this trip is only to the same lifestyle, but to her husband’s family compound. The picture of Jade's life includes a brief escape to life outside and a sudden awakening to wishes and desires that do not fit into the family culture.
CRITICAL ANALYSIS
The authenticity of Seesaw Girl is supported in part by the author’s notes and bibliography at the end of the book. Park also weaves in pieces of historical fact as appropriate throughout the course of the story. For example, when the Jade’s father responds to her request to give the servant who brought her home from her escapade his job back, the father gives a peek at the cultural relevant history. “Right behavior is indeed important, Daughter. It is one of the Five Virtues. Your brother has been learning much about them. Right behavior, good form, wisdom, faith, and love.” (61.)
Although the plot seems simplistic, it follows the life of a twelve year old girl who is sentenced inside the walls of an aristocratic family’s home during a time when women and girls were not allowed to speak directly to men or receive an education. She amuses herself with innocent pranks, sewing, cooking and washing. The plot is not given a rosy view, noting the loss of her best friend as well as the desire to be able to do something more with her mind.
Jade does ask her mother if the feeling that she has provided for her family enough for her happiness. And the mother replies, “Yes, Jade, I have learned to make it enough.”
Themes are recurring and relate to male dominance, female submissiveness and inferiority, and a life of simple activities, such as, washing clothes. The routine associated with this chore includes taking out the stitching every washing and cleaning only to stitch the clean cloth back into the original clothing.
Readers should be able to identify with the main character that is always asking questions, wondering about things she has not seen, and finding a way to get what she wants. The style includes a small amount of dialogue between Jade and her parents, while Tiger, her brother, talks with her more freely. This can be evidenced when the schoolmaster is out sick and Jade slips into the Hall of Education beside Tiger, and learns to paint.
REVIEWS
Publishers Weekly (August 9, 1999)
“With all the temerity of a 1990s girl, Jade plays tricks on her brother (with the help of her cousin Willow), and her yearning to see the world outside of her family's walled household ultimately leads her into trouble.”
School Library Journal (September 1999)
“Park maintains a fine tension between the spirited girl's curiosity and her very limited sphere. Certainly Jade looks for opportunities to expand her horizons, but after her first disastrous foray to see Willow, she learns that those chances have to come within the walls of her own home.”
“Her mother recognizes Jade's longings and shows her that it is possible to be content with her life. Like Jade's stand-up seesaw, Park's novel offers readers a brief but enticing glimpse at another time and place.”
CONNECTIONS
The obvious connection would be to world history and 17th century life in Korea. Yet other curriculum areas could be linked with this book, such as:
Art – painting with brushes on rice paper
Games/Physical Education – building a seesaw
Women’s rights in the international arena
Research the development of washing clothes
This story could be easily adapted into a Reader’s Theater, as well.
Park, Linda. Seesaw Girl. Ill. by Jean and Mou-sien Tseng. New York: Houghton Mifflin, 1999.
PLOT SUMMARY
Jade Blossom’s curious life inside the wall surrounding her family’s house unfolds as the twelve year old girl loses her best friend, Willow, to marriage. The setting is in Seoul, Korea, during the seventeenth century, when females of her family’s status were not allowed outside the walls until their wedding day. Even this trip is only to the same lifestyle, but to her husband’s family compound. The picture of Jade's life includes a brief escape to life outside and a sudden awakening to wishes and desires that do not fit into the family culture.
CRITICAL ANALYSIS
The authenticity of Seesaw Girl is supported in part by the author’s notes and bibliography at the end of the book. Park also weaves in pieces of historical fact as appropriate throughout the course of the story. For example, when the Jade’s father responds to her request to give the servant who brought her home from her escapade his job back, the father gives a peek at the cultural relevant history. “Right behavior is indeed important, Daughter. It is one of the Five Virtues. Your brother has been learning much about them. Right behavior, good form, wisdom, faith, and love.” (61.)
Although the plot seems simplistic, it follows the life of a twelve year old girl who is sentenced inside the walls of an aristocratic family’s home during a time when women and girls were not allowed to speak directly to men or receive an education. She amuses herself with innocent pranks, sewing, cooking and washing. The plot is not given a rosy view, noting the loss of her best friend as well as the desire to be able to do something more with her mind.
Jade does ask her mother if the feeling that she has provided for her family enough for her happiness. And the mother replies, “Yes, Jade, I have learned to make it enough.”
Themes are recurring and relate to male dominance, female submissiveness and inferiority, and a life of simple activities, such as, washing clothes. The routine associated with this chore includes taking out the stitching every washing and cleaning only to stitch the clean cloth back into the original clothing.
Readers should be able to identify with the main character that is always asking questions, wondering about things she has not seen, and finding a way to get what she wants. The style includes a small amount of dialogue between Jade and her parents, while Tiger, her brother, talks with her more freely. This can be evidenced when the schoolmaster is out sick and Jade slips into the Hall of Education beside Tiger, and learns to paint.
REVIEWS
Publishers Weekly (August 9, 1999)
“With all the temerity of a 1990s girl, Jade plays tricks on her brother (with the help of her cousin Willow), and her yearning to see the world outside of her family's walled household ultimately leads her into trouble.”
School Library Journal (September 1999)
“Park maintains a fine tension between the spirited girl's curiosity and her very limited sphere. Certainly Jade looks for opportunities to expand her horizons, but after her first disastrous foray to see Willow, she learns that those chances have to come within the walls of her own home.”
“Her mother recognizes Jade's longings and shows her that it is possible to be content with her life. Like Jade's stand-up seesaw, Park's novel offers readers a brief but enticing glimpse at another time and place.”
CONNECTIONS
The obvious connection would be to world history and 17th century life in Korea. Yet other curriculum areas could be linked with this book, such as:
Art – painting with brushes on rice paper
Games/Physical Education – building a seesaw
Women’s rights in the international arena
Research the development of washing clothes
This story could be easily adapted into a Reader’s Theater, as well.
Thursday, October 25, 2007
ER VETS: LIFE IN AN ANIMAL EMERGENCY ROOM
BIBLIOGRAPHY
Jackson, Donna. 2005. ER VETS: LIFE IN AN ANIMAL EMERGENCY ROOM.
Boston: Houghton Mifflin. ISBN 0618436634.
PLOT SUMMARY
Interested in pets or vets? This book has it all! From the black-eyed dog looking directly at the reader on the front cover through the front and back flaps and end covers which are filled with copies of real thank-you notes from owners, ending with snapshots on the back cover of many different kinds of pets, this publication is full of interesting text, tidbits, research, history, and pictures. Most of all, the text is comprised of stories. Stories of real pets and their owners and the real tragedies that they have experienced. The author has filled the pages with bright pictures, precise information, and a clear line of organization from the opening saga of an emergency, followed by a calm presentation of facts. The orderliness continues with a historical account of the field of veterinary medicine which is followed by true reports of different animals with varying issues, problems and illnesses, even addressing the death of a pet.
CRITICAL ANALYSIS
There are no stereotypes located in this report! All kinds of animals are represented as pets. This is not the ordinary cat and dog shop! The author grabs the audience at the beginning with gripping details of an emergency and then settles the reader down to learn about the basics of emergency care for animals as well as a look into the history of the field. The layout is logical, maybe a bit busy at times, but always informative. All pictures possess detailed captions, allowing a child to view only from this angle, should s/he choose. Text contains sub headings which makes it easier for the reader to find specific information. The text is also designed and presented on blocks of light color against a white page or on blocks of white against a light color page. In spite of this design, the photographs take front and center attention, giving a super view of the animals and the people who help them. The organization includes the veterinarina’s oath, table of contents, presentation of a pet first-aid kit, a probing for more section with other publications and we sites, as well as definitions of critical terms, source notes and a bibliography!
REVIEW
Horn Book (January/February, 2006)
“A bright, colorful design and "aww"-inspiring photographs of pets in various stages of care enhance this exploration of the workings of a veterinary emergency room. Profiles of the doctors, vet techs (i.e., nurses), and grief counselors alternate with case studies of stricken animals, a history of veterinary medicine, and commonsense tips on such topics as preventative care and how to gauge a pet's health. Jackson's lively narrative incorporates interviews with ER staff members at Colorado State University's veterinary teaching hospital, whose concern and affection for their charges emerge clearly on the page. The case studies of the animals themselves, mostly happy (but, realistically, not always), serve both to provide direction for the text and to keep the focus where it belongs: on the pets and the owners who love them. Short chapters keep the pace moving; sidebars offer tidbits of hard information on such topics as decoding ER lingo and reading animal vital signs. The end result is that there's plenty for just about every kind of reader, from those who crave stories to the most committed just-the-facts-ma'am nonfiction fan. A listing of further resources, both print and web, a glossary, source notes, and an index round out the back matter.”
School Library Journal (January 1, 2006)
“Gr 5-8-With plentiful, excellent-quality photographs, this highly visual book offers a behind-the-scenes look at an emergency animal hospital in Colorado. Well-researched and well-written, ER Vets is an engaging book on a hot topic.”
CONNECTIONS
This book is so well-organized and so packed with information that it could be utilized with almost any age reader. For a child to be able to enjoy this book on their own, they would need to be reading well on a 4th grade level or above.
This book would be a good choice to “preview” with the picture captions for a group of children.
Children love animal books and this one has all sorts of animals included! This would be especially good for study of jobs and occupations. The work of the people presented is very accurately documented.
This would also serve as a good piece of information for a child and/or family who may be have a pet with illness or injury. A real-life portrayal of a pet’s death is narrated as well.
This is an excellent example of a piece of non-fiction work that does not need to read from cover to cover in order to garner information from it.
Jackson, Donna. 2005. ER VETS: LIFE IN AN ANIMAL EMERGENCY ROOM.
Boston: Houghton Mifflin. ISBN 0618436634.
PLOT SUMMARY
Interested in pets or vets? This book has it all! From the black-eyed dog looking directly at the reader on the front cover through the front and back flaps and end covers which are filled with copies of real thank-you notes from owners, ending with snapshots on the back cover of many different kinds of pets, this publication is full of interesting text, tidbits, research, history, and pictures. Most of all, the text is comprised of stories. Stories of real pets and their owners and the real tragedies that they have experienced. The author has filled the pages with bright pictures, precise information, and a clear line of organization from the opening saga of an emergency, followed by a calm presentation of facts. The orderliness continues with a historical account of the field of veterinary medicine which is followed by true reports of different animals with varying issues, problems and illnesses, even addressing the death of a pet.
CRITICAL ANALYSIS
There are no stereotypes located in this report! All kinds of animals are represented as pets. This is not the ordinary cat and dog shop! The author grabs the audience at the beginning with gripping details of an emergency and then settles the reader down to learn about the basics of emergency care for animals as well as a look into the history of the field. The layout is logical, maybe a bit busy at times, but always informative. All pictures possess detailed captions, allowing a child to view only from this angle, should s/he choose. Text contains sub headings which makes it easier for the reader to find specific information. The text is also designed and presented on blocks of light color against a white page or on blocks of white against a light color page. In spite of this design, the photographs take front and center attention, giving a super view of the animals and the people who help them. The organization includes the veterinarina’s oath, table of contents, presentation of a pet first-aid kit, a probing for more section with other publications and we sites, as well as definitions of critical terms, source notes and a bibliography!
REVIEW
Horn Book (January/February, 2006)
“A bright, colorful design and "aww"-inspiring photographs of pets in various stages of care enhance this exploration of the workings of a veterinary emergency room. Profiles of the doctors, vet techs (i.e., nurses), and grief counselors alternate with case studies of stricken animals, a history of veterinary medicine, and commonsense tips on such topics as preventative care and how to gauge a pet's health. Jackson's lively narrative incorporates interviews with ER staff members at Colorado State University's veterinary teaching hospital, whose concern and affection for their charges emerge clearly on the page. The case studies of the animals themselves, mostly happy (but, realistically, not always), serve both to provide direction for the text and to keep the focus where it belongs: on the pets and the owners who love them. Short chapters keep the pace moving; sidebars offer tidbits of hard information on such topics as decoding ER lingo and reading animal vital signs. The end result is that there's plenty for just about every kind of reader, from those who crave stories to the most committed just-the-facts-ma'am nonfiction fan. A listing of further resources, both print and web, a glossary, source notes, and an index round out the back matter.”
School Library Journal (January 1, 2006)
“Gr 5-8-With plentiful, excellent-quality photographs, this highly visual book offers a behind-the-scenes look at an emergency animal hospital in Colorado. Well-researched and well-written, ER Vets is an engaging book on a hot topic.”
CONNECTIONS
This book is so well-organized and so packed with information that it could be utilized with almost any age reader. For a child to be able to enjoy this book on their own, they would need to be reading well on a 4th grade level or above.
This book would be a good choice to “preview” with the picture captions for a group of children.
Children love animal books and this one has all sorts of animals included! This would be especially good for study of jobs and occupations. The work of the people presented is very accurately documented.
This would also serve as a good piece of information for a child and/or family who may be have a pet with illness or injury. A real-life portrayal of a pet’s death is narrated as well.
This is an excellent example of a piece of non-fiction work that does not need to read from cover to cover in order to garner information from it.
THE MOON
PLOT SUMMARY
Obviously early in the career of Seymour Simon, this older edition sports black and white pictures of the Earth’s moon with accompanying black and/or white text on opposing background. The presentation is simple and straightforward, with factual text presented in a justified center placement. The scientific details are interspersed with smaller, simpler facts, or points of interest, that would appeal to an elementary aged child.
CRITICAL ANALYSIS
As noted in the School Library Journal review, it is time to replace this text!
At the time, this edition would have been fantastic! With the age of digital photography and newer publishing techniques and ideas, this book appears dated. The text does follow a sequence of general to more specific. Yet, the text does not vary in style, giving no energy to draw in a reader. The reading would be improved with smaller segments of information and possibly captions for the pictures, instead of the comments embedded in the text. The design of this edition is too monotonous to spark interest for a long period of time and lacks the references, notes or a bibliography for additional questions or research.
REVIEW
Note: This review was based on the original 1984 edition. While there were no published reviews on the older book, the comments posted reflect the reviewer’s opinion of the new edition with some comparison to the original book.
Booklist (October 15, 2003 (Vol. 100, No. 4))
Gr. 2-4. This revised edition of The Moon (1984) features many new photographs and color reproductions.
Horn Book starred (Fall 2004)
These new editions include fresh images and minor editing of the original texts; what hasn't changed is Simon's gently authoritative signature voice.
School Library Journal (January 1, 2004)
Gr 2-5-It's time to take your 1984 copy of Simon's The Moon off your shelf and replace it with this shiny new edition. This scientific trek to the moon brought to life by NASA photography has been carried into the 21st century through advancements in imaging technology. Although the first edition's black-and-white photographs taken from space and on the Moon were impressive for their time, the digitally remastered color photographs in this update are incredible.
CONNECTIONS
This book would best be served in conjunction with books about the Earth and the sun. I have seen the book being used by classrooms as part of an integrated study unit on the solar system.
Similar books could be used as follow up for children who had enjoyed THE MAGIC SCHOOL BUS, LOST IN THE SOLAR SYSTEM by Joanna Cole.
Obviously early in the career of Seymour Simon, this older edition sports black and white pictures of the Earth’s moon with accompanying black and/or white text on opposing background. The presentation is simple and straightforward, with factual text presented in a justified center placement. The scientific details are interspersed with smaller, simpler facts, or points of interest, that would appeal to an elementary aged child.
CRITICAL ANALYSIS
As noted in the School Library Journal review, it is time to replace this text!
At the time, this edition would have been fantastic! With the age of digital photography and newer publishing techniques and ideas, this book appears dated. The text does follow a sequence of general to more specific. Yet, the text does not vary in style, giving no energy to draw in a reader. The reading would be improved with smaller segments of information and possibly captions for the pictures, instead of the comments embedded in the text. The design of this edition is too monotonous to spark interest for a long period of time and lacks the references, notes or a bibliography for additional questions or research.
REVIEW
Note: This review was based on the original 1984 edition. While there were no published reviews on the older book, the comments posted reflect the reviewer’s opinion of the new edition with some comparison to the original book.
Booklist (October 15, 2003 (Vol. 100, No. 4))
Gr. 2-4. This revised edition of The Moon (1984) features many new photographs and color reproductions.
Horn Book starred (Fall 2004)
These new editions include fresh images and minor editing of the original texts; what hasn't changed is Simon's gently authoritative signature voice.
School Library Journal (January 1, 2004)
Gr 2-5-It's time to take your 1984 copy of Simon's The Moon off your shelf and replace it with this shiny new edition. This scientific trek to the moon brought to life by NASA photography has been carried into the 21st century through advancements in imaging technology. Although the first edition's black-and-white photographs taken from space and on the Moon were impressive for their time, the digitally remastered color photographs in this update are incredible.
CONNECTIONS
This book would best be served in conjunction with books about the Earth and the sun. I have seen the book being used by classrooms as part of an integrated study unit on the solar system.
Similar books could be used as follow up for children who had enjoyed THE MAGIC SCHOOL BUS, LOST IN THE SOLAR SYSTEM by Joanna Cole.
LIFE ON EARTH: THE STORY OF EVOLUTION
BIBLIOGRAPHY
Jenkins, Steve. 2002. LIFE ON EARTH: THE STORY OF EVOLUTION. Boston:
Houghton Mifflin. ISBN 0618164766.
PLOT SUMMARY
In this large picture book format, Jenkins informs a young audience about the story of evolution. The torn paper illustrations provide vivid color against a white background. Beginning with a double page spread followed by another page and half of plants and animals, the reader is drawn into the wonder of how many different plants and animals have lived on Earth. The bold-faced print highlights subheadings, followed by just enough descriptive text to pique interest. The history of life on Earth is detailed, using pictures and smaller print. Darwin and his theory of evolution are introduced with descriptions of natural selection, variation, mutation, and extinction in clear and concise language. All throughout, a smaller print gives more detail and example. In closing, the Earth’s history is paralleled to a 24-hour day, followed by a key to the animals depicted in the text as well as suggestions for further reading and a bibliography.
CRITICAL ANALYSIS
Jenkins has captured a subject that is much debated, yet, rarely published, in a manner in which all readers can find answers and information. The published reviews for this book varied in the age of the intended audience. This is due to the fact that young and old can find significance in this work. The text is easy to understand without feeling juvenile and is coupled with a strong chronological order. The organization of information is sequential, leading from the discussion of the first life on earth to the development of species. Even the topics grow from simple to more complex with history line of life to theory of evolution with its accompanying discussion of survival of the fittest. This particular concept is easily understood through the depiction of a mother frog laying eggs.
The illustrations are bright, attractive and eye-catching, yet, not drawn to scale in any fashion. The author has effectively presented a controversial topic is a manner that gives information and allows readers to draw their own opinions. Although the presentation and style appears simple and straightforward, the topic can be deepened at any point throughout the book. This could be through additional conversations and/or further reading.
REVIEWS
Kirkus Review (October 1, 2002)
“Because evolution is sometimes not taught in all schools, few good texts exist on it for this age. Factual and fascinating, this one belongs in every library. (Nonfiction. 7-12)”
School Library Journal (December 1, 2002)
“Gr 3-6- Larger and more eye-catching than Joanna Cole's Evolution (Crowell, 1987; o.p.), and far simpler than Stephen Webster's The Kingfisher Book of Evolution (Kingfisher, 2000), Life on Earth is a polished exposition of a difficult, often controversial scientific concept. Substantial, despite its picture-book appearance.”
CONNECTIONS
This book is an excellent way to introduce the concept of evolution to anyone, regardless of age.
I believe the title, “Life on Earth,” grabs the reader first and then the subtitle “The Story of Evolution,” draws an interesting prickle! I believe this book serves both sides of the belief system, in that the author states “No one knows when or where life began. Perhaps…” Interestingly enough, the organization and presentation of the appearance of life does parallel biblical order! What a wonderful way to evoke thought!
This work is also a great venture for those children engulfed in the study of dinosaurs. It has information leading into the appearance and disappearance of this species. Again, another great point of questioning.
Jenkins, Steve. 2002. LIFE ON EARTH: THE STORY OF EVOLUTION. Boston:
Houghton Mifflin. ISBN 0618164766.
PLOT SUMMARY
In this large picture book format, Jenkins informs a young audience about the story of evolution. The torn paper illustrations provide vivid color against a white background. Beginning with a double page spread followed by another page and half of plants and animals, the reader is drawn into the wonder of how many different plants and animals have lived on Earth. The bold-faced print highlights subheadings, followed by just enough descriptive text to pique interest. The history of life on Earth is detailed, using pictures and smaller print. Darwin and his theory of evolution are introduced with descriptions of natural selection, variation, mutation, and extinction in clear and concise language. All throughout, a smaller print gives more detail and example. In closing, the Earth’s history is paralleled to a 24-hour day, followed by a key to the animals depicted in the text as well as suggestions for further reading and a bibliography.
CRITICAL ANALYSIS
Jenkins has captured a subject that is much debated, yet, rarely published, in a manner in which all readers can find answers and information. The published reviews for this book varied in the age of the intended audience. This is due to the fact that young and old can find significance in this work. The text is easy to understand without feeling juvenile and is coupled with a strong chronological order. The organization of information is sequential, leading from the discussion of the first life on earth to the development of species. Even the topics grow from simple to more complex with history line of life to theory of evolution with its accompanying discussion of survival of the fittest. This particular concept is easily understood through the depiction of a mother frog laying eggs.
The illustrations are bright, attractive and eye-catching, yet, not drawn to scale in any fashion. The author has effectively presented a controversial topic is a manner that gives information and allows readers to draw their own opinions. Although the presentation and style appears simple and straightforward, the topic can be deepened at any point throughout the book. This could be through additional conversations and/or further reading.
REVIEWS
Kirkus Review (October 1, 2002)
“Because evolution is sometimes not taught in all schools, few good texts exist on it for this age. Factual and fascinating, this one belongs in every library. (Nonfiction. 7-12)”
School Library Journal (December 1, 2002)
“Gr 3-6- Larger and more eye-catching than Joanna Cole's Evolution (Crowell, 1987; o.p.), and far simpler than Stephen Webster's The Kingfisher Book of Evolution (Kingfisher, 2000), Life on Earth is a polished exposition of a difficult, often controversial scientific concept. Substantial, despite its picture-book appearance.”
CONNECTIONS
This book is an excellent way to introduce the concept of evolution to anyone, regardless of age.
I believe the title, “Life on Earth,” grabs the reader first and then the subtitle “The Story of Evolution,” draws an interesting prickle! I believe this book serves both sides of the belief system, in that the author states “No one knows when or where life began. Perhaps…” Interestingly enough, the organization and presentation of the appearance of life does parallel biblical order! What a wonderful way to evoke thought!
This work is also a great venture for those children engulfed in the study of dinosaurs. It has information leading into the appearance and disappearance of this species. Again, another great point of questioning.
Wednesday, October 10, 2007
Poetry Review #3
BIBLIOGRAPHY
Florian, Douglas. 1999. LAUGH-ETERIA. Florida: Harcourt Brace & Company.
ISBN: 0152020845.
PLOT SUMMARY
Florian has published another collection of over 100 silly humorous poems designed especially for young children. The topics range from school lunches, to monsters, ogres and dinosaurs. The sparse illustrations are done in brush and ink. The collection does not appear to have an order of presentation but does include a title index at the back of the book. The collection does sport a few concrete poems, give shape and form to the imagery evoked by the text. None of the individual pieces is more than one page long; another strong selling point for the younger readers interest abilities.
CRITICAL ANALYSIS
The short forms are evidenced by the likes of WILD WALK: “I took my little brother for/A walk into the wild./We met an alligator there-/Now I’m an only child.” The 4-lined verse contains rhyme and distinctive use of rhythm. This collection is bland and does not invite the interest of many people. There is no universality unless it is to hope that all young elementary children will love to hear the silly, nonsense rhymes.
REVIEW EXCERPTS
Kirkus Review (1999)
Florian’s seventh collection of verse is also his most uneven; though the flair for clever rhyme that consistently lights up his other books, beginning with Monster Motel (1993), occasionally shows itself—“Hello, my name is Dracula/My clothing is all blackula./I drive a Cadillacula./I am a maniacula”—too many of the entries are routine limericks, putdowns, character portraits, rhymed lists that fall flat on the ear, or quick quips: “It’s hard to be anonymous/When you’re a hippopotamus.” Florian’s language and simple, thick-lined cartoons illustrations are equally ingenuous, and he sticks to tried-and-true subjects, from dinosaurs to school lunch, but the well of inspiration seems dry; revisit his hilarious Bing Bang Boing (1994) instead.
School Library Journal (June 1999)
Gr 2-6This clever collection of light verse, illustrated with childlike brush-and-ink drawings, is sure to draw fans of Shel Silverstein, Jack Prelutsky, and other purveyors of nonsense. Favorite topics of humorous poetry monsters, dinosaurs, disgusting foods and overeating, animals, school, and strange people all inhabit this volume. Most of the brief poems contain a wry twist, a terrible pun, an interesting bit of wordplay, or a small allusion that enriches their meanings.
CONNECTIONS
· I shared this book with my own children, who found the selections repetitious and quite boring.
· I do not see evidence of literary merit; just pure entertainment for young children who are a bit sill at times.
· After reading the SPINNING THROUGH THE UNIVERSE and SHOE MAGIC for this assignment, I was sorely disappointed to have selected this collection for review.
Florian, Douglas. 1999. LAUGH-ETERIA. Florida: Harcourt Brace & Company.
ISBN: 0152020845.
PLOT SUMMARY
Florian has published another collection of over 100 silly humorous poems designed especially for young children. The topics range from school lunches, to monsters, ogres and dinosaurs. The sparse illustrations are done in brush and ink. The collection does not appear to have an order of presentation but does include a title index at the back of the book. The collection does sport a few concrete poems, give shape and form to the imagery evoked by the text. None of the individual pieces is more than one page long; another strong selling point for the younger readers interest abilities.
CRITICAL ANALYSIS
The short forms are evidenced by the likes of WILD WALK: “I took my little brother for/A walk into the wild./We met an alligator there-/Now I’m an only child.” The 4-lined verse contains rhyme and distinctive use of rhythm. This collection is bland and does not invite the interest of many people. There is no universality unless it is to hope that all young elementary children will love to hear the silly, nonsense rhymes.
REVIEW EXCERPTS
Kirkus Review (1999)
Florian’s seventh collection of verse is also his most uneven; though the flair for clever rhyme that consistently lights up his other books, beginning with Monster Motel (1993), occasionally shows itself—“Hello, my name is Dracula/My clothing is all blackula./I drive a Cadillacula./I am a maniacula”—too many of the entries are routine limericks, putdowns, character portraits, rhymed lists that fall flat on the ear, or quick quips: “It’s hard to be anonymous/When you’re a hippopotamus.” Florian’s language and simple, thick-lined cartoons illustrations are equally ingenuous, and he sticks to tried-and-true subjects, from dinosaurs to school lunch, but the well of inspiration seems dry; revisit his hilarious Bing Bang Boing (1994) instead.
School Library Journal (June 1999)
Gr 2-6This clever collection of light verse, illustrated with childlike brush-and-ink drawings, is sure to draw fans of Shel Silverstein, Jack Prelutsky, and other purveyors of nonsense. Favorite topics of humorous poetry monsters, dinosaurs, disgusting foods and overeating, animals, school, and strange people all inhabit this volume. Most of the brief poems contain a wry twist, a terrible pun, an interesting bit of wordplay, or a small allusion that enriches their meanings.
CONNECTIONS
· I shared this book with my own children, who found the selections repetitious and quite boring.
· I do not see evidence of literary merit; just pure entertainment for young children who are a bit sill at times.
· After reading the SPINNING THROUGH THE UNIVERSE and SHOE MAGIC for this assignment, I was sorely disappointed to have selected this collection for review.
Poetry Review 2 - Spinning through the Universe
BIBLIOGRAPHY
Frost, Helen. 2004. SPINNING THROUGH THE UNIVERSE. New York:
Frances Foster Books. ISBN: 03743711598.
PLOT SUMMARY
Helen Frost joins different forms of poetry with the unique voice from each student in Ms. William’s 5th grade class. The book is divided into 2 sections; Explorers and Elm Trees with each section introduced by a piece of writing by Ms. Williams, the janitor, Mr. Carlson, appears at the end of the first section and Ms. Williams closes the story at the end of section two by revealing to us that she is expecting twins. The first section introduces us to the distinctive personality of each student while the second section reveals to us that the children are growing up and addressing the demons they face, such as the death of a father, finding a shelter, having a biracial baby sister, success in math, a breast cancer surviving mother, and an abusive father.
At the end of the book, Frost includes extraordinarily detailed notes on each of the forms used, it’s definition as well as the particular poem in which the form occurs.
CRITICAL ANALYSIS
The relatively small book is an easy, quick read, yet, on second glance, much deeper than originally imagined. To the untrained eye, the forms presented are subtly present.
The poems, including the brief Haiku, are bursting with emotion, experiences and imagery. The rhythm can seem sporadic at times, but is better understood after reading the ending of the book. The authenticity of voice and timelessness are continually present, giving the aspired “distilled” look at the souls, thoughts and experiences of these children. This book would appeal to an older elementary and middle/high school audience, due to the complexity of form and the visual imagery needed for a better understand of the student’s lives.
REVIEW EXCERPTS
Kirkus starred (March 1, 2004)
“Appropriate, original imagery and understated, natural voices make these poems sensitive and insightful. Since the students sometimes sound older than fifth-graders, the collection will appeal to readers and teachers in middle school and high school. The notes on how the form in each poem works are of particular value to teachers eager to guide students in their own poetry writing.”
Publishers Weekly (April 5, 2004)
“In this collection of brief, deceptively casual poetic monologues, Frost (Keesha's House) brings to life the voices and spirit of a fifth-grade classroom as she spotlights each member of room 214. Themes such as the disappearance of Jon's bike ("Without my bike, my legs are empty. It/ has tricks you have to know to ride it right") and newcomer Shawna's struggle to fit in are replayed from different viewpoints, allowing readers a glimpse of characters' internal conflicts and relationships. Cast slightly apart from her classmates is artistic Naomi, whose haikus about nature ("What's that squirrel doing?/ Naomi, pay attention!/ Nose twitch-tail swish-gone...") provide effective transitions between subjects and moods. Like Naomi, Mrs. Williams, the teacher, remains on the sidelines, wistfully observing her students. While jealousies, rifts and misunderstandings among classmates abound, the fifth-graders' ability to unite is poignantly conveyed after one student's father is killed. In a detailed afterword, Frost explains the exact poetic forms used in each entry (in Part I, anything from sestina to rondelet, in Part II, an acrostic whose "armature" is a phrase uttered by the same speaker in Part I). Readers may be surprised at the complexity of rules governing the writing, so naturally does the author seem to capture the poetic essence of the children's voices-and she makes it look like so much fun that readers may want to try out some of the forms themselves.”
CONNECTIONS
Great read for teachers, especially in lower socio-economic populations, to help provide empathy and possibly change perspectives without judging behavior so immediately.
I found this book enlightening because it cause me to see “behavioral/discipline problems” with a different lens
I learned so much more about the depth of the characters after reading reviews from others.
I feel empowered to strive to understand my students even better.
Frost, Helen. 2004. SPINNING THROUGH THE UNIVERSE. New York:
Frances Foster Books. ISBN: 03743711598.
PLOT SUMMARY
Helen Frost joins different forms of poetry with the unique voice from each student in Ms. William’s 5th grade class. The book is divided into 2 sections; Explorers and Elm Trees with each section introduced by a piece of writing by Ms. Williams, the janitor, Mr. Carlson, appears at the end of the first section and Ms. Williams closes the story at the end of section two by revealing to us that she is expecting twins. The first section introduces us to the distinctive personality of each student while the second section reveals to us that the children are growing up and addressing the demons they face, such as the death of a father, finding a shelter, having a biracial baby sister, success in math, a breast cancer surviving mother, and an abusive father.
At the end of the book, Frost includes extraordinarily detailed notes on each of the forms used, it’s definition as well as the particular poem in which the form occurs.
CRITICAL ANALYSIS
The relatively small book is an easy, quick read, yet, on second glance, much deeper than originally imagined. To the untrained eye, the forms presented are subtly present.
The poems, including the brief Haiku, are bursting with emotion, experiences and imagery. The rhythm can seem sporadic at times, but is better understood after reading the ending of the book. The authenticity of voice and timelessness are continually present, giving the aspired “distilled” look at the souls, thoughts and experiences of these children. This book would appeal to an older elementary and middle/high school audience, due to the complexity of form and the visual imagery needed for a better understand of the student’s lives.
REVIEW EXCERPTS
Kirkus starred (March 1, 2004)
“Appropriate, original imagery and understated, natural voices make these poems sensitive and insightful. Since the students sometimes sound older than fifth-graders, the collection will appeal to readers and teachers in middle school and high school. The notes on how the form in each poem works are of particular value to teachers eager to guide students in their own poetry writing.”
Publishers Weekly (April 5, 2004)
“In this collection of brief, deceptively casual poetic monologues, Frost (Keesha's House) brings to life the voices and spirit of a fifth-grade classroom as she spotlights each member of room 214. Themes such as the disappearance of Jon's bike ("Without my bike, my legs are empty. It/ has tricks you have to know to ride it right") and newcomer Shawna's struggle to fit in are replayed from different viewpoints, allowing readers a glimpse of characters' internal conflicts and relationships. Cast slightly apart from her classmates is artistic Naomi, whose haikus about nature ("What's that squirrel doing?/ Naomi, pay attention!/ Nose twitch-tail swish-gone...") provide effective transitions between subjects and moods. Like Naomi, Mrs. Williams, the teacher, remains on the sidelines, wistfully observing her students. While jealousies, rifts and misunderstandings among classmates abound, the fifth-graders' ability to unite is poignantly conveyed after one student's father is killed. In a detailed afterword, Frost explains the exact poetic forms used in each entry (in Part I, anything from sestina to rondelet, in Part II, an acrostic whose "armature" is a phrase uttered by the same speaker in Part I). Readers may be surprised at the complexity of rules governing the writing, so naturally does the author seem to capture the poetic essence of the children's voices-and she makes it look like so much fun that readers may want to try out some of the forms themselves.”
CONNECTIONS
Great read for teachers, especially in lower socio-economic populations, to help provide empathy and possibly change perspectives without judging behavior so immediately.
I found this book enlightening because it cause me to see “behavioral/discipline problems” with a different lens
I learned so much more about the depth of the characters after reading reviews from others.
I feel empowered to strive to understand my students even better.
Poetry Review 1 - Shoe Magic
BIBLIOGRAPHY
Grimes, Nikki. 2000. SHOE MAGIC. Ill. By Terry Widener. New York:
Orchard Books. ISBN 0531302865.
PLOT SUMMARY
Grimes has put together a diverse sample of shoes in which the characters in the different poems use as the promise of different careers, sports and recreational activities. The imagination supplied in this work is magnified by the acrylic paintings provided by Terry Widener. The bright happy full page illustrations give a foot-perspective of each person with the different shoes. The voice changes with different poems from first to third person, giving a more personal feeling to the text. The evidence of strong persona can be distinguished as in RUNNING SHOES where a red-headed boy dreams of running in the Olymics. The poem tells us that the boy believes the first step would be owning a pair of fancy running shoes. But, alas, “But my poor pockets/Are only lined with lint./ I could take the hint,/up my dreaming./But words from Daddy/Once whispered in secret/Send my doubts/Into hasty retreat::/”It’s not the shoes/That do the runnin’./It’s the feet.”/
CRITICAL ANALYSIS
This book would have appeal to an elementary audience, K-4th grade. The universality of this collection of shoe linked to dream poems shines through as the dreams of becoming are usually on the minds of children. This gives meaning to the text based on a young child’s experiences. The illustrations are divided between full single pages of painting with the poem on the opposite page set against a stark white background and double spread full color pages wit hthe poem typed directly onto the painting. This latter presentation makes a stronger statement and appeal to the audience.
The sense imagery invoke sight through delightful illustrations, depicting slightly enlarged shoes with prominent placement in the picture as well as through the text, as in BRANDI’S BABY SHOES “Why Mom keeps/My bronze baby shoes/Buffed and brilliant/On the mantel/Is a mystery.” The sense of touch is summoned in SOFT SOLES “You bathe fevered foreheads/Give needles with care” and WHEN DEVIN AND DINA GO HIKING “We’ll dine on berries,/Sip morning dew.” Provides the sense of taste.
The language is fairly straightforward with very little figurative examples, which, would also appeal to audiences of children.
REVIEW EXCERPTS
Kirkus Review (September 15, 2000)
“The sunny tone is matched in Widener's acrylics with round-headed, rubber-limbed children of all ethnicities wearing oversized footgear, exuberantly dancing, skiing, skating, swimming, or (it's not all about choosing a career) playing. Dreamers and doers both will find inspiration here. “
School Library Journal (October 2000)
“Using their footwear as points of departure, Grimes presents a cycle of poems about kids' everyday lives and dreams for the future. …"Slippers" offers a fitting benediction at the end of a child's busy day: "Rest your soles./Spread your toes./Curl, breathe deep./There now, Dreamer,/Hush-/Sleep."
“Widener's exuberant acrylic paintings capture the joys and hopes expressed in each of the poems. A multicultural cast of boys and girls engage in sports activities, perform onstage, and enjoy the outdoors. This collection clearly celebrates its child readers.”
CONNECTIONS
Could serve as a great springboard for boosting self-esteem, discussing dreams and aspirations.
Appeal would reach a very young audience, yet possibly disinterest from 5th grade and up because their understanding “what I want to be when I grow up” is much more realistic.
Great diversity tool with boys and girls and different ethnic backgrounds represented in many different roles.
Grimes, Nikki. 2000. SHOE MAGIC. Ill. By Terry Widener. New York:
Orchard Books. ISBN 0531302865.
PLOT SUMMARY
Grimes has put together a diverse sample of shoes in which the characters in the different poems use as the promise of different careers, sports and recreational activities. The imagination supplied in this work is magnified by the acrylic paintings provided by Terry Widener. The bright happy full page illustrations give a foot-perspective of each person with the different shoes. The voice changes with different poems from first to third person, giving a more personal feeling to the text. The evidence of strong persona can be distinguished as in RUNNING SHOES where a red-headed boy dreams of running in the Olymics. The poem tells us that the boy believes the first step would be owning a pair of fancy running shoes. But, alas, “But my poor pockets/Are only lined with lint./ I could take the hint,/up my dreaming./But words from Daddy/Once whispered in secret/Send my doubts/Into hasty retreat::/”It’s not the shoes/That do the runnin’./It’s the feet.”/
CRITICAL ANALYSIS
This book would have appeal to an elementary audience, K-4th grade. The universality of this collection of shoe linked to dream poems shines through as the dreams of becoming are usually on the minds of children. This gives meaning to the text based on a young child’s experiences. The illustrations are divided between full single pages of painting with the poem on the opposite page set against a stark white background and double spread full color pages wit hthe poem typed directly onto the painting. This latter presentation makes a stronger statement and appeal to the audience.
The sense imagery invoke sight through delightful illustrations, depicting slightly enlarged shoes with prominent placement in the picture as well as through the text, as in BRANDI’S BABY SHOES “Why Mom keeps/My bronze baby shoes/Buffed and brilliant/On the mantel/Is a mystery.” The sense of touch is summoned in SOFT SOLES “You bathe fevered foreheads/Give needles with care” and WHEN DEVIN AND DINA GO HIKING “We’ll dine on berries,/Sip morning dew.” Provides the sense of taste.
The language is fairly straightforward with very little figurative examples, which, would also appeal to audiences of children.
REVIEW EXCERPTS
Kirkus Review (September 15, 2000)
“The sunny tone is matched in Widener's acrylics with round-headed, rubber-limbed children of all ethnicities wearing oversized footgear, exuberantly dancing, skiing, skating, swimming, or (it's not all about choosing a career) playing. Dreamers and doers both will find inspiration here. “
School Library Journal (October 2000)
“Using their footwear as points of departure, Grimes presents a cycle of poems about kids' everyday lives and dreams for the future. …"Slippers" offers a fitting benediction at the end of a child's busy day: "Rest your soles./Spread your toes./Curl, breathe deep./There now, Dreamer,/Hush-/Sleep."
“Widener's exuberant acrylic paintings capture the joys and hopes expressed in each of the poems. A multicultural cast of boys and girls engage in sports activities, perform onstage, and enjoy the outdoors. This collection clearly celebrates its child readers.”
CONNECTIONS
Could serve as a great springboard for boosting self-esteem, discussing dreams and aspirations.
Appeal would reach a very young audience, yet possibly disinterest from 5th grade and up because their understanding “what I want to be when I grow up” is much more realistic.
Great diversity tool with boys and girls and different ethnic backgrounds represented in many different roles.
Thursday, September 27, 2007
Module 2 Review 3
BIBLIOGRAPHY
Simonds, Nina; Swartz, Leslie; The Children’s Museum of Boston. 2002. MOONBEAMS, DUMPLINGS AND DRAGON BOATS. Ill. By Meilo So. New York, NY. Gulliver Books. ISBN 0152019839.
PLOT SUMMARY
A great team effort resulted in a unified presentation of stories, recipes and activities surrounding five different Chinese festivals. The festivals include the New Year, the Lantern Festival, Qing Ming, the Cold Foods Festival, The Dragon Boat Festival and the Mid Autumn Moon Festival. A description of the lunar year clarifies how the festival days are set each year. The stories are short and easily understood, drawing simple connections to the various festival activities. For example, preparing tanggua, or melon shaped candies that are sticky as the New Year approaches in order to “…stuff the Kitchen God’s mouth with the candy to make certain there will be good health and bountiful crops in the coming year.”
The watercolor paintings are well-placed, sized and positioned, allowing for ease of reading and attention to detail.
CRITICAL ANALYSIS
Some recipes appear to be simple enough for children to follow and have success, while others seem a bit more advanced and involve higher level cooking techniques, such as in Sweet Rice Packages. The activities included in this collection vary enough to appeal to a variety of children, as long as they enjoy crafting.
The stories, or tales, included in this collection tend to sound simplified with very little action and detail. The settings are directly related to the calendar and festivals. The characters seem flat and underdeveloped which is probably due to the brevity of the stories. There is a sense of lesson-learning in the selections, which can evoke disinterest among some children.
Beautiful flowing and exquisite detail in the watercolor illustrations.
REVIEW EXCERPT(S)
Kirkus starred September 15, 2002
“An index would have allowed users to return easily to a favorite recipe, activity, or story, but the work is well organized and worth some page-turning to find a specific selection. A guide to Chinese pronunciation and two pages of additional resources are included. No library should be without this well-designed, beautiful, and informative resource.”
Booklist October 15, 2002 Vol. 99, No. 4
“Attractively designed, the pages include plenty of white space, creating a fine background for So's brilliantly colored, stylized paintings.
CONNECTIONS
When I read the choices for this assignment, I found the title to be attractive and pleasant. Yet as I read the book, I found I really didn’t want to finish the reading. I’m not sure if it is because this work is more of a reference guide, or if the stories are so shallow that the interest is sustained. As a general rule, my oldest daughter and I love to read cookbooks and try new recipes, yet her reaction to this book was much like mine.
I found the guide to pronunciation was informative and useful.
Simonds, Nina; Swartz, Leslie; The Children’s Museum of Boston. 2002. MOONBEAMS, DUMPLINGS AND DRAGON BOATS. Ill. By Meilo So. New York, NY. Gulliver Books. ISBN 0152019839.
PLOT SUMMARY
A great team effort resulted in a unified presentation of stories, recipes and activities surrounding five different Chinese festivals. The festivals include the New Year, the Lantern Festival, Qing Ming, the Cold Foods Festival, The Dragon Boat Festival and the Mid Autumn Moon Festival. A description of the lunar year clarifies how the festival days are set each year. The stories are short and easily understood, drawing simple connections to the various festival activities. For example, preparing tanggua, or melon shaped candies that are sticky as the New Year approaches in order to “…stuff the Kitchen God’s mouth with the candy to make certain there will be good health and bountiful crops in the coming year.”
The watercolor paintings are well-placed, sized and positioned, allowing for ease of reading and attention to detail.
CRITICAL ANALYSIS
Some recipes appear to be simple enough for children to follow and have success, while others seem a bit more advanced and involve higher level cooking techniques, such as in Sweet Rice Packages. The activities included in this collection vary enough to appeal to a variety of children, as long as they enjoy crafting.
The stories, or tales, included in this collection tend to sound simplified with very little action and detail. The settings are directly related to the calendar and festivals. The characters seem flat and underdeveloped which is probably due to the brevity of the stories. There is a sense of lesson-learning in the selections, which can evoke disinterest among some children.
Beautiful flowing and exquisite detail in the watercolor illustrations.
REVIEW EXCERPT(S)
Kirkus starred September 15, 2002
“An index would have allowed users to return easily to a favorite recipe, activity, or story, but the work is well organized and worth some page-turning to find a specific selection. A guide to Chinese pronunciation and two pages of additional resources are included. No library should be without this well-designed, beautiful, and informative resource.”
Booklist October 15, 2002 Vol. 99, No. 4
“Attractively designed, the pages include plenty of white space, creating a fine background for So's brilliantly colored, stylized paintings.
CONNECTIONS
When I read the choices for this assignment, I found the title to be attractive and pleasant. Yet as I read the book, I found I really didn’t want to finish the reading. I’m not sure if it is because this work is more of a reference guide, or if the stories are so shallow that the interest is sustained. As a general rule, my oldest daughter and I love to read cookbooks and try new recipes, yet her reaction to this book was much like mine.
I found the guide to pronunciation was informative and useful.
BIBLIOGRAPHY
Martin, Rafe. 1992. THE ROUGH-FACE GIRL. Ill. By David Shannon. New York, NY. G. P. Putnam’s Sons. ISBN 0399218599.
PLOT SUMMARY
Based on a basic Cinderella theme, this is a folktale from the Algonquin Indian tribe. The story is takes place on the shores of Lake Ontario and comes from a line of oral storytelling tradition. The Rough-Face Girl is one of three sisters who want to marry the Invisible On who was described as great, rich, powerful, and handsome. The two older sisters force the younger sister to tend the fire, giving her the famed roughness of face, hair and hands. Their poor father gives all that he has for the two older ones to have necklaces and clothing to meet the great man. Yet, they are caught in their web of lying by his gatekeeping sister. When the Rough-Face girl asks for these gifts from her father, he has nothing more to give. So she makes the best of the situation, and goes to meet the Invisible One. The story ends somewhat abruptly, with the couple riding off in a canoe.
CRITICAL ANALYSIS
Character development is sparce in text but enhanced by Shannon’s illustrations. The illustrations are full page and color with simple narrow white borders, focusing on people. The portrayal of the Invisible One’s face in the sky and his body in the clouds seem out of place, as compared with the other drawings. Yet the Milky Way link to the Invisible One’s sled runners seems more in sync with the other images.
In the vein of traditional literature, the characters are good or bad, the setting is simple and straightforward, as in the explanation of the village, “Off from the other wigwams of this village stood one great huge wigwam.” Goodness prevails in the end as “they lived together in great gladness and were never parted.”
The sister of the Invisible One plays a very unembellished protector role and is responsible for screening the marriage applicants.
REVIEW EXCERPT(S)
Kirkus starred (1992)
“An Algonquin Cinderella story, with accomplished but sometimes overliteral illustrations.”
“Martin's retelling is spare and understated, but never dry; the two sisters are richly comic figures, the climax and ending uncontrived yet magically romantic.”
Publishers Weekly (April 13, 1992)
“In places, though, he struggles with the paradox of illustrating the invisible--an eagle, tree, cloud and rainbow form the face of the Invisible Being in one disappointingly banal image.”
CONNECTIONS
This could be a tool when comparing versions of Cinderella stories.
As students begin to study cultural values, this story could introduce some specific to Native American Indians.
This story could also be a good discussion-starter for “do not judge people simply by the way they look.”
Martin, Rafe. 1992. THE ROUGH-FACE GIRL. Ill. By David Shannon. New York, NY. G. P. Putnam’s Sons. ISBN 0399218599.
PLOT SUMMARY
Based on a basic Cinderella theme, this is a folktale from the Algonquin Indian tribe. The story is takes place on the shores of Lake Ontario and comes from a line of oral storytelling tradition. The Rough-Face Girl is one of three sisters who want to marry the Invisible On who was described as great, rich, powerful, and handsome. The two older sisters force the younger sister to tend the fire, giving her the famed roughness of face, hair and hands. Their poor father gives all that he has for the two older ones to have necklaces and clothing to meet the great man. Yet, they are caught in their web of lying by his gatekeeping sister. When the Rough-Face girl asks for these gifts from her father, he has nothing more to give. So she makes the best of the situation, and goes to meet the Invisible One. The story ends somewhat abruptly, with the couple riding off in a canoe.
CRITICAL ANALYSIS
Character development is sparce in text but enhanced by Shannon’s illustrations. The illustrations are full page and color with simple narrow white borders, focusing on people. The portrayal of the Invisible One’s face in the sky and his body in the clouds seem out of place, as compared with the other drawings. Yet the Milky Way link to the Invisible One’s sled runners seems more in sync with the other images.
In the vein of traditional literature, the characters are good or bad, the setting is simple and straightforward, as in the explanation of the village, “Off from the other wigwams of this village stood one great huge wigwam.” Goodness prevails in the end as “they lived together in great gladness and were never parted.”
The sister of the Invisible One plays a very unembellished protector role and is responsible for screening the marriage applicants.
REVIEW EXCERPT(S)
Kirkus starred (1992)
“An Algonquin Cinderella story, with accomplished but sometimes overliteral illustrations.”
“Martin's retelling is spare and understated, but never dry; the two sisters are richly comic figures, the climax and ending uncontrived yet magically romantic.”
Publishers Weekly (April 13, 1992)
“In places, though, he struggles with the paradox of illustrating the invisible--an eagle, tree, cloud and rainbow form the face of the Invisible Being in one disappointingly banal image.”
CONNECTIONS
This could be a tool when comparing versions of Cinderella stories.
As students begin to study cultural values, this story could introduce some specific to Native American Indians.
This story could also be a good discussion-starter for “do not judge people simply by the way they look.”
BIBLIOGRAPHY
IKTOMI AND THE BERRIES. Retold and Ill. by Paul Goble. 1989. New York, NY. Orchard Books. ISBN 053105819.
PLOT SUMMARY
This story about Iktomi, the Lakota Native American trickster, centers around a hunting trip taken “in the old traditional way.” He strikes out burdened with the tools and clothing of his ancestors, initially looking for prairie dogs. Many obstacles cause Iktomi to change the purpose of his expedition to duck hunting and then to gathering berries. All of his schemes fail and he takes leave of us in anger, after almost drowning in the river while chasing reflections of the berries in the water.
CRITICAL ANALYSIS
The text in IKTOMI AND THE BERRIES includes two additional levels of text; reader/author comments, and Iktomi’s comments. This technique gives the feeling of author as a character and the added commentary gives a conversational tone that borders on sarcasm. Without turning to the didactic text, the author is able to give the intended lesson of what behaviors are acceptable and what is not. For example, “Iktomi thinks a lot of himself. He is forever boasting about something he is going to do.”
Personification is given to Iktomi’s stomach when he replies, “How can I hunt if you make all that noise?” Iktomi speaks to himself in first person and the author’s comments speak directly to the reader, as in “Do you think he even knows how to swim?”
The setting is like most in traditional literature, simple and generalized. In the beginning, “ The sun had just risen and he was out hunting,” and at the end, “Iktomi went on his way again.” Much detail was given to tying the rock to himself and going down to the bottom of the river, yet the resolution happens with the mere turn of the page without explanatory text.
The pictures are drawn and painted with a lot of detail, yet the face lacks expression. The different levels of text origination help to give the intended meaning and tone.
REVIEW EXCERPT(S)
Horn book starred Feb 1990
“Iktomi, that clever trickster, is hunting prairie dogs in another amusing adventure. Vibrant watercolor and ink illustrations grace the pages of this attractive and useful story.”
CONNECTIONS
The style of having written comments alongside the text will interest some older readers and listeners. There is quite a bit of subtle sarcasm and humor hidden in these remarks! Even the illustrations show the prairie dogs laughing at Iktomi’s expense.
IKTOMI AND THE BERRIES. Retold and Ill. by Paul Goble. 1989. New York, NY. Orchard Books. ISBN 053105819.
PLOT SUMMARY
This story about Iktomi, the Lakota Native American trickster, centers around a hunting trip taken “in the old traditional way.” He strikes out burdened with the tools and clothing of his ancestors, initially looking for prairie dogs. Many obstacles cause Iktomi to change the purpose of his expedition to duck hunting and then to gathering berries. All of his schemes fail and he takes leave of us in anger, after almost drowning in the river while chasing reflections of the berries in the water.
CRITICAL ANALYSIS
The text in IKTOMI AND THE BERRIES includes two additional levels of text; reader/author comments, and Iktomi’s comments. This technique gives the feeling of author as a character and the added commentary gives a conversational tone that borders on sarcasm. Without turning to the didactic text, the author is able to give the intended lesson of what behaviors are acceptable and what is not. For example, “Iktomi thinks a lot of himself. He is forever boasting about something he is going to do.”
Personification is given to Iktomi’s stomach when he replies, “How can I hunt if you make all that noise?” Iktomi speaks to himself in first person and the author’s comments speak directly to the reader, as in “Do you think he even knows how to swim?”
The setting is like most in traditional literature, simple and generalized. In the beginning, “ The sun had just risen and he was out hunting,” and at the end, “Iktomi went on his way again.” Much detail was given to tying the rock to himself and going down to the bottom of the river, yet the resolution happens with the mere turn of the page without explanatory text.
The pictures are drawn and painted with a lot of detail, yet the face lacks expression. The different levels of text origination help to give the intended meaning and tone.
REVIEW EXCERPT(S)
Horn book starred Feb 1990
“Iktomi, that clever trickster, is hunting prairie dogs in another amusing adventure. Vibrant watercolor and ink illustrations grace the pages of this attractive and useful story.”
CONNECTIONS
The style of having written comments alongside the text will interest some older readers and listeners. There is quite a bit of subtle sarcasm and humor hidden in these remarks! Even the illustrations show the prairie dogs laughing at Iktomi’s expense.
Wednesday, September 12, 2007
LS 5603 Picture Book Review #3
BIBLIOGRAPHY
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATS TO THE CALDECOTT MEDAL. New York: Walker & Co. ISBN 0802786561
PLOT SUMMARY
Marcus interviewed six Caldecott Award winners for the sixtieth celebration of the award, with one illustrator from each decade. The award is named after Randolph Caldecott, an English illustrator, although the award is now given to American artists for the most distinguished picture book for children. The artists included in this celebratory book are McCloskey, M. Brown, Sendak, Steig, Allsburg, and Wiesner. Each illustrator has a photo and a quote from their acceptance speech which is followed by some biographical information and details of the journey of the development of the book.
CRITICAL ANALYSIS
Quite interesting and detailed collection which contains photos of the illustrators and their dummies used to prepare the illustrations as well as copies of sketches. The text is an easy and informative format, beneficial for both teachers and students. I have always found wordless books a bit disconcerting at first, yet, David Wiesner gives great perspective in his quote from his Caldecott acceptance speech for TUESDAY: “A wordless book offers a different kind of experience…Each viewer reads the book in his or her own way….As a result, there are as many versions of what happened that Tuesday night as there are readers.”
REVIEW EXCERPT(S)
School Library Journal “Anecdotes about the relationship between the illustrators and their editors are also included, reinforcing the idea that this collaboration is very important in the creation of excellent books.”
Booklist “Marcus, who interviewed each artist, provides a lively, informative introduction to each book and its maker. A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/illustrator studies.”
CONNECTIONS
Super resource for both teachers and students who may be doing a book study of one of these featured books.
Attractive book lends itself to being approachable by children, especially for biographical research on any of the six artists.
Great resource for introducing Caldecott award winning books.
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATS TO THE CALDECOTT MEDAL. New York: Walker & Co. ISBN 0802786561
PLOT SUMMARY
Marcus interviewed six Caldecott Award winners for the sixtieth celebration of the award, with one illustrator from each decade. The award is named after Randolph Caldecott, an English illustrator, although the award is now given to American artists for the most distinguished picture book for children. The artists included in this celebratory book are McCloskey, M. Brown, Sendak, Steig, Allsburg, and Wiesner. Each illustrator has a photo and a quote from their acceptance speech which is followed by some biographical information and details of the journey of the development of the book.
CRITICAL ANALYSIS
Quite interesting and detailed collection which contains photos of the illustrators and their dummies used to prepare the illustrations as well as copies of sketches. The text is an easy and informative format, beneficial for both teachers and students. I have always found wordless books a bit disconcerting at first, yet, David Wiesner gives great perspective in his quote from his Caldecott acceptance speech for TUESDAY: “A wordless book offers a different kind of experience…Each viewer reads the book in his or her own way….As a result, there are as many versions of what happened that Tuesday night as there are readers.”
REVIEW EXCERPT(S)
School Library Journal “Anecdotes about the relationship between the illustrators and their editors are also included, reinforcing the idea that this collaboration is very important in the creation of excellent books.”
Booklist “Marcus, who interviewed each artist, provides a lively, informative introduction to each book and its maker. A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/illustrator studies.”
CONNECTIONS
Super resource for both teachers and students who may be doing a book study of one of these featured books.
Attractive book lends itself to being approachable by children, especially for biographical research on any of the six artists.
Great resource for introducing Caldecott award winning books.
LS 5603 Picture Book Review #2
BIBLIOGRAPHY
Gerstein, Mordicai. 2004. THE MAN WHO WALKED BETWEEN THE TOWERS. New York: Scholastic. ISBN 04397000418
PLOT SUMMARY
This book recounts in an easy, talking style, the 1974 performance by Philippe Petit, of a high wire walk between the Twin Towers in New York City. From France, Petit was a street performer who knew this daring act was illegal, yet, desired to fulfill this dream so much that he posed as a construction worker while the buildings were still being completed and gained access to the roof tops. Throughout a night, Gerstein details the tasks completed in order to perform. Petit stepped out onto the wire as the sun was rising, danced until he was finished and walked back to officers to be handcuffed. A kind judge sentences him to perform for the children in the park.
CRITICAL ANALYSIS
This in depth view of New York City is portrayed with controlled pen and paint drawings, surrounded by thick white borders on the pages. When Petit arrives on top of the towers, the borders become a shaded blue and the pictures are shadowed with blues and blacks, representing both the night and the impending danger. As the final placement of the highwire takes place, the illustrations become elongated, showing the great distance of 140 feet. Petit’s actually walk/dance is vividly enlarged both horizontally and vertically on two successive foldout layouts. The book concludes with an eerie look at the city with a ghostly appearance of the Twin Towers looming over the other buildings from the ground view…with a tightrope and dancer posed in between.
REVIEW EXCERPT(S)
Booklist “Here's a joyful true story of the World Trade Center from a time of innocence before 9/11. In 1974 French trapeze artist Philippe Petit walked a tightrope suspended between the towers before they were completed.”
Horn Book “Finally, the last pages bring us to the present ("Now the towers are gone"), showing the current empty skyscape. "But in memory, as if imprinted on the sky, the towers are still there." And so they are on the last page, translucent against the clouds, with a tiny Philippe on his wire connecting the towers to each other and the past to the present.”
CONNECTIONS
This book can serve as a historical reference, study of events of 9/11, as well as a fine example of illustration and story and how each can complement and support the other.
Utilize as a study of Caldecott Award winning books.
Part of a biographical study of Philippe Petit
Study of street and circus performers.
Appeals to an older elementary audience.
Gerstein, Mordicai. 2004. THE MAN WHO WALKED BETWEEN THE TOWERS. New York: Scholastic. ISBN 04397000418
PLOT SUMMARY
This book recounts in an easy, talking style, the 1974 performance by Philippe Petit, of a high wire walk between the Twin Towers in New York City. From France, Petit was a street performer who knew this daring act was illegal, yet, desired to fulfill this dream so much that he posed as a construction worker while the buildings were still being completed and gained access to the roof tops. Throughout a night, Gerstein details the tasks completed in order to perform. Petit stepped out onto the wire as the sun was rising, danced until he was finished and walked back to officers to be handcuffed. A kind judge sentences him to perform for the children in the park.
CRITICAL ANALYSIS
This in depth view of New York City is portrayed with controlled pen and paint drawings, surrounded by thick white borders on the pages. When Petit arrives on top of the towers, the borders become a shaded blue and the pictures are shadowed with blues and blacks, representing both the night and the impending danger. As the final placement of the highwire takes place, the illustrations become elongated, showing the great distance of 140 feet. Petit’s actually walk/dance is vividly enlarged both horizontally and vertically on two successive foldout layouts. The book concludes with an eerie look at the city with a ghostly appearance of the Twin Towers looming over the other buildings from the ground view…with a tightrope and dancer posed in between.
REVIEW EXCERPT(S)
Booklist “Here's a joyful true story of the World Trade Center from a time of innocence before 9/11. In 1974 French trapeze artist Philippe Petit walked a tightrope suspended between the towers before they were completed.”
Horn Book “Finally, the last pages bring us to the present ("Now the towers are gone"), showing the current empty skyscape. "But in memory, as if imprinted on the sky, the towers are still there." And so they are on the last page, translucent against the clouds, with a tiny Philippe on his wire connecting the towers to each other and the past to the present.”
CONNECTIONS
This book can serve as a historical reference, study of events of 9/11, as well as a fine example of illustration and story and how each can complement and support the other.
Utilize as a study of Caldecott Award winning books.
Part of a biographical study of Philippe Petit
Study of street and circus performers.
Appeals to an older elementary audience.
LS 5603 Picture Book Review #1
BIBLIOGRAPHY
Willems, Mo. 2003 DON’T LET THE PIGEON DRIVE THE BUS. New York: Hyperion Books for Children. ISBN 078681988X
PLOT SUMMARY
DON’T LET THE PIGEON DRIVE THE BUS has a unique beginning with the driver of a bus speaking to the reader and/or listeners via a speech bubble in common everyday language. The bus driver makes a request for someone to keep watch until he returns with the one stipulation of not letting the pigeon drive the bus! The story continues with the first person portrayal of the pigeon who displays many behaviors that a young audience might recognize: begging, pleading, bargaining, etc. The pigeon’s desire to drive the bus represents an explicit theme that climaxes with a tantrum followed by the look of complete defeat. Yet the open ending shows the little bird does not give up easily!
CRITICAL ANALYSIS
This Caldecott Honor book presents the pigeon in a bluish hue sporting simple crayon-like drawings. The bird’s eyes, head, and wings are utilized to give character and expression to the star of this show. Simple page layouts with figures appearing at the edges with neutral colored space in the middle give the impression of movement. Language of the bus driver and the pigeon is represented through speech bubbles in common dialog. The story pleads for audience participation and reads as if a child has given the very words to the pigeon! The culminating tantrum happens just before the bus driver returns and has a slightly brighter background color with much larger lettering. In the space of one page turn, the pigeon recovers from his despair with the same song, second verse! He has found a better vehicle, an 18-wheeler!
Interesting note is the end flaps correspond with the story, beginning with images of the pigeon dreaming of driving a bus, and ending with images of the pigeon dreaming of driving an 18-wheeler truck.
REVIEW EXCERPT(S)
Horn Book: “Assuming that young listeners will take on the role of limit-setting grownups and not identify with the powerless but impertinent pigeon ("What's the big deal!?" "No fair!"), this well-paced story encourages audience interaction.”
Library Media Connection: “This book tells the story of an immature, whining pigeon that wants to drive a bus while the driver is away. The text is written in comic-book style but some of the vocabulary is too hard for very young students. The text emphasizes negative instead of positive behavior. Not Recommended.”
CONNECTIONS
* There are other Willems books about this pigeon’s adventures.
* Could be used with older readers to represent first person point of view in writing.
* Great for youngsters not yet reading on their own because the story encourages their participation.
*
Willems, Mo. 2003 DON’T LET THE PIGEON DRIVE THE BUS. New York: Hyperion Books for Children. ISBN 078681988X
PLOT SUMMARY
DON’T LET THE PIGEON DRIVE THE BUS has a unique beginning with the driver of a bus speaking to the reader and/or listeners via a speech bubble in common everyday language. The bus driver makes a request for someone to keep watch until he returns with the one stipulation of not letting the pigeon drive the bus! The story continues with the first person portrayal of the pigeon who displays many behaviors that a young audience might recognize: begging, pleading, bargaining, etc. The pigeon’s desire to drive the bus represents an explicit theme that climaxes with a tantrum followed by the look of complete defeat. Yet the open ending shows the little bird does not give up easily!
CRITICAL ANALYSIS
This Caldecott Honor book presents the pigeon in a bluish hue sporting simple crayon-like drawings. The bird’s eyes, head, and wings are utilized to give character and expression to the star of this show. Simple page layouts with figures appearing at the edges with neutral colored space in the middle give the impression of movement. Language of the bus driver and the pigeon is represented through speech bubbles in common dialog. The story pleads for audience participation and reads as if a child has given the very words to the pigeon! The culminating tantrum happens just before the bus driver returns and has a slightly brighter background color with much larger lettering. In the space of one page turn, the pigeon recovers from his despair with the same song, second verse! He has found a better vehicle, an 18-wheeler!
Interesting note is the end flaps correspond with the story, beginning with images of the pigeon dreaming of driving a bus, and ending with images of the pigeon dreaming of driving an 18-wheeler truck.
REVIEW EXCERPT(S)
Horn Book: “Assuming that young listeners will take on the role of limit-setting grownups and not identify with the powerless but impertinent pigeon ("What's the big deal!?" "No fair!"), this well-paced story encourages audience interaction.”
Library Media Connection: “This book tells the story of an immature, whining pigeon that wants to drive a bus while the driver is away. The text is written in comic-book style but some of the vocabulary is too hard for very young students. The text emphasizes negative instead of positive behavior. Not Recommended.”
CONNECTIONS
* There are other Willems books about this pigeon’s adventures.
* Could be used with older readers to represent first person point of view in writing.
* Great for youngsters not yet reading on their own because the story encourages their participation.
*
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