Bibliography
Nye, Naomi Shihab. 1997. Habibi. New York: Simon & Schuster.
ISBN: 0-689-80149-1
Summary
Liyana Abboud and her family transplant from the United States to her father's birth place, a Palestinian village. Once there, they all endure changes in their lives and experience the world where there are struggles between Jews and Palestinians.
Critical Analysis
Gracefully written, Habibi is a story that opens eyes to topics that are hard for many to comprehend. Naomi Shihab Nye's writing style is one that captivates readers and enlightens with her poetically written words.
Nye's writing style makes, Habibi, a story with excellent literary qualities. Nye tells the story through Liyana, a fourteen year old girl, who contemplates about her world. At the beginning of each chapter, Nye presents a statement, question, or poem by Liyana to foreshadow the chapter, as well as present Liyana as a deep thinker and develop her character. Like many girls her age, Liyana has just experienced her first kiss and has "never imagined lips to be warm" (4). Nye also develops the familial bond intricately, but believably, so that many readers can relate. For example, Liyana is not excited about the move to a new country, however she does not disrespect her father by arguing about it. Also, when her father is jailed, Liyana stands up to the guards so that she can see him. When Liyana becomes interested in a boy, her mother quietly supports her, even though, in their new country, it is not acceptable for this to happen. Additionally, the relationship between her and her brother is strong and supportive. For example, when Liyana wants her family to meet, Omer, her Jewish boyfriend and her father is upset about how the family will react, Rafik exclaims, "Say he's MY FRIEND, not Liyana's." At other times, their relationship is also comical. When Liyana asks, Rafik is he is sick after he has vomited, he exclaims, "No dope-dope, that's how we say hello in my language. As the story progresses, the changes taking place in Liyana are developing. It becomes obvious Liyana is embracing change, and even making others begin to question the old ways. She says to her father, "What good is it to believe in peace and talk about peace if you want to live the same old ways?" (228).
Nye establishes the setting of the story vividly. The tone of the story is appropriate for people going through trials and tribulations of change. At the end of the story, when Sitti welcomes Omer, peace and acceptance of others becomes the obvious message.
Nye's ability to use superb literary qualities transfers to her use of cultural markers in the story. The entire story presents different markers, such as food, clothing, actions, language of the people. Early on, Poppy explains to Liyana and Rafik ice cream will be called "booza" after they move (7). They eat "baked lamb surrounded by rice and pine nuts" (51). They have plates of baba ghanouj and hummus (68) and baklava (69). Liyana discovers katayef, an Arabic dessert, too. All the examples are types of Middle Eastern food.
Another cultural marker is found in their clothing and features. When Liyana's family arrive they notice women wear long dresses made of thick fabrics and embroidered with multicolored threads (40)The women wear long, white scarves over their heads and some men wear kaffiyehs, (41) which are typical headwear for Middle Eastern men. Liyana and Rafik have inherited their father's olive skin (42). The men have brown faces (41). Liyana and Rafik discover their grandmother has tattoos.
More cultural markers are found in names of the characters. Nye carefully chooses appropriate names for her characters. Nye uses Kamal Abboud for father, Rafik for the brother. Some of the relatives' names are Fayed, Fowzi, Muna, Tayeb, Lena, Saba, Leila and Hamza. Some of Liyana and Rafik's friend's names are Bassam, Khaled, and Omer.
Other cultural markers are found in their actions. When the family greets other, they kiss twice, once on each cheek (39). When grandmother is emotionally moved, she trills loudly (39). Liyana discovers "everyone's favorite thing to do here [is] sit in a circle and talk talk talk" (50). When the big meal is served, everyone but Liyana's family eat communally (51). Later, Poppy's brother asks for Liyana's hand in marriage for his son. (56). Sitti carries a jug of water on her head, without using her hands (84). Nye even uses the fact that there is a division among the people in this part of the world as a cultural marker.
In the story, Nye forces the idea of change for peace, acceptace, and love through profound, thought-provoking comments. Nye's ability to present this story so poignantly, makes this story truly uplifting, and a rewarding read for everyone. Habibi is a definite story for every library. It is truly refreshing.
Review Excerpts
School Library Journal reports, "Though the story begins at a leisurely pace, readers will be engaged by the characters, the romance, and the foreshadowed danger. Poetically imaged and leavened with humor, the story renders layered and complex history understandable through character and incident. Habibi succeeds in making the hope for peace compellingly personal and concrete...as long as individual citizens like Liyana's grandmother Sitti can say, "I never lost my peace inside."'
Kirkus Reviews states, "The sights, sounds, and smells of Jerusalem drift through the pages and readers glean a sense of current Palestinian-Israeli relations and the region's troubled history. In the process, some of the passages become quite ponderous while the human story- -Liyana's emotional adjustments in the later chapters and her American mother's reactions overall--fall away from the plot. However, Liyana's romance with an Israeli boy develops warmly, and readers are left with hope for change and peace as Liyana makes the city her very own."
Review Excerpts accessed from http://www.amazon.com/
Connections
Other works by Naomi Shihab Nye:
The Space Between Our Footsteps
What Have You Lost?
Nineteen Varieties of Gazelle: Poems of the Middle East
A Maze Me: Poems for Girls
Never in a Hurry: Essays on People and Places
The Words Under the Words: Selected Poems
Sitti's Secrets
Friday, August 3, 2007
Wednesday, August 1, 2007
And Tango Makes Three by Justin Richardson and Peter Parnell
Bibliography
Richardson, Justin and Peter Parnell. 2005. And Tango Makes Three. New York: Simon & Schuster.
ISBN: 0-689-878-45-1
Illustrator: Henry Cole
Summary
At the New York City Zoo, two male penguins become parents when they take turns sitting on an egg. The egg hatches and the three become a family.
Critical Analysis
A beautifully illustrated and poignantly written story, And Tango Makes Three is the perfect story about a family's love.
The story takes place in the New York City Zoo, where the illustrations support the realistic quality of the story. For example, the first page shows a few snapshots of New York City and the entrance of the zoo. Additionally, the illustrator has drawn a crowd of diverse people visiting the zoo. Also, the main characters, penguins Roy and Silo, are portrayed accurately where they are singing, bowing, walking and swimming together, like penguins do. Roy and Silo make a nest together and even sit on a rock like it is an egg. This also emphasizes Roy and Silo's quality of being normal penguins, that just happen to both be male. The uplifting tone, helps readers to accept the normalcy of Roy and Silo's love.
After Mr. Gramazy, their keeper, gives an egg to Roy and Silo, they begin taking care of the egg like other penguin couples. After Tango is born, Roy and Silo continue taking care of their baby by feeding her, teaching her to sing, and keeping her warm at night. This is a perfect example of parents taking care of their baby, even it the parents are of the same sex.
The children that visit the zoo, Mr. Gramazy, and even the other penguins accept Roy, Silo, and Tango, making a huge statement for children--accept one another even if they are different. A story that focuses on the devotion of a family, And Tango Makes Three, wonderfully and naturally, explains how love is more important than differences. In an arena where there this a lack of positive, homosexual literature, And Tango Makes Three, is the perfect, true story for all libraries.
Review Excerpts
School Library Journal reports, "Done in soft watercolors, the illustrations set the tone for this uplifting story, and readers will find it hard to resist the penguins' comical expressions. The well-designed pages perfectly marry words and pictures, allowing readers to savor each illustration. An author's note provides more information about Roy, Silo, Tango, and other chinstrap penguins. This joyful story about the meaning of family is a must for any library" (2005).
Library Media Connection states, "Attractive watercolor illustrations complement the text and playfully show the penguin couple making a nest, trying to hatch a rock, and raising their family together. Overall this is a straightforward story without being overtly about homosexuality, but rather focusing on the familial relationship of Roy and Silo and acceptance of others' differences" (2006).
Review excerpts accessed from Follett's Titlewave site at http://www.titlewave.com/
Connections
Other stories with homosexual themes:
The House You Pass on the Way by Jacqueline Woodson
Emma and Meesha My Boy: A Two Mom Story by Kaitlyn Taylor Considine
Heather Has Two Mommies by Leslea Newman
No Big Deal by Ellen Jaffe-Gill
Molly's Family by Nancy Garden
Richardson, Justin and Peter Parnell. 2005. And Tango Makes Three. New York: Simon & Schuster.
ISBN: 0-689-878-45-1
Illustrator: Henry Cole
Summary
At the New York City Zoo, two male penguins become parents when they take turns sitting on an egg. The egg hatches and the three become a family.
Critical Analysis
A beautifully illustrated and poignantly written story, And Tango Makes Three is the perfect story about a family's love.
The story takes place in the New York City Zoo, where the illustrations support the realistic quality of the story. For example, the first page shows a few snapshots of New York City and the entrance of the zoo. Additionally, the illustrator has drawn a crowd of diverse people visiting the zoo. Also, the main characters, penguins Roy and Silo, are portrayed accurately where they are singing, bowing, walking and swimming together, like penguins do. Roy and Silo make a nest together and even sit on a rock like it is an egg. This also emphasizes Roy and Silo's quality of being normal penguins, that just happen to both be male. The uplifting tone, helps readers to accept the normalcy of Roy and Silo's love.
After Mr. Gramazy, their keeper, gives an egg to Roy and Silo, they begin taking care of the egg like other penguin couples. After Tango is born, Roy and Silo continue taking care of their baby by feeding her, teaching her to sing, and keeping her warm at night. This is a perfect example of parents taking care of their baby, even it the parents are of the same sex.
The children that visit the zoo, Mr. Gramazy, and even the other penguins accept Roy, Silo, and Tango, making a huge statement for children--accept one another even if they are different. A story that focuses on the devotion of a family, And Tango Makes Three, wonderfully and naturally, explains how love is more important than differences. In an arena where there this a lack of positive, homosexual literature, And Tango Makes Three, is the perfect, true story for all libraries.
Review Excerpts
School Library Journal reports, "Done in soft watercolors, the illustrations set the tone for this uplifting story, and readers will find it hard to resist the penguins' comical expressions. The well-designed pages perfectly marry words and pictures, allowing readers to savor each illustration. An author's note provides more information about Roy, Silo, Tango, and other chinstrap penguins. This joyful story about the meaning of family is a must for any library" (2005).
Library Media Connection states, "Attractive watercolor illustrations complement the text and playfully show the penguin couple making a nest, trying to hatch a rock, and raising their family together. Overall this is a straightforward story without being overtly about homosexuality, but rather focusing on the familial relationship of Roy and Silo and acceptance of others' differences" (2006).
Review excerpts accessed from Follett's Titlewave site at http://www.titlewave.com/
Connections
Other stories with homosexual themes:
The House You Pass on the Way by Jacqueline Woodson
Emma and Meesha My Boy: A Two Mom Story by Kaitlyn Taylor Considine
Heather Has Two Mommies by Leslea Newman
No Big Deal by Ellen Jaffe-Gill
Molly's Family by Nancy Garden
Moses Goes to a Concert by Isaac Millman
Bibliography
Millman, Isaac. 1998. Moses Goes to a Concert. New York: Frances Foster Books.
ISBN: 0-374-35067-1
Summary
Moses and his classmates, all whom are deaf, attend a concert on a field trip from school. They feel the music through the balloons their teacher has brought from them. Then they are invited to meet the percussionist, who is also deaf.
Critical Analysis
Isaac Millman writes a fictional, yet informative, story about a Moses, a young boy that happens to be deaf. In the illustrations, Millman portrays his characters as a variety of ethnicities that reflect everyday life. The characters all attend a school for the deaf. The story takes place mainly at a concert, which is a perfect catalyst for discussion about the topic of deafness. The tone is upbeat making being deaf a fact of life for some, rather than a hardship of life.
Millman accurately explains and depicts being deaf throughout his story. There is an author's note at the beginning of the story explaining that people who are deaf communicate using sign language. Also, on most pages of the story there are sign-language diagrams explaining the hand movements for sign-language communication. Another example of accuracy is when he defines deafness by stating, Moses "can't hear the sounds he is making because he is deaf..." Instead of hearing, Moses feels vibrations through his hands and feet. Also, when the characters dialog in the story, Millman uses the appropriate term "signs" rather than "says" or "said." Words like says or said implies words being spoken. At the concert the children use balloons to experience the concert by feeling the vibrations. Additionally, the percussionist, who is also deaf feels the vibrations through her shoeless feet.
Millman's story is of good quality merit, portraying deafness accurately and informatively. However, it is a story that focuses on the disability and the disability is introduced before the character is. These are the only two cultural diverse weaknesses in the story. Millman does an excellent job of showing Moses' deafness as a difference rather than disabling trait. This is a perfect story to share with students when discussing differences. All children, with or without deafness, will be introduced to a Millman's ultimate message in this story: "When you set your mind to it, you can be become anything you want want..."
Review Excerpts
Kirkus Review reports, "The power of Millman's book comes from the simple fact that he levels the playing field; of course deaf children go to concerts, but conveying how they enjoy music removes yet one more barrier between those who can hear and those who cannot" (1998).
Millman, Isaac. 1998. Moses Goes to a Concert. New York: Frances Foster Books.
ISBN: 0-374-35067-1
Summary
Moses and his classmates, all whom are deaf, attend a concert on a field trip from school. They feel the music through the balloons their teacher has brought from them. Then they are invited to meet the percussionist, who is also deaf.
Critical Analysis
Isaac Millman writes a fictional, yet informative, story about a Moses, a young boy that happens to be deaf. In the illustrations, Millman portrays his characters as a variety of ethnicities that reflect everyday life. The characters all attend a school for the deaf. The story takes place mainly at a concert, which is a perfect catalyst for discussion about the topic of deafness. The tone is upbeat making being deaf a fact of life for some, rather than a hardship of life.
Millman accurately explains and depicts being deaf throughout his story. There is an author's note at the beginning of the story explaining that people who are deaf communicate using sign language. Also, on most pages of the story there are sign-language diagrams explaining the hand movements for sign-language communication. Another example of accuracy is when he defines deafness by stating, Moses "can't hear the sounds he is making because he is deaf..." Instead of hearing, Moses feels vibrations through his hands and feet. Also, when the characters dialog in the story, Millman uses the appropriate term "signs" rather than "says" or "said." Words like says or said implies words being spoken. At the concert the children use balloons to experience the concert by feeling the vibrations. Additionally, the percussionist, who is also deaf feels the vibrations through her shoeless feet.
Millman's story is of good quality merit, portraying deafness accurately and informatively. However, it is a story that focuses on the disability and the disability is introduced before the character is. These are the only two cultural diverse weaknesses in the story. Millman does an excellent job of showing Moses' deafness as a difference rather than disabling trait. This is a perfect story to share with students when discussing differences. All children, with or without deafness, will be introduced to a Millman's ultimate message in this story: "When you set your mind to it, you can be become anything you want want..."
Review Excerpts
Kirkus Review reports, "The power of Millman's book comes from the simple fact that he levels the playing field; of course deaf children go to concerts, but conveying how they enjoy music removes yet one more barrier between those who can hear and those who cannot" (1998).
Booklist announces, "With clear line-and-watercolor pictures, the precise hand shapes, movements, and facial expressions of ASL are a natural part of the story. . . . Deaf children will welcome this joyful story that talks, without condescension, about the fun they have. Hearing kids, too, will want to learn some of the sign language. . . " (1998).
Reveiw excerpts accessed through Follett's Titlewave site at http://www.titlewave.com/.
Connections
Other Stories by Isaac Millman:
Moses Goes to School
Moses Goes to the Circus
Moses Sees a Play
Wednesday, July 25, 2007
This Next New Year by Janet S. Wong
Bibliography
Wong, Janet S. 2000. This Next New Year. New York: Frances Foster Books.
Illustrator: Yangsook Choi
ISBN: 0-374-35503-7
Summary
The Lunar New Year is fast approaching and a boy and his family make the preparations to celebrate.
Critical Analysis
Janet S. Wong provides children with an excellent introduction to a Chinese holiday, the Chinese New Year. Wong's descriptive text and Yangsook Choi's vivacious illustrations complement each other perfectly.
There are many Asian American cultural markers though out the story. In the story, the boy explains he is part Korean and part Chinese. The entire story is an explanation of the lunar New Year, which the boy calls Chinese New Year. To give an example of a Korean cultural marker, the boy explains his mother cooks the Korean new year soup, duk gook. Also, he explains that people receive red envelops filled with money on this holiday. Additionally, Mother thoroughly cleans the house, getting rid of last year's dust, or bad luck, to make room for this year's good luck. The little boy even grooms himself completely to make room for the good luck soon to come. They also pop firecrackers at midnight to scare away bad luck.
The illustrations also provide example of Asian American cultural markers. One of the illustrations shows the family sharing a meal. They are sitting on pillows at a low table. They are also eating with chopsticks. In another scene, there are paper lanterns all around. Two of the illustrations show a dragon puppet and a lion costume. There is no reference in the text about the dragon or the lion, but upon doing research I found the dragon dance and the lion dance are both traditional dances performed in China.
The illustrator does an exceptional job portraying different races in the third and fourth illustrations of the story. On these pages, the differences in hair color and skin color are evident. The boy and his family have darker skin and hair than his French and German friends.
At the end of the story, the author includes a note about the lunar new year, explaining her childhood experience. This information is helpful, too. Wong's fun, lively text paired with Choi's exceptional, colorful illustrations makes this an ideal story about Chinese New Year.
Review Excerpts
Kirkus Review announces, "Choi's (Nim and the War Effort, 1996, etc.) lively, two-page spreads in bright colors, perfectly complement the energetic text, adding visual reinforcement to the scenes described by the narrator" (2000).
School Library Journal states, "Wong carefully and clearly presents the reasons behind the rituals in a manner understandable to young children. She explains in an appended note about her own confusion as a child about the timing and meaning of the holiday. Choi's vibrant, somewhat primitive paintings realistically capture the details of and preparations for this hopeful time of year" (2000).
Reviews accessed from Follett's Titlewave at http://www.titlewave.com/
Connections
Other stories about Chinese New Year:
D is for Dragon Dance by Ying Chang Compestine
The Year of the Dog by Grace Lin
My First Chinese New Year by Karen Katz
When the Circus Came to Town by Laurence Yep
Other stories by Janet S. Wong
The Trip Back Home
Alex and the Wednesday Chess Club
Apple Pie Fourth of July
You Have to Write
Night Garden: Poems from the World of Dreams
Hide and Seek
Minn and Jake
Wong, Janet S. 2000. This Next New Year. New York: Frances Foster Books.
Illustrator: Yangsook Choi
ISBN: 0-374-35503-7
Summary
The Lunar New Year is fast approaching and a boy and his family make the preparations to celebrate.
Critical Analysis
Janet S. Wong provides children with an excellent introduction to a Chinese holiday, the Chinese New Year. Wong's descriptive text and Yangsook Choi's vivacious illustrations complement each other perfectly.
There are many Asian American cultural markers though out the story. In the story, the boy explains he is part Korean and part Chinese. The entire story is an explanation of the lunar New Year, which the boy calls Chinese New Year. To give an example of a Korean cultural marker, the boy explains his mother cooks the Korean new year soup, duk gook. Also, he explains that people receive red envelops filled with money on this holiday. Additionally, Mother thoroughly cleans the house, getting rid of last year's dust, or bad luck, to make room for this year's good luck. The little boy even grooms himself completely to make room for the good luck soon to come. They also pop firecrackers at midnight to scare away bad luck.
The illustrations also provide example of Asian American cultural markers. One of the illustrations shows the family sharing a meal. They are sitting on pillows at a low table. They are also eating with chopsticks. In another scene, there are paper lanterns all around. Two of the illustrations show a dragon puppet and a lion costume. There is no reference in the text about the dragon or the lion, but upon doing research I found the dragon dance and the lion dance are both traditional dances performed in China.
The illustrator does an exceptional job portraying different races in the third and fourth illustrations of the story. On these pages, the differences in hair color and skin color are evident. The boy and his family have darker skin and hair than his French and German friends.
At the end of the story, the author includes a note about the lunar new year, explaining her childhood experience. This information is helpful, too. Wong's fun, lively text paired with Choi's exceptional, colorful illustrations makes this an ideal story about Chinese New Year.
Review Excerpts
Kirkus Review announces, "Choi's (Nim and the War Effort, 1996, etc.) lively, two-page spreads in bright colors, perfectly complement the energetic text, adding visual reinforcement to the scenes described by the narrator" (2000).
School Library Journal states, "Wong carefully and clearly presents the reasons behind the rituals in a manner understandable to young children. She explains in an appended note about her own confusion as a child about the timing and meaning of the holiday. Choi's vibrant, somewhat primitive paintings realistically capture the details of and preparations for this hopeful time of year" (2000).
Reviews accessed from Follett's Titlewave at http://www.titlewave.com/
Connections
Other stories about Chinese New Year:
D is for Dragon Dance by Ying Chang Compestine
The Year of the Dog by Grace Lin
My First Chinese New Year by Karen Katz
When the Circus Came to Town by Laurence Yep
Other stories by Janet S. Wong
The Trip Back Home
Alex and the Wednesday Chess Club
Apple Pie Fourth of July
You Have to Write
Night Garden: Poems from the World of Dreams
Hide and Seek
Minn and Jake
Tree of Cranes by Allen Say
Bibliography
Say, Allen. 1991. Tree of Cranes. Boston: Houghton Mifflin.
ISBN: 0-395-52024-x
Summary
A young boy in Japan learns about customs of Christmas when his mother, who was raised in America, teaches him about decorating a tree for Christmas.
Critical Analysis
Caldecott Award Medalist, Allen Say has written a tender story about a Japanese boy's first Christmas. Say does an excellent job developing the main character and setting the tone of the story through the little boy actions and sayings. For example, the little boy hung his head when he realized mother knew he had been playing near the pond (8). He also wonders if mother is angry with him when he opens the window (16). Through these events a reader can begin to feel a somber, but curious mood. Say does an excellent job at changing the boy's expression so the reader can really interpret what the boy is feeling. For example, when the boy realizes Mother is not happy because he played in the pond, he appears to be sad (13). On page 22 and 23, the boy is lighting the candles. He appears to be concentrating and serious about the importance of his actions.
Say's cultural markers are predominantly portrayed through his illustrations. There are also a few found in the text. One of the first cultural markers is noticed in a scene at the beginning of the story. After taking his bath the boy dresses in traditional Japanese clothing. His mother is dressed similarly also.
Another cultural marker is seen in the skin tone, hair color, and facial features of his characters. The skin tone is fair, but not yellow. The characters' hair is black and straight. Their eyes are drawn to be narrow, rather than round.
The architecture and style of the home are appropriate Japanese cultural markers, too. Say draws the home with rice paper windows, sliding doors and windows. The floor in the bathroom is made of wooden planks and the tub is a wooden box. The little boy's mattress is on the floor rather than elevated in a bed frame.
Additionally the chopsticks and food are Japanese cultural markers. The boy eats using chopsticks. Mother serves him rice gruel, sour plum, yellow radishes, and hot tea to eat for lunch.
Through out much of the story Mother is preoccupied with folding paper cranes. Folding paper into shapes is called origami, which is a traditional art form in Japan. Also, the boy receives a samuari kite as his gift under the tree. A samuari is a Japanse warrior.
Say's story presents us with a refreshing twist on a common tradition in Christian parts of the United States-the Christmas tree. Say's well-written text and beautiful illustrations provide an interesting glance at a Christian custom in Japan. Tree of Cranes is a perfect story to share with children.
Review Excerpts
Publisher's Weekly states, "The story is a poignant one, illuminated with finely drawn illustrations reflecting the serenity of a Japanese home and the quiet love between mother and son. Say ( The Bicycle Man ; El Chino ), who came to this country from Japan when he was a teenager, again exhibits a laudable sensitivity to Eastern and Western cultures--and to both the differences and the similarities between them" (1991).
Booklist reports, "Infused with gentle nostalgia, the quiet, graciously told picture book is a perfect blend of text and art. Fine-lined and handsome, Say's watercolors not only capture fascinating details of the boy's far away home--his tall, wooden tub, his futon, his mother's tiny tree--but also depict, with simple grace, the rich and complex bond between mother and child that underlies the story (1991).
Reviews accessed from http://www.titlewave.com/
Connections
Other stories by Allen Say:
Grandfather's Journey
Tea with Milk
Stranger in the Mirror
The Sign Painter
A River Dream
Music for Alice
The Lost Lake
Kamishibai Man
The Inn-Keeper's Apprentice
Home of the Brave
Emma's Rug
El Chino
Bicycle Man
Allison
Say, Allen. 1991. Tree of Cranes. Boston: Houghton Mifflin.
ISBN: 0-395-52024-x
Summary
A young boy in Japan learns about customs of Christmas when his mother, who was raised in America, teaches him about decorating a tree for Christmas.
Critical Analysis
Caldecott Award Medalist, Allen Say has written a tender story about a Japanese boy's first Christmas. Say does an excellent job developing the main character and setting the tone of the story through the little boy actions and sayings. For example, the little boy hung his head when he realized mother knew he had been playing near the pond (8). He also wonders if mother is angry with him when he opens the window (16). Through these events a reader can begin to feel a somber, but curious mood. Say does an excellent job at changing the boy's expression so the reader can really interpret what the boy is feeling. For example, when the boy realizes Mother is not happy because he played in the pond, he appears to be sad (13). On page 22 and 23, the boy is lighting the candles. He appears to be concentrating and serious about the importance of his actions.
Say's cultural markers are predominantly portrayed through his illustrations. There are also a few found in the text. One of the first cultural markers is noticed in a scene at the beginning of the story. After taking his bath the boy dresses in traditional Japanese clothing. His mother is dressed similarly also.
Another cultural marker is seen in the skin tone, hair color, and facial features of his characters. The skin tone is fair, but not yellow. The characters' hair is black and straight. Their eyes are drawn to be narrow, rather than round.
The architecture and style of the home are appropriate Japanese cultural markers, too. Say draws the home with rice paper windows, sliding doors and windows. The floor in the bathroom is made of wooden planks and the tub is a wooden box. The little boy's mattress is on the floor rather than elevated in a bed frame.
Additionally the chopsticks and food are Japanese cultural markers. The boy eats using chopsticks. Mother serves him rice gruel, sour plum, yellow radishes, and hot tea to eat for lunch.
Through out much of the story Mother is preoccupied with folding paper cranes. Folding paper into shapes is called origami, which is a traditional art form in Japan. Also, the boy receives a samuari kite as his gift under the tree. A samuari is a Japanse warrior.
Say's story presents us with a refreshing twist on a common tradition in Christian parts of the United States-the Christmas tree. Say's well-written text and beautiful illustrations provide an interesting glance at a Christian custom in Japan. Tree of Cranes is a perfect story to share with children.
Review Excerpts
Publisher's Weekly states, "The story is a poignant one, illuminated with finely drawn illustrations reflecting the serenity of a Japanese home and the quiet love between mother and son. Say ( The Bicycle Man ; El Chino ), who came to this country from Japan when he was a teenager, again exhibits a laudable sensitivity to Eastern and Western cultures--and to both the differences and the similarities between them" (1991).
Booklist reports, "Infused with gentle nostalgia, the quiet, graciously told picture book is a perfect blend of text and art. Fine-lined and handsome, Say's watercolors not only capture fascinating details of the boy's far away home--his tall, wooden tub, his futon, his mother's tiny tree--but also depict, with simple grace, the rich and complex bond between mother and child that underlies the story (1991).
Reviews accessed from http://www.titlewave.com/
Connections
Other stories by Allen Say:
Grandfather's Journey
Tea with Milk
Stranger in the Mirror
The Sign Painter
A River Dream
Music for Alice
The Lost Lake
Kamishibai Man
The Inn-Keeper's Apprentice
Home of the Brave
Emma's Rug
El Chino
Bicycle Man
Allison
Saturday, July 21, 2007
Dragonwings by Laurence Yep
Bibliography
Yep, Laurence. 1975. Dragonwings. New York: Harper Collins.
ISBN: 0-06-026738-0
Summary
Eight year old, Moon Shadow arrives in San Francisco to live and work with his father, Windrider, in the laundry business. After several years and trials, Moon Shadow and Windrider leave the laundry business to make Windrider's dream of flying in an airplane come true.
Critical Analysis
Highly acclaimed writer, Laurence Yep, provides a fresh perspective of San Francisco in the early 1900's. Through Yep's eloquently written historical fiction novel, Dragonwings, we get a glimpse of life as a Chinese American and the hardships endured during this time. Yep's descriptive novel gives us a taste of the traditions and culture of Chinese Americans.
Each one of Yep's characters are magnificently portrayed, with their given names as descriptors of their being. For example, Lefty is the name of the man without a hand, Black Dog is the name of the ill-mannered cousin, and the character that dreams of flying (Father) is named Windrider. Also, one of the European American character's name is Miss Whitlaw, which closely resembles the word Whitelaw. The Asian American names are also representative of Asian American cultural markers.
One of the first cultural markers is found when Moon Shadow arrives in San Francisco. He notices the buildings in the town of the Tang people are decorated in red, green, and gold, with lions at the door front protecting the people inside against harm, and the roofs tiled and arched, like they would be in his homeland (19).
There are many examples of other cultural markers throughout the entire story. The Chinese people are referred to as Tang people. Moon Shadow explains this is a reference to the Tang dynasty. Also, on page 48, Moon Shadow explains Uncle is eating with chopsticks. On page 53, Moon Shadow explains how the Tang men wear their hair. Their hairstyle is called a queue. A queue is a braid of hair usually worn at the back of the head. Many times, Moon Shadow mentions the importance of dragons in the Chinese beliefs. Moon Shadow states Chinese people believe dragons are creatures that can bring good or bad to people. Dragons are honored by the Chinese, and their belief is different than Robin's beliefs about dragons (108).
More cultural markers are seen when Moon Shadow and his father go live in Miss Whitlaw's stable. Father decorates their home with Monkey, Buddha-to-be, a cup of soil and incense. They also present Miss Whitlaw with a picture of the Stove King. Father explains that the Stove King is the Chinese Saint of the Kitchen (102).
On page 150, Moon Shadow mentions the Feast of Pure Brightness. This is a custom celebrated by the Chinese people where they honor their deceased relatives by bringing food to the grave sites and telling them stories about the past year. Also, Moon Shadow explains the Tang people that have died will one day be returned to their homeland, where they will be able to completely rest.
Yep's entire story is truly a Asian American cultural marker since it is told through the eyes of a young Chinese boy that has just moved to San Fransisco. Through out the story, Moon Shadow provides explanations of his experiences and clarifies the Chinese influences of the way of this people. This story is perfect to enlighten everyone in the way of life for Chinese Americans.
Review Excerpts
School Library Journal reports, "Yep draws heavily on his own heritage, but also includes figures such as Teddy Roosevelt and the Wright Brothers, and historic events such as the San Francisco Earthquake. The result is a heartwarming story set in a familiar time and place, but told from a new perspective" (2002).
Booklist states, "A fine, sensitive novel written with grace in a way that conveys the Chinese American's cultural heritage."
Laurence Yep has written picture books, collections, novels, and series for children and young adults, using his Asian American culture as inspiration for many of his works.
Some of his books are:
Sweetwater
Child of the Owl
Dragon's Gate
Mountain Light
Tongues of Jade
Later, Gator
Cockroach Cooties
Yep, Laurence. 1975. Dragonwings. New York: Harper Collins.
ISBN: 0-06-026738-0
Summary
Eight year old, Moon Shadow arrives in San Francisco to live and work with his father, Windrider, in the laundry business. After several years and trials, Moon Shadow and Windrider leave the laundry business to make Windrider's dream of flying in an airplane come true.
Critical Analysis
Highly acclaimed writer, Laurence Yep, provides a fresh perspective of San Francisco in the early 1900's. Through Yep's eloquently written historical fiction novel, Dragonwings, we get a glimpse of life as a Chinese American and the hardships endured during this time. Yep's descriptive novel gives us a taste of the traditions and culture of Chinese Americans.
Each one of Yep's characters are magnificently portrayed, with their given names as descriptors of their being. For example, Lefty is the name of the man without a hand, Black Dog is the name of the ill-mannered cousin, and the character that dreams of flying (Father) is named Windrider. Also, one of the European American character's name is Miss Whitlaw, which closely resembles the word Whitelaw. The Asian American names are also representative of Asian American cultural markers.
One of the first cultural markers is found when Moon Shadow arrives in San Francisco. He notices the buildings in the town of the Tang people are decorated in red, green, and gold, with lions at the door front protecting the people inside against harm, and the roofs tiled and arched, like they would be in his homeland (19).
There are many examples of other cultural markers throughout the entire story. The Chinese people are referred to as Tang people. Moon Shadow explains this is a reference to the Tang dynasty. Also, on page 48, Moon Shadow explains Uncle is eating with chopsticks. On page 53, Moon Shadow explains how the Tang men wear their hair. Their hairstyle is called a queue. A queue is a braid of hair usually worn at the back of the head. Many times, Moon Shadow mentions the importance of dragons in the Chinese beliefs. Moon Shadow states Chinese people believe dragons are creatures that can bring good or bad to people. Dragons are honored by the Chinese, and their belief is different than Robin's beliefs about dragons (108).
More cultural markers are seen when Moon Shadow and his father go live in Miss Whitlaw's stable. Father decorates their home with Monkey, Buddha-to-be, a cup of soil and incense. They also present Miss Whitlaw with a picture of the Stove King. Father explains that the Stove King is the Chinese Saint of the Kitchen (102).
On page 150, Moon Shadow mentions the Feast of Pure Brightness. This is a custom celebrated by the Chinese people where they honor their deceased relatives by bringing food to the grave sites and telling them stories about the past year. Also, Moon Shadow explains the Tang people that have died will one day be returned to their homeland, where they will be able to completely rest.
Yep's entire story is truly a Asian American cultural marker since it is told through the eyes of a young Chinese boy that has just moved to San Fransisco. Through out the story, Moon Shadow provides explanations of his experiences and clarifies the Chinese influences of the way of this people. This story is perfect to enlighten everyone in the way of life for Chinese Americans.
Review Excerpts
School Library Journal reports, "Yep draws heavily on his own heritage, but also includes figures such as Teddy Roosevelt and the Wright Brothers, and historic events such as the San Francisco Earthquake. The result is a heartwarming story set in a familiar time and place, but told from a new perspective" (2002).
Booklist states, "A fine, sensitive novel written with grace in a way that conveys the Chinese American's cultural heritage."
Review excerpts accessed from http://www.amazon.com/
ConnectionsLaurence Yep has written picture books, collections, novels, and series for children and young adults, using his Asian American culture as inspiration for many of his works.
Some of his books are:
Sweetwater
Child of the Owl
Dragon's Gate
Mountain Light
Tongues of Jade
Later, Gator
Cockroach Cooties
Saturday, July 14, 2007
How Turtle's Back Was Cracked: A Traditional Cherokee Tale retold by Gayle Ross
Bibliography
Ross, Gayle. 1995. How Turtle's Back Was Cracked: A Traditional Cherokee Tale. New York: Dial Books for Young Readers.
Illustrator: Murv Jacob
ISBN: 0-8037-1728-8
Summary
Turtle's back is cracked when the wolves decide Turtle must die for insulting wolves.
Critical Analysis
Author and storyteller, Gayle Ross, is known for using the tales she heard as a child from her Native American grandmother as inspiration for her stories.
The author's note at the beginning of the story is evidence of the Native American influence this story has to offer. Ms. Ross admits to adding "detail and character development consistent with the culture [Cherokee] from which the story springs." Many times Native American tales explain or teach a lesson. In this story, Ross explains how turtles back became cracked. Another piece of evidence is when Ross explains it is "a custom for a hunter to take what is called a tribute from an animal he has killed." Turtle takes wolf's ears as a tribute.
The pictures by Jacob provide most of the Native American cultural markers in the story. The homes shown are one type of built by Native Americans. The illustrations also show the Native Americans wearing moccasins and clothing made from animal skins. Some of the Native Americans are decorated with symbols on their clothing, beads, and feathers in their hair. The Native Americans are also carrying spears or sticks with feather on the end. They also have dark skin and dark hair.
How Turtle's Back was Cracked is a fun and witty story. The biographical information on the jacket flap about the author and illustrator support the authenticity of their Native American influence. A reader may cautiously assume the Native American cultural markers in this story are authentic and accurate.
Review Excerpts
Kirkus Review announces, "This old Cherokee tale has humor with a kick; Jacob's densely detailed, stylized acrylic paintings add a bit of the surreal" (1995).
Booklist states, "[T]his Cherokee pourquoi tale has a flavor all its own. Ross notes that she remembers the tale from her childhood, found a written source, and developed it through storytelling to its present form. Jacob's distinctive acrylic paintings illustrate the story's dramatic moments in scenes rich in colors and patterns. An entertaining picture book to read aloud" (1995).
Connections
This story would be a good book to use with students studying Native American stories and legends, such as these other books by Gayle Ross:
The Legend of Windigo: A Tale from Native North America
How Rabbit Tricked Otter and other Cherokee Trickster Tales
Ross, Gayle. 1995. How Turtle's Back Was Cracked: A Traditional Cherokee Tale. New York: Dial Books for Young Readers.
Illustrator: Murv Jacob
ISBN: 0-8037-1728-8
Summary
Turtle's back is cracked when the wolves decide Turtle must die for insulting wolves.
Critical Analysis
Author and storyteller, Gayle Ross, is known for using the tales she heard as a child from her Native American grandmother as inspiration for her stories.
The author's note at the beginning of the story is evidence of the Native American influence this story has to offer. Ms. Ross admits to adding "detail and character development consistent with the culture [Cherokee] from which the story springs." Many times Native American tales explain or teach a lesson. In this story, Ross explains how turtles back became cracked. Another piece of evidence is when Ross explains it is "a custom for a hunter to take what is called a tribute from an animal he has killed." Turtle takes wolf's ears as a tribute.
The pictures by Jacob provide most of the Native American cultural markers in the story. The homes shown are one type of built by Native Americans. The illustrations also show the Native Americans wearing moccasins and clothing made from animal skins. Some of the Native Americans are decorated with symbols on their clothing, beads, and feathers in their hair. The Native Americans are also carrying spears or sticks with feather on the end. They also have dark skin and dark hair.
How Turtle's Back was Cracked is a fun and witty story. The biographical information on the jacket flap about the author and illustrator support the authenticity of their Native American influence. A reader may cautiously assume the Native American cultural markers in this story are authentic and accurate.
Review Excerpts
Kirkus Review announces, "This old Cherokee tale has humor with a kick; Jacob's densely detailed, stylized acrylic paintings add a bit of the surreal" (1995).
Booklist states, "[T]his Cherokee pourquoi tale has a flavor all its own. Ross notes that she remembers the tale from her childhood, found a written source, and developed it through storytelling to its present form. Jacob's distinctive acrylic paintings illustrate the story's dramatic moments in scenes rich in colors and patterns. An entertaining picture book to read aloud" (1995).
Connections
This story would be a good book to use with students studying Native American stories and legends, such as these other books by Gayle Ross:
The Legend of Windigo: A Tale from Native North America
How Rabbit Tricked Otter and other Cherokee Trickster Tales
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