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
Skeleton Man by Joseph Bruchac
Bibliography
Bruchac, Joseph. 2001. Skeleton Man. New York: Harper Collins.
ISBN: 0-06-029075-7
Summary
Molly knew something was wrong when she woke up Sunday morning and the house was too quiet. Where could her parents be? Four days after her parents' disappearance, a strange, scary uncle she has never met arrives to take care of her. In her uncle's home, with her dreams leading her, she knows something is wrong and it is up to her to find her parents.
Critical Analysis
Acclaimed writer and storyteller, Joseph Bruchac writes a fictional tale about a young, Native American heroine. Molly, the main character, and uncle, the antagonist are so well-developed by Bruchac, a reader can feel the emotions Molly experiences and the creepiness she gets from her uncle's presence.
The first Native American cultural marker is found in the opening of the story. Bruchac commences the story with Molly relaying a Native American story her father used to tell--the story of Skeleton Man. Molly believes she may be living the real tale of Skeleton Man when her parents have gone missing and uncle arrives.
Around the midpoint of the story, Molly begins having dreams. Her parents have explained to her to "trust your dreams...That's our old way, our Mohawk way. The way of our ancestors" (48). As the story progresses, Molly's dreams become more clear, and she begins to trust her instincts, trusting her Mohawk way. When Bruchac introduces Molly's parents' teachings, the Native American influence becomes obvious.
There are a few Native American appearance markers in the story. For example, on page 30-31, Molly describes herself as having "ink-black hair." There are also a few pictures of Molly in the story. The black and white pictures show Molly as having dark hair. In a few of the pictures, she has braids. Also, the most apparent, illustrative example of a Native American marker is found on page 27. Molly explains she is having an aware dream, where she can get help from a guide in the dream. She is dressed in deerskin and wearing moccasins in the dream.
Another Native American marker is noticed when Molly gets the courage to inspect her uncle's house closely. So as not to be heard, she has to walk the way her Mohawk ancestors would have walked through the forest (66).
The last Native American marker in the story is recognized when Molly explains father called her Warrior Girl because her warrior genes make her sleep so lightly. Molly's father told her her "Indian name might be Keeps Herself Awake (70). Also, when Molly finds her parents, Dad says, "You're our Warrior Girl" (111).
Bruchac is superb at writing a story for children and young adults, using a Native American tale as the backbone of the story. Skeleton Man is a spooky, suspenseful, and riveting tale, anyone will enjoy.
Review Excerpts
Publisher's Weekly reports, "The mix of traditional and contemporary cultural references adds to the story's haunting appeal, and the quick pace and suspense, particularly in the last few chapters, will likely hold the interest of young readers" (2001).
School Library Journal comments, "The suspense draws readers in and keeps them engaged. In the classic horror tradition, Bruchac offers a timely tale that will make hearts beat and brows sweat, and it has the bonus of a resourceful heroine to put the world right again" (2001).
Connections
Joseph Bruchac has a large collection of stories for children and young adults. He writes poetry, traditional stories, fiction/nonfiction, and picture books. Some of his books are:
The Great Ballgame
The First Strawberry
How Chipmunk Got His Stripes
Eagle Song
Dog People
Pocahontas
The Wind Eagle
The Faithful Hunter
The Circle of Thanks
Above the Line
No Borders
Translator's Son
For a complete listing of Bruchac's books: http://www.josephbruchac.com/published_books.html
Bruchac, Joseph. 2001. Skeleton Man. New York: Harper Collins.
ISBN: 0-06-029075-7
Summary
Molly knew something was wrong when she woke up Sunday morning and the house was too quiet. Where could her parents be? Four days after her parents' disappearance, a strange, scary uncle she has never met arrives to take care of her. In her uncle's home, with her dreams leading her, she knows something is wrong and it is up to her to find her parents.
Critical Analysis
Acclaimed writer and storyteller, Joseph Bruchac writes a fictional tale about a young, Native American heroine. Molly, the main character, and uncle, the antagonist are so well-developed by Bruchac, a reader can feel the emotions Molly experiences and the creepiness she gets from her uncle's presence.
The first Native American cultural marker is found in the opening of the story. Bruchac commences the story with Molly relaying a Native American story her father used to tell--the story of Skeleton Man. Molly believes she may be living the real tale of Skeleton Man when her parents have gone missing and uncle arrives.
Around the midpoint of the story, Molly begins having dreams. Her parents have explained to her to "trust your dreams...That's our old way, our Mohawk way. The way of our ancestors" (48). As the story progresses, Molly's dreams become more clear, and she begins to trust her instincts, trusting her Mohawk way. When Bruchac introduces Molly's parents' teachings, the Native American influence becomes obvious.
There are a few Native American appearance markers in the story. For example, on page 30-31, Molly describes herself as having "ink-black hair." There are also a few pictures of Molly in the story. The black and white pictures show Molly as having dark hair. In a few of the pictures, she has braids. Also, the most apparent, illustrative example of a Native American marker is found on page 27. Molly explains she is having an aware dream, where she can get help from a guide in the dream. She is dressed in deerskin and wearing moccasins in the dream.
Another Native American marker is noticed when Molly gets the courage to inspect her uncle's house closely. So as not to be heard, she has to walk the way her Mohawk ancestors would have walked through the forest (66).
The last Native American marker in the story is recognized when Molly explains father called her Warrior Girl because her warrior genes make her sleep so lightly. Molly's father told her her "Indian name might be Keeps Herself Awake (70). Also, when Molly finds her parents, Dad says, "You're our Warrior Girl" (111).
Bruchac is superb at writing a story for children and young adults, using a Native American tale as the backbone of the story. Skeleton Man is a spooky, suspenseful, and riveting tale, anyone will enjoy.
Review Excerpts
Publisher's Weekly reports, "The mix of traditional and contemporary cultural references adds to the story's haunting appeal, and the quick pace and suspense, particularly in the last few chapters, will likely hold the interest of young readers" (2001).
School Library Journal comments, "The suspense draws readers in and keeps them engaged. In the classic horror tradition, Bruchac offers a timely tale that will make hearts beat and brows sweat, and it has the bonus of a resourceful heroine to put the world right again" (2001).
Connections
Joseph Bruchac has a large collection of stories for children and young adults. He writes poetry, traditional stories, fiction/nonfiction, and picture books. Some of his books are:
The Great Ballgame
The First Strawberry
How Chipmunk Got His Stripes
Eagle Song
Dog People
Pocahontas
The Wind Eagle
The Faithful Hunter
The Circle of Thanks
Above the Line
No Borders
Translator's Son
For a complete listing of Bruchac's books: http://www.josephbruchac.com/published_books.html
Monday, July 9, 2007
Indian Shoes by Cynthia Leitich Smith
Bibliography
Smith, Cynthia Leitich. 2002. Indian Shoes. New York: Harper Collins.
Illustrator: Jim Madsen
ISBN: 0-06-029531-7
Summary
The book, Indian Shoes, is a story comprised of six chapters. Each chapter details the life of Ray Halfmoon and the grandfather he lives with. Ray, along with Grandfather Halfmoon's guidance, solve life's little problems.
Critical Analysis
Leitich writes a heartfelt story about a Native American boy growing up under the guidance of his Native American grandfather. In the first chapter of Indian Shoes, the relationship between Ray Halfmoon and Grandpa Halfmoon is clearly defined. Grandpa is clearly homesick because they are unable to spend the holidays with family in Oklahoma. Ray finds a way to cheer up grandfather. Through out the rest of the chapters, Leitich demonstrates the bond between the two, developing their characters and their relationship.
Through out the entire story, Native American culture markers are present. A very obvious marker is found in the third word of the story--Halfmoon. Ray and Grandpa's last name is "Halfmoon." Often times, Native American names are derived from nature. Another marker is found when Grandpa admires Seminole moccasins in the store. Grandpa explains the moccasins remind him of his grandfather. Also, during the baseball game, Grandpa tells Ray old Cherokee and Seminole stories.
Another marker is found when the character's hair color and style is noticed. On page 25, Leitich describes Grandpa has having a shoulder-length ponytail. The illustrations by, Jim Madsen, show grandfather's hair is as dark, possibly black or dark brown. Ray's hair is also noticeably dark, like grandfather's.
There are various mentions of Native American tribes or words. For example, Uncle Leonard reads the Cherokee Advocate (60). Ray is cozy in a Cherokee Seven Clans quilt (61). Ray wears a powwow t-shirt (62) and Grandfather wears moccasins (11). Each one these items are from Native American people.
There are three profound cultural markers identifying the Native American culture in this story that deal with relationships towards or with each other or animals. The first example is when Ray and Grandpa bring all the animals to their house when the other houses lose electricity. Ray and Grandpa show respect for each of these animals by keeping them warm and safe in their own home. Another example is seen in Ray's respect for Grandpa. Ray is upset when Grandpa does not ride with him to the baseball game, but "Ray waved good-bye and grinned so Grandpa wouldn't know how upset he was." Ray's respect for his grandfather is portrayed through Ray's actions. Native Americans have much respect for each other, especially for an elder. Lastly, at the end of the story Grandpa takes Ray fishing. While they are fishing, Grandpa explains to Ray that he used to take his daddy fishing like this and "I can still fell 'im here, now and again." Ray and Grandpa can feel Ray's father spirit. Each one of these examples demonstrate the reverence Native Americans have for animals and people.
The story of Ray and Grandfather Halfmoon is sweet and believable, with Native American cultural markers intertwined throughout the story, establishing the Native American background of Grandpa and Ray Halfmoon. Leitich uses the cultural markers to express the straightforward, Native American influences in the book without making the influences overtly glaring. Ray and Grandfather are proud Native Americans. Indian Shoes is a good, simple book about the bond between a grandfather and grandson.
Review Excerpts
Booklist reports, "The stories' strength lies in their powerful, poignant evocation of a cross-generational bond and in the description of the simple pleasures two charming characters enjoy."
Horn Book states, "The writing is warm and lively; the situations are sometimes humorous, sometimes poignant; and Ray and Grampa's loving relationship is depicted believably and without sentimentality."
Reviews accessed from Follet's Titlewave at http://www.titlewave.com/
Connections
Other stories by Cynthia Leitich Smith
Jingle Dancer
Rain is Not My Indian Name
Smith, Cynthia Leitich. 2002. Indian Shoes. New York: Harper Collins.
Illustrator: Jim Madsen
ISBN: 0-06-029531-7
Summary
The book, Indian Shoes, is a story comprised of six chapters. Each chapter details the life of Ray Halfmoon and the grandfather he lives with. Ray, along with Grandfather Halfmoon's guidance, solve life's little problems.
Critical Analysis
Leitich writes a heartfelt story about a Native American boy growing up under the guidance of his Native American grandfather. In the first chapter of Indian Shoes, the relationship between Ray Halfmoon and Grandpa Halfmoon is clearly defined. Grandpa is clearly homesick because they are unable to spend the holidays with family in Oklahoma. Ray finds a way to cheer up grandfather. Through out the rest of the chapters, Leitich demonstrates the bond between the two, developing their characters and their relationship.
Through out the entire story, Native American culture markers are present. A very obvious marker is found in the third word of the story--Halfmoon. Ray and Grandpa's last name is "Halfmoon." Often times, Native American names are derived from nature. Another marker is found when Grandpa admires Seminole moccasins in the store. Grandpa explains the moccasins remind him of his grandfather. Also, during the baseball game, Grandpa tells Ray old Cherokee and Seminole stories.
Another marker is found when the character's hair color and style is noticed. On page 25, Leitich describes Grandpa has having a shoulder-length ponytail. The illustrations by, Jim Madsen, show grandfather's hair is as dark, possibly black or dark brown. Ray's hair is also noticeably dark, like grandfather's.
There are various mentions of Native American tribes or words. For example, Uncle Leonard reads the Cherokee Advocate (60). Ray is cozy in a Cherokee Seven Clans quilt (61). Ray wears a powwow t-shirt (62) and Grandfather wears moccasins (11). Each one these items are from Native American people.
There are three profound cultural markers identifying the Native American culture in this story that deal with relationships towards or with each other or animals. The first example is when Ray and Grandpa bring all the animals to their house when the other houses lose electricity. Ray and Grandpa show respect for each of these animals by keeping them warm and safe in their own home. Another example is seen in Ray's respect for Grandpa. Ray is upset when Grandpa does not ride with him to the baseball game, but "Ray waved good-bye and grinned so Grandpa wouldn't know how upset he was." Ray's respect for his grandfather is portrayed through Ray's actions. Native Americans have much respect for each other, especially for an elder. Lastly, at the end of the story Grandpa takes Ray fishing. While they are fishing, Grandpa explains to Ray that he used to take his daddy fishing like this and "I can still fell 'im here, now and again." Ray and Grandpa can feel Ray's father spirit. Each one of these examples demonstrate the reverence Native Americans have for animals and people.
The story of Ray and Grandfather Halfmoon is sweet and believable, with Native American cultural markers intertwined throughout the story, establishing the Native American background of Grandpa and Ray Halfmoon. Leitich uses the cultural markers to express the straightforward, Native American influences in the book without making the influences overtly glaring. Ray and Grandfather are proud Native Americans. Indian Shoes is a good, simple book about the bond between a grandfather and grandson.
Review Excerpts
Booklist reports, "The stories' strength lies in their powerful, poignant evocation of a cross-generational bond and in the description of the simple pleasures two charming characters enjoy."
Horn Book states, "The writing is warm and lively; the situations are sometimes humorous, sometimes poignant; and Ray and Grampa's loving relationship is depicted believably and without sentimentality."
Reviews accessed from Follet's Titlewave at http://www.titlewave.com/
Connections
Other stories by Cynthia Leitich Smith
Jingle Dancer
Rain is Not My Indian Name
Tuesday, July 3, 2007
Tomas and the Library Lady by Pat Mora
Bibliography
Mora, Pat. 1997. Tomas and the Library Lady. New York: Alfred A. Knopf.
Illustrator: Raul Colon
ISBN: 0-679-80401-3
Summary
Tomas' migrant worker family travel from Texas to Iowa to work the fields for the summer. While in Iowa, Papa Grande encourages Tomas to go to the public library where he can learn more stories to tell. The grandness of the library intimidates Tomas, but the librarian puts him at ease. At the library, Tomas finds new stories to share with his family, teaches the librarian Spanish words, and escapes into the imaginary world the books present. A sad day comes. Tomas must go back to Texas, but not before Tomas and the librarian exchange gifts.
Critical Analysis
Award-winning poet and author, Pat Mora, along with the dreamy illustrations by Raul Colon, tell a touching tale of a young boy and a librarian.
Mora and Colon do a great job developing Tomas' character. The illustrations of Tomas imagining himself riding a dinosaur and the words Mora uses when Tomas describes how hot he is makes it is easy to connect with Tomas. Mora makes the family connection as an undercurrent of the story, but the illustrations show a strong family connection. The family all enjoy hearing Tomas' stories and spend time together doing different activities. Mora portrays the librarian as a comfort to Tomas, leading him to a world of books.
One Hispanic American cultural marker Mora provides is the story is based on migrant worker, Tomas Rivera. Historically, migrant workers are often Hispanic Americans in the Texas region.
Another Hispanic American marker is found in the forms of address and names. Mora refers to the grandfather as Papa Grande, father as Papa, and mother as Mama. The names of the two boys are Enrique and Tomas, both of which are names originating from Spain. Additionally, Mora sprinkles a few Spanish words throughout the text, for example, buenas noches and uno, dos, tres to give an example of Tomas using his native language.
The illustrations also help portray Hispanic American cultural markers. Tomas and his family all are drawn with dark skin, especially in comparison to the librarian. It appears that the family and the librarian are of different races because of the hair color, skin color, and eye color. On one page, Tomas and the librarian are in the same picture. Tomas has dark skin, dark brown eyes and hair. The librarian's skin color is much lighter. She also has light brown or even blond hair and blue eyes. The dark skin, hair, and eyes are typical of Hispanic Americans with indigenous blood lines of Mexico, but not to be confused with Hispanic Americans with Spanish blood lines.
Tomas and the Library Lady is a refreshing story, where the main character is part of a parallel culture. Through Tomas' actions displayed in the story, many children, especially Hispanic American children, can be provided with a positive image of a Hispanic American boy's life.
Review Excerpts
Kirkus Review reports, Tomas and the Library Lady is "A charming, true story about the encounter between the boy who would become chancellor at the University of California at Riverside and a librarian in Iowa" (1997).
Booklist states, "Tomas and the Library Lady is "an elemental American experience: the uprooted child who finds a home in the library. Mora's story is based on a true incident in the life of the famous writer Tomas Rivera....Colon's beautiful scratchboard illustrations, in his textured, glowingly colored, rhythmic style, capture the warmth and the dreams that the boy finds in the world of books" (1997).
Connections
Other stories by Pat Mora:
Dona Flor
Confeti
Adobe Odes
The Song of Francis and the Animals
A Library for Juana
The Bakery Lady
Love to Mama
The Rainbow Tulip
The Big Sky
Mora, Pat. 1997. Tomas and the Library Lady. New York: Alfred A. Knopf.
Illustrator: Raul Colon
ISBN: 0-679-80401-3
Summary
Tomas' migrant worker family travel from Texas to Iowa to work the fields for the summer. While in Iowa, Papa Grande encourages Tomas to go to the public library where he can learn more stories to tell. The grandness of the library intimidates Tomas, but the librarian puts him at ease. At the library, Tomas finds new stories to share with his family, teaches the librarian Spanish words, and escapes into the imaginary world the books present. A sad day comes. Tomas must go back to Texas, but not before Tomas and the librarian exchange gifts.
Critical Analysis
Award-winning poet and author, Pat Mora, along with the dreamy illustrations by Raul Colon, tell a touching tale of a young boy and a librarian.
Mora and Colon do a great job developing Tomas' character. The illustrations of Tomas imagining himself riding a dinosaur and the words Mora uses when Tomas describes how hot he is makes it is easy to connect with Tomas. Mora makes the family connection as an undercurrent of the story, but the illustrations show a strong family connection. The family all enjoy hearing Tomas' stories and spend time together doing different activities. Mora portrays the librarian as a comfort to Tomas, leading him to a world of books.
One Hispanic American cultural marker Mora provides is the story is based on migrant worker, Tomas Rivera. Historically, migrant workers are often Hispanic Americans in the Texas region.
Another Hispanic American marker is found in the forms of address and names. Mora refers to the grandfather as Papa Grande, father as Papa, and mother as Mama. The names of the two boys are Enrique and Tomas, both of which are names originating from Spain. Additionally, Mora sprinkles a few Spanish words throughout the text, for example, buenas noches and uno, dos, tres to give an example of Tomas using his native language.
The illustrations also help portray Hispanic American cultural markers. Tomas and his family all are drawn with dark skin, especially in comparison to the librarian. It appears that the family and the librarian are of different races because of the hair color, skin color, and eye color. On one page, Tomas and the librarian are in the same picture. Tomas has dark skin, dark brown eyes and hair. The librarian's skin color is much lighter. She also has light brown or even blond hair and blue eyes. The dark skin, hair, and eyes are typical of Hispanic Americans with indigenous blood lines of Mexico, but not to be confused with Hispanic Americans with Spanish blood lines.
Tomas and the Library Lady is a refreshing story, where the main character is part of a parallel culture. Through Tomas' actions displayed in the story, many children, especially Hispanic American children, can be provided with a positive image of a Hispanic American boy's life.
Review Excerpts
Kirkus Review reports, Tomas and the Library Lady is "A charming, true story about the encounter between the boy who would become chancellor at the University of California at Riverside and a librarian in Iowa" (1997).
Booklist states, "Tomas and the Library Lady is "an elemental American experience: the uprooted child who finds a home in the library. Mora's story is based on a true incident in the life of the famous writer Tomas Rivera....Colon's beautiful scratchboard illustrations, in his textured, glowingly colored, rhythmic style, capture the warmth and the dreams that the boy finds in the world of books" (1997).
Connections
Other stories by Pat Mora:
Dona Flor
Confeti
Adobe Odes
The Song of Francis and the Animals
A Library for Juana
The Bakery Lady
Love to Mama
The Rainbow Tulip
The Big Sky
Monday, July 2, 2007
The Pool Party by Gary Soto
Bibliography
Soto, Gary. 1993. The Pool Party. New York: Delacorte Press.
Illustrator: Robert Casilla
ISBN: 0-385-30890-6
Summary
The hard-working, close-knit Herrera family, has a son named Rudy. Rudy is invited to a rich girl's pool party. Rudy and his friend, Alex, find an inner tube for Rudy to take to the pool party, get into a little mischief, too. Rudy's family gives Rudy pointers on how to behave at the pool party. Rudy, on his best behavior, enjoys himself at the party.
Critical Analysis
Author Gary Soto is known for writing stories with Mexican American characters. The Pool Party, is mainly about Rudy Herrera. The minor characters are the Herrera family: grandfather, mother, father, Rudy's sister Estela, and Rudy's best friend, Alex. Soto does a good job establishing a strong family tie among the family members, where they help each other out. Estela has a typical attitude about a younger brother and her family. Rudy and Alex are typical friends getting into mischief and helping each other out.
There are Hispanic American cultural markers in the typical Hispanic names Soto uses, such as Estela and Herrera for Spanish speaking characters while using standard Euro-American names for non-Hispanic characters, such as Mindy and Tiffany. There is a possibility that Rudy and Alex's names are shortened forms of the Spanish names, Rudolfo and Alejandro. Also, grandfather's nickname is El Shorty. The word "El" is a grammar article in the Spanish language.
Another Hispanic American marker found in the story is the use of untranslated Spanish in his text, intermingling it throughout the story (interlingual text.) The basic Spanish in the story can either be deciphered by a non-Spanish speaking reader with contextual clues or the meanings may be omitted as it does not change the plot of the story immensely. The Spanish words do lend themselves to making the Hispanic American story more realistic.
The food the Herrera family eats are also Hispanic American cultural markers. For example, at the end of the story, the family sits down for a meal. Mother serves enchiladas, fideo, and frijoles. Each one of these dishes are traditional Mexican dishes.
There are other possible cultural markers in the story, yet not necessarily Hispanic American markers. For example, Rudy is unsure of the meaning of pool party. The term could be confusing to any English as a Second Language child. On the other hand, the term could be confusing to any child not familiar with a backyard swimming pool.
Soto introduces a thought-provoking scene near the end of the story. Rudy encounters a "Mexican American" boy putting sunscreen on his skin. Rudy is perplexed that the boy is "ashamed of his skin color." Many dark-skinned children can relate to either one of these characters, whether they do not want to be darker or not be concerned with the darkness of their skin. It is refreshing to have a character, like Rudy, being confused by the boy's actions. Children can make an inference from this scene that there is nothing wrong with dark-skin.
Additionally, there are a few illustrations in this story that could be cultural markers. The illustrator, Robert Casilla, drew the picture in black and white. Since the illustrations are in black and white, there is no obvious skin color, but the hair is apparently dark and straight. The shape of the faces and features, along with the hair feature support the physical traits of Hispanic Americans from Mexico.
Not extremely exciting, The Pool Party is an easy read, with a simple plot, perfect for beginning chapter book readers. There is a universal tone to Soto's story, where many children, including children not completely familiar with the English language, can easily relate to Rudy.
Please Note: Gary Soto is known for writing stories about Mexican American characters. To be consistent with terms used in class, I have used the term Hispanic American instead of narrowing it to Mexican American.
Review Excerpts
Publisher's Weekly reports, "This time out Soto delivers a quick read, liberally flavored with slapstick humor and sprinkled with a few stereotypical situations....The novel, however, lacks the flashes of emotional intensity found in the author's other works. Nonetheless, Rudy's eccentric grandfather, self-conscious teenage sister and other colorful characters, along with snippets of Spanish, lend authenticity to this breezy slice of Hispanic life."
School Library Journal announces, "A few elements make this story special: the poetic perfection Soto exhibits both in description and in authentic dialogue and the immersion of readers into the bosom of a loving, hard-working Mexican-American family."
Review excerpts obtained from http://www.amazon.com/
Connections
Other books with Hispanic American main characters:
Becoming Naomi Leon by Pam Munoz Ryan
Ghost Fever = Mal de Fantasma by Joe Hayes
Tomas and the Library Lady by Pat Mora
Other stories by Gary Soto:
Marisol
Baseball in April and other Stories
My Little Car
Petty Crimes
Chato's Kitchen
Off and Running
Buried Onions
Boys at Work
The Cat's Meow
Summer on Wheels
Crazy Weekend
Soto, Gary. 1993. The Pool Party. New York: Delacorte Press.
Illustrator: Robert Casilla
ISBN: 0-385-30890-6
Summary
The hard-working, close-knit Herrera family, has a son named Rudy. Rudy is invited to a rich girl's pool party. Rudy and his friend, Alex, find an inner tube for Rudy to take to the pool party, get into a little mischief, too. Rudy's family gives Rudy pointers on how to behave at the pool party. Rudy, on his best behavior, enjoys himself at the party.
Critical Analysis
Author Gary Soto is known for writing stories with Mexican American characters. The Pool Party, is mainly about Rudy Herrera. The minor characters are the Herrera family: grandfather, mother, father, Rudy's sister Estela, and Rudy's best friend, Alex. Soto does a good job establishing a strong family tie among the family members, where they help each other out. Estela has a typical attitude about a younger brother and her family. Rudy and Alex are typical friends getting into mischief and helping each other out.
There are Hispanic American cultural markers in the typical Hispanic names Soto uses, such as Estela and Herrera for Spanish speaking characters while using standard Euro-American names for non-Hispanic characters, such as Mindy and Tiffany. There is a possibility that Rudy and Alex's names are shortened forms of the Spanish names, Rudolfo and Alejandro. Also, grandfather's nickname is El Shorty. The word "El" is a grammar article in the Spanish language.
Another Hispanic American marker found in the story is the use of untranslated Spanish in his text, intermingling it throughout the story (interlingual text.) The basic Spanish in the story can either be deciphered by a non-Spanish speaking reader with contextual clues or the meanings may be omitted as it does not change the plot of the story immensely. The Spanish words do lend themselves to making the Hispanic American story more realistic.
The food the Herrera family eats are also Hispanic American cultural markers. For example, at the end of the story, the family sits down for a meal. Mother serves enchiladas, fideo, and frijoles. Each one of these dishes are traditional Mexican dishes.
There are other possible cultural markers in the story, yet not necessarily Hispanic American markers. For example, Rudy is unsure of the meaning of pool party. The term could be confusing to any English as a Second Language child. On the other hand, the term could be confusing to any child not familiar with a backyard swimming pool.
Soto introduces a thought-provoking scene near the end of the story. Rudy encounters a "Mexican American" boy putting sunscreen on his skin. Rudy is perplexed that the boy is "ashamed of his skin color." Many dark-skinned children can relate to either one of these characters, whether they do not want to be darker or not be concerned with the darkness of their skin. It is refreshing to have a character, like Rudy, being confused by the boy's actions. Children can make an inference from this scene that there is nothing wrong with dark-skin.
Additionally, there are a few illustrations in this story that could be cultural markers. The illustrator, Robert Casilla, drew the picture in black and white. Since the illustrations are in black and white, there is no obvious skin color, but the hair is apparently dark and straight. The shape of the faces and features, along with the hair feature support the physical traits of Hispanic Americans from Mexico.
Not extremely exciting, The Pool Party is an easy read, with a simple plot, perfect for beginning chapter book readers. There is a universal tone to Soto's story, where many children, including children not completely familiar with the English language, can easily relate to Rudy.
Please Note: Gary Soto is known for writing stories about Mexican American characters. To be consistent with terms used in class, I have used the term Hispanic American instead of narrowing it to Mexican American.
Review Excerpts
Publisher's Weekly reports, "This time out Soto delivers a quick read, liberally flavored with slapstick humor and sprinkled with a few stereotypical situations....The novel, however, lacks the flashes of emotional intensity found in the author's other works. Nonetheless, Rudy's eccentric grandfather, self-conscious teenage sister and other colorful characters, along with snippets of Spanish, lend authenticity to this breezy slice of Hispanic life."
School Library Journal announces, "A few elements make this story special: the poetic perfection Soto exhibits both in description and in authentic dialogue and the immersion of readers into the bosom of a loving, hard-working Mexican-American family."
Review excerpts obtained from http://www.amazon.com/
Connections
Other books with Hispanic American main characters:
Becoming Naomi Leon by Pam Munoz Ryan
Ghost Fever = Mal de Fantasma by Joe Hayes
Tomas and the Library Lady by Pat Mora
Other stories by Gary Soto:
Marisol
Baseball in April and other Stories
My Little Car
Petty Crimes
Chato's Kitchen
Off and Running
Buried Onions
Boys at Work
The Cat's Meow
Summer on Wheels
Crazy Weekend
Sunday, July 1, 2007
Esperanza Rising by Pam Munoz Ryan
Bibliography
Ryan, Pam Munoz. 2000. Esperanza Rising. New York: Scholastic.
ISBN: 0-439-12042-x
Summary
Esperanza, living in a life of luxury as a wealthy, young, Mexican girl sees her life as perfect on her family's wine farm. After horrible incidents occur, Esperanza's life changes dramatically as her and her mother must flee to the United States. In California, Esperanza and her mother find refuge in a migrant farm camp where Esperanza experiences struggles she has never imagined before.
Critical Analysis
Pam Munoz Ryan's story, Esperanza Rising, is an engaging, well-written story about a girl who learns to be resilient as she faces many hardships. Ryan does an outstanding job developing each of the major characters, making social class evident, so that a reader can really understand the character's emotions. The emotions of Esperanza, mother, and grandmother when hearing about father's death, the loss of the house, and the reunion of the three are prime examples of good character development.
There are many cultural markers found in this story. One of the most obvious is the identification of a specific culture. The setting of the beginning of the story is Mexico, where Esperanza's family are wealthy landowners. Later in the story, Esperanza, mother, and friends travel to California to work as migrant workers, where they bring their Mexican culture with them.
Another Hispanic cultural marker is the reference to a celebration called a Quinceaneras. Esperanza and her two best friends in Mexico dream what their Quinceaneras will be like some day. Quinceaneras are historically celebrated in Spanish speaking countries of the Americas. Additionally, Esperanza gives a pinata to some children. Often, pinatas are used at celebrations in Latin American countries, such as Mexico.
The names Ryan uses for her characters are Hispanic American cultural markers. For example, Esperanza, Miguel, Hortensia, Juan, Josefina, Isabel, and Alfonso are all common names originating in Spanish speaking countries.
According to Barrera and Quiroa in Stories Matter, forms of address, such as papi, or papa, mama and abuelita are kinship terms used in Spanish (Fox and Short 250). Esperanza calls her grandmother abuelita. Esperanza refers to her mother as mama and her father is known as papi or papa. Esperanza is called mija. Mija is abbreviation for mi hija, which is Spanish for my daughter. These kinship terms are Hispanic American cultural markers.
Ryan includes traditional Mexican food in Esperanza's story. Some of the more common Mexican foods are tortillas, machaca, and tamales. Each one of these dishes are customarily eaten in areas of Mexican influence.
Another type of Hispanic cultural marker is the use of Spanish words in the story. Throughout the entire story, there is a sprinkling of Spanish words and phrases. At times, words, like manana or gracias, are left to be deciphered through the context clues of the story. The longer phrases are usually literally translated, making it easier for a monolingual English reader to understand the events while enriching the story in Hispanic authenticity.
Esperanza Rising is a compelling story about a Mexican girl's struggles from a wealthy high-class citizen to poor working-class worker in California. Esperanza's trials of the loss of her father, home, and wealth, the separation of grandmother, the sickness of mother, and an innocent, but frustrating love interest show her resilient spirit. Ryan's exceptional story based on her own grandmother's life is a perfect story for many audiences. Esperanza Rising is a perfect read for Hispanic American girls needing to read about strong Hispanic female characters.
Review Excerpts
Kirkus Review reports, Ryan's "style is engaging, her characters appealing, and her story is one that--though a deep-rooted part of the history of California, the Depression, and thus the nation--is little heard in children's fiction. It bears telling to a wider audience" (2000).
Booklist states, "Ryan writes movingly in clear, poetic language that children will sink into, and the books offers excellent opportunities for discussion and curriculum support" (2000).
Reviews excerpts accessed from Follet's Titlewave site http://www.titlewave.com/
Connections
Esperanza Rising is a good historical fiction to share with young adults learning about migrant workers and/or the Great Depression. A good extension would be Harvesting Hope: The Story of Cesar Chavez by Kathleen Krull
Other stories by Pam Munoz Ryan:
Hello Ocean
Mice and Beans
How Do You Raise a Raisin?
The Flag We Love
The Crayon Counting Book
California, Here We Come!
A Box of Friends
Becoming Naomi Leon
Amelia and Eleanor Go for a Ride
Reference
Fox, Dana and Kathy Short. 2003. Stories Matter: The Complexity of Cultural Authenticity in Children's Literature. Urbana, IL: National Council of Teachers of English.
Ryan, Pam Munoz. 2000. Esperanza Rising. New York: Scholastic.
ISBN: 0-439-12042-x
Summary
Esperanza, living in a life of luxury as a wealthy, young, Mexican girl sees her life as perfect on her family's wine farm. After horrible incidents occur, Esperanza's life changes dramatically as her and her mother must flee to the United States. In California, Esperanza and her mother find refuge in a migrant farm camp where Esperanza experiences struggles she has never imagined before.
Critical Analysis
Pam Munoz Ryan's story, Esperanza Rising, is an engaging, well-written story about a girl who learns to be resilient as she faces many hardships. Ryan does an outstanding job developing each of the major characters, making social class evident, so that a reader can really understand the character's emotions. The emotions of Esperanza, mother, and grandmother when hearing about father's death, the loss of the house, and the reunion of the three are prime examples of good character development.
There are many cultural markers found in this story. One of the most obvious is the identification of a specific culture. The setting of the beginning of the story is Mexico, where Esperanza's family are wealthy landowners. Later in the story, Esperanza, mother, and friends travel to California to work as migrant workers, where they bring their Mexican culture with them.
Another Hispanic cultural marker is the reference to a celebration called a Quinceaneras. Esperanza and her two best friends in Mexico dream what their Quinceaneras will be like some day. Quinceaneras are historically celebrated in Spanish speaking countries of the Americas. Additionally, Esperanza gives a pinata to some children. Often, pinatas are used at celebrations in Latin American countries, such as Mexico.
The names Ryan uses for her characters are Hispanic American cultural markers. For example, Esperanza, Miguel, Hortensia, Juan, Josefina, Isabel, and Alfonso are all common names originating in Spanish speaking countries.
According to Barrera and Quiroa in Stories Matter, forms of address, such as papi, or papa, mama and abuelita are kinship terms used in Spanish (Fox and Short 250). Esperanza calls her grandmother abuelita. Esperanza refers to her mother as mama and her father is known as papi or papa. Esperanza is called mija. Mija is abbreviation for mi hija, which is Spanish for my daughter. These kinship terms are Hispanic American cultural markers.
Ryan includes traditional Mexican food in Esperanza's story. Some of the more common Mexican foods are tortillas, machaca, and tamales. Each one of these dishes are customarily eaten in areas of Mexican influence.
Another type of Hispanic cultural marker is the use of Spanish words in the story. Throughout the entire story, there is a sprinkling of Spanish words and phrases. At times, words, like manana or gracias, are left to be deciphered through the context clues of the story. The longer phrases are usually literally translated, making it easier for a monolingual English reader to understand the events while enriching the story in Hispanic authenticity.
Esperanza Rising is a compelling story about a Mexican girl's struggles from a wealthy high-class citizen to poor working-class worker in California. Esperanza's trials of the loss of her father, home, and wealth, the separation of grandmother, the sickness of mother, and an innocent, but frustrating love interest show her resilient spirit. Ryan's exceptional story based on her own grandmother's life is a perfect story for many audiences. Esperanza Rising is a perfect read for Hispanic American girls needing to read about strong Hispanic female characters.
Review Excerpts
Kirkus Review reports, Ryan's "style is engaging, her characters appealing, and her story is one that--though a deep-rooted part of the history of California, the Depression, and thus the nation--is little heard in children's fiction. It bears telling to a wider audience" (2000).
Booklist states, "Ryan writes movingly in clear, poetic language that children will sink into, and the books offers excellent opportunities for discussion and curriculum support" (2000).
Reviews excerpts accessed from Follet's Titlewave site http://www.titlewave.com/
Connections
Esperanza Rising is a good historical fiction to share with young adults learning about migrant workers and/or the Great Depression. A good extension would be Harvesting Hope: The Story of Cesar Chavez by Kathleen Krull
Other stories by Pam Munoz Ryan:
Hello Ocean
Mice and Beans
How Do You Raise a Raisin?
The Flag We Love
The Crayon Counting Book
California, Here We Come!
A Box of Friends
Becoming Naomi Leon
Amelia and Eleanor Go for a Ride
Reference
Fox, Dana and Kathy Short. 2003. Stories Matter: The Complexity of Cultural Authenticity in Children's Literature. Urbana, IL: National Council of Teachers of English.
Friday, June 22, 2007
Bird by Angela Johnson
Bibliography
Johnson, Angela. 2004. Bird. New York: Dial Books.
ISBN: 0-8037-2847-6
Summary
Thirteen year old, Bird wants so badly for her step-father, Cecil to return to Ohio she will do anything she can to find him. Alone, she travels to Alabama, where she hides out in a farmhouse waiting for Cecil to show up. While she is waiting, she befriends Ethan, a boy who's sickness has kept him from ever having a real friend. Along the way, she encounters another boy, Ethan, who is saddened by the loss of his brother. The interesting connection among the three will help each child begin to heal. Bird has to decide to what to do when she finally sees Cecil again.
Critical Analysis
Angela Johnson's story, Bird, as told through the eyes of three youth looking to heal their wounded souls, is peaceful, yet mesmerizing.
The story takes place in a town in Alabama, where Bird has traveled to find her step-father, Cecil. The chapter heading of each chapter denotes the viewpoint the story is being told. Johnson does a excellent job at developing each character, where the reader makes inferences about the connections between the three. The author quickly develops Bird as a strong, but sad character. Bird misses everything about her life back in Ohio, but she is determined to find Cecil. The second chapter is Ethan's chapter, where Johnson explains Ethan has been sick his entire life, which has left him friendless. As the story continues, it becomes obvious Ethan has gotten a new lease on life with a new heart, but he is still lonely. The third chapter is Jay's chapter, where it is apparent he is deeply hurt by the death of his brother. As the story continues, the characters develop chapter by chapter, where the three souls help one another begin to heal.
There are very few African-American cultural markers throughout the entire story. At the very beginning, Bird says, "My people don't smile." At this time, there is no explanation for Bird's use of words, but it does show Bird sees a distinction among types of people. Later in the story, when Ethan and Bird go swimming, Ethan looks at Bird and sees her "wet face, wet braids." This is the first mention of Bird's hairstyle. At the end of the story, Ethan realizes Bird is wearing an Afro. This is the definite confirmation that Bird is African-American, since this is a typical hairstyle of people of indigenous African descent.
Another glimpse at an African-American cultural marker is seen when Jay describes his mother. She has beaded braids that she wears back in a scarf. Beaded braids is a typical African-American hairstyle.
The last Africa-American marker in this story is found in the list of food, which includes collard greens and corn bread, Mrs. Pritchard has prepared. According to The African American Registry, found at http://www.aaregistry.com/, collard greens and corn bread are food traditionally eaten in the south by African-Americans.
The African-American cultural markers are so slight, it is more a story of sweetness and healing, than a lesson in African-American culture. Delicately weaving their lives together, while not fully embracing, Johnson's poignant story of these three wounded characters is truly uplifting.
Review Excerpts
Kirkus states, "Told through the alternating voices of Bird, Jay, and Ethan, this moving journey follows four lonely people as they touch each other's lives. A lovely and sad glimpse of individuals caring for one another in an imperfect world."
Horn Book comments, "The lives of each of these three teen narrators intersect, under unusual circumstances and with lasting effects. Johnson's prose is eloquent and poetic in this spare, powerful novel about matters of the heart."
Review excerpts accessed from Follet's Titlewave site: www.titlewave.com
Connections
Other books for young adults about runaways:
The Blue Mirror by Kathe Koja
Dreamland by Sarah Dessen
Nothing to Lose by Alex Flinn
Ghost Boy by Iain Lawrence
Tallulah Falls by Christine Fletcher
Other young adult stories by Angela Johnson:
The First Part Last
Heaven
Looking for Red
Johnson, Angela. 2004. Bird. New York: Dial Books.
ISBN: 0-8037-2847-6
Summary
Thirteen year old, Bird wants so badly for her step-father, Cecil to return to Ohio she will do anything she can to find him. Alone, she travels to Alabama, where she hides out in a farmhouse waiting for Cecil to show up. While she is waiting, she befriends Ethan, a boy who's sickness has kept him from ever having a real friend. Along the way, she encounters another boy, Ethan, who is saddened by the loss of his brother. The interesting connection among the three will help each child begin to heal. Bird has to decide to what to do when she finally sees Cecil again.
Critical Analysis
Angela Johnson's story, Bird, as told through the eyes of three youth looking to heal their wounded souls, is peaceful, yet mesmerizing.
The story takes place in a town in Alabama, where Bird has traveled to find her step-father, Cecil. The chapter heading of each chapter denotes the viewpoint the story is being told. Johnson does a excellent job at developing each character, where the reader makes inferences about the connections between the three. The author quickly develops Bird as a strong, but sad character. Bird misses everything about her life back in Ohio, but she is determined to find Cecil. The second chapter is Ethan's chapter, where Johnson explains Ethan has been sick his entire life, which has left him friendless. As the story continues, it becomes obvious Ethan has gotten a new lease on life with a new heart, but he is still lonely. The third chapter is Jay's chapter, where it is apparent he is deeply hurt by the death of his brother. As the story continues, the characters develop chapter by chapter, where the three souls help one another begin to heal.
There are very few African-American cultural markers throughout the entire story. At the very beginning, Bird says, "My people don't smile." At this time, there is no explanation for Bird's use of words, but it does show Bird sees a distinction among types of people. Later in the story, when Ethan and Bird go swimming, Ethan looks at Bird and sees her "wet face, wet braids." This is the first mention of Bird's hairstyle. At the end of the story, Ethan realizes Bird is wearing an Afro. This is the definite confirmation that Bird is African-American, since this is a typical hairstyle of people of indigenous African descent.
Another glimpse at an African-American cultural marker is seen when Jay describes his mother. She has beaded braids that she wears back in a scarf. Beaded braids is a typical African-American hairstyle.
The last Africa-American marker in this story is found in the list of food, which includes collard greens and corn bread, Mrs. Pritchard has prepared. According to The African American Registry, found at http://www.aaregistry.com/, collard greens and corn bread are food traditionally eaten in the south by African-Americans.
The African-American cultural markers are so slight, it is more a story of sweetness and healing, than a lesson in African-American culture. Delicately weaving their lives together, while not fully embracing, Johnson's poignant story of these three wounded characters is truly uplifting.
Review Excerpts
Kirkus states, "Told through the alternating voices of Bird, Jay, and Ethan, this moving journey follows four lonely people as they touch each other's lives. A lovely and sad glimpse of individuals caring for one another in an imperfect world."
Horn Book comments, "The lives of each of these three teen narrators intersect, under unusual circumstances and with lasting effects. Johnson's prose is eloquent and poetic in this spare, powerful novel about matters of the heart."
Review excerpts accessed from Follet's Titlewave site: www.titlewave.com
Connections
Other books for young adults about runaways:
The Blue Mirror by Kathe Koja
Dreamland by Sarah Dessen
Nothing to Lose by Alex Flinn
Ghost Boy by Iain Lawrence
Tallulah Falls by Christine Fletcher
Other young adult stories by Angela Johnson:
The First Part Last
Heaven
Looking for Red
Danitra Brown Leaves Town by Nikki Grimes
Bibliography
Grimes, Nikki. 2002. Danitra Brown Leaves Town. New York: HarperCollins.
Illustrator: Floyd Cooper
ISBN: 0-688-13156-5
Summary
It's summer vacation and Danitra is off to visit family. Danitra and her best friend, Zuri stay in touch through a series of letters, where they record their thoughts in poetry.
Critical Analysis
Author, Nikki Grimes, and illustrator, Floyd Coooper, do an excellent job of preparing a story children can connect with. Through the letters the girls write each other and the colorful illustrations, the reader begins to understand each character.
The illustrations provide the primary evidence of this being a story about African-Americans. The illustrations show the two main characters to be young, average African-American girls. Their clothing is typical of girls their age, what distinguishes them as African-American is the dark skin tone and appropriate hair texture and hair style. The hairstyles of other characters in the illustrations are accurate, as well. For example, accurate representation of African-Americans is seen near the end of the story when Danitra is visiting with her extended family. The boys' hairstyles are clipped close to their heads and one of the girls' hair is braided and fastened with beads. Both types of hairstyles are typical of modern day African-Americans.
There are only a few African-American markers in the text of the story. For example, Danitra describes her mom with the "pretty brownness of her eyes and face." Although, without the illustrations to define the looks of the characters, mother's face could be a white, yet summer-tanned face. The other African-American marker in this story is Zuri's name. Zuri is a Swahilian name meaning beautiful as noted on http://www.namesite.com/index.php, a site that lists African names and meanings.
Through the ease of the text and the liveliness of the illustrations, both author and illustrator do a fantastic job relaying a message about friendship any child can relate to.
Review Excerpts
Booklist announces, "The best friends from Meet Danitra Brown (1994) celebrate summer apart and together in this warm story, told in simple free verse with big, joyful oil-wash paintings"
Catherine Threadgill in School Library Journal reports, "Cooper's photo-realist artwork in soft hues against glowing backdrops is a lovely complement to the girls' many moods."
Reviews accessed through Follett's Titlewave at http://www.titlewave.com/login/?side
Connections
Danitra Brown Leaves Town is a good accompaniment to Meet Danitra Brown and Danitra Brown, Class Clown by Nikki Grimes. These books would be perfect for a girls' reading club.
A third grade student explains, "I love the Danitra Brown books. They are my favorite." ~Briana
Grimes, Nikki. 2002. Danitra Brown Leaves Town. New York: HarperCollins.
Illustrator: Floyd Cooper
ISBN: 0-688-13156-5
Summary
It's summer vacation and Danitra is off to visit family. Danitra and her best friend, Zuri stay in touch through a series of letters, where they record their thoughts in poetry.
Critical Analysis
Author, Nikki Grimes, and illustrator, Floyd Coooper, do an excellent job of preparing a story children can connect with. Through the letters the girls write each other and the colorful illustrations, the reader begins to understand each character.
The illustrations provide the primary evidence of this being a story about African-Americans. The illustrations show the two main characters to be young, average African-American girls. Their clothing is typical of girls their age, what distinguishes them as African-American is the dark skin tone and appropriate hair texture and hair style. The hairstyles of other characters in the illustrations are accurate, as well. For example, accurate representation of African-Americans is seen near the end of the story when Danitra is visiting with her extended family. The boys' hairstyles are clipped close to their heads and one of the girls' hair is braided and fastened with beads. Both types of hairstyles are typical of modern day African-Americans.
There are only a few African-American markers in the text of the story. For example, Danitra describes her mom with the "pretty brownness of her eyes and face." Although, without the illustrations to define the looks of the characters, mother's face could be a white, yet summer-tanned face. The other African-American marker in this story is Zuri's name. Zuri is a Swahilian name meaning beautiful as noted on http://www.namesite.com/index.php, a site that lists African names and meanings.
Through the ease of the text and the liveliness of the illustrations, both author and illustrator do a fantastic job relaying a message about friendship any child can relate to.
Review Excerpts
Booklist announces, "The best friends from Meet Danitra Brown (1994) celebrate summer apart and together in this warm story, told in simple free verse with big, joyful oil-wash paintings"
Catherine Threadgill in School Library Journal reports, "Cooper's photo-realist artwork in soft hues against glowing backdrops is a lovely complement to the girls' many moods."
Reviews accessed through Follett's Titlewave at http://www.titlewave.com/login/?side
Connections
Danitra Brown Leaves Town is a good accompaniment to Meet Danitra Brown and Danitra Brown, Class Clown by Nikki Grimes. These books would be perfect for a girls' reading club.
A third grade student explains, "I love the Danitra Brown books. They are my favorite." ~Briana
Thursday, June 21, 2007
Goin' Someplace Special by Patrica C. McKissack
Bibliography
McKissack, Patricia C. 2001. Goin' Someplace Special. New York: Atheneum Books for Young Readers.
Illustrator: Jerry Pinkney
ISBN: 0-689-81885-8
Summary
Finally, Mama Frances allows 'Tricia Ann to venture to Someplace Special all by herself. Along the way, she is reminded of the Jim Crow laws by the "white only" signs or by comments made by people. Contemplating going home, she remembers all the things Mama Frances has told her. After regaining her composure, she continues on, reaching her special destination--the public library.
Critical Analysis
In Goin' Someplace Special, the author, Patricia McKissack does an excellent job portraying the main character, 'Tricia Ann, as a sweet, determined, and impressionable young girl who is deeply hurt when she experiences racism.
McKissack's setting is appropriate for a story about segregation: a southern town in the 1950's. A specific town's name is never mentioned, but the southern locality can be verified through the mention of the Jim Crow sign: Whites Only. The mention of Jim Crow is the first clue in the text that this is a story about an African-American. The main cultural markers in this story revolve around the main plot line, which is 'Tricia Ann encounter with the Jim Crow law. One example would be when Mrs. Grannell explains to 'Tricia Ann, "Those signs can tell us where to sit, but they can't tell us what to think." Another example would be when 'Tricia Ann notices the signs again when she sits on the bench at the park. The last, and most difficult situation 'Tricia Ann experiences, is when she is shooed out of the hotel lobby, with a man saying, "No colored people allowed!"
However, McKissack does possibly provide subtle African-American language markers. For example, "Carry yo'self proud" and "I'm gon' think..." are two phrases found early in the story, but these types of phrases could just be a southern language pattern, rather than strictly African-American. Throughout the rest of the text there are a few subtle language patterns, but nothing that is blatant African-American.
Additionally, the illustrations by Jerry Pinkney are clear African-American cultural markers. The characters struggling with the Jim Crow law are portrayed as a dark-skinned. For example, there is apparent skin differences between 'Tricia Ann and the crowd in the hotel lobby. Pinkney does show skin variations between the dark-skinned characters, too. The street vendor, Jimmy Lee is darker skinned than 'Tricia Ann, making the reader aware of shade variations among African-Americans.
The ease of the linear plot, the depth of the main character, and the details of the superb illustrations, makes Goin Someplace Special an outstanding story to help children better understand African-Americans' frustration and pain endured during segregation.
Review Excerpts
Mary Elam in School Library Journal reports, "In an eye-opening journey, McKissack takes the child through an experience based upon her own personal history and the multiple indignities of the period....Pinkney re-creates the city in detailed pencil-and-watercolor art angled over full-page spreads, highlighting the young girl with vibrant color in each illustration. A thought-provoking story for group sharing and independent readers."
Emilie Coutler with Amazon.com states, "Drawing on her own Nashville childhood, Newbery Honor-winning author Patricia C. McKissack (The Dark- Thirty) brings the injustices of segregation to life in this bittersweet picture book. Illustrator Jerry Pinkney, four-time Coretta Scott King Award winner and four-time Caldecott Honor Medalist, captures the spirit of the '50s with his lovely watercolors."
Reviews accessed from http://www.amazon.com/.
Connections
Goin' Someplace Special would be an excellent glimpse of young, African-American girl's life during the segregation era. Other books to read on similar subjects would be:
McKissack, Patricia C. 2001. Goin' Someplace Special. New York: Atheneum Books for Young Readers.
Illustrator: Jerry Pinkney
ISBN: 0-689-81885-8
Summary
Finally, Mama Frances allows 'Tricia Ann to venture to Someplace Special all by herself. Along the way, she is reminded of the Jim Crow laws by the "white only" signs or by comments made by people. Contemplating going home, she remembers all the things Mama Frances has told her. After regaining her composure, she continues on, reaching her special destination--the public library.
Critical Analysis
In Goin' Someplace Special, the author, Patricia McKissack does an excellent job portraying the main character, 'Tricia Ann, as a sweet, determined, and impressionable young girl who is deeply hurt when she experiences racism.
McKissack's setting is appropriate for a story about segregation: a southern town in the 1950's. A specific town's name is never mentioned, but the southern locality can be verified through the mention of the Jim Crow sign: Whites Only. The mention of Jim Crow is the first clue in the text that this is a story about an African-American. The main cultural markers in this story revolve around the main plot line, which is 'Tricia Ann encounter with the Jim Crow law. One example would be when Mrs. Grannell explains to 'Tricia Ann, "Those signs can tell us where to sit, but they can't tell us what to think." Another example would be when 'Tricia Ann notices the signs again when she sits on the bench at the park. The last, and most difficult situation 'Tricia Ann experiences, is when she is shooed out of the hotel lobby, with a man saying, "No colored people allowed!"
However, McKissack does possibly provide subtle African-American language markers. For example, "Carry yo'self proud" and "I'm gon' think..." are two phrases found early in the story, but these types of phrases could just be a southern language pattern, rather than strictly African-American. Throughout the rest of the text there are a few subtle language patterns, but nothing that is blatant African-American.
Additionally, the illustrations by Jerry Pinkney are clear African-American cultural markers. The characters struggling with the Jim Crow law are portrayed as a dark-skinned. For example, there is apparent skin differences between 'Tricia Ann and the crowd in the hotel lobby. Pinkney does show skin variations between the dark-skinned characters, too. The street vendor, Jimmy Lee is darker skinned than 'Tricia Ann, making the reader aware of shade variations among African-Americans.
The ease of the linear plot, the depth of the main character, and the details of the superb illustrations, makes Goin Someplace Special an outstanding story to help children better understand African-Americans' frustration and pain endured during segregation.
Review Excerpts
Mary Elam in School Library Journal reports, "In an eye-opening journey, McKissack takes the child through an experience based upon her own personal history and the multiple indignities of the period....Pinkney re-creates the city in detailed pencil-and-watercolor art angled over full-page spreads, highlighting the young girl with vibrant color in each illustration. A thought-provoking story for group sharing and independent readers."
Emilie Coutler with Amazon.com states, "Drawing on her own Nashville childhood, Newbery Honor-winning author Patricia C. McKissack (The Dark- Thirty) brings the injustices of segregation to life in this bittersweet picture book. Illustrator Jerry Pinkney, four-time Coretta Scott King Award winner and four-time Caldecott Honor Medalist, captures the spirit of the '50s with his lovely watercolors."
Reviews accessed from http://www.amazon.com/.
Connections
Goin' Someplace Special would be an excellent glimpse of young, African-American girl's life during the segregation era. Other books to read on similar subjects would be:
Freedom Summer by Deborah Wiles
Abby Takes a Stand by Patricia McKissack
Dear Mr. Rosenwald by Carole Boston Weatherford
Rosa Parks by Eloise Greenfield
Thursday, June 14, 2007
James and the Giant Peach by Roald Dahl
Bibliography
Dahl, Roald. 1961/2002. James and the Giant Peach. New York: Alfred A. Knopf.
Illustrator: Quentin Blake
ISBN: 0-375-81424-8
Summary
After James' parents are killed, he is sent to live with his nasty aunts, Aunt Spiker and Aunt Sponge. An old man gives James magic crystals to keep James from being miserable for the rest of his life. James' new life begins when he accidentally drops the magic crystals near a peach tree. A giant peach begins to grow on the tree. James crawls inside the peach and finds new friends: grasshopper, ladybug, glow-worm, spider, centipede, silkworm, and earthworm. After they break the peach free from the tree, James and his new friends go on an adventure of a lifetime that brings them to a new world.
Critical Analysis
Throughout the story James and the Giant Peach, Dahl presents subtle cultural markers. The most obvious cultural marker found is in the name of the main character, James Henry Trotter. The name is of English origin.
There are other cultural markers throughout the story, such as the word use of spectacles for glasses and short trousers for shorts.
Some of the comments in the story are cultural markers, too. When the crew on the ship see the huge peach, the captain states "Send a message to the queen." The queen is the head of the country in England. Proper English phrases such as "I do believe," Off with you at once" and "My dear boy" were used throughout the story.
The cultural markers throughout Dahl's story are very slight, probably because much of the language is similar to that of the United States. Dahl's story would be a good tool for comparing the culture in the United States and the culture in England. In the story James and the Giant Peach, Dahl does a fantastic job of making a simple, sweet boy escape the evils of his existing life. Many children will enjoy reading about James and cheering him on while he is having his adventures on the giant peach.
Review Excerpts
School Library Journal states, "Fans of Dahl will not be disappointed in this briskly paced tale that is a delight from beginning to end." (2003)
Amazon.com reports, "Roald Dahl's rich imagery and amusing characters ensure that parents will not tire of reading this classic aloud, which they will no doubt be called to do over and over again!"
Reviews taken from http://www.amazon.com/, http://www.amazon.com/gp/product/product-description/0375814248/sr=8-2/qid=1181853742/ref=dp_proddesc_0/104-3110597-7016730?ie=UTF8&n=283155&s=books&qid=1181853742&sr=8-2
Connections
After presenting this book to a group of elementary students, they had a variety of comments:
"I loved this book. What else does this author write?" ~Doris
"I was so happy James got to start a new life, his aunts were so mean." ~Jimmy
"I've read James and The BFG. I really liked them both. I can't decide if I'm going to read The Twits or Charlie and the Chocolate Factory next!" ~Gustavo
Other books by Roald Dahl:
Charlie and the Chocolate Factory
Charlie and the Great Glass Elevator
The Twits
The Witches
The BFG
Fantastic Mr. Fox
Boy
Danny the Champion of the World
Matilda
George's Marvelous Medicine
Dahl, Roald. 1961/2002. James and the Giant Peach. New York: Alfred A. Knopf.
Illustrator: Quentin Blake
ISBN: 0-375-81424-8
Summary
After James' parents are killed, he is sent to live with his nasty aunts, Aunt Spiker and Aunt Sponge. An old man gives James magic crystals to keep James from being miserable for the rest of his life. James' new life begins when he accidentally drops the magic crystals near a peach tree. A giant peach begins to grow on the tree. James crawls inside the peach and finds new friends: grasshopper, ladybug, glow-worm, spider, centipede, silkworm, and earthworm. After they break the peach free from the tree, James and his new friends go on an adventure of a lifetime that brings them to a new world.
Critical Analysis
Throughout the story James and the Giant Peach, Dahl presents subtle cultural markers. The most obvious cultural marker found is in the name of the main character, James Henry Trotter. The name is of English origin.
There are other cultural markers throughout the story, such as the word use of spectacles for glasses and short trousers for shorts.
Some of the comments in the story are cultural markers, too. When the crew on the ship see the huge peach, the captain states "Send a message to the queen." The queen is the head of the country in England. Proper English phrases such as "I do believe," Off with you at once" and "My dear boy" were used throughout the story.
The cultural markers throughout Dahl's story are very slight, probably because much of the language is similar to that of the United States. Dahl's story would be a good tool for comparing the culture in the United States and the culture in England. In the story James and the Giant Peach, Dahl does a fantastic job of making a simple, sweet boy escape the evils of his existing life. Many children will enjoy reading about James and cheering him on while he is having his adventures on the giant peach.
Review Excerpts
School Library Journal states, "Fans of Dahl will not be disappointed in this briskly paced tale that is a delight from beginning to end." (2003)
Amazon.com reports, "Roald Dahl's rich imagery and amusing characters ensure that parents will not tire of reading this classic aloud, which they will no doubt be called to do over and over again!"
Reviews taken from http://www.amazon.com/, http://www.amazon.com/gp/product/product-description/0375814248/sr=8-2/qid=1181853742/ref=dp_proddesc_0/104-3110597-7016730?ie=UTF8&n=283155&s=books&qid=1181853742&sr=8-2
Connections
After presenting this book to a group of elementary students, they had a variety of comments:
"I loved this book. What else does this author write?" ~Doris
"I was so happy James got to start a new life, his aunts were so mean." ~Jimmy
"I've read James and The BFG. I really liked them both. I can't decide if I'm going to read The Twits or Charlie and the Chocolate Factory next!" ~Gustavo
Other books by Roald Dahl:
Charlie and the Chocolate Factory
Charlie and the Great Glass Elevator
The Twits
The Witches
The BFG
Fantastic Mr. Fox
Boy
Danny the Champion of the World
Matilda
George's Marvelous Medicine
Thursday, June 7, 2007
Koala Lou by Mem Fox
Bibliography
Fox, Mem. 1988. Koala Lou. San Diego: Gulliver Books.
Illustrator: Pamela Lofts
ISBN: 0-15-200502-1
Plot Summary
Koala Lou loves hearing her mother say, "Koala Lou, I do love you." As time goes by and more children arrive, Koala Lou hears it less often. She devises a plan to hear her mother say it again.
Critical Analysis
Mem Fox's warm, delightful story is a tale that all children can understand through her use of animals as the characters. The story, Koala Lou, can reassure any child that worries about losing the love of a parent.
Fox uses animals as the characters in her book. The animals Fox uses in Koala Lou are found naturally in eastern Australia or lands off the eastern coast of Australia: the platypus, koala bear, emu and kookaburra. Also, the title of the race Koala Lou competes in is called the Bush Olympics. The bush is undeveloped area of land. The animals Fox uses as the characters are consistent with animals found in the Australian bush. Also, Koala Lou is training to climb gum trees. Gum trees make up the tree flora of Australia.
The illustrator's rendition of the animals are accurate in colors and markings, although cartoon-like in pictures where they are wearing a hats to watch the Olympics or Koala Lou wearing tennis shoes while training.
The consistencies in the text and illustrations found in Koala Lou make this story a good choice of international literature. The lesson and simplicity of this story makes it a good choice for quality literature for young students.
Review Excerpts
Kirkus Review states, "This satisfying reworking of a familiar and ever-important theme is appealingly illustrated--bright colors, soft-edged sculptural forms, precise detail, dozens of expressive animals" (1989).
Horn Book comments, "In a gentle tale set in the Australian bush, Koala Lou wants to win the Bush Olympics. A good choice for story hour, bedtime, or reading aloud" (1990).
Reviews accessed from Follet's Titlewise, http://www.flr.follett.com/search?SID=60b11f0b2c36faef18be75cd47420e72
Connections
Koala Lou would be a good book to read while learning about parent/child relationships. The Kissing Hand by Audrey Penn and Love You, Forever by Robert Munsch would be good accompaniments.
Fox, Mem. 1988. Koala Lou. San Diego: Gulliver Books.
Illustrator: Pamela Lofts
ISBN: 0-15-200502-1
Plot Summary
Koala Lou loves hearing her mother say, "Koala Lou, I do love you." As time goes by and more children arrive, Koala Lou hears it less often. She devises a plan to hear her mother say it again.
Critical Analysis
Mem Fox's warm, delightful story is a tale that all children can understand through her use of animals as the characters. The story, Koala Lou, can reassure any child that worries about losing the love of a parent.
Fox uses animals as the characters in her book. The animals Fox uses in Koala Lou are found naturally in eastern Australia or lands off the eastern coast of Australia: the platypus, koala bear, emu and kookaburra. Also, the title of the race Koala Lou competes in is called the Bush Olympics. The bush is undeveloped area of land. The animals Fox uses as the characters are consistent with animals found in the Australian bush. Also, Koala Lou is training to climb gum trees. Gum trees make up the tree flora of Australia.
The illustrator's rendition of the animals are accurate in colors and markings, although cartoon-like in pictures where they are wearing a hats to watch the Olympics or Koala Lou wearing tennis shoes while training.
The consistencies in the text and illustrations found in Koala Lou make this story a good choice of international literature. The lesson and simplicity of this story makes it a good choice for quality literature for young students.
Review Excerpts
Kirkus Review states, "This satisfying reworking of a familiar and ever-important theme is appealingly illustrated--bright colors, soft-edged sculptural forms, precise detail, dozens of expressive animals" (1989).
Horn Book comments, "In a gentle tale set in the Australian bush, Koala Lou wants to win the Bush Olympics. A good choice for story hour, bedtime, or reading aloud" (1990).
Reviews accessed from Follet's Titlewise, http://www.flr.follett.com/search?SID=60b11f0b2c36faef18be75cd47420e72
Connections
Koala Lou would be a good book to read while learning about parent/child relationships. The Kissing Hand by Audrey Penn and Love You, Forever by Robert Munsch would be good accompaniments.
The Shadows of Ghadames by Joelle Stolz
Bibliography
Stolz, Joëlle. 2004. The Shadows of Ghadames. Translated by Catherine Temerson. New York: Delacorte.
ISBN: 0-385-90131-3
Plot Summary
This story is set in Libya, at the end of the nineteenth century, where women and men are segregated. The woman’s lives exist among the rooftops, where their gardens are painted and they gather for market at each other’s homes. The men interact with each other at the street level, traveling about the city or even venturing outside the walls of the city. Malika, a girl nearing the age of twelve, accepts and enjoys the role of women in her society, while at the same time questions the limitations expected of her as she enters adulthood. While Malika’s father is away, her father’s second wife, Bilkisu rescues an injured man. Malika’s mother, Meriem and Bilkisu, help this man recuperate, knowing their actions could have detrimental effects for them. During his recuperation, Malika gains a richer understanding in the way of her people.
Critical Analysis
The story The Shadows of Ghadames is eloquently written and the main character is well-developed. The main character, Malika, is a girl in transition from youth to womanhood, and struggling with the role she will have to take as a woman as forced on her by her culture.
The Shadows of Ghadames is full of cultural markers that assists the reader in understanding the way of life in Ghadames in the nineteenth century. (Although, the reader does not know the story is set in the late nineteenth century until the end of the story when the author's note is presented.) The entire story is an explanation of one girl's journey into womanhood, which was typical during this time period.
At the beginning of the story, Stolz explains Malika's father has two wives and each has born one child. They all live together in one house with a servant. All main characters are Muslim and practice the traditions of the Islamic faith. The names of the characters, Malika, Bilkisu, Meriem, Jasim, Abdelkarim are all names found in middle eastern countries.
Stolz describes the characters in traditional clothing for Muslim countries. For example, father wears a burnoose, Jasim is dressed in a djellabe, and the women are all veiled.
The reader begins to notice specific culture identification very early in the story. For example, the women/girls and men/boys live separate lives, and have different privileges. Malika's mother does not allow Malika to go to the city edge to see her father off on his travels, but Jasim, her brother is allowed to go. Malika desires to learn how to read and write like her brother, but it is only customary for males to learn. Malika experiences different events from her brother. Her brother is sent to the uncle's home, while father is gone. Malika and the women stay on the rooftops where the women are allowed. While father is away, a lamp is lit near the doorway to express to any visitors, the man is away.
Stolz accurately describes food in the story. In one scene, Meriem stores the wheat and barley that will be needed for meals during fathers absence. It is in their custom to only take what is needed while the men are gone. Once the men have returned celebrations and feasts can occur.
Additionally, the celebrations in the story are accurate for the Muslim way of life. Malika attends a ceremony where jinns are summoned. Spirits are known as jinns in this area. Also, a wedding ceremony is called an arous ceremony. A bride is an arous in middle eastern countries.
Stolz does a wonderful job of portraying the Muslim way of life in her story, The Shadows of Ghadames, even though the way of life is from the nineteenth century. This story provides a glimpse into the past and provides interesting background knowledge to better understand the current culture in the Middle East.
Review Excerpts
Booklist reports, “The vivid backdrop is intoxicating, but the story's universal concerns will touch readers most: sibling jealously, confusion about adult customs, and a growing interest in a world beyond family.”
Horn Book comments, “In this novel translated from the French, the wealth of cultural detail is sometimes distracting, and the author is too obvious in her selection of a gift for Malika from her father: a telescope, to see beyond. But then Stolz's whole story, which is steeped in the syncretic Islam of Ghadames, revolves around changing visions of people and places.”
Reviews accessed through Follett’s Titlewave site: http://www.flr.follett.com/search?SID=60b11f0b2c36faef18be75cd47420e72
Connections
The Shadows of Ghadames would be useful book for young adults and adults to learn about the ways of life of the Islamic people during the late nineteenth century. The time period of this book provides insight concerning the segregation of men and women in this society, the ways of life of each gender, and how they existed together, yet separately. The Shadows of Ghadames would be a good tool to develop discussions about the changes in the past 100 years in the Islamic faith in the area of Ghadames.
Other stories with Muslims characters:
A Stone in My Hand by Cathryn Clinton
My Name was Hussein by Hristo Kyuchukov
Stolz, Joëlle. 2004. The Shadows of Ghadames. Translated by Catherine Temerson. New York: Delacorte.
ISBN: 0-385-90131-3
Plot Summary
This story is set in Libya, at the end of the nineteenth century, where women and men are segregated. The woman’s lives exist among the rooftops, where their gardens are painted and they gather for market at each other’s homes. The men interact with each other at the street level, traveling about the city or even venturing outside the walls of the city. Malika, a girl nearing the age of twelve, accepts and enjoys the role of women in her society, while at the same time questions the limitations expected of her as she enters adulthood. While Malika’s father is away, her father’s second wife, Bilkisu rescues an injured man. Malika’s mother, Meriem and Bilkisu, help this man recuperate, knowing their actions could have detrimental effects for them. During his recuperation, Malika gains a richer understanding in the way of her people.
Critical Analysis
The story The Shadows of Ghadames is eloquently written and the main character is well-developed. The main character, Malika, is a girl in transition from youth to womanhood, and struggling with the role she will have to take as a woman as forced on her by her culture.
The Shadows of Ghadames is full of cultural markers that assists the reader in understanding the way of life in Ghadames in the nineteenth century. (Although, the reader does not know the story is set in the late nineteenth century until the end of the story when the author's note is presented.) The entire story is an explanation of one girl's journey into womanhood, which was typical during this time period.
At the beginning of the story, Stolz explains Malika's father has two wives and each has born one child. They all live together in one house with a servant. All main characters are Muslim and practice the traditions of the Islamic faith. The names of the characters, Malika, Bilkisu, Meriem, Jasim, Abdelkarim are all names found in middle eastern countries.
Stolz describes the characters in traditional clothing for Muslim countries. For example, father wears a burnoose, Jasim is dressed in a djellabe, and the women are all veiled.
The reader begins to notice specific culture identification very early in the story. For example, the women/girls and men/boys live separate lives, and have different privileges. Malika's mother does not allow Malika to go to the city edge to see her father off on his travels, but Jasim, her brother is allowed to go. Malika desires to learn how to read and write like her brother, but it is only customary for males to learn. Malika experiences different events from her brother. Her brother is sent to the uncle's home, while father is gone. Malika and the women stay on the rooftops where the women are allowed. While father is away, a lamp is lit near the doorway to express to any visitors, the man is away.
Stolz accurately describes food in the story. In one scene, Meriem stores the wheat and barley that will be needed for meals during fathers absence. It is in their custom to only take what is needed while the men are gone. Once the men have returned celebrations and feasts can occur.
Additionally, the celebrations in the story are accurate for the Muslim way of life. Malika attends a ceremony where jinns are summoned. Spirits are known as jinns in this area. Also, a wedding ceremony is called an arous ceremony. A bride is an arous in middle eastern countries.
Stolz does a wonderful job of portraying the Muslim way of life in her story, The Shadows of Ghadames, even though the way of life is from the nineteenth century. This story provides a glimpse into the past and provides interesting background knowledge to better understand the current culture in the Middle East.
Review Excerpts
Booklist reports, “The vivid backdrop is intoxicating, but the story's universal concerns will touch readers most: sibling jealously, confusion about adult customs, and a growing interest in a world beyond family.”
Horn Book comments, “In this novel translated from the French, the wealth of cultural detail is sometimes distracting, and the author is too obvious in her selection of a gift for Malika from her father: a telescope, to see beyond. But then Stolz's whole story, which is steeped in the syncretic Islam of Ghadames, revolves around changing visions of people and places.”
Reviews accessed through Follett’s Titlewave site: http://www.flr.follett.com/search?SID=60b11f0b2c36faef18be75cd47420e72
Connections
The Shadows of Ghadames would be useful book for young adults and adults to learn about the ways of life of the Islamic people during the late nineteenth century. The time period of this book provides insight concerning the segregation of men and women in this society, the ways of life of each gender, and how they existed together, yet separately. The Shadows of Ghadames would be a good tool to develop discussions about the changes in the past 100 years in the Islamic faith in the area of Ghadames.
Other stories with Muslims characters:
A Stone in My Hand by Cathryn Clinton
My Name was Hussein by Hristo Kyuchukov
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