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
Wednesday, July 25, 2007
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.
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