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
Saturday, July 14, 2007
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
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