BIBLIOGRAPHY
Pollock, Penny. THE TURKEY GIRL : a Zuni Cinderella story. Illustrated by Ed Young. Boston, MA : Little Brown and Co. ISBN 0316713147
SUMMARY
A young poor girl who tends the village turkeys dreams of going to the Dance of the Sacred Bird. Her dream seems impossible until the turkeys offer to help her in thanks for her faithful care of them. In exchange for the beautiful clothes and jewels the turkeys give her, the Turkey Girl must promise to return home before the sun has set.
ANALYSIS
Penny Pollock's retelling of this Zuni story is lovely and moving. Her voice throughout the story is reverent and engaging. Many of the values and traditions of the Zuni tribes come through the story naturally, without being a focus of Pollock's attention. Many details of daily life in the pueblo are inserted seamlessly into the tale; the houses "piled atop one another," the journey of "Sun-Father" and the "yucca-cactus sandals" Turkey Girl wears.
There is little mention of Turkey Girl's physical beauty. Turkey Girl possesses other attributes that are prized above beauty; Pollock shows that she is faithful to her charges, and that she is proud, holding her head high, "as if she did not mind" when she is disdainded by the other girls at the spring. She is resourceful- she found a job as an orphan without connections and did it well, so that the turkeys were grateful to her. Pollock's prose throughout the story is filled with rich descriptions and action. It does not get dark, instead, "fingers of darkness reached across the plaza." At the dance, "The music thrummed with power. The dancers echoed the beat with their pounding feet." Pollock puts the reader in the moment with Turkey Girl, and we watch with sadness when she makes the wrong choice: "she began to wonder how it was that she should leave teh festival for mere turkeys. Were they not just gabbling birds?"
Ed Young's illustrations in oil crayon and pastel were lovely, although not always lively. The color palatte reflect the natural landscape of the Southwest, and the loose abstracted style of the color-washed drawings leaves an opening to imagine the scenes and faces of the characters as one reads. Some of the double page spreads seem open to interpretation, such as the depiction of the sacred dance, which seems at one moment to represent the legs and feet of stomping braves, and then to be the necks and heads of a flock of turkeys. However, in spite of their overall beauty, I had several problems with the illustrations. On many pages it was difficult to make out the text of the story when it was set against the illustrations. The illustrations also sometimes seemed flat, and Young made the choice not to depict some of the most exciting and action filled moments of the story. When Turkey Girl ventures into the Pueblo for water, Young shows an abstracted faceless "herald-priest" on a roof, staring down at four blobs with jars on their heads. The bustling village scene Pollock describes is static and serene in the illustration. The haunting and lovely drawings do not always seem to fit the action. Pollock describes Turkey Girl's "white doeskin dress beleted with red-and-yellow cloth" and goes on to tell of the jewels the turkeys shower her with, but the illustrations are of turkeys, turkeys and more turkeys. Turkey girl is shown covered in a dark coat, with not a speck of her dress showing. And at the dance, all we see are the ambigious turkey/feet, followed by two double page spreads of the sky, one with clouds and one with sunset, to represent the waning day. The four year old I know would have trouble staying engaged with these illustrations.
REVIEWS
"Young's spare oil crayon and pastel illustrations contain almost elemental forms that sometimes merely suggest the objects they depict. The artist makes the most of the desert's dramatic lighting, creating shadowy backgrounds that draw attention to the story's spiritual underpinnings. While his palette jumps wildly from pale shades to the most vibrant pinks, blues, and golds of a vivid desert sunset, the illustrations do not detract from Pollock's thoughtful retelling, which itself gracefully captures the Zuni landscape. Unfortunately, many pages are difficult to read due to a lack of contrast between the illustrations and the words placed on top of them." SCHOOL LIBRARY JOURNAL
"In this sobering Native American variation of the Cinderella story, the focus is not on finding true love but on remaining true to one's promises. To repay the kindness of the poor orphan girl who tends them, the tribe's turkeys dress her in a fine doeskin robe so she can attend the Dance of the Sacred Bird. So enthralled is she with the dancing that she breaks her promise to return to the turkeys before dawn and consequently loses her friends forever. Pollock frequently interrupts the narrative with references to Zuni clothing and dwellings-the girl's yucca sandals, her "turquoise necklaces and earrings of delicate beauty."" PUBLISHER'S WEEKLY
CONNECTIONS
This book would be a valuable component to classroom or library storytime units on either Native American Culture, specifically Zuni tribes in the Southwest, or on folktales from around the world. As part of a unit on folktales, students could compare and contrast in discussions the differences between this story and the Cinderella story they've heard before. As readers, we see that Turkey Girl suffers consequences for breaking her promise. The author notes that this story ends with "the hard truth that when we break our trust to Mother Earth, we pay a price." Do students feel that Turkey Girl paid a fair price? Have students ever accidentally told a secret? Or broke a promise? What happened? How can students act to be good stewards of the earth in their lives?
Tuesday, February 27, 2007
Friday, February 16, 2007
And the Green Grass Grew All Around
BIBLIOGRAPHY
Schwartz, Alvin. 1992. AND THE GREEN GRASS GREW ALL AROUND : folk poetry from everyone. Illustrated by Sue Truesdell. New York, NY. Harper Collins. ISBN 0060227575
SUMMARY
This is a compilation of over 250 folk poems which "celebrates the vitality and originality of everyday language" (liner notes). The collection includes autograph rhymes, street rhymes, parodies, riddles, limerecks, love poems, and anything else heard on a playground.
ANALYSIS
The collection of poetry is truly exhaustive. Any child will eventually find a poem that they know and love. The power of this book is that it's basically a collection of children's secret lanuage, validated through being written down. Each generation of kids thinks they came up with these rhymes, and each one takes ownership of the language and passes it on to the next, with a few changes. The book is a wonderful incentive for kids to make more original poems to pass on. Scwartz says "A folk poet made up each of the poems in this book" (p. 153).
The book is broken into sections according to what the poems are about; people, food, school, weather and so on. Schwartz also provides and index of first lines, which is the best way to find a specific known poem. Schwartz's notes section on origins and sources is a wonderful resource for teachers and students. For instance, who knew that the "Swaaping Song" may have its origin in a "fourteenth-century political song from the days of King Richard II" (p. 179)?
Truesdale's lively and funny drawings are well suited to the subject matter, and her literal take on the rhymes are frequently more amusing than the poems themselves. The black and white pen and ink drawings look like sketches and doodles from a bright and very naughty student's notebook. They are the perfect accompaniment to the children's art of the folk tale.
The layout of the poems is loose and varies from page to page, with drawings interspersed between poems. Sheet music is provided when the poem has traditionally been sung to a certain tune.
REIVEWS
"A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children's folk poetry heard on schoolgrounds and wherever else kids are having fun. Adults who stew over the appropriateness of Roald Dahl's books or Shel Silverstein's poetry may have concerns here, but kids will love having all their underground playground rhymes in one volume." SCHOOL LIBRARY JOURNAL
"In b&w pen and watercolor, Truesdell's marvelous characters dance across the generously broad pages, peering inquisitively at the hilarious goings-on or gleefully joining in the shenanigans. It's hard to imagine a child who wouldn't greet this treasure trove with enthusiasm." KIRKUS REVIEWS
CONNECTIONS
This book is a great centerpiece for a folk poetry unit. Students can bring in their own variations of the rhymes, or share family expressions and poems. Students can discuss the differences between some of the rhymes in the book and the way the rhyme has changed on their playground. Schwartz includes a section on the origins of some ryhymes, and students might be interested in finding out how old some of the poems really are.
Schwartz, Alvin. 1992. AND THE GREEN GRASS GREW ALL AROUND : folk poetry from everyone. Illustrated by Sue Truesdell. New York, NY. Harper Collins. ISBN 0060227575
SUMMARY
This is a compilation of over 250 folk poems which "celebrates the vitality and originality of everyday language" (liner notes). The collection includes autograph rhymes, street rhymes, parodies, riddles, limerecks, love poems, and anything else heard on a playground.
ANALYSIS
The collection of poetry is truly exhaustive. Any child will eventually find a poem that they know and love. The power of this book is that it's basically a collection of children's secret lanuage, validated through being written down. Each generation of kids thinks they came up with these rhymes, and each one takes ownership of the language and passes it on to the next, with a few changes. The book is a wonderful incentive for kids to make more original poems to pass on. Scwartz says "A folk poet made up each of the poems in this book" (p. 153).
The book is broken into sections according to what the poems are about; people, food, school, weather and so on. Schwartz also provides and index of first lines, which is the best way to find a specific known poem. Schwartz's notes section on origins and sources is a wonderful resource for teachers and students. For instance, who knew that the "Swaaping Song" may have its origin in a "fourteenth-century political song from the days of King Richard II" (p. 179)?
Truesdale's lively and funny drawings are well suited to the subject matter, and her literal take on the rhymes are frequently more amusing than the poems themselves. The black and white pen and ink drawings look like sketches and doodles from a bright and very naughty student's notebook. They are the perfect accompaniment to the children's art of the folk tale.
The layout of the poems is loose and varies from page to page, with drawings interspersed between poems. Sheet music is provided when the poem has traditionally been sung to a certain tune.
REIVEWS
"A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children's folk poetry heard on schoolgrounds and wherever else kids are having fun. Adults who stew over the appropriateness of Roald Dahl's books or Shel Silverstein's poetry may have concerns here, but kids will love having all their underground playground rhymes in one volume." SCHOOL LIBRARY JOURNAL
"In b&w pen and watercolor, Truesdell's marvelous characters dance across the generously broad pages, peering inquisitively at the hilarious goings-on or gleefully joining in the shenanigans. It's hard to imagine a child who wouldn't greet this treasure trove with enthusiasm." KIRKUS REVIEWS
CONNECTIONS
This book is a great centerpiece for a folk poetry unit. Students can bring in their own variations of the rhymes, or share family expressions and poems. Students can discuss the differences between some of the rhymes in the book and the way the rhyme has changed on their playground. Schwartz includes a section on the origins of some ryhymes, and students might be interested in finding out how old some of the poems really are.
The Greatest of All
BIBLIOGRAPHY
Kimmel, Eric A. 1991. THE GREATEST OF ALL : a Japanese folktale. Illustrated by Gioria Carmi. New York, NY : Holiday House. ISBN 082340885
SUMMARY
A mouse father, in search of the mightiest husband for his daughter, approached the emperor, the sun, a cloud, the wind, and a wall before the unexpected visitor finally appears.
ANALYSIS
This is Eric Kimmel's retelling of a classic Japanese folktale, and he does not seem to have wanted to take any chances with the content. As a result, if one is looking for an action packed story with tension and fast pacing, this is not the book to pick up. In the tradition of oral stories, it is very repetitive. As a reviewer, I have a handicap in that I'm not familiar with any other versions of this folktale, and I'm also unfamiliar with many aspects of Japanese culture. For instance, the repetetive dialogue between Father Mouse and each of his prospective son-in-laws seems stilted and formal, but this might be a result of a strong cultural value placed on good manners. The Japanese terms and names in the story were interesting and well placed. The place the story more firmly in its context and make the dialogue flow better. Kimmel's thoughful Author's Note gives the definitions.
The story contains many of the traditional elements of the folktale; Father Mouse goes on a quest, he is anthropomorphic- a talking mouse, and he encounters several anthropomorhic magical beings in his search for "the greatest of all." It is a different type of story in that Father Mouse, a comical and sometimes not very likable character, is also the main character. He is not the villain of the story, but he is the only impediment to his daughter's marraige with the mouse she loves. Father Mouse is proud and stubborn, but in this version of the story, he receives no punishment for these character faults. In fact, in the end, he is more proud than before.
Many folktales are told with shorthand characterizations, actors in the story may not be quite fleshed out because the audience is already familiar with the type; the good hero, the evil villian, the old wise woman and so on. But I thought the characters in this story, with the exception of Father Mouse, were particularly flat. The strongest impressions of character and personality came through in Carmi's illustrations of Sun, Cloud, Wind and Wall. The illustrations and text are seperated in the first edition on two parallel blocks floating in the midst of a tomato-colored page. The border color was distracting and a little ugly, and didn't compliment the illustrations. The illustrations themselves were one or one and half page spreads, with only one two page spread. Carmi used colored pencil and perhaps watercolor in a subdued but warm palatte. Father Mouse wears jewel tone robes and his daughter Chuko wears a bright kimono. Carmi succeeds in usings the illustrations to depict elements of Japanese architecture and culture.
REVIEWS
"Kimmel ( Anansi and the Moss-Covered Rock ; Hershel and the Hanukkah Goblins ) concisely retells this pleasant if low-key tale of a self-important mouse who lives in the emperor's palace and dresses in fine silk. He refuses to allow his daughter to marry a humble field mouse, announcing that whomever she marries "must be the greatest of all." PUBLISHER'S WEEKLY
"Carmi uses tall frames and details of dress to suggest a Japanese setting; her style is lively and accessible but undistinguished, the illustrations' muted tomato-soup borders more distracting than harmonious. Still, an acceptable setting for a good story." KIRKUS REVIEWS
CONNECTIONS
This book might work well as part of a unit on Japanese culture. The emperor's palace illustration is an example of an historic period of Japanese architecture, and the haiku and caligraphy at the end of the story open a window on two strong cultural traditions. Students might compose their own haikus, and see some examples of Japanese caligraphy.
Of course, the story could also serve as an examply of a Japanese folktale, in a unit of folktales and traditional stories from many different cultures.
A potential discussion question for older students: What are we readers supposed to think of Father Mouse? The book says, "He thought himself a splendid mouse indeed!" (p. 3). Do you think the other characters in the book think as highly of Father Mouse as he thinks of himself? Are there any clues in the story that make you think Father Mouse might be a little silly?
Kimmel, Eric A. 1991. THE GREATEST OF ALL : a Japanese folktale. Illustrated by Gioria Carmi. New York, NY : Holiday House. ISBN 082340885
SUMMARY
A mouse father, in search of the mightiest husband for his daughter, approached the emperor, the sun, a cloud, the wind, and a wall before the unexpected visitor finally appears.
ANALYSIS
This is Eric Kimmel's retelling of a classic Japanese folktale, and he does not seem to have wanted to take any chances with the content. As a result, if one is looking for an action packed story with tension and fast pacing, this is not the book to pick up. In the tradition of oral stories, it is very repetitive. As a reviewer, I have a handicap in that I'm not familiar with any other versions of this folktale, and I'm also unfamiliar with many aspects of Japanese culture. For instance, the repetetive dialogue between Father Mouse and each of his prospective son-in-laws seems stilted and formal, but this might be a result of a strong cultural value placed on good manners. The Japanese terms and names in the story were interesting and well placed. The place the story more firmly in its context and make the dialogue flow better. Kimmel's thoughful Author's Note gives the definitions.
The story contains many of the traditional elements of the folktale; Father Mouse goes on a quest, he is anthropomorphic- a talking mouse, and he encounters several anthropomorhic magical beings in his search for "the greatest of all." It is a different type of story in that Father Mouse, a comical and sometimes not very likable character, is also the main character. He is not the villain of the story, but he is the only impediment to his daughter's marraige with the mouse she loves. Father Mouse is proud and stubborn, but in this version of the story, he receives no punishment for these character faults. In fact, in the end, he is more proud than before.
Many folktales are told with shorthand characterizations, actors in the story may not be quite fleshed out because the audience is already familiar with the type; the good hero, the evil villian, the old wise woman and so on. But I thought the characters in this story, with the exception of Father Mouse, were particularly flat. The strongest impressions of character and personality came through in Carmi's illustrations of Sun, Cloud, Wind and Wall. The illustrations and text are seperated in the first edition on two parallel blocks floating in the midst of a tomato-colored page. The border color was distracting and a little ugly, and didn't compliment the illustrations. The illustrations themselves were one or one and half page spreads, with only one two page spread. Carmi used colored pencil and perhaps watercolor in a subdued but warm palatte. Father Mouse wears jewel tone robes and his daughter Chuko wears a bright kimono. Carmi succeeds in usings the illustrations to depict elements of Japanese architecture and culture.
REVIEWS
"Kimmel ( Anansi and the Moss-Covered Rock ; Hershel and the Hanukkah Goblins ) concisely retells this pleasant if low-key tale of a self-important mouse who lives in the emperor's palace and dresses in fine silk. He refuses to allow his daughter to marry a humble field mouse, announcing that whomever she marries "must be the greatest of all." PUBLISHER'S WEEKLY
"Carmi uses tall frames and details of dress to suggest a Japanese setting; her style is lively and accessible but undistinguished, the illustrations' muted tomato-soup borders more distracting than harmonious. Still, an acceptable setting for a good story." KIRKUS REVIEWS
CONNECTIONS
This book might work well as part of a unit on Japanese culture. The emperor's palace illustration is an example of an historic period of Japanese architecture, and the haiku and caligraphy at the end of the story open a window on two strong cultural traditions. Students might compose their own haikus, and see some examples of Japanese caligraphy.
Of course, the story could also serve as an examply of a Japanese folktale, in a unit of folktales and traditional stories from many different cultures.
A potential discussion question for older students: What are we readers supposed to think of Father Mouse? The book says, "He thought himself a splendid mouse indeed!" (p. 3). Do you think the other characters in the book think as highly of Father Mouse as he thinks of himself? Are there any clues in the story that make you think Father Mouse might be a little silly?
Thursday, February 1, 2007
Genre 1: A Caldecott Celebration
BIBLIOGRAPHY
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION. New York, NY: Walker and Company. ISBN 0802786561.
SUMMARY
A CALDECOTT CELEBRATION is a celebration of the 60th anniversary of the Caldecott Medal. This charming children's history book opens with the introduction of Randolph Caldecott and the origins of the medal, and then moves through the six decades in which it's been awarded by profiling one recognized illustrator from each decade.
ANALYSIS
The stories in this book are told clearly, in straight forward engaging language that young readers will follow. They will probably find at least one of their favorite books among the six Caldecott winners profiled, and will enjoy seeing the way the illustrator brought an idea to fruition. Marcus tells the artists' stories with humor and an eye to which details will appeal to children. In several cases, through interviews with the authors, Marcus pieces the story together from the first moment of inspiration to the final illustration in the book, as in the case of the 1955 winner, Marcia Brown, and the cherubs over the door of Scribner's Publishers.
The most engaging aspect of Marcus' book is the artist's original sketches and drawings interspersed throughout the text, sometimes embellished with insider information on the type of medium used and the way the printing process worked when that author was writing. The original dummies and works in process cannot fail to fascinate young readers, who may relish the opportunity to get a behind the scenes look at their favorite picture books. The personal anectodotes Marcus shares from the lives of the winners are chosen well, and seem to pop up throughout the profiles just when plain history might start to get a little boring. Any wandering attention will be called back for the story of Robert McCloskey's New York apartment full of sixteen ducks. In addition, the way Marcus fits the lives and works of the artists into the context of history is well done. For instance, when speaking of Robert McCloskey's scholarship opportunity, Marcus mentions that he was a teenager during the Great Depression, "a time when money and jobs were scarce" (Marcus, 7). The language is not dumbed down and the concepts can be easily grasped for students who were not familiar with that history. Marcus also places the many of the books in the context of their times; for instance, Marcus notes that MAKE WAY FOR DUCKLINGS was published soon before the country entered World War II, and "the story's promise of security and a father's safe return came to mean a great deal to the children of a nation at war" (Marcus, 11). Marcus also gives perspective on the success of Marcia Brown's CINDERELLA by mentioning the fad for new illustrations of fairytales in that time.
Two aspects of the book seem the most significant to young readers: seeing the creative process in action, and watching the artists turn their dreams into reality. Young readers familiar with the stories get to see the artist's vision take shape, from the first spark of imagination in Maurice Sendaks "Where the Wild Horses Are" to the final award winning book. Marcus does not discount serendipity in the lives of the award winners, but he does not make much of the chance meetings and old friendships that in most cases led to publication. Instead Marcus presents the artists' histories as dreams that were achievable through hard work and perseverence.
The glossary at the end of the book is a wonderful tool for young readers and their teachers.
REVIEWS
"Filled with witty anecdotes and pithy observations, Marcus's (Dear Genius: The Letters of Ursula Nordstrom) approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers. He has chosen one book from each decade, "so that viewed together, the six offer an informal cross section through time of the American picture book": Robert McCloskey's Make Way for Ducklings, Marcia Brown's Cinderella; or, The Little Glass Slipper, Maurice Sendak's Where the Wild Things Are, William Steig's Sylvester and the Magic Pebble, Chris Van Allsburg's Jumanji and David Wiesner's Tuesday. With a generous sprinkling of the artists' own words and sometimes those of his or her editor, Marcus chronicles the inspiration behind these works, the creative process, the artists' reactions to winning the prestigious award and its effect on their careers. He fills the volume with the kinds of details children relish..." PUBLISHER'S WEEKLY.
CONNECTIONS
Ask kids about projects they've started and finished, such as drawings or models, or even something like a treehouse. Was the project different in the end than the way they'd imagined it in the beginning? Do students think Maurice Sendak was right, and it is necessary to have "a firm, clear vision" before beginning the work? (Marcus, 22).
This book also could work as part of a unit on great artists throughout United States history, given that one of the original intetions of the Caldecott Award was to "encourage American artists to make picture books" that were valuable works of art like Randolph Caldecott's books.
Since students will almost certainly have read some of the award winning books Marcus profiles, it will not be hard to spark a discussion on which of the books each child likes the most and why.
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION. New York, NY: Walker and Company. ISBN 0802786561.
SUMMARY
A CALDECOTT CELEBRATION is a celebration of the 60th anniversary of the Caldecott Medal. This charming children's history book opens with the introduction of Randolph Caldecott and the origins of the medal, and then moves through the six decades in which it's been awarded by profiling one recognized illustrator from each decade.
ANALYSIS
The stories in this book are told clearly, in straight forward engaging language that young readers will follow. They will probably find at least one of their favorite books among the six Caldecott winners profiled, and will enjoy seeing the way the illustrator brought an idea to fruition. Marcus tells the artists' stories with humor and an eye to which details will appeal to children. In several cases, through interviews with the authors, Marcus pieces the story together from the first moment of inspiration to the final illustration in the book, as in the case of the 1955 winner, Marcia Brown, and the cherubs over the door of Scribner's Publishers.
The most engaging aspect of Marcus' book is the artist's original sketches and drawings interspersed throughout the text, sometimes embellished with insider information on the type of medium used and the way the printing process worked when that author was writing. The original dummies and works in process cannot fail to fascinate young readers, who may relish the opportunity to get a behind the scenes look at their favorite picture books. The personal anectodotes Marcus shares from the lives of the winners are chosen well, and seem to pop up throughout the profiles just when plain history might start to get a little boring. Any wandering attention will be called back for the story of Robert McCloskey's New York apartment full of sixteen ducks. In addition, the way Marcus fits the lives and works of the artists into the context of history is well done. For instance, when speaking of Robert McCloskey's scholarship opportunity, Marcus mentions that he was a teenager during the Great Depression, "a time when money and jobs were scarce" (Marcus, 7). The language is not dumbed down and the concepts can be easily grasped for students who were not familiar with that history. Marcus also places the many of the books in the context of their times; for instance, Marcus notes that MAKE WAY FOR DUCKLINGS was published soon before the country entered World War II, and "the story's promise of security and a father's safe return came to mean a great deal to the children of a nation at war" (Marcus, 11). Marcus also gives perspective on the success of Marcia Brown's CINDERELLA by mentioning the fad for new illustrations of fairytales in that time.
Two aspects of the book seem the most significant to young readers: seeing the creative process in action, and watching the artists turn their dreams into reality. Young readers familiar with the stories get to see the artist's vision take shape, from the first spark of imagination in Maurice Sendaks "Where the Wild Horses Are" to the final award winning book. Marcus does not discount serendipity in the lives of the award winners, but he does not make much of the chance meetings and old friendships that in most cases led to publication. Instead Marcus presents the artists' histories as dreams that were achievable through hard work and perseverence.
The glossary at the end of the book is a wonderful tool for young readers and their teachers.
REVIEWS
"Filled with witty anecdotes and pithy observations, Marcus's (Dear Genius: The Letters of Ursula Nordstrom) approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers. He has chosen one book from each decade, "so that viewed together, the six offer an informal cross section through time of the American picture book": Robert McCloskey's Make Way for Ducklings, Marcia Brown's Cinderella; or, The Little Glass Slipper, Maurice Sendak's Where the Wild Things Are, William Steig's Sylvester and the Magic Pebble, Chris Van Allsburg's Jumanji and David Wiesner's Tuesday. With a generous sprinkling of the artists' own words and sometimes those of his or her editor, Marcus chronicles the inspiration behind these works, the creative process, the artists' reactions to winning the prestigious award and its effect on their careers. He fills the volume with the kinds of details children relish..." PUBLISHER'S WEEKLY.
CONNECTIONS
Ask kids about projects they've started and finished, such as drawings or models, or even something like a treehouse. Was the project different in the end than the way they'd imagined it in the beginning? Do students think Maurice Sendak was right, and it is necessary to have "a firm, clear vision" before beginning the work? (Marcus, 22).
This book also could work as part of a unit on great artists throughout United States history, given that one of the original intetions of the Caldecott Award was to "encourage American artists to make picture books" that were valuable works of art like Randolph Caldecott's books.
Since students will almost certainly have read some of the award winning books Marcus profiles, it will not be hard to spark a discussion on which of the books each child likes the most and why.
Genre 1: The Hello Goodbye Window
BIBLIOGRAPHY
Juster, Norton. 2005. THE HELLO GOODBYE WINDOW. Illustrated by Chris Raschka. New York, NY: Hyperion. ISBN 0786809140
SUMMARY
This is a sweet and colorful story narrated in the voice of a young girl. She tells about the magical window at her Nanna and Poppy's house, the "Hello, Goodbye Window" and all the adventures she has while visiting her grandparents.
ANALYSIS
The bright swirling impressionist illustrations put the reader more firmly in the girl's point of view, as she describes in present tense the rituals and joys of staying overnight with her loving grandparents. In the first double page spread, the reader sees only the narrator's hands as she looks over the fence into her grandparents' yard and sees their expectant faces in the "Hello, Goodbye Window."
Through the childlike whimsy of the illustrations, and through Juster's simple prose, the reader sees the everyday actions of a loving family through the lense of an imaginative child. Commonplace things, like a cat in the garden, take on magical proportions, and rituals like making oatmeal, and saying goodnight to the stars, are sweetly described in her voice. The story is a window on a day and night in the life of a happy extended family, from harmonica playing, to naptime, when the girl is sure that nothing happens until she wakes up.
The drawings are alive and bursting with expression and joy, a perfect rendering of a child's imagination. The book frequently uses the double page spread to draw the reader more completely into the vibrant reality of the story. The text is in a simple black font, and spaced creatively in blocks, usually at the edges of the illustration. The story, although solidly in narrator's perspective, invites older readers to wink at the interpretations the girl puts on everyday activitites in the life of a child. The story also invites older readers to relive and enjoy the magic of living as a child, seeing a dinasaur, a pizza man, and the Queen through the kitchen window. And finally the stay concludes when the young protagonist sees her parents. Children's emotions can sometimes feel overwhelming to them, and Juster describes perfectly the happy-sad feeling of seeing her parents, and knowing that her visit with Nanna and Poppy has come to an end.
REVIEWS
"While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand." Starred Review, SCHOOL LIBRARY JOURNAL
"The window imagery is less important than the title would make it seem. More intrinsic is Juster's honest portrayal of a child's perceptions (a striped cat in the yard is a tiger) and emotions (being happy and sad at the same time "just happens that way sometimes")." Starred Review, BOOKLIST
CONNECTIONS
Follow storytime with craft time, and have students draw pictures of grandparents or older relatives or friends, and things they enjoy doing with them. With the teacher's help, students could create their own picture books about time they spend with their own extended family or friends.
Use this book to start a storytime unit on grandparents and extended family. Other possible picks for the unit could be Else Minarik's LITTLE BEAR'S VISIT, and Vera Williams' A CHAIR FOR MY MOTHER, which describes a loving non-traditional family.
Juster, Norton. 2005. THE HELLO GOODBYE WINDOW. Illustrated by Chris Raschka. New York, NY: Hyperion. ISBN 0786809140
SUMMARY
This is a sweet and colorful story narrated in the voice of a young girl. She tells about the magical window at her Nanna and Poppy's house, the "Hello, Goodbye Window" and all the adventures she has while visiting her grandparents.
ANALYSIS
The bright swirling impressionist illustrations put the reader more firmly in the girl's point of view, as she describes in present tense the rituals and joys of staying overnight with her loving grandparents. In the first double page spread, the reader sees only the narrator's hands as she looks over the fence into her grandparents' yard and sees their expectant faces in the "Hello, Goodbye Window."
Through the childlike whimsy of the illustrations, and through Juster's simple prose, the reader sees the everyday actions of a loving family through the lense of an imaginative child. Commonplace things, like a cat in the garden, take on magical proportions, and rituals like making oatmeal, and saying goodnight to the stars, are sweetly described in her voice. The story is a window on a day and night in the life of a happy extended family, from harmonica playing, to naptime, when the girl is sure that nothing happens until she wakes up.
The drawings are alive and bursting with expression and joy, a perfect rendering of a child's imagination. The book frequently uses the double page spread to draw the reader more completely into the vibrant reality of the story. The text is in a simple black font, and spaced creatively in blocks, usually at the edges of the illustration. The story, although solidly in narrator's perspective, invites older readers to wink at the interpretations the girl puts on everyday activitites in the life of a child. The story also invites older readers to relive and enjoy the magic of living as a child, seeing a dinasaur, a pizza man, and the Queen through the kitchen window. And finally the stay concludes when the young protagonist sees her parents. Children's emotions can sometimes feel overwhelming to them, and Juster describes perfectly the happy-sad feeling of seeing her parents, and knowing that her visit with Nanna and Poppy has come to an end.
REVIEWS
"While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand." Starred Review, SCHOOL LIBRARY JOURNAL
"The window imagery is less important than the title would make it seem. More intrinsic is Juster's honest portrayal of a child's perceptions (a striped cat in the yard is a tiger) and emotions (being happy and sad at the same time "just happens that way sometimes")." Starred Review, BOOKLIST
CONNECTIONS
Follow storytime with craft time, and have students draw pictures of grandparents or older relatives or friends, and things they enjoy doing with them. With the teacher's help, students could create their own picture books about time they spend with their own extended family or friends.
Use this book to start a storytime unit on grandparents and extended family. Other possible picks for the unit could be Else Minarik's LITTLE BEAR'S VISIT, and Vera Williams' A CHAIR FOR MY MOTHER, which describes a loving non-traditional family.
Genre 1: My Friend Rabbit
BIBLIOGRAPHY
Rohmann, Eric. 2002. MY FRIEND RABBIT. I. by Eric Rohman. Brookfield, CT. Roaring Books Press. ISBN 0761315357
SUMMARY
This is a playful story about a mouse's friendship with a rabbit who is always getting into trouble. Rabbit wants to help Mouse play with his new toy plane, but the plane gets stuck in a tree. Rabbit's funny and creative problem solving brings more trouble for the two good friends.
ANALYSIS
Rohman's illustrations in MY FRIEND RABBIT tell the story on their own, with minimal comically understated text. The thick black outlines and stark shadows and light of the relief prints make the creatures expressive and alive. The book moves forward across the simple grassy scene, as readers watch Rabbit's idea take shape. The double page illustrations are engrossing, and make the book seem to race by, as readers watch first the back half of an elephant, and then the whole expressive, resistant beast move across the page under Rabbit's steam.
Personally, I find the animal's facial expressions to be the best part of the book; the fearful surprise of the elephant, the wary reluctance of the rhino, the outraged indignance of the mother duck... all hilarious. And Mouse's journey is rendered starkly and beautifully: his early astonishment and growing impatience is always tempered by loyalty to his friend Rabbit, who is shown hopeful and determined throughout. The vertical tower of animals is creative use of the double page spread, and grabs attention in a funny way. Rohman's expressive illustrations endow each animal with character and humor, and watching the animals, however reluctantly, cooperate to get Mouse's plane down, is a fun and interactive way to bring up themes of sharing, friendship and loyalty.
REVIEWS
"Rohmann tells most of the story through bold, expressive relief prints....This gentle lesson in patience and loyalty, balanced on the back of a hilarious set of illustrations, will leave young readers clamoring for repeat readings." PUBLISHERS WEEKLY
"[A] smart, sassy object lesson....The fun of this is in the spacing and sequencing of the heavily ink-outlined drawings....Tremendous physical humor delivers a gentle lesson about accepting friends as they are." BOOKLIST
CONNECTIONS
The book is a good starting point for a discussion about playing with older and stronger kids, and friends who sometimes get into trouble. MY FRIEND RABBIT also deals with issues of sharing and friendship, and Mouse's defense of his friend in the beginning, "My friend Rabbit means well," is a sweet commentary on loyalty between friends. A teacher might offer a story of playing with a friend who is followed by trouble, like Rabbit, and ask students to share stories of this from their experience.
Rohmann, Eric. 2002. MY FRIEND RABBIT. I. by Eric Rohman. Brookfield, CT. Roaring Books Press. ISBN 0761315357
SUMMARY
This is a playful story about a mouse's friendship with a rabbit who is always getting into trouble. Rabbit wants to help Mouse play with his new toy plane, but the plane gets stuck in a tree. Rabbit's funny and creative problem solving brings more trouble for the two good friends.
ANALYSIS
Rohman's illustrations in MY FRIEND RABBIT tell the story on their own, with minimal comically understated text. The thick black outlines and stark shadows and light of the relief prints make the creatures expressive and alive. The book moves forward across the simple grassy scene, as readers watch Rabbit's idea take shape. The double page illustrations are engrossing, and make the book seem to race by, as readers watch first the back half of an elephant, and then the whole expressive, resistant beast move across the page under Rabbit's steam.
Personally, I find the animal's facial expressions to be the best part of the book; the fearful surprise of the elephant, the wary reluctance of the rhino, the outraged indignance of the mother duck... all hilarious. And Mouse's journey is rendered starkly and beautifully: his early astonishment and growing impatience is always tempered by loyalty to his friend Rabbit, who is shown hopeful and determined throughout. The vertical tower of animals is creative use of the double page spread, and grabs attention in a funny way. Rohman's expressive illustrations endow each animal with character and humor, and watching the animals, however reluctantly, cooperate to get Mouse's plane down, is a fun and interactive way to bring up themes of sharing, friendship and loyalty.
REVIEWS
"Rohmann tells most of the story through bold, expressive relief prints....This gentle lesson in patience and loyalty, balanced on the back of a hilarious set of illustrations, will leave young readers clamoring for repeat readings." PUBLISHERS WEEKLY
"[A] smart, sassy object lesson....The fun of this is in the spacing and sequencing of the heavily ink-outlined drawings....Tremendous physical humor delivers a gentle lesson about accepting friends as they are." BOOKLIST
CONNECTIONS
The book is a good starting point for a discussion about playing with older and stronger kids, and friends who sometimes get into trouble. MY FRIEND RABBIT also deals with issues of sharing and friendship, and Mouse's defense of his friend in the beginning, "My friend Rabbit means well," is a sweet commentary on loyalty between friends. A teacher might offer a story of playing with a friend who is followed by trouble, like Rabbit, and ask students to share stories of this from their experience.
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