Naomi Shihab Nye

I. BIBLIOGRAPHIC INFORMATION

Nye, Naomi Shihab. 1997. HABIBI. New York: Simon and Schuster. ISBN 0689801491

II. SUMMARY

Liyana and her family move from St. Louis to Jerusalem, after her father decides it is safe enough for them to return to his homeland. Liyana is apprehensive about the move and the new country she will be living in. She discovers a country unlike anything she has ever experienced. She experiences all aspects of life and cultures in Jerusalem, from her large Arabic family to her Armenian teachers and classmates at school. Liyana even begins a romance with and Israeli young man and learns about Jewish culture as well. Liyana’s adolescent experiences are juxtaposed to the realities of conflict in the region, and she questions why these people cannot have peace.

III. CRITICAL ANALYSIS

HABIBI is a poetic, insightful novel from the perspective of a likable and relatable teenage girl. Liyana experiences the typical teenage crushes, from her first kiss in St. Louis to her blossoming romance with Omer in Jerusalem. These experiences are interwoven into her discovery of Jerusalem’s diverse cultures. Through her eyes, the reader comes to learn about the different groups living within the city.

Each character is well thought out and presented fully. Liyana’s relationship with her parents is honest and relevant to many young teens today. HABIBI is a story that builds. The reader senses the conflict in the region, but when the conflict finally reaches the Abboud family, the reader is shocked and dismayed. First, Israeli soldiers destroy the interior of Liyana’s grandmother’s house. Then, Liyana’s father is jailed when he interferes with Israeli soldiers who have shot one of their friends at a nearby refugee camp. The dramatic climax is engaging and genuine. The story is a cry for peace in a world full of conflict. When Omer joins Liyana’s family and meets her grandmother, the reader feels the desire for peace among each of the characters.

There are many cultural markers in the text adding to the authenticity of the work. First, the character’s names are indicative of their Arab heritage. Liyana and Rafik are the Abboud’s two children. Liyana meets a Jewish boy she mistakenly believes is named Omar. Only later she learns his name is actually Hebrew and is Omer. There are other cultural markers as well. The descriptions of the food are examples of food found in the region. Even the description of the house they rent is an example of a cultural marker. The house is white stone in the countryside. It is near a refugee camp.

Other cultural markers include the descriptions of religious beliefs. Liyana notes that her extended family each carries prayer rugs and kneels to pray in Arabic. Other descriptions include their visit to the Dead Sea. The water is so salty; they float as if on rafts. Along the way, they meet with Bedouins, who share goat cheese with them. Each of these descriptions of Liyana’s observations adds to the authenticity of the work. Because Liyana is discovering Jerusalem for the first time, the author is able to describe in great detail the intricacies of everyday life. The comparisons to American culture make the reader aware of the differences.

Overall, HABIBI is a well-written, insightful novel about a region torn with discord. Liyana’s character is relatable and typical of many teenaged girls. Her experiences moving from America to Jerusalem offer readers the opportunity to learn about the varied cultures within the region. Hopefully, as well, readers understand the call for peace in the region as well.

IV. REVIEW EXCERPTS

“Though the story begins at a leisurely pace, readers will be engaged by the characters, the romance, and the foreshadowed danger. Poetically imaged and leavened with humor, the story renders layered and complex history understandable through character and incident. Habibi succeeds in making the hope for peace compellingly personal and concrete...as long as individual citizens like Liyana's grandmother Sitti can say, ‘I never lost my peace inside.’”—School Library Journal

“Adolescence magnifies the joys and anxieties of growing up even as it radically simplifies the complexities of the adult world. The poet and anthologist Naomi Shibab Nye is meticulously sensitive to this rainbow of emotion in her autobiographical novel, Habibi….”—New York Times

V. CONNECTIONS

**Create a reader’s theatre script from an excerpt of the book.
**Share in a booktalk.

Other Groups: Disability Picture Book

I. BIBLIOGRAPHIC INFORMATION

Seeger, Pete and Paul Dubois Jacobs. 2006. THE DEAF MUSICIANS. Ill. by R. Gregory Christie. New York: G.P. Putnam’s Sons. ISBN 039924316X.

II. SUMMARY

Musician Lee plays jazz with his band. One night, his fellow band mates notice that Lee is losing his hearing. They tried to cover for him, but it became too difficult and he quit the band. He finds a school for the deaf and learns sign language. He meets other deaf musicians, and they start their own band. They rehearsed in the subway, and people really enjoyed their music.

III. CRITICAL ANALYSIS

THE DEAF MUSICIANS is a well-written sensitive story about a musician becoming deaf. He thinks he has lost his ability to play music forever, but he meets new friends who are deaf musicians. They form a band, and play to large crowds near the subway. The text has a singsong quality, and the Seeger and Jacobs have done an excellent job of bringing the sounds of jazz into the words. For example, the trumpets are described as going “doodle-bop-bop, boo-bang-bing” and the bass goes “Boomba-bum, boomba-bum.” The reader can almost hear the rhythm.

The illustrations by three-time Coretta Scott King Honor winner R. Gregory Christie are colorful and bold. The characters expressions are vivid and represent a multicultural view of urban life. The faces are not necessarily true to life, but the present the diversity in American culture. Some of the faces are purple, blue and gray.

As a work representing disabilities, the topic is covered in a realistic authentic way. Lee gradually loses his hearing, and he experiences some personal embarrassment about it. However, upon finding the school for the deaf and sign language, he once again has his dignity and ability to communicate. He even realizes an advantage to being able to sign on the loud subway. By using sign language, he can easily communicate to his friends over the sounds of the crowds and train. THE DEAF MUSICIANS presents a positive view of people with disabilities. Through the story, it is clear that just because someone is deaf, they do not have to stop doing something they love…even playing music.

IV. REVIEW EXCERPTS

"Christie's snazzy style matches perfectly with the book's vivacity. The expressive faces and bold use of color make the story sing. This is a great read-aloud that begs for enthusiastic performance and audience participation. Both uplifting and inclusive, it is a celebration of music and resilience"—School Library Journal

V. CONNECTIONS

**Include in a storytime. Teach the children some words in sign language. Sing a song using sign language.

Other Groups: King and King

I. BIBLIOGRAPHIC INFORMATION

De Haan, Linda and Stern Nijland. 2000. KING AND KING. Berkeley: Tricycle Press. ISBN 1582460612

II. SUMMARY

When the Queen is tired of being queen, she demands that her son marry and become King. They put out a search far and wide, but the princesses do not catch the prince’s attention. Finally, Princess Madeleine and her brother Prince Lee visit the palace. The prince fall sin love with Prince Lee and the two marry.

III. CRITICAL ANALYSIS

KING AND KING is a retelling of a Cinderella story with a homosexual perspective. The prince says to his mother “I’ve never cared much for princesses” in the beginning of the story, making the reader aware that this is not going to be a traditional fairytale. The story is similar in format to tradition fairy tales in its sequence of events. The text is narrative and ends predictably with the phrase “everyone lives happily ever after.”

The illustrations in this picture book are vivid, brightly colored multimedia collages. The pages are sometimes overly busy with the collage effect. The expressions on the characters are drawn and sometimes seem unattractive and somewhat sloppy. The interpretations of the princesses are somewhat stereotypical. The opera singer is huge and the princess from Mumbai is dark black, tall and thin. These exaggerations may add to the humor of the work, but some readers may be offended by them.

There are some markers that add to the authenticity of this work as a representative gay or homosexual picture book. The story itself is a timeless classic with a twist. The reader should understand the concept from the title. KING AND KING is clearly not a traditional tale. As the story progresses, it is clear that the prince does not care for princesses. The subject is not addressed subtly, and some children may be put off by the abruptness with which the prince changes his mind. This takes away from the authenticity of the story, and may seem insensitive to the issue of homosexuality.

Overall, the illustrations in this work are distracting and cluttered. The story is a unique take on a traditional fairy tale, but it is not particularly interesting or compelling within the narrative. This is not the best example of a picture book with a gay or lesbian perspective.

IV. REVIEW EXCERPTS

“Unfortunately, the multimedia collages are cluttered with clashing colors, amorphous paper shapes, scribbles of ink and bleary brushstrokes; the characters' features are indistinct and sometimes ugly. Despite its gleeful disruption of the boy-meets-girl formula, this alterna-tale is not the fairest of them all.”—Publisher’s Weekly

“The book does present same-sex marriage as a viable, acceptable way of life within an immediately recognizable narrative form, the fairy tale. However, those looking for picture books about alternative lifestyles may want to keep looking for a barrier-breaking classic on the subject.”—School Library Journal

V. CONNECTIONS
**Include the book in a display promoting awareness of “Banned Books Week.”

Yep Novel

I. BIBLIOGRAPHIC INFORMATION

Yep, Laurence. 1993. DRAGON’S GATE. New York: Harper Collins. ISBN0060229713

II. SUMMARY

Otter has always wanted to join his adoptive father and uncle in America. He is captivated by the wealth and experiences they have accumulated. When he accidentally kills a Manchu, his mother sends him to America to work on the railroads with his adoptive father. Otter is shocked at the brutal conditions, as he finds his uncle and father in a chilly mountain working on a tunnel. Otter is ultimately challenged to face the harsh realities of the mountain and stand up to the bosses.

III. CRITICAL ANALYSIS

DRAGON’S GATE is an excellent historical fiction novel that authentically captures both life in China and America in the 1860s. Otter is an unlikely hero, first presented as a coddled young boy, favored by his teacher. Ultimately, he grows into a strong man amongst the harsh conditions of the Sierra Nevada mountain range. Each character in DRAGON’S GATE is fully captured. Most notably, the friendship created between Otter, a Chinese rail worker and Sean, an Irish-American also working on the railroad is full of humor and insight. This relationship allows the reader to see the differences and similarities between cultures.

There are many cultural markers in the text of the story. From the beginning, the setting in China is described in detail. Particular focus is placed on the local politics and variety of regional differences within China. As outsiders, it is easy to think of it as one country, but through this novel, the reader learns of the struggles many groups faced. In addition, as in America, groups fought against inequality and prejudices.

As Otter is forced to flee China and join his adoptive father in America, more cultural markers are presented. Otter shares his food with Sean, and it is obvious Sean is not used to that type of food. Sean also asks Otter about his use of chopsticks. In addition, the Chinese workers have boiled the snow and made tea to protect them from disease.

Overall, this historical fiction is captivating and engaging. Yep brings to life a period in history that is not often discussed. He does not sugarcoat the harsh conditions the people faced in the mountains. The conditions were treacherous and those that survived were fortunate to do so. Not only did they have to cope with cold weather, but also the managers were cruel and often unfair to their workers.

IV. REVIEW EXCERPTS

1994 Newbery Honor Book

“Combining believable characters with thrilling adventure, Yep convinces readers that the Chinese railroad workers were indeed men to match the towering mountains of the west. Because the first few chapters, set in China, may be a bit confusing to children who have not read the previous two books, this will likely need booktalking.”—School Library Journal

“In a story enlivened with humor and heroism, Yep pays tribute to the immigrants who played such a vital role in our country's history.”—Kirkus Reviews
V. CONNECTIONS

**Present this work in a booktalk including Yep’s other titles in his Golden Mountain Chronicles.

Allen Say

I. BIBLIOGRAPHIC INFORMATION

Say, Allen. 1991. TREE OF CRANES. Boston: Houghton Mifflin Co. ISBN 039552024X

II. SUMMARY

TREE OF CRANES is the story of a young boy in Japan celebrating his first Christmas. His mother makes origami cranes and brings a tree from outside to decorate. She tells her son about the Christmas’s she remembers from when she lived in America as a child. The boy goes to sleep and wakes to find a present under his tree for his first Christmas celebration.

III. CRITICAL ANALYSIS

Allen Say’s TREE OF CRANES is a unique story about a Japanese boy learning about the American Christmas holiday from his mother, who was raised in America. The story builds as the boy first thinks his mother is upset at him because he got wet at a neighbor’s pond. Because it is cold outside, he knows he should not have been at the pond. His mother sends him to bed, but he still worries because she is acting strange. Finally, she brings a tree into his room and explains why she has been acting weird. She is remembering her Christmas celebrations as a child in “Ca-li-for-ni-a.” She goes on to explain the traditions of an American Christmas. This story is unique for Americans, because it is from the perspective of an “outsider.”

Some of the cultural markers Say includes in the text of this story include the description of the folding of the cranes. In Japanese culture, it is believed that if you fold a thousand cranes and make a wish, it will come true. Say also describes traditional foods such as rice gruel served with a sour plum and yellow radishes. As the story progresses, and they boy learns about Christmas, he describes to his mother what he would like for a gift. He would like a samurai kite. This is another cultural marker in the story.

Say’s beautiful watercolor illustrations add to the story, depicting the events of the narrative. There are many cultural markers within the illustrations. Some of them include the clothing the characters are wearing, which are representative of tradition Japanese clothes. The characters do not wear shoes inside, which is a custom in Japan. The faces of the characters are authentic representations of Japanese people. They are not exaggerated or “yellow,” which adds to the authenticity of the work as a whole.

Overall, this is an interesting, unique story about an American Christmas celebrated in another country. The illustrations are representative of Japanese architecture and styles, with straight lines and subtle coloring. The story is not dramatic or particularly compelling, but Say does a good job of bringing a distinctive perspective to life in this picture book.

IV. REVIEW EXCERPTS

“The story is a poignant one, illuminated with finely drawn illustrations reflecting the serenity of a Japanese home and the quiet love between mother and son. Say (The Bicycle Man; El Chino), who came to this country from Japan when he was a teenager, again exhibits a laudable sensitivity to Eastern and Western cultures--and to both the differences and the similarities between them.”—Publisher’s Weekly

“Say's exquisitely designed illustrations are as elegant as those for The Boy of the Three-Year Nap (1988, Caldecott Honor). Geometric forms in the austere Japanese architecture provide a serene background for softer lines defining the appealing little boy and his pensive mother.”—Kirkus Reviews

V. CONNECTIONS
**Share in a Christmas storytime. Have students make origami paper cranes as an ornament.

Asian/Asian-American Picture Book

I. BIBLIOGRAPHIC INFORMATION

Wong, Janet S. 2002. APPLE PIE 4TH OF JULY. Ill. by Margaret Chodos-Irvine. San Diego: Harcourt Inc. ISBN 015202543X

II. SUMMARY

The story begins with a young Chinese-American girl helping her parents open their Chinese store on 4th of July. She is convinced no one will eat Chinese food on this holiday. To her and her family’s surprise, however, many people come to get Chinese take-out for dinner. They keep serving until it is time to close the store, and the family enjoys fireworks and apple pie.

III. CRITICAL ANALYSIS

APPLE PIE 4TH OF JULY is an excellent picture from the unique perspective of a first generation Chinese-American girl. Her parents own a Chinese store, and the young girl laments their predicament on the 4th of July. She is convinced no Americans will come to their store on this holiday, and that they would prefer to eat apple pie. The writing style is simple and to the point. There is some repetition in the text. For example, as the parade goes by the store, first it goes “boom, boom, boom” and as it gets closer it goes “BOOM, BOOM, BOOM.” This use of repetition and all caps brings to life the parade and its noise. The text moves along at a quicker pace as the story continues, relating the passing of time.

There are a few cultural markers in the texts adding to the authenticity of this Chinese-American story. The primary cultural marker in the text is the author’s description of the foods prepared at the store. They include chow mein, sweet and sour pork, and egg rolls. In addition, the girl’s father mentions that it was the Chinese who invented fireworks.

The illustrations in this book add both color and liveliness to the story, but many elements that add to the cultural authenticity of the work. The illustrations are colorful and bright. They are not detailed, but instead appear somewhat sharp. They were created using a variety of printmaking techniques on Lana printmaking paper.

The illustrator has presented many cultural markers in the illustrations. For example, the faces of the characters are tan and their hairstyles could be considered typical of Chinese people. However, this is not to say that they are stereotyped images of Chinese-Americans. In fact, the most revealing characteristic of their ethnic background is their skin color. Without the accompanying text, the illustrations would not be as obvious to the reader. Other examples of cultural markers in the illustrations are the depictions of the food and the food containers. As is typical of most Chinese take-out restaurants, the illustrator has included the cartons for the food. They are displayed in three different sizes on the counter. There is also a container of fortune cookies depicted in the illustrations.

Overall, this book would be an excellent choice for an alternative to the typical 4th of July stories. It reveals the diversity of Americans celebrating the holiday and that we are not very different from each other after all. As is common in other Asian-American works, this story deals with culturally pluralistic themes. In particular, this story deals with the idea of cultural assimilation and questioning one’s own place in the culture. At the conclusion, the girl discovers that she may have underestimated what she knows about “Americans.” In fact, just as her mother loves apple pie, many Americans love Chinese food…even on 4th of July.

IV. REVIEW EXCERPTS

“The well-paced text heavily freighted at the beginning and swift by the end reflects the girl's changing emotions and moods. The art resembles cut-paper collage. Chodos-Irvine deploys sharply defined objects in a range of colors and patterns to construct harmonious, forthright compositions that will likely prove inviting to readers of many backgrounds.”—Publishers Weekly

“This simply told story explores a child's fears about cultural differences and fitting in with understanding and affection. A Chinese-American girl helps her parents open their small neighborhood grocery store every day of the year… Chodos-Irvine's illustrations are cheerfully bright and crisp, capturing the spirit of the day as well as the changing emotions of the main character.” –School Library Journal

V. CONNECTIONS** Include in a 4th of July storytime. Serve apple pie and fortune cookies as a snack.

Smith Novel

BIBLIOGRAPHIC INFORMATION

Smith, Cynthia Leitch. 2001 RAIN IS NOT MY INDIAN NAME. New York: Harper Collins. ISBN 0688173977

SUMMARY

Still getting over the death of her best friend, Rain is reluctant to leave the security of her house. When her aunt’s Indian Camp comes under scrutiny by local politicians, Rain decides to help out by photographing the camp for a local paper. She gets pulled into the camp, and finds herself connecting with her peers.

CRITICAL ANALYSIS

Smith’s story about Rain, a “mixed blood” Native American girl, starts of quickly with the dramatic death of Rain’s best friend, Galen. There is little time to connect with the characters, initially, but the story builds and the characters gradually feel whole. Each chapter begins with an excerpt from Rain’s journal, which allows the reader insight into her thoughts and private feelings.

Rain is a relatable character any young person could identify with. Other characters in the story are unique and described very well. Natalie, Rain’s soon to be sister-in-law is described as blond not Blond. This is an example of the type of descriptive technique Smith utilizes to bring her characters to life.

There are many cultural markers within the text of the story. There are discussions of specific Native cultures and acknowledgements that there are differences among them. Rain describes herself as mixed blood. She is Muscogee Creek-Cherokee and Scots-Irish on her Mom’s side and Irish-German-Ojibway on her Dad’s side. Another example of a cultural marker is the description of Rain’s mother’s traditional tear dress. It is made of settler’s cotton torn in long strips. Another example is when Rain purchases a traditional rain catcher from a Native American friend. It is unlike the commercial rain catchers she has seen before.

Some of the cultural markers are presented in a humorous way that Smith presents expertly. For example, when discussing how many Native Americans live in their town, Rain begins to think of the song about “counting Indians.” She has always hated that song. It is often used as an example of a disrespectful use of a counting song. This example is one way Smith presents how a Native American may feel about their own culture as it relates to others. Anther example of this is when Rain reflects on the limited history she has learned about Native Americans in school. It is limited to a brief unit around Thanksgiving. These insights by the character add to the cultural authenticity of the work.

Overall, Smith’s novel is a modern view of a Native American teen not fully comfortable with her background. Through her experiences and private thoughts, readers come to understand her perspective and challenges. The writing style is youthful and approachable for young readers.

REVIEW EXCERPTS

“Multiple plot lines and nonlinear storytelling may make it difficult to enter Smith's (Jingle Dancer) complex novel, but the warmth and texture of the writing eventually serve as ample reward for readers.” –Publisher’s Weekly

“It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. As feelings about the public funding of Indian Camp heat up, the emotions and values of the characters remain crystal clear and completely in focus. It's Rain's story and she cannot be reduced to simple labels. A wonderful novel of a present-day teen and her ‘patchwork tribe.’”—School Library Journal

CONNECTIONS

**Explore the author’s website to learn more about the novel and her other works. See http://www.cynthialeitichsmith.com/