I. BIBLIOGRAPHY
Myers, Walter Dean. 1999. MONSTER. New York: HarperCollins.
II. PLOT SUMMARY
Steve Harmon is a sixteen-year-old young man in jail for being part of a robbery that resulted in a murder. He is on trial and dictates the courtroom drama in his screenplay for a film about his experience. He is accused of being the “lookout man” for the others committing the robbery of the drugstore. Steve is ultimately acquitted of the murder, but questions remain about his involvement. His relationship with his family has changed forever.
III. CRITICAL ANALYSIS
MONSTER is a unique contemporary realistic fiction novel about a decidedly difficult subject. Myers does not gloss over the realities of life in jail or the stress of having to be on trial for murder. Through the voice of Steve, the reader is taken into a realistic murder trial from the perspective of the defendant. The characters in the novel are believable, and Myers has created a realistic setting by not glossing over the harsh realities and fears Steve experiences in the jail. In one journal entry, Steve tells about life in jail. “…I hate this place so much…If you look at somebody, they say ‘What you looking at me for? I’ll mess you up!’”(p 45).
The writing style Myers uses to tell the story is fresh and unique. By writing it as a screenplay, this novel may appeal to reluctant readers, especially teenage boys. The plot is well constructed, leading the reader on a journey to find out the truth of what happened. By reading about the choices Steve has made and consequences he may face, readers are exposed to the realities of what mistakes can cost you. The theme in this story is not overpowering, but certainly readers can take from it many lessons about making positive choices.
Overall, MONSTER brings readers into the mind of Steve Harmon through his screenplay and handwritten notes. Christopher Myers illustrations throughout the novel add to the harsh realities of Steve’s life in jail and the fears he is experiencing during his trial.
IV. REVIEW EXCERPTS
Michael L. Printz Award Winner
Corretta Scot King Honor Award
National Book Award Finalist
“Many elements of this story are familiar, but Myers keeps it fresh and alive by telling it from an unusual perspective.” –School Library Journal
“Myers combines an innovative format, complex moral issues, and an intriguingly sympathetic but flawed protagonist in this cautionary tale of a 16-year-old on trial for felony murder.” –Booklist
V. CONNECTIONS
**Use the screenplay to create a dramatic readers theater script.
**Have students create their own screenplay of a life-changing event in their lives.
Monday, November 27, 2006
Newbery Award Winner
I. BIBLIOGRAPHY
DiCamillo, Kate. 2003. THE TALE OF DESPEREAUX: BEING THE STORY OF A MOUSE, A PRINCESS, SOME SOUP, AND A SPOOL OF THREAD. Ill. By Timothy Basil Ering. Cambridge: Candlewick Press.
II. PLOT SUMMARY
Despereaux is a very small mouse born to be greater than a simple mouse. He enjoys reading and instantly falls in love with the beautiful Princess Pea. However, by talking to her, he has broken an essential mouse rule, and he is punished by being sent to the castle’s dungeon. Meanwhile, the story diverts to tell the reader about a rat in the dungeon who goes by the name Roscuro. He is drawn to light and ventures into the castle, ultimately ending up in the queen’s soup. The sweet Princess Pea shouts with complete disgust, “A Rat.” He decides to get revenge on this princess. Mig, an orphaned girl comes to live in the castle and Roscuro draws her into his plan. They kidnap the princess and only Despereaux can lead this story to a happily ever after ending.
III. CRITICAL ANALYSIS
THE TALE OF DESPEREAX is an endearing animal fantasy tale that children will delight in reading. DiCamillo’s writing style is reminiscent of classic fairy tales, and she has created memorable characters with rich detail in her descriptions of their appearance and personalities. Each character is fully drawn out, with flaws and strengths revealed. For example, even the king’s weaknesses are pointed out. “He was nearsighted. He made ridiculous, unreasonable, difficult-to enforce laws. And, much in the way of Miggery Sow, he was not exactly the sharpest knife in the drawer” (211). Even with these faults, though, the king still has an extraordinary quality to “love with the whole of his heart” (211). By creating characters with flaws, they are realistic and relatable.
The plot is told in four books, each focusing and introducing a different character. Finally, the story culminates in a finale with Despereaux becoming a true hero and “knight in shining armor.” DiCamillo has created a voice in the writing that is like a teacher gently giving her pupils important information. For example, as Despereaux gains the courage to save the princess, he says he is on a quest. Then, the narrator of the story encourages the reader to say the word aloud and provides a definition. Many times throughout the story, this “narrator” addresses the reader, and this technique has a gentle tone, making the lessons understood.
The theme of THE TALE OF DESPERAUX is good vs. evil. Many times DiCamillo refers to light and darkness as a figurative representation of good verses evil. The tiny mouse Despereaux lives in the light, but is banished to the dark dungeon of the castle, where he is surrounded by evil. The rats live in the dungeon, but Roscuro is drawn to the light of the upstairs. Ultimately, though he brings the princess to the dark dungeon to make her suffer along with him. The theme is also about the power of love.
Overall, THE TALE OF DESPERAEUX is a delightful story about an unlikely hero. Throughout the book, there are adorable sketch illustrations that depict the action of the story. The theme of good overcoming evil is timeless, and the tiniest mouse as a hero makes this tale unique.
IV. REVIEW EXCERPTS
2004 Newbery Award Winner
“With a masterful hand, DiCamillo weaves four story lines together in a witty, suspenseful narrative that begs to be read aloud. In her authorial asides, she hearkens back to literary traditions as old as those used by Henry Fielding. In her observations of the political machinations and follies of rodent and human societies, she reminds adult readers of George Orwell. But the unpredictable twists of plot, the fanciful characterizations, and the sweetness of tone are DiCamillo's own. This expanded fairy tale is entertaining, heartening, and, above all, great fun.” –School Library Journal
“Forgiveness, light, love, and soup. These essential ingredients combine into a tale that is as soul stirring as it is delicious.” –Booklist (Starred Review)
V. CONNECTIONS
**Learn more about the author and her writing style. Present interviews she has participated in on how she writes.
**Other books readers may like:
THE WOLVES OF WILLOUGHBY CHASE by Joan Aikens
BLACK HEARTS IN BATTERSEA by Joan Aikens
DiCamillo, Kate. 2003. THE TALE OF DESPEREAUX: BEING THE STORY OF A MOUSE, A PRINCESS, SOME SOUP, AND A SPOOL OF THREAD. Ill. By Timothy Basil Ering. Cambridge: Candlewick Press.
II. PLOT SUMMARY
Despereaux is a very small mouse born to be greater than a simple mouse. He enjoys reading and instantly falls in love with the beautiful Princess Pea. However, by talking to her, he has broken an essential mouse rule, and he is punished by being sent to the castle’s dungeon. Meanwhile, the story diverts to tell the reader about a rat in the dungeon who goes by the name Roscuro. He is drawn to light and ventures into the castle, ultimately ending up in the queen’s soup. The sweet Princess Pea shouts with complete disgust, “A Rat.” He decides to get revenge on this princess. Mig, an orphaned girl comes to live in the castle and Roscuro draws her into his plan. They kidnap the princess and only Despereaux can lead this story to a happily ever after ending.
III. CRITICAL ANALYSIS
THE TALE OF DESPEREAX is an endearing animal fantasy tale that children will delight in reading. DiCamillo’s writing style is reminiscent of classic fairy tales, and she has created memorable characters with rich detail in her descriptions of their appearance and personalities. Each character is fully drawn out, with flaws and strengths revealed. For example, even the king’s weaknesses are pointed out. “He was nearsighted. He made ridiculous, unreasonable, difficult-to enforce laws. And, much in the way of Miggery Sow, he was not exactly the sharpest knife in the drawer” (211). Even with these faults, though, the king still has an extraordinary quality to “love with the whole of his heart” (211). By creating characters with flaws, they are realistic and relatable.
The plot is told in four books, each focusing and introducing a different character. Finally, the story culminates in a finale with Despereaux becoming a true hero and “knight in shining armor.” DiCamillo has created a voice in the writing that is like a teacher gently giving her pupils important information. For example, as Despereaux gains the courage to save the princess, he says he is on a quest. Then, the narrator of the story encourages the reader to say the word aloud and provides a definition. Many times throughout the story, this “narrator” addresses the reader, and this technique has a gentle tone, making the lessons understood.
The theme of THE TALE OF DESPERAUX is good vs. evil. Many times DiCamillo refers to light and darkness as a figurative representation of good verses evil. The tiny mouse Despereaux lives in the light, but is banished to the dark dungeon of the castle, where he is surrounded by evil. The rats live in the dungeon, but Roscuro is drawn to the light of the upstairs. Ultimately, though he brings the princess to the dark dungeon to make her suffer along with him. The theme is also about the power of love.
Overall, THE TALE OF DESPERAEUX is a delightful story about an unlikely hero. Throughout the book, there are adorable sketch illustrations that depict the action of the story. The theme of good overcoming evil is timeless, and the tiniest mouse as a hero makes this tale unique.
IV. REVIEW EXCERPTS
2004 Newbery Award Winner
“With a masterful hand, DiCamillo weaves four story lines together in a witty, suspenseful narrative that begs to be read aloud. In her authorial asides, she hearkens back to literary traditions as old as those used by Henry Fielding. In her observations of the political machinations and follies of rodent and human societies, she reminds adult readers of George Orwell. But the unpredictable twists of plot, the fanciful characterizations, and the sweetness of tone are DiCamillo's own. This expanded fairy tale is entertaining, heartening, and, above all, great fun.” –School Library Journal
“Forgiveness, light, love, and soup. These essential ingredients combine into a tale that is as soul stirring as it is delicious.” –Booklist (Starred Review)
V. CONNECTIONS
**Learn more about the author and her writing style. Present interviews she has participated in on how she writes.
**Other books readers may like:
THE WOLVES OF WILLOUGHBY CHASE by Joan Aikens
BLACK HEARTS IN BATTERSEA by Joan Aikens
The Giver
I. BIBLIOGRAPHY
Lowry, Lois. 1993. THE GIVER. Boston: Houghton Mifflin Co.
II. PLOT SUMMARY
Jonas, a young boy about to turn twelve, lives in an utopian society with rules for living that creates a world of sameness. Each family is limited to having only two children, and women chosen as “Birthmothers” deliver those children. The Elders give each person in this society a job, so choosing one’s life is not an option. Jonas is chosen to be the new “Receiver of Memory,” and he learns the truth about the world he lives in. It is not as perfect as it may seem.
III. CRITICAL ANALYSIS
In this modern fantasy and science fiction novel, it is the setting that draws the reader into the story. Thorough a subtle description, the reader comes to find out that the world Jonas lives in is far different from our own world. The rules of the world have been altered, and this new society’s rules play an important role in Jonas’s life. Lowry’s writing style is straightforward, and pulls the reader into the action of this fantasy. From the first chapter, there is a sense of mystery created in the text. The suspense of the airplane overhead helps the reader understand that this story takes place in a very different type of society.
The characters in THE GIVER are revealed through the observations of Jonas, the young protagonist at the center of the story. The experiences and thoughts of Jonas introduce the reader to his family and friends. From the beginning, the reader is drawn into the complex thoughts of Jonas as he tries to find precise words to describe how he feels about the upcoming Assignment Ceremony. Each character is unique and presented in a full way. The reader sees the strengths and weaknesses of Jonas and his family. In fact, it is an alarming scene where Jonas discovers his father has to kill a baby who is not thriving properly, that Jonas comes to hate this supposed utopian society.
Perhaps the most effective aspect to the story is the plot. From the first chapter, the reader is drawn into the anxiety Jonas is experiencing as he awaits his assignment from the Elders. As he experiences the unknown, the drama and anticipation in the plot make this a true page-turner. The original plot line makes this story unpredictable and exciting, and as Jonas discovers his Assignment, the mystery continues. He is selected to be the “Receiver of Memory,” and as the plot continues, it us clearly building to a climax. The story is well constructed, engaging and exciting.
The theme of THE GIVER is certainly the strength of the story. By creating a character that young people can identify with, the questions he asks are relevant and will bring the reader to ask questions about their own life and world around them. The book raises many questions about life without moralizing. Instead, the reader is intrigued and pulled into the plot, bringing the reader on a unique journey of discovery about life and its purpose. What if everyone were the same? What if we had no choices, and our lives were decided for us? What if everyone had to be perfect? These questions and many more are raised in THE GIVER, making it an excellent novel to spark conversation and debate. Even the ending leaves the reader with many questions.
IV. REVIEW EXCERPTS
1994 Newbery Medal Winner
“The author makes real abstract concepts, such as the meaning of a life in which there are virtually no choices to be made and no experiences with deep feelings. This tightly plotted story and its believable characters will stay with readers for a long time.” –School Library Journal
“With a storyline that hints at Christian allegory and an eerie futuristic setting, this intriguing novel calls to mind John Christopher's Tripods trilogy and Hans Christian Andersen's The Little Match Girl. Lowry is once again in top form--raising many questions while answering few, and unwinding a tale fit for the most adventurous readers.” –Publishers Weekly
V. CONNECTIONS
**Discuss “Utopia” and have students create rules they think would create a perfect world.
**Using these rules, discuss the changes and consequences following the rules would create.
Lowry, Lois. 1993. THE GIVER. Boston: Houghton Mifflin Co.
II. PLOT SUMMARY
Jonas, a young boy about to turn twelve, lives in an utopian society with rules for living that creates a world of sameness. Each family is limited to having only two children, and women chosen as “Birthmothers” deliver those children. The Elders give each person in this society a job, so choosing one’s life is not an option. Jonas is chosen to be the new “Receiver of Memory,” and he learns the truth about the world he lives in. It is not as perfect as it may seem.
III. CRITICAL ANALYSIS
In this modern fantasy and science fiction novel, it is the setting that draws the reader into the story. Thorough a subtle description, the reader comes to find out that the world Jonas lives in is far different from our own world. The rules of the world have been altered, and this new society’s rules play an important role in Jonas’s life. Lowry’s writing style is straightforward, and pulls the reader into the action of this fantasy. From the first chapter, there is a sense of mystery created in the text. The suspense of the airplane overhead helps the reader understand that this story takes place in a very different type of society.
The characters in THE GIVER are revealed through the observations of Jonas, the young protagonist at the center of the story. The experiences and thoughts of Jonas introduce the reader to his family and friends. From the beginning, the reader is drawn into the complex thoughts of Jonas as he tries to find precise words to describe how he feels about the upcoming Assignment Ceremony. Each character is unique and presented in a full way. The reader sees the strengths and weaknesses of Jonas and his family. In fact, it is an alarming scene where Jonas discovers his father has to kill a baby who is not thriving properly, that Jonas comes to hate this supposed utopian society.
Perhaps the most effective aspect to the story is the plot. From the first chapter, the reader is drawn into the anxiety Jonas is experiencing as he awaits his assignment from the Elders. As he experiences the unknown, the drama and anticipation in the plot make this a true page-turner. The original plot line makes this story unpredictable and exciting, and as Jonas discovers his Assignment, the mystery continues. He is selected to be the “Receiver of Memory,” and as the plot continues, it us clearly building to a climax. The story is well constructed, engaging and exciting.
The theme of THE GIVER is certainly the strength of the story. By creating a character that young people can identify with, the questions he asks are relevant and will bring the reader to ask questions about their own life and world around them. The book raises many questions about life without moralizing. Instead, the reader is intrigued and pulled into the plot, bringing the reader on a unique journey of discovery about life and its purpose. What if everyone were the same? What if we had no choices, and our lives were decided for us? What if everyone had to be perfect? These questions and many more are raised in THE GIVER, making it an excellent novel to spark conversation and debate. Even the ending leaves the reader with many questions.
IV. REVIEW EXCERPTS
1994 Newbery Medal Winner
“The author makes real abstract concepts, such as the meaning of a life in which there are virtually no choices to be made and no experiences with deep feelings. This tightly plotted story and its believable characters will stay with readers for a long time.” –School Library Journal
“With a storyline that hints at Christian allegory and an eerie futuristic setting, this intriguing novel calls to mind John Christopher's Tripods trilogy and Hans Christian Andersen's The Little Match Girl. Lowry is once again in top form--raising many questions while answering few, and unwinding a tale fit for the most adventurous readers.” –Publishers Weekly
V. CONNECTIONS
**Discuss “Utopia” and have students create rules they think would create a perfect world.
**Using these rules, discuss the changes and consequences following the rules would create.
Monday, November 06, 2006
Historical Fiction-Audiobook
I. BIBLIOGRAPHY
Avi. 2002. CRISPIN: THE CROSS OF LEAD. New York: Hyperion. ISBN: 0786808284
Avi. 2002. CRISPIN: THE CROSS OF LEAD. Read by Ron Keith. New York: Recorded Books. CD. ISBN: 1402545533
II. PLOT SUMMARY
CRISPIN: THE CROSS OF LEAD tells the tale of a young boy known to all as “Asta’s Son.” He has been raised in a small English village in the fourteenth century. When his mother dies, he is suddenly falsely accused of stealing and must leave the village. Before fleeing, he learns his true name from the village priest. He is Crispin, and the priest presents him with a cross of lead. Because the boy cannot read, he does not know what is written on it.
As he flees, he meets Bear, a very large man and juggler, who takes him on as his subject and apprentice. They reach the large town of Wexley, and Crispin sees city life for the first time. Still being hunted, Bear is taken prisoner, and Crispin learns his true identity. He is the illegitimate son of Lord … Crispin is able to negotiate his dear friend Bear’s release, and after a struggle with the steward resulting in his death, Bear and Crispin are freed.
III. CRITICAL ANALYSIS
In the historical fiction, CRISPIN: CROSS OF LEAD, Avi expertly creates the setting of fourteenth century England. The descriptions of the village create a world unlike our modern day. Avi describes village life and the role of the servant class like Crispin and his mother. As Crispin leaves the village, his vivid descriptions of his journey with Bear further add to the sense of place in the story. As Crispin experiences city life for the first time, the reader is drawn into the sights and smells of city life.
The characters in the story are made real through the dialog and descriptions by the young Crispin. For example, as the reader is introduced to Bear, Crispin first describes his physical characteristics in great detail. Then, when he is aroused from sleep, Bear interacts with Crispin in a playful dialog that further introduces the reader to the type of person Bear is. The villains in the story are not as vivid, but this is typical in traditional literature stories. Both Crispin and Bear are brought to life and believable in both the dialog and experiences they share together in the story.
The story is captivating because of the mystery of who Crispin is. The reader is drawn into the mystery and adventure of Crispin’s journey to find himself. The drama and suspense throughout the story make it a captivating story, and each chapter leaves the reader wanting more information. The theme of the story is timeless and relevant to young people today. Crispin is trying to find his true self, and by the story’s conclusion he has done just that. He finds his identity and is made free by his master and friend Bear.
Audio book Review
In reviewing the unabridged audio book, the story was expertly read by Ron Keith. Keith is a British actor of stage and television. Keith’s pronunciations were perfect, and he did an excellent job of creating unique voices for each character when reading the dialog portions of the text. The listening experience was interesting and absorbing. At the conclusion of each chapter, I was left wanting more. In listening to this story, I think it was effective because of the rich vocal quality of Keith and his accent.
The audio book was in CD format and consisted of six CDs in the hard plastic case. On the cover of the disc set, the cover art from the book is presented, and on the back of the case, a short summary of the book is presented. There is also a short paragraph providing biographical information on Ron Keith. The CD case also includes a recommended age for listening. It is recommended for those age ten and up.
IV. REVIEW EXCERPTS
“Avi has done an excellent job of integrating background and historical information, of pacing the plot so that the book is a page-turner from beginning to end, and of creating characters for whom readers will have great empathy. The result is a meticulously crafted story, full of adventure, mystery, and action.”—School Library Journal
Audio book:
“Ron Keith's rough British accent and low tones lure the reader into a world where, for most people, their village is all they ever know, disease is a constant danger, and one word from a powerful person means death. Keith's slow pacing creates a world of confusion and inner strength for Crispin, building the tension as he is hunted down while fitting together the pieces to the puzzle of whom he really is. Keith's multi-voiced narration adds to the subtle differences between the characters.”--Audiofile
V. CONNECTIONS
**Learn more about the Middle Ages through the following books:
Everyday life in medieval Europe / by Neil Grant.
Life in the Middle Ages. The countryside / by Kathryn Hinds.
Medieval society / Kay Eastwood.
**Create a reader’s theatre script of some of the chapters
Avi. 2002. CRISPIN: THE CROSS OF LEAD. New York: Hyperion. ISBN: 0786808284
Avi. 2002. CRISPIN: THE CROSS OF LEAD. Read by Ron Keith. New York: Recorded Books. CD. ISBN: 1402545533
II. PLOT SUMMARY
CRISPIN: THE CROSS OF LEAD tells the tale of a young boy known to all as “Asta’s Son.” He has been raised in a small English village in the fourteenth century. When his mother dies, he is suddenly falsely accused of stealing and must leave the village. Before fleeing, he learns his true name from the village priest. He is Crispin, and the priest presents him with a cross of lead. Because the boy cannot read, he does not know what is written on it.
As he flees, he meets Bear, a very large man and juggler, who takes him on as his subject and apprentice. They reach the large town of Wexley, and Crispin sees city life for the first time. Still being hunted, Bear is taken prisoner, and Crispin learns his true identity. He is the illegitimate son of Lord … Crispin is able to negotiate his dear friend Bear’s release, and after a struggle with the steward resulting in his death, Bear and Crispin are freed.
III. CRITICAL ANALYSIS
In the historical fiction, CRISPIN: CROSS OF LEAD, Avi expertly creates the setting of fourteenth century England. The descriptions of the village create a world unlike our modern day. Avi describes village life and the role of the servant class like Crispin and his mother. As Crispin leaves the village, his vivid descriptions of his journey with Bear further add to the sense of place in the story. As Crispin experiences city life for the first time, the reader is drawn into the sights and smells of city life.
The characters in the story are made real through the dialog and descriptions by the young Crispin. For example, as the reader is introduced to Bear, Crispin first describes his physical characteristics in great detail. Then, when he is aroused from sleep, Bear interacts with Crispin in a playful dialog that further introduces the reader to the type of person Bear is. The villains in the story are not as vivid, but this is typical in traditional literature stories. Both Crispin and Bear are brought to life and believable in both the dialog and experiences they share together in the story.
The story is captivating because of the mystery of who Crispin is. The reader is drawn into the mystery and adventure of Crispin’s journey to find himself. The drama and suspense throughout the story make it a captivating story, and each chapter leaves the reader wanting more information. The theme of the story is timeless and relevant to young people today. Crispin is trying to find his true self, and by the story’s conclusion he has done just that. He finds his identity and is made free by his master and friend Bear.
Audio book Review
In reviewing the unabridged audio book, the story was expertly read by Ron Keith. Keith is a British actor of stage and television. Keith’s pronunciations were perfect, and he did an excellent job of creating unique voices for each character when reading the dialog portions of the text. The listening experience was interesting and absorbing. At the conclusion of each chapter, I was left wanting more. In listening to this story, I think it was effective because of the rich vocal quality of Keith and his accent.
The audio book was in CD format and consisted of six CDs in the hard plastic case. On the cover of the disc set, the cover art from the book is presented, and on the back of the case, a short summary of the book is presented. There is also a short paragraph providing biographical information on Ron Keith. The CD case also includes a recommended age for listening. It is recommended for those age ten and up.
IV. REVIEW EXCERPTS
“Avi has done an excellent job of integrating background and historical information, of pacing the plot so that the book is a page-turner from beginning to end, and of creating characters for whom readers will have great empathy. The result is a meticulously crafted story, full of adventure, mystery, and action.”—School Library Journal
Audio book:
“Ron Keith's rough British accent and low tones lure the reader into a world where, for most people, their village is all they ever know, disease is a constant danger, and one word from a powerful person means death. Keith's slow pacing creates a world of confusion and inner strength for Crispin, building the tension as he is hunted down while fitting together the pieces to the puzzle of whom he really is. Keith's multi-voiced narration adds to the subtle differences between the characters.”--Audiofile
V. CONNECTIONS
**Learn more about the Middle Ages through the following books:
Everyday life in medieval Europe / by Neil Grant.
Life in the Middle Ages. The countryside / by Kathryn Hinds.
Medieval society / Kay Eastwood.
**Create a reader’s theatre script of some of the chapters
Historical Fiction
I. BIBLIOGRAPHY
Curtis, Christopher Paul. 1999. BUD, NOT BUDDY. New York: Scholastic
II. PLOT SUMMARY
BUD, NOT BUDDY takes place in Michigan during the depression era. Bud is an orphaned ten-year-old boy who sets off to find his father, escaping an abusive foster home. Relying on the subtle clues his mother left him, Bud believes a bass player featured in the flier for a musical group is his long, lost father. The book follows Bud while he is on the lamb, from his attempt to jump on a train to walking from Flint to Grand Rapids. A kind man picks Bud up from the side of the road and takes him to Grand Rapids and the man Bud believes is his father. In a touching turn of events, Bud learns that Herman E. Calloway is not his father but his grandfather.
III. CRITICAL ANALYSIS
BUD, NOT BUDDY is set against the desperate time of the American Depression, and the story includes many issues that were important during this period of time. From shantytowns to unionization, Bud experiences history, and the reader learns about the period through the eyes of a funny, creative young boy. The story is told in first person from Bud’s point of view. By utilizing this technique, the reader is drawn into the humorous observations Bud makes about his world. For example, Bud has “Rules and Things for Having a Funner Life and Making a Better Liar Out of Yourself.” These rules scattered throughout the story add humor.
The setting of BUD, NOT BUDDY is described by Bud himself, so young children reading this book will easily picture the sites and experiences of the depression era. From standing in line for food to Hooperville, the shantytown by the railroad tracks, Bud reveals to the reader the desperate situations people of all situations experienced during the Depression. It is in this shantytown that Bud sees a family of white people off to themselves, not accepting help from anyone, especially black people. This little observation brings to light the discrimination that went on during this period, even among the poor.
It is the character of Bud, though, that captures the reader and makes the story fun and endearing at the same time. Bud is likable and curious, and young people can certainly relate to his clever ideas and wit. Some parts of the book are laugh out loud funny. The characters he meets along the way are believable and integral to the story. The story does not focus on the history; it is merely part of the story. The story draws the reader in through the curiosity of Bud, and the experiences and observations Bud makes allows the reader to learn about the era in an authentic way.
The plot of the story moves quickly. Bud sets out on a journey to find his father, and the journey he embarks on is full of suspense and moments of perceived danger. However, Bud is never harmed and instead learns about the world around him. The dialog captures the speech of the era. Bud is trying to discover who he is by finding his father’s identity. Ultimately, Bud finds out about his family and the power of love. The anguish his grandfather experiences as he learns Bud’s identity is moving and powerful.
Curtis’ writing style is fun and witty. Bud is such an endearing character, that the world he inhabits seems real. The descriptions are written from a young person’s point of view, so young children will be able to relate to the places and experiences Bud describes. The use of first person allows the reader to truly experience the Depression era, but the text is not laden with too many historical facts or details that might make the text too cumbersome. Instead, the reader experiences history through the eyes and adventures of a young, curious, vivacious boy…Bud, Not Buddy.
IV. REVIEW EXCERPTS
“The lively humor contrasts with the grim details of the Depression-era setting and the particular difficulties faced by African Americans at that time.”—School Library Journal
“Told in the boy's naive, desperate voice, with lots of examples of his survival tactics (‘Rules and Things for Having a Funner Life and Making a Better Liar out of Yourself’), this will make a great read-aloud. Curtis says in an afterward that some of the characters are based on real people, including his own grandfathers, so it's not surprising that the rich blend of tall tale, slapstick, sorrow, and sweetness has the wry, teasing warmth of family folklore.”—Booklist
“While the grim conditions of the times and the harshness of Bud's circumstances are authentically depicted, Curtis shines on them an aura of hope and optimism.”—Publishers Weekly
V. CONNECTIONS
**Have children make their own list of rules for life.
**Learn more about unions, and invite a local railroad union (or other union official) to be a guest speaker.
**Share more about the Great Depression through the following books:
CHILDREN OF THE GREAT DEPRESSION by Russell Freedman.
THE GREAT DEPRESSION by Elaine LandauTHE GREAT DEPRESSION by P. Conrad Stein
Curtis, Christopher Paul. 1999. BUD, NOT BUDDY. New York: Scholastic
II. PLOT SUMMARY
BUD, NOT BUDDY takes place in Michigan during the depression era. Bud is an orphaned ten-year-old boy who sets off to find his father, escaping an abusive foster home. Relying on the subtle clues his mother left him, Bud believes a bass player featured in the flier for a musical group is his long, lost father. The book follows Bud while he is on the lamb, from his attempt to jump on a train to walking from Flint to Grand Rapids. A kind man picks Bud up from the side of the road and takes him to Grand Rapids and the man Bud believes is his father. In a touching turn of events, Bud learns that Herman E. Calloway is not his father but his grandfather.
III. CRITICAL ANALYSIS
BUD, NOT BUDDY is set against the desperate time of the American Depression, and the story includes many issues that were important during this period of time. From shantytowns to unionization, Bud experiences history, and the reader learns about the period through the eyes of a funny, creative young boy. The story is told in first person from Bud’s point of view. By utilizing this technique, the reader is drawn into the humorous observations Bud makes about his world. For example, Bud has “Rules and Things for Having a Funner Life and Making a Better Liar Out of Yourself.” These rules scattered throughout the story add humor.
The setting of BUD, NOT BUDDY is described by Bud himself, so young children reading this book will easily picture the sites and experiences of the depression era. From standing in line for food to Hooperville, the shantytown by the railroad tracks, Bud reveals to the reader the desperate situations people of all situations experienced during the Depression. It is in this shantytown that Bud sees a family of white people off to themselves, not accepting help from anyone, especially black people. This little observation brings to light the discrimination that went on during this period, even among the poor.
It is the character of Bud, though, that captures the reader and makes the story fun and endearing at the same time. Bud is likable and curious, and young people can certainly relate to his clever ideas and wit. Some parts of the book are laugh out loud funny. The characters he meets along the way are believable and integral to the story. The story does not focus on the history; it is merely part of the story. The story draws the reader in through the curiosity of Bud, and the experiences and observations Bud makes allows the reader to learn about the era in an authentic way.
The plot of the story moves quickly. Bud sets out on a journey to find his father, and the journey he embarks on is full of suspense and moments of perceived danger. However, Bud is never harmed and instead learns about the world around him. The dialog captures the speech of the era. Bud is trying to discover who he is by finding his father’s identity. Ultimately, Bud finds out about his family and the power of love. The anguish his grandfather experiences as he learns Bud’s identity is moving and powerful.
Curtis’ writing style is fun and witty. Bud is such an endearing character, that the world he inhabits seems real. The descriptions are written from a young person’s point of view, so young children will be able to relate to the places and experiences Bud describes. The use of first person allows the reader to truly experience the Depression era, but the text is not laden with too many historical facts or details that might make the text too cumbersome. Instead, the reader experiences history through the eyes and adventures of a young, curious, vivacious boy…Bud, Not Buddy.
IV. REVIEW EXCERPTS
“The lively humor contrasts with the grim details of the Depression-era setting and the particular difficulties faced by African Americans at that time.”—School Library Journal
“Told in the boy's naive, desperate voice, with lots of examples of his survival tactics (‘Rules and Things for Having a Funner Life and Making a Better Liar out of Yourself’), this will make a great read-aloud. Curtis says in an afterward that some of the characters are based on real people, including his own grandfathers, so it's not surprising that the rich blend of tall tale, slapstick, sorrow, and sweetness has the wry, teasing warmth of family folklore.”—Booklist
“While the grim conditions of the times and the harshness of Bud's circumstances are authentically depicted, Curtis shines on them an aura of hope and optimism.”—Publishers Weekly
V. CONNECTIONS
**Have children make their own list of rules for life.
**Learn more about unions, and invite a local railroad union (or other union official) to be a guest speaker.
**Share more about the Great Depression through the following books:
CHILDREN OF THE GREAT DEPRESSION by Russell Freedman.
THE GREAT DEPRESSION by Elaine LandauTHE GREAT DEPRESSION by P. Conrad Stein
Historical Fiction
I. BIBLIOGRAPHY
Lasky, Kathryn. 2004. BLOOD SECRET. New York: Harper Collins.
II. PLOT SUMMARY
Jerry is a fourteen-year-old girl traumatized by the disappearance of her mother. As a result, she has been struck with selective mutism. She lives in many Catholic Charities homes before being sent to live with her great-great-aunt Constanza. There, she discovers an old trunk in the basement, and begins to discover her family’s past. The items inside reveal the lives of many distant relatives from Spain. Jerry discovers the tragic stories of her ancestors, who were Jewish during the Spanish Inquisition. Jerry slowly finds her voice as she discovers the truth of her Jewish background and the horrible atrocities her ancestors faced from being baptized by force to being burned at the stake.
III. CRITICAL ANALYSIS
The setting of BLOOD SECRET begins in modern day Colorado; however, as the story unfolds the settings begin to change. Jerry moves in with her aunt in New Mexico and discovers an old trunk in her basement. The moment she opens the trunk, the setting moves to Seville, Spain,1391. Lasky provides the reader with a subtitle as the reader is taken from the modern day to another time and place.
Lasky does a good job of introducing the reader to the sights and experiences of the Jewish people in fourteenth century Spain. Each time Jerry returns to the trunk, a new character’s story is revealed. As each new character from the past is introduced, Lasky provides a subtitle, place and time and the character’s name. The story moves back and forth from modern day, to fourteenth and fifteenth century Spain, and ultimately Mexico in the seventeenth century. Each time change introduces the reader to a new character, and they tell their story in first person.
The plot of the story is sometimes complicated because the author introduces so many new characters throughout history. The story covers a great deal of time, as more that five hundred years pass as Jerry unfolds the secrets of her family’s past. However, as each character reveals their story in first person, their stories come to life. The reader learns about the daily life for Jews in Spain. The hardships and discrimination are plainly described. The violence toward the Jews is not sugarcoated. Through the character, Luis, the reader learns of the most horrible fate some Jews faced by the Inquisitors. He witnesses the construction of a quemadero or place of burning, where his own parents are killed by being burned alive.
The author’s style allows the reader to understand the language and customs introduced. Often, throughout the story, Spanish or Hebrew phrases are introduced, and Lasky very fluidly provides the definitions for these phrases. However, the book does not employ this too often, which might have made the book more difficult to understand. The author also utilizes first person narratives from the characters, allowing the authentic voice of each character to be heard. The book is well researched and authentic but does not overwhelm the reader with facts from the period. In fact, the reader instead experiences the Spanish Inquisition from the perspective of those who were persecuted.
Perhaps the most effective aspect of this story is the theme presented. At the opening of the story, young Jerry is unable to speak and struck with selective mutism. As she discovers the history of her people, she slowly regains her voice. It is as if she is lost and then found. Her ancestors have reached through time to tell their story and reveal her true identity. She learns the reasons for her great-great-aunt’s superstitions and comes to understand why her family has lost their Jewish heritage.
Overall, this story is told in a unique fashion. It is revealed slowly and methodically, weaving back and forth from past to present. The book is somewhat difficult to follow because of the amount of time covered. However, the author does provide a family tree, which may assist readers with the timeline. The books powerful message of finding ones true self rings true for any reader, no matter their background, making it a relevant story for all young people.
IV. REVIEW EXCERPTS
“The story of Jerry's ancestors is skillfully interwoven with that of her present life. With each glimpse into her past, she is drawn more into her own family circle with her aunt. A well-told and satisfying story”—School Library Journal
“The esoteric time lapses that lead into the ancestors' stories are vague and contrived, as are some of the complicated connections between generations. Even so, Lasky's quiet, layered novel introduces history, particularly from a Jewish perspective, that's rarely covered in books for youth while asking sophisticated questions about faith, the legacy of persecution, the power of silence, and the deep mysteries of what's passed between generations.”--Booklist
V. CONNECTIONS
**Learn more about the Jewish holidays and traditions described in the book. See: JEWISH HOLIDAYS ALL YEAR ROUND: A FAMILY TREASURY written by Ilene Cooper; illustrated by Elivia Savadier in association with the Jewish Museum, New York.
CELBRATIONS: OUR JEWISH HOLIDAYS written and illustrated by Melanie Hope Greenberg.THE FAMILY TREASURY OF JEWISH HOLIDAYS by Malka Drucker; illustrated by Nancy Patz
Lasky, Kathryn. 2004. BLOOD SECRET. New York: Harper Collins.
II. PLOT SUMMARY
Jerry is a fourteen-year-old girl traumatized by the disappearance of her mother. As a result, she has been struck with selective mutism. She lives in many Catholic Charities homes before being sent to live with her great-great-aunt Constanza. There, she discovers an old trunk in the basement, and begins to discover her family’s past. The items inside reveal the lives of many distant relatives from Spain. Jerry discovers the tragic stories of her ancestors, who were Jewish during the Spanish Inquisition. Jerry slowly finds her voice as she discovers the truth of her Jewish background and the horrible atrocities her ancestors faced from being baptized by force to being burned at the stake.
III. CRITICAL ANALYSIS
The setting of BLOOD SECRET begins in modern day Colorado; however, as the story unfolds the settings begin to change. Jerry moves in with her aunt in New Mexico and discovers an old trunk in her basement. The moment she opens the trunk, the setting moves to Seville, Spain,1391. Lasky provides the reader with a subtitle as the reader is taken from the modern day to another time and place.
Lasky does a good job of introducing the reader to the sights and experiences of the Jewish people in fourteenth century Spain. Each time Jerry returns to the trunk, a new character’s story is revealed. As each new character from the past is introduced, Lasky provides a subtitle, place and time and the character’s name. The story moves back and forth from modern day, to fourteenth and fifteenth century Spain, and ultimately Mexico in the seventeenth century. Each time change introduces the reader to a new character, and they tell their story in first person.
The plot of the story is sometimes complicated because the author introduces so many new characters throughout history. The story covers a great deal of time, as more that five hundred years pass as Jerry unfolds the secrets of her family’s past. However, as each character reveals their story in first person, their stories come to life. The reader learns about the daily life for Jews in Spain. The hardships and discrimination are plainly described. The violence toward the Jews is not sugarcoated. Through the character, Luis, the reader learns of the most horrible fate some Jews faced by the Inquisitors. He witnesses the construction of a quemadero or place of burning, where his own parents are killed by being burned alive.
The author’s style allows the reader to understand the language and customs introduced. Often, throughout the story, Spanish or Hebrew phrases are introduced, and Lasky very fluidly provides the definitions for these phrases. However, the book does not employ this too often, which might have made the book more difficult to understand. The author also utilizes first person narratives from the characters, allowing the authentic voice of each character to be heard. The book is well researched and authentic but does not overwhelm the reader with facts from the period. In fact, the reader instead experiences the Spanish Inquisition from the perspective of those who were persecuted.
Perhaps the most effective aspect of this story is the theme presented. At the opening of the story, young Jerry is unable to speak and struck with selective mutism. As she discovers the history of her people, she slowly regains her voice. It is as if she is lost and then found. Her ancestors have reached through time to tell their story and reveal her true identity. She learns the reasons for her great-great-aunt’s superstitions and comes to understand why her family has lost their Jewish heritage.
Overall, this story is told in a unique fashion. It is revealed slowly and methodically, weaving back and forth from past to present. The book is somewhat difficult to follow because of the amount of time covered. However, the author does provide a family tree, which may assist readers with the timeline. The books powerful message of finding ones true self rings true for any reader, no matter their background, making it a relevant story for all young people.
IV. REVIEW EXCERPTS
“The story of Jerry's ancestors is skillfully interwoven with that of her present life. With each glimpse into her past, she is drawn more into her own family circle with her aunt. A well-told and satisfying story”—School Library Journal
“The esoteric time lapses that lead into the ancestors' stories are vague and contrived, as are some of the complicated connections between generations. Even so, Lasky's quiet, layered novel introduces history, particularly from a Jewish perspective, that's rarely covered in books for youth while asking sophisticated questions about faith, the legacy of persecution, the power of silence, and the deep mysteries of what's passed between generations.”--Booklist
V. CONNECTIONS
**Learn more about the Jewish holidays and traditions described in the book. See: JEWISH HOLIDAYS ALL YEAR ROUND: A FAMILY TREASURY written by Ilene Cooper; illustrated by Elivia Savadier in association with the Jewish Museum, New York.
CELBRATIONS: OUR JEWISH HOLIDAYS written and illustrated by Melanie Hope Greenberg.THE FAMILY TREASURY OF JEWISH HOLIDAYS by Malka Drucker; illustrated by Nancy Patz
Monday, October 23, 2006
Freedman Biography
I. BIBLIOGRAPHY
Freedman, Russell. 1996. THE LIFE AND DEATH OF CRAZY HORSE. Ill. By Amos Bad Heart Bull. New York: Holiday House.
II. PLOT SUMMARY
THE LIFE AND DEATH OF CRAZY HORSE is a biographical account of the great Sioux Warrior, Crazy Horse. The book chronicles his life from a young boy to adulthood. Freedman tells the tale of Crazy Horse and the battles he fought with the encroaching whites from the east. Described as a quiet, unusual man, he was an unlikely warrior. He did not boast about his kills or take scalps. Crazy Horse came to be a symbol of Sioux independence and resistance. Though finally resigning to give up his gun and live in a reservation, he was still respected by his people and the many army officers who visited him. In an unfortunate misunderstanding, Crazy Horse became the target of the military commander Lieutenant Clark. Crazy Horse was arrested and killed in the struggle.
III. CRITICAL ANALYSIS
Freedman’s biography about the great Sioux Warrior, Crazy Horse is a well-organized chronicle of his life. Freedman brings to life the struggles the Indians faced as the white people began moving thorough the northern prairies. Freedman provides a selective bibliography in narrative form describing the research he utilized to tell the story of Crazy Horse. He relied on well-regarded sources for information about Crazy Horse and the Sioux. He even traveled to the Black Hills of South Dakota and the sit of the Battle of the Little Bighorn in Montana during his research.
THE LIFE AND DEATH OF CRAZY HORSE is written in chronological order. First Freedman presents a list of the main characters in the story and a short chapter briefly introducing Crazy Horse. Then the story begins with Crazy Horse as a young boy known as Curly. From there, Curly grows to become the warrior Crazy Horse. As the story progresses, the reader is introduced to the other important people in his story. Freedman also provides the reader with reference aids including a table of contents, chronology and index.
The biography of Crazy Horse is highlighted by the pictographs (or picture writing) of the Oglala Sioux, Amos Bad Heart Bull. He had been a historian of his people, compiling a large ledger with a detailed history and over four hundred drawings to tell his people’s story. Many of those drawings are included in this biography and add much to the story of Crazy Horse. Each drawing includes a caption describing it. The book also includes some maps giving a visualization of the territory being described. Overall, the book is well designed with medium size text and oversize pages.
The writing style of Freedman is not embellished with over dramatized descriptions. However, the story of Crazy Horse is compelling and brings to life the battles fought on the prairies. He uses quotes from many notable people. For example, Red Cloud is quoted as saying “I will talk with you no more! I will go—no!—and I will fight you!” (1996, 62). The use of dialog in this biography adds a readable quality to the text.
Freedman’s biography of Crazy Horse sheds light on the experiences of the Sioux in their fight for their hunting grounds and way of life. Through triumph and tragedy, the life of Crazy Horse is relived in this book, bringing the reader into the struggles the Indians faced as they dealt with the western migration of the white people.
IV. REVIEW EXCERPTS
“Black-and-white reproductions of Indian pictographs from a collection of drawings by a Sioux artist (Crazy Horse's cousin) decorate and lend authenticity to Freedman's story-a story that is readable and balanced, and one that illuminates an important chapter of American history” –School Library Journal
“A spectacular match: Freedman’s tale of the great Oglala Siouxs career is coupled with 50 black-and-white pictographs done by a tribal historian.”—Kirkus Reviews
V. CONNECTIONS
**Create a Reader’s Theatre script from some of the text in this biography.
**Read the picture book CRAZY HORSE’S VISION by Joseph Bruchac.
Freedman, Russell. 1996. THE LIFE AND DEATH OF CRAZY HORSE. Ill. By Amos Bad Heart Bull. New York: Holiday House.
II. PLOT SUMMARY
THE LIFE AND DEATH OF CRAZY HORSE is a biographical account of the great Sioux Warrior, Crazy Horse. The book chronicles his life from a young boy to adulthood. Freedman tells the tale of Crazy Horse and the battles he fought with the encroaching whites from the east. Described as a quiet, unusual man, he was an unlikely warrior. He did not boast about his kills or take scalps. Crazy Horse came to be a symbol of Sioux independence and resistance. Though finally resigning to give up his gun and live in a reservation, he was still respected by his people and the many army officers who visited him. In an unfortunate misunderstanding, Crazy Horse became the target of the military commander Lieutenant Clark. Crazy Horse was arrested and killed in the struggle.
III. CRITICAL ANALYSIS
Freedman’s biography about the great Sioux Warrior, Crazy Horse is a well-organized chronicle of his life. Freedman brings to life the struggles the Indians faced as the white people began moving thorough the northern prairies. Freedman provides a selective bibliography in narrative form describing the research he utilized to tell the story of Crazy Horse. He relied on well-regarded sources for information about Crazy Horse and the Sioux. He even traveled to the Black Hills of South Dakota and the sit of the Battle of the Little Bighorn in Montana during his research.
THE LIFE AND DEATH OF CRAZY HORSE is written in chronological order. First Freedman presents a list of the main characters in the story and a short chapter briefly introducing Crazy Horse. Then the story begins with Crazy Horse as a young boy known as Curly. From there, Curly grows to become the warrior Crazy Horse. As the story progresses, the reader is introduced to the other important people in his story. Freedman also provides the reader with reference aids including a table of contents, chronology and index.
The biography of Crazy Horse is highlighted by the pictographs (or picture writing) of the Oglala Sioux, Amos Bad Heart Bull. He had been a historian of his people, compiling a large ledger with a detailed history and over four hundred drawings to tell his people’s story. Many of those drawings are included in this biography and add much to the story of Crazy Horse. Each drawing includes a caption describing it. The book also includes some maps giving a visualization of the territory being described. Overall, the book is well designed with medium size text and oversize pages.
The writing style of Freedman is not embellished with over dramatized descriptions. However, the story of Crazy Horse is compelling and brings to life the battles fought on the prairies. He uses quotes from many notable people. For example, Red Cloud is quoted as saying “I will talk with you no more! I will go—no!—and I will fight you!” (1996, 62). The use of dialog in this biography adds a readable quality to the text.
Freedman’s biography of Crazy Horse sheds light on the experiences of the Sioux in their fight for their hunting grounds and way of life. Through triumph and tragedy, the life of Crazy Horse is relived in this book, bringing the reader into the struggles the Indians faced as they dealt with the western migration of the white people.
IV. REVIEW EXCERPTS
“Black-and-white reproductions of Indian pictographs from a collection of drawings by a Sioux artist (Crazy Horse's cousin) decorate and lend authenticity to Freedman's story-a story that is readable and balanced, and one that illuminates an important chapter of American history” –School Library Journal
“A spectacular match: Freedman’s tale of the great Oglala Siouxs career is coupled with 50 black-and-white pictographs done by a tribal historian.”—Kirkus Reviews
V. CONNECTIONS
**Create a Reader’s Theatre script from some of the text in this biography.
**Read the picture book CRAZY HORSE’S VISION by Joseph Bruchac.
Orbis Pictus Award Winner
I. BIBLIOGRAPHY
Bartoletti, Susan Campbell. 2001. BLACK POTATOES: THE STORY OF THE GREAT IRISH FAMINE, 1945-1850. Boston: Houghton Mifflin Co.
II. PLOT SUMMARY
In BLACK POTATOES, Bartoletti brings to life the disastrous potato blight that struck Ireland from 1845-1850. The book provides a historical look at what life was like for the Irish during the potato famine. The starvation and overwhelming poverty of the Irish is described with the stories of the men, women and children who experienced it.
III. CRITICAL ANALYSIS
BLACK POTATOES is a well-written historical accounting of the terrible Potato Famine that struck Ireland. The book is filled with compelling newspaper drawings depicting the horrific experiences of the Irish during this period. On the cover, a sketch of a woman and young boy in rags digging for potatoes shows the poverty and desperation experienced during the famine, and illustrates effectively the tone and subject of the book. The book has a subdued quality in the illustrations, adding to the serious nature of the subject.
The book is well researched and rich with the actual memories and experiences of the people who lived through this period. Bartoletti traveled to Ireland to conduct research for this book. She utilized archives, letters, diaries and newspapers to bring this story to the reader. The bibliography is written in narrative form, and is brings the reader on a journey of what life was like during this period. It is clear that the author completed extensive research in writing this book. This account is unique because the author tells the story from the perspective of the Irish people.
BLACK POTATOES is organized in chronological order, with each chapter beginning with a subtitle and quote. For example, Chapter 5 is titled, “Only Till the Pratties Grow,” and includes the quote:
“They sold their souls for penny rolls,
Four soup and hairy bacon.”
--Louis O’Malley, Edgeworthstown, County Longford
This chapter discusses the soup kitchens to feed the poor and starving. The quote refers to the Protestant Churches that would offer soup for conversion from Catholicism. This use of subtitles and quotes allows the reader to find information easily. There is also a table of contents and index to aid the reader in navigating the text. In addition, the author has included a map of Ireland and it’s counties, as well as a Timeline of events in Ireland from 1845-1998.
BLACK POTATOES is an attractive book with easy to read text and excellent illustrations with descriptive captions. The graphics throughout the story add information and are placed appropriately throughout. Each illustration’s source is also clearly identified. The black and white sketches fill the pages, with an illustration on approximately one of every four pages.
The story of the Irish Famine is told well by Bartoletti with accuracy and interesting facts. The topic is quite serious, and Bartoletti brings a voice to the topic that is both compelling and full of interesting first hand accounts from the Irish. This use of personal experiences from the people brings to life a terrible tragedy. Children reading it are likely to be saddened and surprised at the number of people who did not survive and the horrific conditions of those who did.
Moments in history are brought to life in Bartoletti’s writing. She uses quotes to allow the Irish to tell their own story. For example, in the story of Bridget O’Donnel, as her house was being torn down around her, she refused to leave. She is quoted as saying, “[They] had half of it knocked down when two neighbors, women, carried me out.” These first person accounts give a personalized account of the Potato Famine, making the story compelling.
Overall, BLACK POTATOES is an excellent narrative of the events surrounding the Great Irish Famine. The subject matter is certainly a terrible tragedy. Bartoletti brings to life the people of Ireland, and their resilience to the most horrific conditions. While many people died, it is the stories of those who sacrificed and fought to survive that inspire the reader. Bartoletti is even handed in her account of the Irish though. She does describe the increase in crime during this period of extreme poverty as well. Overall, though, the book does a good job of weaving first person narratives with the facts surrounding the famine. The reader is able to understand the progression of the famine, and the government’s response to the people. The writing is interesting and personalized, bringing to life the people of Ireland.
IV. REVIEW EXCERPTS
“The chronology of the disaster unfolds in this gruelingly poignant text that draws heavily on news reports and first-person narratives. Bartoletti's title also incorporates period pen-and-ink sketches and poetry laying bare the fragility, injustice, and stratification of Irish peasant society that could not cope with agricultural tumult.”—School Library Journal
“The year-by-year political history is occasionally heavy going; but, as she did in Growing Up in Coal Country (1996), a Booklist Editors' Choice, Bartoletti humanizes the big events by bringing the reader up close to the lives of ordinary people.”—Booklist (Starred Review)
V. CONNECTIONS
**Introduce Irish folktales and poetry as an extension of the story.
**Study the Gaelic language, and learn some common phrases.
**Learn more about Irish music and invite local Irish musicians/dancers to share their craft.
Bartoletti, Susan Campbell. 2001. BLACK POTATOES: THE STORY OF THE GREAT IRISH FAMINE, 1945-1850. Boston: Houghton Mifflin Co.
II. PLOT SUMMARY
In BLACK POTATOES, Bartoletti brings to life the disastrous potato blight that struck Ireland from 1845-1850. The book provides a historical look at what life was like for the Irish during the potato famine. The starvation and overwhelming poverty of the Irish is described with the stories of the men, women and children who experienced it.
III. CRITICAL ANALYSIS
BLACK POTATOES is a well-written historical accounting of the terrible Potato Famine that struck Ireland. The book is filled with compelling newspaper drawings depicting the horrific experiences of the Irish during this period. On the cover, a sketch of a woman and young boy in rags digging for potatoes shows the poverty and desperation experienced during the famine, and illustrates effectively the tone and subject of the book. The book has a subdued quality in the illustrations, adding to the serious nature of the subject.
The book is well researched and rich with the actual memories and experiences of the people who lived through this period. Bartoletti traveled to Ireland to conduct research for this book. She utilized archives, letters, diaries and newspapers to bring this story to the reader. The bibliography is written in narrative form, and is brings the reader on a journey of what life was like during this period. It is clear that the author completed extensive research in writing this book. This account is unique because the author tells the story from the perspective of the Irish people.
BLACK POTATOES is organized in chronological order, with each chapter beginning with a subtitle and quote. For example, Chapter 5 is titled, “Only Till the Pratties Grow,” and includes the quote:
“They sold their souls for penny rolls,
Four soup and hairy bacon.”
--Louis O’Malley, Edgeworthstown, County Longford
This chapter discusses the soup kitchens to feed the poor and starving. The quote refers to the Protestant Churches that would offer soup for conversion from Catholicism. This use of subtitles and quotes allows the reader to find information easily. There is also a table of contents and index to aid the reader in navigating the text. In addition, the author has included a map of Ireland and it’s counties, as well as a Timeline of events in Ireland from 1845-1998.
BLACK POTATOES is an attractive book with easy to read text and excellent illustrations with descriptive captions. The graphics throughout the story add information and are placed appropriately throughout. Each illustration’s source is also clearly identified. The black and white sketches fill the pages, with an illustration on approximately one of every four pages.
The story of the Irish Famine is told well by Bartoletti with accuracy and interesting facts. The topic is quite serious, and Bartoletti brings a voice to the topic that is both compelling and full of interesting first hand accounts from the Irish. This use of personal experiences from the people brings to life a terrible tragedy. Children reading it are likely to be saddened and surprised at the number of people who did not survive and the horrific conditions of those who did.
Moments in history are brought to life in Bartoletti’s writing. She uses quotes to allow the Irish to tell their own story. For example, in the story of Bridget O’Donnel, as her house was being torn down around her, she refused to leave. She is quoted as saying, “[They] had half of it knocked down when two neighbors, women, carried me out.” These first person accounts give a personalized account of the Potato Famine, making the story compelling.
Overall, BLACK POTATOES is an excellent narrative of the events surrounding the Great Irish Famine. The subject matter is certainly a terrible tragedy. Bartoletti brings to life the people of Ireland, and their resilience to the most horrific conditions. While many people died, it is the stories of those who sacrificed and fought to survive that inspire the reader. Bartoletti is even handed in her account of the Irish though. She does describe the increase in crime during this period of extreme poverty as well. Overall, though, the book does a good job of weaving first person narratives with the facts surrounding the famine. The reader is able to understand the progression of the famine, and the government’s response to the people. The writing is interesting and personalized, bringing to life the people of Ireland.
IV. REVIEW EXCERPTS
“The chronology of the disaster unfolds in this gruelingly poignant text that draws heavily on news reports and first-person narratives. Bartoletti's title also incorporates period pen-and-ink sketches and poetry laying bare the fragility, injustice, and stratification of Irish peasant society that could not cope with agricultural tumult.”—School Library Journal
“The year-by-year political history is occasionally heavy going; but, as she did in Growing Up in Coal Country (1996), a Booklist Editors' Choice, Bartoletti humanizes the big events by bringing the reader up close to the lives of ordinary people.”—Booklist (Starred Review)
V. CONNECTIONS
**Introduce Irish folktales and poetry as an extension of the story.
**Study the Gaelic language, and learn some common phrases.
**Learn more about Irish music and invite local Irish musicians/dancers to share their craft.
Seymour Simon
I. BIBLIOGRAPHY
Simon, Seymour. 2002. DESTINATION: SPACE. Harper Collins.
II. PLOT SUMMARY
DESTINATION: SPACE reveals many interesting discoveries the Hubble Space Telescope (HST) has captured in photographs since April 1990 when it was placed into orbit. The HST has provided evidence of black holes, new planets and stars being born, and new images of the planets in our own solar system.
III. CRITICAL ANALYSIS
DESTINATION: SPACE is an oversized, though short pictorial discovery of the depths of space. Seymour Simon has once again opened up the universe to us in this captivating book about the discoveries from the Hubble Space Telescope. This book provides full-page pictures taken by the telescope, and Simon describes in great detail what the images are. Simon has written over 200 books and is a former science teacher. His qualifications are excellent, and he presents each picture in the book with a full description.
The text is easy to understand and the descriptions bring the phenomena of space to the understanding level of children. For example, in describing how a nebula around a young star is lit up, he compares it to the gasses glowing inside a florescent light bulb. Simon draws comparisons in his writing so that the reader can fully grasp the ideas. In describing how fast the gases in the nebula are traveling, he compares it to the speed of spaceships, and in fact, the gases are traveling more that two hundred miles per second.
The book is designed well, with large text and large pictures filling the pages. While there is no table of contents or index, the book only covers fourteen pictures taken by the HST, so those features are not necessary to find information in the book. The book begins with pictures from our own Solar System and then shows the stars and systems beyond. This layout makes sense and brings the reader on a journey deeper and deeper into space. The book even includes on of the first pictures ever made of a black hole.
The writing is inviting and the author is clearly passionate about the subject. The reader is filled with wonder about the universe, and this awe is summed up skillfully in the final two paragraphs on the last page. The conclusion leads the reader to want to learn more. Simon writes, “No one knows what new and startling news is still to come from space.” We can be sure though, that he will continue to bring those discoveries to us.
Overall, this book about space brings new insight into the depth of our universe. The large pictures from the HST are colorful and described accurately and accessibly by Simon. He draws comparisons that children can understand, making a complex subject easier to grasp, and the writing encourages curiosity about the future of space discovery, which may lead readers to seek more information about space.
IV. REVIEW EXCERPTS
“On each spread, the large-print, easy-to-understand text is supported by a stunning, full-page color photograph. The author explains what discovery each image produced and how the information fits into our existing knowledge.” –School Library Journal
“An attractive, informative addition to a fine series.” –Booklist
V. CONNECTIONS
**Collect other books about space and compare and contrast them.
**Have children create newscasts broadcasting the discoveries in the book.
Simon, Seymour. 2002. DESTINATION: SPACE. Harper Collins.
II. PLOT SUMMARY
DESTINATION: SPACE reveals many interesting discoveries the Hubble Space Telescope (HST) has captured in photographs since April 1990 when it was placed into orbit. The HST has provided evidence of black holes, new planets and stars being born, and new images of the planets in our own solar system.
III. CRITICAL ANALYSIS
DESTINATION: SPACE is an oversized, though short pictorial discovery of the depths of space. Seymour Simon has once again opened up the universe to us in this captivating book about the discoveries from the Hubble Space Telescope. This book provides full-page pictures taken by the telescope, and Simon describes in great detail what the images are. Simon has written over 200 books and is a former science teacher. His qualifications are excellent, and he presents each picture in the book with a full description.
The text is easy to understand and the descriptions bring the phenomena of space to the understanding level of children. For example, in describing how a nebula around a young star is lit up, he compares it to the gasses glowing inside a florescent light bulb. Simon draws comparisons in his writing so that the reader can fully grasp the ideas. In describing how fast the gases in the nebula are traveling, he compares it to the speed of spaceships, and in fact, the gases are traveling more that two hundred miles per second.
The book is designed well, with large text and large pictures filling the pages. While there is no table of contents or index, the book only covers fourteen pictures taken by the HST, so those features are not necessary to find information in the book. The book begins with pictures from our own Solar System and then shows the stars and systems beyond. This layout makes sense and brings the reader on a journey deeper and deeper into space. The book even includes on of the first pictures ever made of a black hole.
The writing is inviting and the author is clearly passionate about the subject. The reader is filled with wonder about the universe, and this awe is summed up skillfully in the final two paragraphs on the last page. The conclusion leads the reader to want to learn more. Simon writes, “No one knows what new and startling news is still to come from space.” We can be sure though, that he will continue to bring those discoveries to us.
Overall, this book about space brings new insight into the depth of our universe. The large pictures from the HST are colorful and described accurately and accessibly by Simon. He draws comparisons that children can understand, making a complex subject easier to grasp, and the writing encourages curiosity about the future of space discovery, which may lead readers to seek more information about space.
IV. REVIEW EXCERPTS
“On each spread, the large-print, easy-to-understand text is supported by a stunning, full-page color photograph. The author explains what discovery each image produced and how the information fits into our existing knowledge.” –School Library Journal
“An attractive, informative addition to a fine series.” –Booklist
V. CONNECTIONS
**Collect other books about space and compare and contrast them.
**Have children create newscasts broadcasting the discoveries in the book.
Monday, October 09, 2006
Verse Novel
I. BIBLIOGRAPHY
Sones, Sonya. 2001. WHAT MY MOTHER DOESN’T KNOW. New York: Simon and Schuster Books for Young Readers.
II. PLOT SUMMARY
In WHAT MY MOTHER DOESN’T KNOW, Sones tells the story of fifteen-year-old Sophie and her search for true love. She experiences three loves throughout this free verse novel. The story also includes her close relationships with her two girlfriends, Rachel and Grace, who are having their own first love experiences. Sophie learns about the ups and downs of relationships, both with boys and her parents.
III. CRITICAL ANALYSIS
Sonya Sones’ free verse novel about a girl’s first experiences with love is told expertly from the voice of a fifteen-year-old girl. In each poem, as the story progresses, the reader can hear the voice of Sophie. She has accomplished an authenticity of voice that draws the reader in to Sophie’s intimate thoughts and experiences. Sophie has an ironic sense of humor, as in the poem “Culture Clash:”
Dylan Says
when I meet his mother today
I shouldn’t mention
that I’m Jewish
I say
okay, but can I
tell her about
the HIV positive thing?
He gives me a look.
I give him one back. (Sones 2001, 74).
The issues Sophie faces are relevant to young people today. She experiences an online relationship with a boy named Chaz, and it goes well until he reveals an unpleasant fact about himself. Sophie replies with her quick wit: “Consider yourself permanently deleted” (Sones 2001, 111). Most young people today utilize the internet and chat rooms regularly, so this scenario is both relevant and important.
Sonya Sones has created a strong character with a strong voice. The use of free verse to tell Sophie’s story makes it powerful and is appealing to young readers. They can relate to the universal experiences Sophie faces in her life. The poems are varied in length and flow well from page to page. The story is cohesive, but each poem is unique. Each poem is titled and is one to two pages in length. The storyline flows quickly and keeps the reader engaged. Overall, this is a verse novel that many girls will relate to, however, it may not have quite as much appeal to boys, because of the subject matter. Sones has done an excellent job of capturing the experiences of young love and the turmoil young girls face in their lives.
IV. REVIEW EXCERPTS
“Drawing on the recognizable cadences of teenage speech, Sones (Stop Pretending) poignantly captures the tingle and heartache of being young and boy-crazy.” --Publisher’s Weekly Starred Review
“Sophie's voice is colloquial and intimate, and the discoveries she makes are beyond formula, even while they are as sweetly romantic as popular song. A natural for reluctant readers, this will also attract young people who love to read.” --Booklist, ALA Starred Review
V. CONNECTIONS
**This verse novel could be adapted for reader’s theatre.
**Have students write their own free verse story about a subject of their choosing.
Sones, Sonya. 2001. WHAT MY MOTHER DOESN’T KNOW. New York: Simon and Schuster Books for Young Readers.
II. PLOT SUMMARY
In WHAT MY MOTHER DOESN’T KNOW, Sones tells the story of fifteen-year-old Sophie and her search for true love. She experiences three loves throughout this free verse novel. The story also includes her close relationships with her two girlfriends, Rachel and Grace, who are having their own first love experiences. Sophie learns about the ups and downs of relationships, both with boys and her parents.
III. CRITICAL ANALYSIS
Sonya Sones’ free verse novel about a girl’s first experiences with love is told expertly from the voice of a fifteen-year-old girl. In each poem, as the story progresses, the reader can hear the voice of Sophie. She has accomplished an authenticity of voice that draws the reader in to Sophie’s intimate thoughts and experiences. Sophie has an ironic sense of humor, as in the poem “Culture Clash:”
Dylan Says
when I meet his mother today
I shouldn’t mention
that I’m Jewish
I say
okay, but can I
tell her about
the HIV positive thing?
He gives me a look.
I give him one back. (Sones 2001, 74).
The issues Sophie faces are relevant to young people today. She experiences an online relationship with a boy named Chaz, and it goes well until he reveals an unpleasant fact about himself. Sophie replies with her quick wit: “Consider yourself permanently deleted” (Sones 2001, 111). Most young people today utilize the internet and chat rooms regularly, so this scenario is both relevant and important.
Sonya Sones has created a strong character with a strong voice. The use of free verse to tell Sophie’s story makes it powerful and is appealing to young readers. They can relate to the universal experiences Sophie faces in her life. The poems are varied in length and flow well from page to page. The story is cohesive, but each poem is unique. Each poem is titled and is one to two pages in length. The storyline flows quickly and keeps the reader engaged. Overall, this is a verse novel that many girls will relate to, however, it may not have quite as much appeal to boys, because of the subject matter. Sones has done an excellent job of capturing the experiences of young love and the turmoil young girls face in their lives.
IV. REVIEW EXCERPTS
“Drawing on the recognizable cadences of teenage speech, Sones (Stop Pretending) poignantly captures the tingle and heartache of being young and boy-crazy.” --Publisher’s Weekly Starred Review
“Sophie's voice is colloquial and intimate, and the discoveries she makes are beyond formula, even while they are as sweetly romantic as popular song. A natural for reluctant readers, this will also attract young people who love to read.” --Booklist, ALA Starred Review
V. CONNECTIONS
**This verse novel could be adapted for reader’s theatre.
**Have students write their own free verse story about a subject of their choosing.
Kristine O'Connell George
I. BIBLIOGRAPHY
George, Kristine O’Connell. 2001. TOASTING MARSHMALLOWS: CAMPING POEMS. Ill. By Kate Kiesler. New York: Clarion Books.
II. PLOT SUMMARY
This collection of poetry is centered on a family’s experiences camping together. From setting up the tent to hiking and roasting marshmallows, the experiences shared in the poetry are universal camping experiences. At the conclusion of the trip, the poems reflect on pulling up the tent’s stakes and finally, returning home. The girl in the story enjoys the smell left on her flannel shirt from the camping trip, and leaves it unwashed so she can remember the happy memories the smell brings back to her.
III. CRITICAL ANALYSIS
TOASTING MARSHMALLOWS is a delightful, rich collection of poems about camping and the outdoors. The poems utilize sense imagery to bring the outdoors to life, and the illustrations accompanying the poems are realistic acrylic paintings. The poems are varied in their style, and focus on one aspect of the camping trip. In “Sleeping Bag,” George uses the metaphor of the sleeping bag as a caterpillar. The illustration adds to the metaphor. In the opening poem, “The Tent,” the poem is written in a pyramid, reflecting the shape of a tent. This concrete poem is simple, yet captures the essence of arriving at a campsite and pitching a tent. Another concrete poem is in the shape of a moon.
Other poems utilize repetition to create a rhythm. In “Wild Mustard,” the word yellow is repeated throughout, and the accompanying double page illustration is filled with bright yellow flowers, emphasizing the image in the poem. This poem and many others awaken the senses with the sense imagery language. In “The Best Paths,” repetition is utilized again, with each stanza starting with the words “the best paths.” The sweeping illustration accompanying the poem beautifully captures the almost invisible path discovered by chance.
This collection of poetry is varied, which adds interest to the collection as a whole. The illustrations and poems work well together, and the illustrations add to the imagery in the poems. The subject matter is universal in nature, making it enjoyable and relevant to many age groups from children to adults. This collection of poetry made me nostalgic for my many weekends spent camping with my family. It is a collection to be enjoyed again and again, and perhaps even read around a campfire.
IV. REVIEW EXCERPTS
“The poems are varied and inventive, replete with marvelous images and universal truths.” –School Library Journal Starred Review/Best Books of the Year
"…fine collection brings the outdoors up close...direct, satisfying poems that will engage kids at school, across the curriculum, or at home." -- Booklist, ALA, Starred Review
V. CONNECTIONS
**The poem “Two Voices in a Tent at Night” could be performed by two children or two groups of children.
**Other poems are ideal for a line around, such as “Storm” or “Owl.”
George, Kristine O’Connell. 2001. TOASTING MARSHMALLOWS: CAMPING POEMS. Ill. By Kate Kiesler. New York: Clarion Books.
II. PLOT SUMMARY
This collection of poetry is centered on a family’s experiences camping together. From setting up the tent to hiking and roasting marshmallows, the experiences shared in the poetry are universal camping experiences. At the conclusion of the trip, the poems reflect on pulling up the tent’s stakes and finally, returning home. The girl in the story enjoys the smell left on her flannel shirt from the camping trip, and leaves it unwashed so she can remember the happy memories the smell brings back to her.
III. CRITICAL ANALYSIS
TOASTING MARSHMALLOWS is a delightful, rich collection of poems about camping and the outdoors. The poems utilize sense imagery to bring the outdoors to life, and the illustrations accompanying the poems are realistic acrylic paintings. The poems are varied in their style, and focus on one aspect of the camping trip. In “Sleeping Bag,” George uses the metaphor of the sleeping bag as a caterpillar. The illustration adds to the metaphor. In the opening poem, “The Tent,” the poem is written in a pyramid, reflecting the shape of a tent. This concrete poem is simple, yet captures the essence of arriving at a campsite and pitching a tent. Another concrete poem is in the shape of a moon.
Other poems utilize repetition to create a rhythm. In “Wild Mustard,” the word yellow is repeated throughout, and the accompanying double page illustration is filled with bright yellow flowers, emphasizing the image in the poem. This poem and many others awaken the senses with the sense imagery language. In “The Best Paths,” repetition is utilized again, with each stanza starting with the words “the best paths.” The sweeping illustration accompanying the poem beautifully captures the almost invisible path discovered by chance.
This collection of poetry is varied, which adds interest to the collection as a whole. The illustrations and poems work well together, and the illustrations add to the imagery in the poems. The subject matter is universal in nature, making it enjoyable and relevant to many age groups from children to adults. This collection of poetry made me nostalgic for my many weekends spent camping with my family. It is a collection to be enjoyed again and again, and perhaps even read around a campfire.
IV. REVIEW EXCERPTS
“The poems are varied and inventive, replete with marvelous images and universal truths.” –School Library Journal Starred Review/Best Books of the Year
"…fine collection brings the outdoors up close...direct, satisfying poems that will engage kids at school, across the curriculum, or at home." -- Booklist, ALA, Starred Review
V. CONNECTIONS
**The poem “Two Voices in a Tent at Night” could be performed by two children or two groups of children.
**Other poems are ideal for a line around, such as “Storm” or “Owl.”
Sunday, October 08, 2006
Florian Poetry
I. BIBLIOGRAPHY
Florian, Douglas. 1997. IN THE SWIM. San Diego: Harcourt Brace and Company.
II. PLOT SUMMARY
IN THE SWIM is a collection of twenty-one poems by Florian about different types of fish. The poems offer a humorous perspective on each of the fish, from a catfish to a shark. The poems often include facts about the fish, for example, in the poem about the starfish, the reader learns that a starfish has no brain. In the poem about skates, we learn that they feed on invertebrates. While offering humor, these poems also include information about what makes each of these fish unique in the ocean.
III. CRITICAL ANALYSIS
Florian’s humorous poems about fish are fun as stand alone poems, but as a whole, this collection brings to life the creatures that fill the sea. Most of the poems have a rhythm and rhyme scheme that is ideal for being read out loud. Each fish is featured on a double page layout, with the poem on one side, printed in black typeset on a white background. On the other half of the layout, beautiful watercolor illustrations capture visually the poems.
Most of the poems are in a lyric style, with a predictable rhyme scheme. Florian plays with the text on the page, changing the size of the letters in the poems to reflect the word. In “The Whale” the word ‘tall’ is taller than the others, and the word ‘wide’ is spread out and wider than the other words. This same technique is used in other poems as well. One selection is a concrete poem, written in a shape that represents the poem’s subject. In “The Sawfish,” Florian presents a concrete poem, written in a shape that represents the poem’s subject s written. The poem is in a zigzag shape, reflecting the teeth of a sawfish.
The illustrations accompanying each poem are each reflective of the fish represented. They are somewhat abstract in nature, and are saturated in vibrant watercolors. The illustrations often capture the humor of the poems. For example, in “The Sharks,” the poem describes how sharks can park wherever they wish. In the illustration, a shark is shown with a parking meter in its mouth.
Overall, this collection of marine poetry is fun, humorous and rich with information about the various fish. The poems are varied in length, and are well organized. The illustrations complement the poems and add to the witty quality of the poems. This collection of poetry could easily be utilized in science class, but it is also perfect to be enjoyed in story time.
IV. REVIEW EXCERPTS
“In the Swim will work equally well for story hours, poetry-writing sessions, or one-on-one sharing. Many poetry books for children touch upon marine life. This one, like the rainbow trout on the penultimate page, is definitely ‘Divine!/Delish!’” –School Library Journal
“This witty intersection of poetry, art, and science will delight children and may inspire them to come up with their own creative ideas.” –Booklist
V. CONNECTIONS
**Collect non-fiction juvenile books related to the fish featured in the poems for further research and information. They might include:
ALL ABOUT SHARKS by Jim Arnosky
PIRANHAS by Elaine Landau.
THE MAGIC SCHOOL BUS GOES UPSTREAM: A BOOK ABOUT SALMON MIGRATION. Based on the Magic School Bus books written by Joanna Cole and Illustrated by Bruce Degan.
THE WHALE: THE SOVEREIGNS OF THE SEA by Caroline BrettJELLYFISH AND OTHER STINGERS by Joseph K. Brennan; series designer, Karen Donica.
Florian, Douglas. 1997. IN THE SWIM. San Diego: Harcourt Brace and Company.
II. PLOT SUMMARY
IN THE SWIM is a collection of twenty-one poems by Florian about different types of fish. The poems offer a humorous perspective on each of the fish, from a catfish to a shark. The poems often include facts about the fish, for example, in the poem about the starfish, the reader learns that a starfish has no brain. In the poem about skates, we learn that they feed on invertebrates. While offering humor, these poems also include information about what makes each of these fish unique in the ocean.
III. CRITICAL ANALYSIS
Florian’s humorous poems about fish are fun as stand alone poems, but as a whole, this collection brings to life the creatures that fill the sea. Most of the poems have a rhythm and rhyme scheme that is ideal for being read out loud. Each fish is featured on a double page layout, with the poem on one side, printed in black typeset on a white background. On the other half of the layout, beautiful watercolor illustrations capture visually the poems.
Most of the poems are in a lyric style, with a predictable rhyme scheme. Florian plays with the text on the page, changing the size of the letters in the poems to reflect the word. In “The Whale” the word ‘tall’ is taller than the others, and the word ‘wide’ is spread out and wider than the other words. This same technique is used in other poems as well. One selection is a concrete poem, written in a shape that represents the poem’s subject. In “The Sawfish,” Florian presents a concrete poem, written in a shape that represents the poem’s subject s written. The poem is in a zigzag shape, reflecting the teeth of a sawfish.
The illustrations accompanying each poem are each reflective of the fish represented. They are somewhat abstract in nature, and are saturated in vibrant watercolors. The illustrations often capture the humor of the poems. For example, in “The Sharks,” the poem describes how sharks can park wherever they wish. In the illustration, a shark is shown with a parking meter in its mouth.
Overall, this collection of marine poetry is fun, humorous and rich with information about the various fish. The poems are varied in length, and are well organized. The illustrations complement the poems and add to the witty quality of the poems. This collection of poetry could easily be utilized in science class, but it is also perfect to be enjoyed in story time.
IV. REVIEW EXCERPTS
“In the Swim will work equally well for story hours, poetry-writing sessions, or one-on-one sharing. Many poetry books for children touch upon marine life. This one, like the rainbow trout on the penultimate page, is definitely ‘Divine!/Delish!’” –School Library Journal
“This witty intersection of poetry, art, and science will delight children and may inspire them to come up with their own creative ideas.” –Booklist
V. CONNECTIONS
**Collect non-fiction juvenile books related to the fish featured in the poems for further research and information. They might include:
ALL ABOUT SHARKS by Jim Arnosky
PIRANHAS by Elaine Landau.
THE MAGIC SCHOOL BUS GOES UPSTREAM: A BOOK ABOUT SALMON MIGRATION. Based on the Magic School Bus books written by Joanna Cole and Illustrated by Bruce Degan.
THE WHALE: THE SOVEREIGNS OF THE SEA by Caroline BrettJELLYFISH AND OTHER STINGERS by Joseph K. Brennan; series designer, Karen Donica.
Monday, September 25, 2006
Alvin Schwartz
I. BIBLIOGRAPHY
Schwartz, Alvin. 1984. IN A DARK, DARK ROOM AND OTHER SCARY STORIES. Ill. By Dirk Zimmer. New York: HarperCollins. ISBN: 0060252715
II. PLOT SUMMARY
IN A DARK, DARK ROOM is one of seven short, scary tales retold by Alvin Schwartz in this illustrated book. The first story is called “The Teeth,” and is about a boy who meets men with progressively longer teeth. Each new person he runs into scares him more and more. The next story is titled “In The Graveyard,” and tells the tale of an old woman sitting in a graveyard when three corpses are brought to be buried.
“The Green Ribbon” is another tale retold about a girl with a green ribbon tied around her neck, and at the conclusion of the story we find that the ribbon holds her head on. “The Night it Rained” is a spooky story about a ghost boy borrowing a sweater and returning it to the owner on his grave. “The Pirate” and “The Ghost of John” are also both ghost stories. The title story “In a Dark, Dark Room” is a cumulative story leading to a scary ending.
III.CRITICAL ANALYSIS
Each of the scary stories retold by Alvin Schwartz are excellent to be read aloud by children or to children. As the author recommends in his forward, these stories should be savored and read slowly so that the imagination of those listening is fully keyed in to the story. The stories are both fun and a little scary, though certainly not downright frightening.
The illustrations by Dirk Zimmer are colored drawings depicting the scary scenes of each story. Some illustrations are full page, but most are on half of the page, with text accompanying it in the white space, making reading easy for young children. The illustrations are not integral to the story line, and the stories can be enjoyed fully without viewing them. However, the illustrations do provide a visual of the characters involved, which may add to the “scary-ness” of the stories. Many times, the illustrations are scarier than the story.
At the conclusion of the book, Schwartz provides the sources for each of the folk tales he retells. He does an excellent job of making these stories fun and accessible to beginning readers, as the text is easy to read.
IV. REVIEW EXCERPTS
An ALA Notable Children’s Book
“The pacing makes at once for comfortable and dramatic reading; the pictures are a ghastly, gloomy, wickedly funny lot. And Schwartz doesn't spoil these stories for later, expanded acquaintance--there's gravity as well as, snap in the telling. Once again, a standout job.” --Kirkus
V. CONNECTIONS
- Make masks with longer and longer teeth, and act out the story of “The Teeth”
- Have children make their own cumulative tale similar to “In the Dark, Dark Room.” Decide on a description, for example: “In the loud, loud forest.”
Saturday, September 23, 2006
Folktale
I. BIBLIOGRAPHY
Kimmel, Eric A. 1992. THE OLD WOMAN AND HER PIG. Ill. by Giora Carmi. New York: Holiday House. ISBN: 0823409708
II. PLOT SUMMARY
In THE OLD WOMAN AND HER PIG, Kimmel presents a retelling of a British folktale about an old woman who finds a penny. She exclaims that it is her lucky day and quickly goes to market to buy a pig. Unfortunately, her luck begins to run out, and the pig refuses to step over a stile in the path to her home. She proceeds to ask for help from a dog, but is refused. So she sees a stick and asks it to poke the dog, but it refuses as well. The story continues in this way, including a cat, a cow and many other steps in between. They all refuse to help her until finally a sleeping haystack does not refuse her. After feeding the cow, the chain of events unfolds, leading finally to the dog nipping the pig, which gets it over the stile. The old woman is finally home.
III.CRITICAL ANALYSIS
THE OLD WOMAN AND HER PIG is a cumulative folk tale, retold by Kimmel from the original British form. This is a lighter version, and he does a good job of changing the story to make it less violent. The rhythm and repetition in the text makes it a good book to share aloud during story time.
The illustrations are colorful pastel drawings, and they capture the story in a unique way. As each character or thing refuses to help the old woman, they form a “No.” For example, when the rider refuses, his body and hat make the word “No.” Children will enjoy finding the words in the illustrations.
IV. REVIEW EXCERPTS
“Kimmel's books are always welcome for their potential story-hour use, and this rendition of a standard English folktale is no exception.” –School Library Journal
“Carmi's colorful illustrations are wild, crazy, and full of life…” –School Library Journal
V. CONNECTIONS
- Reread the story, having the children join in with the “No’s.”
- Create a readers theatre script and have children perform the story.
Cinderella Variation
I. BIBLIOGRAPHY
Ketteman, Helen. 1997. BUBBA THE COWBOY PRINCE: A FRACTURED TEXAS TALE. Ill. By James Warhola. New York: Scholastic. ISBN: 0590255061
II. PLOT SUMMARY
In this retelling of the classic fairytale CINDERELLA, Ketteman places the story on a ranch in Texas. Bubba is this story’s Cinderella character, forced to do the work around the ranch that his “lazy stepbrothers” refuse to do. His stepbrothers spend their days bossing Bubba around.
Meanwhile, Miz Lurleen, a beautiful, rich neighbor decides to throw a ball to find herself a husband. As in the classic tale, Bubba is transformed by his fairy godmother that in this story is a cow. Bubba goes to the ball and captures Miz Lurleen’s heart, but at midnight he is changed back and runs off, leaving one of his boots. Miz Lurleen is determined to find the boot’s rightful owner. After trying Bubba’s stepbrothers, she finally finds the owner. Bubba and Miz Lurleen live happily every after
III.CRITICAL ANALYSIS
Kelleman’s retelling of CINDERELLA is just like the original tale, with a few minor adjustments. In this story, it is set in Texas with a boy as the “Cinderella” character. The writing style lends itself well to be read aloud. The reader can have fun with a Texas twang as they read the dialog of the characters. Though certainly not proper English, the language in this book adds a sense of place and humor to the story. When the “Godcow” transforms Bubba, he exclaims, “Why, I look downright purty.” This is one example of the Texas drawl written into the voices of the characters.
The illustrations in this book are both colorful and expressive. The faces of the people and animals are cartoon-like, adding humor to the story. In addition, the details in the illustrations make the reader want to savor each page, taking in all of the nuances of the illustrations.
IV. REVIEW EXCERPTS
“Ketteman wisely leaves the plot unchanged, but the story has a distinct western flair and a humorous tall-tale feel that is greatly enhanced by the exaggerated actions and facial expressions of the characters in Warhola's double-page-spread oil paintings. With a male in the starring role, this charming and funny retelling may hold more appeal for young boys than the traditional version may.” –Booklist
“Rustler lingo and illustrations chockablock with Texas kitsch make this ranch-spun Cinder-fella a knee-slappin' tale.” –Publishers Weekly
V. CONNECTIONS
- Share another Cinderella story and compare the differences and similarities between the two.
- Have the children create their own Cinderella story.
Monday, September 11, 2006
Creating a Children's Picture Book
I. BIBLIOGRAPHY
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL. New York: Walker and Co.
II. PLOT SUMMARY
In A CALDECOTT CELBRATION, Marcus highlights six children’s book illustrators who won the Caldecott Medal over six decades. In each chapter, Marcus tells the story of how each award winning book’s illustrations were created. He describes the interaction artists had with their editor. When available he provides early sketches of the artists work on their books. Illustrators also share their reaction to being awarded the prestigious Caldecott Medal.
III. CRITICAL ANALYSIS
Marcus’s selection of six Caldecott Medal winners over six decades offers a true cross section of the evolution of illustrations in children’s literature. The stories of the six illustrators reveal the process of making a picture book. The book is illustrated with the early sketches of the artists, revealing the grueling rewrites and re-illustrating involved with creating an award winning children’s picture book. By showing the process, readers are able to visually see the evolution of the illustrations.
Another important aspect of Marcus’ writing are the anecdotes, both humorous and insightful, about each of the six illustrators. Marcus describes how Robert McCloskey adopted sixteen ducks to share his apartment. McCloskey used these ducks to act as his models in his book MAKE WAY FOR DUCKLINGS. Marcus also describes how Marcia Brown drew her characters for CINDERELLA; OR, THE LITTLE GLASS SLIPPER, and cut them out to arrange them on the page. She describes the process as similar to playing with paper dolls. These descriptions aid in the understanding of the process of illustrating.
Marcus captures the process and inspirations of the art of illustration. He describes the failures and successes of the illustrators. In one example, Maurice Sendak, author of WHERE THE WILD THINGS ARE, continually re-wrote his story, even recommending to himself to abandon the story. Thankfully, he did not give up on the story, and he was able to solve his problems when he came up with the title of his story.
A CALDECOTT CELEBRATION is presented in a chronological order, allowing the reader to visually see the evolution in children’s illustrations. The book provides thorough biographical information on each featured author as well as interesting anecdotes about the process of illustration. The large layout allows the reader to see the examples of illustrations easily, and the stories give the reader a vicarious experience in the art of illustrating a children’s picture book.
IV. REVIEW EXCERPT(S)
“The large, attractive pages invite readers to savor the multitude of illustrations. Some of them show the various drafts leading up to the finished art so that readers can easily see the evolution of the artists' ideas.” –School Library Journal
“With Marcus's sure hand guiding this tour, readers will find cause for celebration.” –Publisher’s Weekly
V. CONNECTIONS
**Collect the other books written by the six featured authors, and compare the illustrations to the award winning book.
**Find other Caldecott winning books from other years.
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL. New York: Walker and Co.
II. PLOT SUMMARY
In A CALDECOTT CELBRATION, Marcus highlights six children’s book illustrators who won the Caldecott Medal over six decades. In each chapter, Marcus tells the story of how each award winning book’s illustrations were created. He describes the interaction artists had with their editor. When available he provides early sketches of the artists work on their books. Illustrators also share their reaction to being awarded the prestigious Caldecott Medal.
III. CRITICAL ANALYSIS
Marcus’s selection of six Caldecott Medal winners over six decades offers a true cross section of the evolution of illustrations in children’s literature. The stories of the six illustrators reveal the process of making a picture book. The book is illustrated with the early sketches of the artists, revealing the grueling rewrites and re-illustrating involved with creating an award winning children’s picture book. By showing the process, readers are able to visually see the evolution of the illustrations.
Another important aspect of Marcus’ writing are the anecdotes, both humorous and insightful, about each of the six illustrators. Marcus describes how Robert McCloskey adopted sixteen ducks to share his apartment. McCloskey used these ducks to act as his models in his book MAKE WAY FOR DUCKLINGS. Marcus also describes how Marcia Brown drew her characters for CINDERELLA; OR, THE LITTLE GLASS SLIPPER, and cut them out to arrange them on the page. She describes the process as similar to playing with paper dolls. These descriptions aid in the understanding of the process of illustrating.
Marcus captures the process and inspirations of the art of illustration. He describes the failures and successes of the illustrators. In one example, Maurice Sendak, author of WHERE THE WILD THINGS ARE, continually re-wrote his story, even recommending to himself to abandon the story. Thankfully, he did not give up on the story, and he was able to solve his problems when he came up with the title of his story.
A CALDECOTT CELEBRATION is presented in a chronological order, allowing the reader to visually see the evolution in children’s illustrations. The book provides thorough biographical information on each featured author as well as interesting anecdotes about the process of illustration. The large layout allows the reader to see the examples of illustrations easily, and the stories give the reader a vicarious experience in the art of illustrating a children’s picture book.
IV. REVIEW EXCERPT(S)
“The large, attractive pages invite readers to savor the multitude of illustrations. Some of them show the various drafts leading up to the finished art so that readers can easily see the evolution of the artists' ideas.” –School Library Journal
“With Marcus's sure hand guiding this tour, readers will find cause for celebration.” –Publisher’s Weekly
V. CONNECTIONS
**Collect the other books written by the six featured authors, and compare the illustrations to the award winning book.
**Find other Caldecott winning books from other years.
Friday, September 08, 2006
Illustrated by Chris Raschka
I. BIBLIOGRAPHY
Creech, Sharon. 2000. FISHING IN THE AIR. Ill. By Chris Raschka. Harper Collins. ISBN: 0060281111
II. PLOT SUMMARY
In this lyrical book about a son fishing with his father, the father and son create special memories. The boy and his father set out in the blue-black morning with their fishing gear in tow. They arrive at the river, and the father teaches his son about fishing. The father reflects on his own childhood. Sharon Creech’s story is about far more than fishing. It is about the bond between a father and a son.
III. CRITICAL ANALYSIS
In FISHING IN THE AIR, Sharon Creech’s words are lyrical. She utilizes figurative language in the form of metaphors, adding both emotion and richness of meaning to the story. In her story, street lamps become moons, trees become soldiers and birds become angels. The book captures the curiosity of a young boy learning about his father and fishing and ultimately becomes a story about using your imagination.
The illustrations by Chris Raschka are rich with color and detail. They are whimsical and somewhat abstract, using swirls of color to frame the story. The illustrations visually represent the metaphors described in the text of the story.
This book is rich with imagination in both the text and illustrations. The poetic use of metaphors may be confusing to young children, but it could be a teaching tool for older children learning about figures of speech. The book is best read close up, to take in the detail of the illustrations as the story moves along.
IV. REVIEW EXCERPT(S)
“While the text and images are evocative and memorable, this book is likely to have more appeal to adults than to concrete-minded youngsters. Fanciful conceits such as catching "a slice of yellow sun" and a "white white cloud" may be more confusing than meaningful to a young audience.”—School Library Journal
“Creech's narrative is more poetry than prose; her quicksilver description and quietly repetitive phrases serve to deepen the growing connection between father and son, and her images are made for Raschka's brush. Author and artist evoke an idyllic outing between parent and child and demonstrate that while they may return empty-handed, their hearts are full.”—Publisher’s Weekly
V. CONNECTIONS
**Have children write their own simile or metaphor and illustrate it.
**Collect other books illustrated by Raschka including THE HELLO GOODBYE WINDOW, TALK TO ME ABOUT THE ALPHABET, and LITTLE TREE. Compare and contrast the illustrations.
Creech, Sharon. 2000. FISHING IN THE AIR. Ill. By Chris Raschka. Harper Collins. ISBN: 0060281111
II. PLOT SUMMARY
In this lyrical book about a son fishing with his father, the father and son create special memories. The boy and his father set out in the blue-black morning with their fishing gear in tow. They arrive at the river, and the father teaches his son about fishing. The father reflects on his own childhood. Sharon Creech’s story is about far more than fishing. It is about the bond between a father and a son.
III. CRITICAL ANALYSIS
In FISHING IN THE AIR, Sharon Creech’s words are lyrical. She utilizes figurative language in the form of metaphors, adding both emotion and richness of meaning to the story. In her story, street lamps become moons, trees become soldiers and birds become angels. The book captures the curiosity of a young boy learning about his father and fishing and ultimately becomes a story about using your imagination.
The illustrations by Chris Raschka are rich with color and detail. They are whimsical and somewhat abstract, using swirls of color to frame the story. The illustrations visually represent the metaphors described in the text of the story.
This book is rich with imagination in both the text and illustrations. The poetic use of metaphors may be confusing to young children, but it could be a teaching tool for older children learning about figures of speech. The book is best read close up, to take in the detail of the illustrations as the story moves along.
IV. REVIEW EXCERPT(S)
“While the text and images are evocative and memorable, this book is likely to have more appeal to adults than to concrete-minded youngsters. Fanciful conceits such as catching "a slice of yellow sun" and a "white white cloud" may be more confusing than meaningful to a young audience.”—School Library Journal
“Creech's narrative is more poetry than prose; her quicksilver description and quietly repetitive phrases serve to deepen the growing connection between father and son, and her images are made for Raschka's brush. Author and artist evoke an idyllic outing between parent and child and demonstrate that while they may return empty-handed, their hearts are full.”—Publisher’s Weekly
V. CONNECTIONS
**Have children write their own simile or metaphor and illustrate it.
**Collect other books illustrated by Raschka including THE HELLO GOODBYE WINDOW, TALK TO ME ABOUT THE ALPHABET, and LITTLE TREE. Compare and contrast the illustrations.
Caldecott Award Medal Book
I. BIBLIOGRAPHY
St. George, Judith. 2000. SO YOU WANT TO BE PRESIDENT. Ill. By David Small. Philomel Books. ISBN 0399234071
II. PLOT SUMMARY
In this very humorous picture book about the presidents of the United States, Judith St. George reveals interesting, unique facts about the presidents throughout history. From Washington to Clinton, the book reveals many details about the lives of the presidents. The book describes both the good and bad things about being president. Finally, the book concludes with the message that anyone can be president, no matter his or her background or what he or she look like.
III. CRITICAL ANALYSIS
St. George’s writing style is both factual and humorous. She presents the historical facts about the presidents with a fun, witty style. The anecdotes about the presidents include a horse in the White House and John Quincy Adams skinny-dipping. The history of the presidents is not told chronologically like other books might, making this a unique and interesting study of the presidents.
David Small’s illustrations are in the style of political cartoon caricatures. The illustrations humorously depict the descriptions in the book. Small pays particular attention to the expressions on the faces of his characters.
IV. REVIEW EXCERPT(S)
“Curious tidbits of personal information and national history combine with humorously drawn caricatures to give this tongue-in-cheek picture book a quirky appeal.”—School Library Journal
“Portraits of the presidents can be generally described as staid, stodgy, and dull. Throw these adjectives out the window when describing this book's group portrayal of American presidents.”--Booklist
V. CONNECTIONS
**Create a caricature of a president in the style of David Small’s illustrations.
**Gather fact books about the presidents to look up further information.
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