Naomi Shihab Nye

I. BIBLIOGRAPHIC INFORMATION

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

II. SUMMARY

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

III. CRITICAL ANALYSIS

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

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

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

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

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

IV. REVIEW EXCERPTS

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

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

V. CONNECTIONS

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

Other Groups: Disability Picture Book

I. BIBLIOGRAPHIC INFORMATION

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

II. SUMMARY

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

III. CRITICAL ANALYSIS

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

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

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

IV. REVIEW EXCERPTS

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

V. CONNECTIONS

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

Other Groups: King and King

I. BIBLIOGRAPHIC INFORMATION

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

II. SUMMARY

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

III. CRITICAL ANALYSIS

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

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

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

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

IV. REVIEW EXCERPTS

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

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

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

Yep Novel

I. BIBLIOGRAPHIC INFORMATION

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

II. SUMMARY

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

III. CRITICAL ANALYSIS

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

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

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

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

IV. REVIEW EXCERPTS

1994 Newbery Honor Book

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

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

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

Allen Say

I. BIBLIOGRAPHIC INFORMATION

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

II. SUMMARY

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

III. CRITICAL ANALYSIS

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

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

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

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

IV. REVIEW EXCERPTS

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

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

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

Asian/Asian-American Picture Book

I. BIBLIOGRAPHIC INFORMATION

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

II. SUMMARY

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

III. CRITICAL ANALYSIS

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

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

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

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

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

IV. REVIEW EXCERPTS

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

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

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

Smith Novel

BIBLIOGRAPHIC INFORMATION

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

SUMMARY

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

CRITICAL ANALYSIS

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

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

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

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

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

REVIEW EXCERPTS

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

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

CONNECTIONS

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

Michael Dorris

BIBLIOGRAPHIC INFORMATION

Dorris, Michael. 1992. MORNING GIRL. New York: Hyperion. ISBN 1562822853

SUMMARY

MORNING GIRL is set in 1492 in the Bahamas, before Christopher Columbus has made his discovery. Two siblings, Morning Girl and Star Boy tell the story in alternating chapters. They are two opposites, one enjoying the day and one the night. They experience sibling rivalry similar to children today. The story follows the lives of this native family, and the story concludes with the arrival of Christopher Columbus to their island.

CRITICAL ANALYSIS

MORNING GIRL is a simple family story set during a period of time not often written about. The everyday lives of the native people do not seem much different from those of children today. The siblings in this story experience many of the same rivalries and challenges children today do. However, this family is obviously not living in a modern world. Morning Girl expresses a desire to see her own likeness, but there are no mirrors for her to see herself. In addition, they live in primitive quarters very different from our own modern conveniences.

There are many cultural markers throughout the text adding to the authenticity of the work. First, the characters names are strong examples of Native American culture. In fact, at one point in the story, the young boy is given his “grown up” name. He is no longer called Hungry and will instead be known as Star Boy. This is clearly a significant moment in this culture. In addition, we learn that women must go to the “Women’s House” during their menstrual cycle. This is clearly a cultural practice that stands out in the text, adding to the authenticity. Anther example of a cultural marker is the description of the large tree known by all the people of the island. It is said that all of their ancestors can be found in the trees bark. This is an example of a unique religious belief in this culture. Finally, anther cultural marker that stands out in MORNING GIRL is the description of the painted faces and jewelry of the people. They “wore flattened gold leaves in their earlobes, some placed hibiscus blooms in their hair or hung long necklaces of shells around their necks” (p. 48). Each of these cultural markers adds to the strength of cultural authenticity in the story.

Overall, MORNING GIRL provides a unique look at the lives and culture of the Native People in the Bahamas before Columbus and the Europeans discovered it. Dorris portrays likable characters in the siblings, and he deals with sensitive subjects such as miscarriage in a delicate manner. Young people can relate to the characters and identify with their struggles.

REVIEW EXCERPTS

“A story of a Taino girl and her brother, set in 1492 in the Bahamas. Sibling rivalry, jealously, and love--all are related with elegance and warmth, reflecting a simplicity of lifestyle and universality of experiences.”—School Library Journal

CONNECTIONS

**Create a reader’s theatre script using this text.
**Another book similar is Jane Yolen’s ENCOUNTER

Bruchac Picture Book

BIBLIOGRAPHIC INFORMATION

Bruchac, Joseph. 1997. MANY NATIONS: AN ALPHABET OF NATIVE AMERICA. Ill. by Robert F. Goetzl. Bridgewater Books. ISBN 0816743894

SUMMARY

In this ABC book, Bruchac depicts the twenty-six letters through a variety of activities from different Native American cultures. Beginning with the Anishinabe artists making bowls and ending with the Zuni elders saying prayers, this book illustrates the varied lives of different tribes of Native Americans.

CRITICAL ANALYSIS

Bruchac’s MANY NATIONS: AN ALPHABET OF NATIVE AMERICA is a beautifully illustrated and culturally significant ABC book that makes it unique. Unlike traditional ABC books, this work depicts the varied lives of different Native American people from the past and present. Some are merely standing in the breeze, while others are singing. The tasks described are everyday occurrences to the people, and this allows the reader to discover the nuances of different tribes and the rituals they participate in. For example, for the letter G, Bruchac writes “Goshute trackers moving like the bear.” The illustration accompanying the text shows the Native American man in a bearskin dancing.

The cultural markers in this work are clear and evident from looking at the cover. Goetzl’s illustrations are beautiful full color paintings, and the cover depicts three Native American children with traditional dress including feathers and distinct jewelry. This type of artwork is continued throughout the book. In addition, the physical attributes of the Native Americans depicted are accurate. The illustrator has captured the diverse dress and customs of the varied tribes shown.

Within the text, Bruchac introduces the reader to the various tribes. For example, for the letter U, he states “Umpqua grandmothers beading moccasins with pride.” This is an example of another cultural marker in the text. For that tribe, beading moccasins was an important aspect of the culture.

Overall, this ABC book is an excellent example of the diversity of the Native American people. Each letter depicts a different group. Readers see both pueblos and grass huts in the illustrations. The illustrations are beautiful and depict the text well.

REVIEW EXCERPTS

“In this striking alphabet book, 26 stunning full-color paintings, surrounded by a border painted to look like birch bark, depict aspects of Native American life, and are accompanied by simple poetic phrases.”—School Library Journal

CONNECTIONS** Use this text in and ABC storytime alongside other ABC books.

Pam Munoz Ryan

BIBILIOGRAPHIC INFORMATION

Ryan, Pam Munoz. 2001. MICE AND BEANS. Ill. by Joe Cepeda. New York: Scholastic Press.

SUMMARY

Rosa Maria is planning a birthday party for her youngest granddaughter, and there is much to do to get the house ready and prepare the food. She is not sure she will remember everything, and she thinks she keeps forgetting to set out the traps for the mice in her house. Meanwhile, the mice are making their own plans behind the scenes.

CRITICAL ANALYSIS

MICE AND BEANS is a fun cumulative tale with an enjoyable story. Beginning with Sunday, Ryan describes the plans Rosa Marie is making to prepare for the birthday party. Throughout the story, the line “no dinner was complete without rice and beans!” is repeated. It is clear that Rosa Marie is worried she will forget something. Little does she know that she has little helpers working behind the scenes in her home to make sure everything is ready for the party. MICE AND BEANS is an adorable story that children will truly enjoy.

The cultural markers throughout the text naturally flow in the story. From the characters names, their Hispanic heritage becomes evident. In addition, Ryan utilizes Spanish dialog within the text, adding to the authenticity of the voice of the characters. As Rosa Marie plans and worries she says “No importa.” Ryan then provides a rough translation immediately after, and she includes it in the dialog. There is no interruption in the flow of the text, which would make this an excellent story to share during storytime. Other cultural markers include the descriptions of the food. At the party, the guests will enjoy rice and beans and enchiladas.

The illustrations in RICE AND BEANS are rich with color. The characters skin color is accurate and illustrative of their Hispanic heritage, which is another cultural maker in this picture book. Cepeda’s illustrations tell the rest of the story, showing the readers what the mice are doing to help Rosa Marie plan for the party.

Overall, MICE AND BEANS would be a wonderful selection for a read aloud. The illustrations are delightful and Rosa Marie is a fun character to share. Children of all backgrounds can relate to having a birthday party, and they will enjoy being in on the joke of the mice helping with the party.

REVIEW EXCERPTS

“The dialogue is rich in Spanish phrases ("­Qu‚ boba soy! Silly me"), descriptions of Mexican food and images of a boisterous extended family”—Publisher’s Weekly

“Cepeda's pictures are as good as the story, with bright, funny scenes depicted from human (looking down) and mouse (looking up) points of view. A delightful birthday or anytime book.”--Booklist

CONNECTIONS

**Include this book in a storytime with a “Birthday” theme.

Gary Soto

BIBLIOGRAPHIC INFORMATION

Soto, Gary. 2006. A FIRE IN MY HANDS: REVISED AND EXPANDED EDITION. Orlando: Harcourt.

SUMMARY

A FIRE IN MY HANDS is a collection of poetry inspired by the everyday events of Soto’s youth in California’s Central Valley. The poems are written from the perspective of a teenage boy, and each poem is a different subject. Some topics include rules for eating Mexican food, hitchhiking, and joining his mom while she sells Avon door-to-door.

CRITICAL ANALYSIS

Soto begins this collection of poetry with an introduction explaining his inspiration for writing poetry. He had assumed all poetry was “flowery writing,” but after reading the anthology of contemporary poetry called THE NEW AMERICAN POETRY, 1945-1960, Soto learned the diverse topics and styles of contemporary poetry. That collection inspired him to become a poet.

A FIRE IN MY HANDS is a collection of free verse poems about everyday things. While Soto writes from his personal experience as a Mexican-American growing up in California, young people of all backgrounds can relate to the topics he covers in this collection. His poetry is approachable, humorous and insightful. In this collection, Soto provides the reader with a brief note on the background of each poem. They are presented in a small gray bubble in the corner of the pages. For example, for the poem “How I Learned to Fly,” Soto writes: “Ít would be a trippy experience if we humans could fly, even if it were only in spurts. It would have helped me escape trouble when I was a boy.” These insights add background to each poem, and the reader gains understanding into the kind of boy Soto was growing up, and his perspective on it, now.

There are many examples of cultural markers throughout this collection, which adds to the authenticity of the work. First, Soto is writing most of these poems from personal experience, so this work is from an insider’s perspective. Other points to note include the discussion of food in one poem. In “Eating Mexican Food,” Soto shares his personal rules for eating traditional Mexican foods including tortillas, salsa, and posole soup. In addition, there are some instances of the use of Spanish within the text. In one poem, Soto describes his grandfather as he says “Keep things green, mi’jo.”

Overall, Soto’s collection of poetry is a fun read that would appeal to teen boys and girls. The topics are universal in many ways, though Soto certainly reveals his inner feelings and personal thoughts. For young students reluctant to read poetry, this collection is approachable and may inspire them to try their own hand at writing poetry.

REVIEW EXCERPTS

“These simple, free-verse selections skillfully capture that which is commonplace and transforms it into something mesmerizing and lovely.”—School Library Journal

“Half the poems are new to this expanded edition of a collection first published 15 years ago, including some great ones from Soto's adult books that speak about feeling stuck at home and growing up poor, Catholic, and Mexican American. Soto's chatty introduction about writing poetry that celebrates small, common things will appeal to both readers and writers, as will the informal questions and answers at the back of the book and the brief autobiographical notes Soto includes with each poem.”—Booklist

CONNECTIONS
***Encourage students to write poems in free verse about an everyday experience.

Hispanic American Literature--Pat Mora

I. BIBLIOGRAPHIC INFORMATION

Mora, Pat. 1997. TOMAS AND THE LIBRARY LADY. Ill. by Raul Colon. New York: Alfred A. Knopf. ISBN 0679904018

II. SUMMARY

Tomas lives with his migrant family who move during the year to follow the crops. They spend the winter in Texas and the summers in Iowa. While in Iowa, Tomas discovers the library and he begins to explore new stories in the books. He brings the stories home to share with his family.

III. CRITICAL ANALYSIS

Based on a true story, Mora’s sweet story of TOMAS AND THE LIBRARY LADY could seem too sweet, if it were not true. Mora describes the life of migrant workers and their uprooted lives. Tomas’s family must move to follow the seasonal crops. Mora’s storytelling is a narrative of the events Tomas experiences during one summer in Iowa. Tomas enjoys the stories his grandfather, Papa Grande tells in Spanish. It is Papa Grande who suggests to Tomas that he go to the library by himself and learns new stories to share with the family. Nervous at first, Tomas comes upon an imposing library, but he is brought in and encouraged by a librarian.

Tomas reads many books and learns many new stories to share. He befriends the librarian and begins to teach her Spanish words. Finally, it is time for the family to migrate back to Texas, and he teaches the librarian a new word…”adios.” Mora’s story includes Spanish phrases throughout the text, and she provides translations within the story. For example, while telling a story to his family Tomas says “Que tigre tan grande!” and then he says in English, “What a big tiger!” Other familiar Spanish words are not translated, though. This interlingual technique is common in Hispanic literature.

Within the text, there are other indications of the cultural authenticity of Mora’s work. The first example that stands out is the names of the characters. Some of the names are Tomas and Enrique. In addition, Tomas calls his parents Mama and Papa, and his grandfather is called Papa Grande. These are each common in Hispanic culture. Another example within the text is the food described. Tomas’s mother makes the librarian “pan dulce” or sweet bread to thank her. This is another example of a cultural marker within the story.

The illustrations throughout the story are soft muted tones created with a scratchboard technique. The pictures are curved depictions of the descriptions in the text. The characters are portrayed with brown skin-tones, except for the Caucasian librarian Tomas befriends, which adds to the cultural authenticity of the story. Colon has captured the imagination of Tomas as he discovers new stories in the library in dynamic illustrations of dinosaurs and horses. The books seem to come alive through Tomas’s imagination. Details such as the car the family drives in give the story a sense of time, and clearly this story takes place in the 1940s or 50s.

Overall, Mora’s story is somewhat saccharine in nature, but the overall cultural authenticity and authority of the narrative make it a moving tale of a boy discovering the library’s riches. At the conclusion, Mora provides a brief biography of the real “Tomas,” making readers appreciate even more the experiences of the boy in this story.

IV. REVIEW EXCERPTS

“From the immigrant slums of New York City to the fields of California, it's an elemental American experience: the uprooted child who finds a home in the library. Mora's story is based on a true incident in the life of the famous writer Tomas Rivera, the son of migrant workers who became an education leader and university president… Colon's beautiful scratchboard illustrations, in his textured, glowingly colored, rhythmic style, capture the warmth and the dreams that the boy finds in the world of books.” –Booklist

“Colon’s dreamy illustrations capture the brief friendship and its life-altering effects in soft earth tones, using round sculptured shapes that often depict the boy right in the middle of whatever story realm he's entered.” –Kirkus Reviews

V. CONNECTIONS
**Include in a storytime with a “Library” theme.

African American Children's Literature-Angela Johnson

BIBLIOGRAPHIC INFORMATION

Johnson, Angela. 2004. BIRD. New York: Dial Books.

SUMMARY

BIRD by Angela Johnson is a story about a young girl trying to find her stepfather. She runs away from her Cleveland home to rural Alabama in her search for him. She hides near a family home and helps herself to their food while they are at church on Sundays. Before long, a young boy who lives in that house, named Ethan discovers her. Later, she meets Jay, another boy in the town. Bird misses the comforts of home and wonders upon a kind woman named Mrs. Pritchard who offers her food and shelter. BIRD is told from the alternating points of view of Jay, Ethan and Bird. Each of them is connected in the story. Ultimately, the reader learns that Bird’s stepfather is Ethan’s uncle. In another twist of fate, Jay’s dead brother was the donor for Ethan’s new heart. These connections are revealed subtly through as the story unfolds. Ultimately, Bird discovers that what she is searching for (a father) cannot be found in Alabama. Her stepfather is not the same man she knew.

CRITICAL ANALYSIS

Angela Johnson’s novel BIRD is told from the points of view of three children who initially do not know each other and are seemingly unconnected. Each chapter reveals the inner thoughts of the characters, and Johnson’s narrative is delicate and somewhat poetic. When describing Bird’s mother, Johnson states “The world whispers when Mama is near.” Her narrative is easy to read, but initially, the reader may be confused by the format. Each chapter, the reader must take note of who is telling the story. There is little to differentiate the point of view except the experiences being shared. The dialect and prose are similar between the three characters.

Johnson does not describe the character’s physical traits, however, the cover is illustrated with a young girl representing Bird sitting in a tree. Only her legs are shown, and it is clear that Bird is an African American girl. Johnson does not describe any physical traits until the last few chapters of the book. She describes Bird’s new Afro after she has cut her hair. In addition, Jay refers to his mother’s beaded braids being covered by a scarf. Each of these descriptions acts as cultural markers in the text, adding to the authenticity of the narrative. It is worth noting, though, that Johnson does not find it necessary to describe every detail of the characters (i.e. skin tone, hair texture, etc). Perhaps because she is writing this from an “insider’s” perspective, those kinds of descriptions are not deemed necessary.

Other cultural markers in the text include the descriptions of food including collard greens prepared by Mrs. Pritchard. Collard greens are a food typically identified in African American cooking. Johnson does not use a distinct dialect in the conversations of the characters, however, occasionally the characters use ‘cause or tell’em in their speech. In addition, Mrs. Pritchard reveals to Bird that her husband was a Tuskegee Airman. Overall, the cultural markers in BIRD are not overt, but are subtly revealed throughout the story. This adds to the authenticity of the work.

BIRD deals with many of the themes popular in African American children’s literature. Some of the themes Johnson deals with in this novel include friendships. Bird develops friendships easily with new people. However, she also seeks to rebuild her broken family. This is another theme seen in African American children’s literature. Children are often depicted breaking away and then returning to the comfort of their family.

Johnson’s novel ends abruptly, which may leave some readers unsatisfied. However, the prose throughout the story is beautiful and tender. The three main characters are fully developed and complex. The work is heartfelt and tender, and Johnson’s use of language make it an enjoyable read.

REVIEW EXCERPTS

“Johnson reveals the inner thoughts of these characters, as they move around one another, occasionally touching, but preoccupied with their individual problems. Readers see how small kindnesses can ease the grip of grief and how large gestures–the literal giving of a heart–can redound to the giver's credit.” –School Library Journal

“Some of the connections between characters seem stretched, particularly the links made through the extraordinary kindness of aging Mrs. Pritchard, who knows just what to ask and when. But Johnson writes with a poet's knowledge of rhythm and knows how to use the space between words; the disconnect between what the boys think and what they say is especially well done. “ –Booklist

CONNECTIONS**Read other books by Angela Johnson such as: THE FIRST PART LAST; HEAVEN

African American Children's Literature-Pinkney

BIBLIOGRAPHIC INFORMATION

Pinkney, Andrea Davis. 2002. ELLA FIZGERALD: THE TALE OF A VOCAL VIRTUOSA. Ill. by Brian Pinkney. New York: Hyperion Books. ISBN 0786805684

SUMMARY

This biography is written from the fictitious point of view of Scat Cat Monroe, a fan who happens to be a cat. Scat Cat tells the story of Ella’s life in four tracks with the rhythm of Ella’s scat sound. The story begins with “Track 1: Hoofin’ in Harlem” where we learn of Ella’s childhood and her dreams of being a professional dancer. After entering a talent contest at the Apollo Theatre in Harlem, she won with her brilliant unique singing ability. The story continues describing the dynamic career of Ella Fitzgerald. Soon, she was featured on nightly radio broadcasts from the club Savoy in Harlem, which led to her headlining a performance with Dizzy Gillespie at Carnegie Hall. She was later known by many names including “The First Lady of Song.”

CRITICAL ANALYSIS

ELLA FITZGERALD: THE TALE OF A VOCAL VITUOSA is told in scat format from the point of view of a cat that was there and was a witness to Ella’s career. Scat Cat Monroe introduces himself in a unique scat style. The rhythm of the text stands out to the reader. There is a unique musicality to the rhythm of the writing style that is reminiscent of Ella’s voice in song. Many of the words stand out as examples of the unique language pattern within the music and culture of jazz music and scat. One example includes the description of bebop.
“Bebop was jazz on the wild side. It was:
SYN-CO-PATION.
LO-CO-MOTION.”
Another example of a cultural maker within the text is the description of the relationship between Chick and Ella when they performed together. Pinkney describes them as “grits with gravy.” Grits are a popular food item in the South and sometimes in African American cooking.

Brian Pinkney describes the inspiration for his dynamic colorful illustrations at the end of the book. He worked toward a visual authenticity in the story and was inspired by several Harlem Renaissance artists who worked during Ella’s time. The illustrations are reminiscent of the Art Deco movement, and were created in scratchboard, then tinted with dyes and painted with acrylics. This technique creates vivid pictures. Each page is colorful and full of movement within the illustrations. Dancers swing and music notes float like ribbons in the air. Ella even rides on Dizzy’s horn through the night sky. The characters facial features and skin tones are authentic. There is little variation among the African Americans depicted in the illustrations, especially in regards to skin tone. However, the face of Ella is clearly drawn from actual images of her likeness. In addition, Pinkney has captured the puffed cheeks of Dizzy in his illustrations remarkably well.

ELLA FITZGERALD: THE TALE OF A VOCAL VITUOSA provides young readers a musical introduction to the exciting career of Ella. The writing style and rhythm bring the music alive in this book and the colorful illustrations make the work jump of the page. It would be an excellent read-aloud, with the unique sing-song scat rhythm in the text

REVIEW EXCERPTS

Younger children won't understand the sense in many of the phrases, but heard aloud, the rhythm in the words will give them a feel for the music; older readers will enjoy both the similarities to rap and spoken-word poetry: “Beebop was jazz on the wild side. . . . It was slam-bamming on the flitter-tip. It was ham-cock-jabber. Fever. Pitch.” –Booklist, starred review

Brian Pinkney turns out some of his best work yet. Rendered in a pleasingly high-contrast palette of pastels, the scratchboard illustrations are invested with magical realism, complete with dancers flying off the pages and topsy-turvy musicians. A particularly memorable spread about Ella's hit "How High the Moon" launches her into space on a trumpet with Dizzy Gillespie. A "skippity-hop-doo-dee-bop" picture book. –Publisher’s Weekly

In a playful, conversational tone, this work nearly sings the rhythms of scat. Lively words and phrases like "Her voice was quick-fried rhythm" and "her scat swung to cloud nine and back" are scattered throughout. –School Library Journal

CONNECTIONS

**Include with other books for a storytime with a “Jazz” theme. For example: SOPHISTICATED LADIES: THE GREAT WOMEN OF JAZZ by Leslie Gourse and Martin French; JAZZ A-B-Z by Wynton Marsalis; A HORN FOR LOUIS by Eric A. Kimmel.

African American Children's Literature

BIBLIOGRAPHIC INFORMATION

Giovanni, Nikki. 2005. ROSA. Ill. by Bryan Collier. New York: Henry Holt and Co. ISBN 0805071067.

SUMMARY

ROSA is a biography of one of the most famous women in American history, Rosa Parks. Giovanni describes the events on a bus in Montgomery, Alabama on December 1, 1955. Rosa Parks boarded a bus after a busy day working as a seamstress. She sits in the neutral section, because the section reserved for blacks is full. Parks refuses to move when the bus driver asks her to give up her seat. The book describes the events that followed Mrs. Park’s protest on the bus that day. After her arrest, community members came together to protest, and the nonviolent Civil Rights Movement began. Ultimately, the Supreme Court would declare that segregation is illegal, almost a year after the arrest of Rosa Parks.

CRITICAL ANALYSIS

Giovanni’s descriptions of the historical figure, Rosa Parks, reveal the whole nature of her personality. Mrs. Parks was an exceptional seamstress, a wife, and a woman “tired of putting white people first.” This realization on a bus in Montgomery Alabama would spark a fire in the Civil Rights Movement. Giovanni’s writing captures the thoughts of Mrs. Parks as she sits patiently on the bus waiting for the police to come arrest her. Mrs. Parks was tired of many things including “Colored” entrances, balconies, fountains and taxis. Giovanni’s writing style adds to the suspense leading to the moment when the policeman bends down to ask Mrs. Parks, “Auntie, are you going to move?…” And, “Rosa parks said no.” This stark, brief statement illustrates the simplicity of this action, though it was clearly brave and unexpected. The policeman’s use of the word auntie to Mrs. Parks is one example of a cultural marker in the text. Clearly, this is a derogatory term used by a white man toward an African-American woman. He would not even show her the decency of calling her Madam or Mrs.

The illustrations by Collier are colorful and rich with varied hues. Collier utilized both collage and watercolors to achieve the detailed, yet abstract illustrations throughout the book. Notably, the faces and hands of the people in the story stand out because they have been created with watercolors. The clothing and background almost serve as a backdrop to the expressive faces. In particular, Collier shows variety within the African-American community in his illustrations. Each character presented is culturally authentic. Some women wear headscarves while others do not, and some men have hats and others do not, revealing the texture of their hair.

This work touches on many of the themes important in African-American literature for children. Rosa’s struggle for equality and the descriptions of legal discrimination in this era are important reminders to children today of the important role this woman had in American history. The cultural markers presented by Collier in his illustrations ad to the authenticity and authority of this work. Giovanni’s writing style draws readers in to the private thoughts Rosa might have had during her quiet protest on the bus. The book builds to a dramatic double page fold-out depicting the nonviolent march in Montgomery. Within the illustrations of the multitude of marchers, Collier presents diverse faces, skin tones, hair and clothing.

Overall, this biographical picture book is a well-written, beautifully illustrated presentation of the history and events around Mrs. Parks protest and arrest. The illustrations add a level of authenticity and detail to the story, representing Mrs. Parks in a remarkable likeness to her true picture.

REVIEW EXCERPTS

Caldecott Honor Book

"Collier's watercolor and collage scenes are deeply hued and luminous, incorporating abstract and surreal elements along with the realistic figures. Set on colored pages, these illustrations include an effective double foldout page with the crowd of successful walkers facing a courthouse representing the 1956 Supreme Court verdict against segregation on the buses. Many readers will wonder how it all went for Parks after her arrest, and there are no added notes. Purposeful in its telling, this is a handsome and thought-provoking introduction to these watershed acts of civil disobedience." –School Library Journal

"Far from the cliché of Rosa Parks as the tired little seamstress, this beautiful picture-book biography shows her as a strong woman, happy at home and at work, and politically aware ('not tired from work, but tired of . . . eating at separate lunch counters and learning at separate schools')." –Booklist, starred review

CONNECTIONS

Create a display of books featuring important African-American women in history.

Some titles to consider: SOJOURNER TRUTH: PATH TO GLORY by Peter Merchant, HARRIET TUBMAN, SECRET AGENT by Thomas B. Allen and MAE JEMISON: THE FIRST AFRICAN-AMERICAN WOMAN IN SPACE by Magdalena Alagna.

International Literature--Batchelder Award

I. BIBLIOGRAPHY

Stolz, Joelle. 2004. THE SHADOWS OF GHADAMES. New York: Delacorte Press. ISBN 0385731043

II. SUMMARY

Set in a Libyan city in the 19th century, THE SHADOWS OF GHADAMES tells the story of a twelve-year-old girl, Malika, feeling trapped and longing for more. She wants to learn to read like her brother, but her mother forbids it. Ghadames is a society that separates men and women. The Muslim and local customs forbid women and men who are not related to mingle together. One night, a stranger is hurt outside their home, and Bilkisu, the second wife brings him into the house to help him. Malika’s father is away on a caravan, so the women break tradition and care for this fugitive in secret. Eventually, Malika’s mother agrees to allow her lessons in Arabic, and Malika is able to finally learn to read. The fugitive becomes her teacher until they help him escape the city. When Malika’s father returns he agrees to allow her to continue to learn to read. He informs her that times are changing and education will be important in her future.

III. CRITICAL ANALYSIS

THE SHADOWS OF GHADAMES reveals a world that has long been forgotten. The stories from this region are rarely told to the Western world, and that makes this novel important and intriguing. The author has researched the time and period extensively. Originally this novel was written in French, and it has been translated into English. The world of this Libyan city seems to have been brought to life from the perspective of a young girl, which makes this novel appealing to young readers. The restrictions placed on women in this society would be shocking to young people today, and Stolz presents this story in a sensitive, non-judgmental way.

The work is authentic in many ways, particularly in the descriptions of the city itself. Stolz gives great detail to the architecture of the city. She describes how women and men are separated within the city. As Stolz explains, “the rooftops of Ghadames are like a city above the city, an open, sunny town for women only…” The men spend their time twenty feet below in the cool shade of the alleys. Stolz further adds to the authenticity of the novel by describing the skin tone of the characters. For example, in describing Ladi, the family’s servant, Stolz describes her “dark-skinned hand, callused by work…” These descriptions add cultural authenticity to the work.

Other distinct examples of the culture of Libya include Stolz’s description of the Arous celebration. The women are described as giving out a sound of ululation from their throats, and readers can almost hear the “Youyouyouyouyouyouyouyou!” leaping from the text. Then, Malika reluctantly at first, then more confidently, joins the women in their cries. Stolz even takes care to describe how the women must learn to walk at a young age. While men may walk heal-toe, girls are taught by their mothers to walk delicately leading with their toes. This attention to detail brings to life the intricate details of the lives of the women of Ghadames.

Overall, the story of Malika is rewarding and inspiring. Many girls can relate to wanting to do something their parents disapprove of. However, girls may be shocked to learn that in 19th Century Libya, girls were not encouraged to learn to read and did not attend school. This book is a learning opportunity for boys and girls alike. They learn the benefits of the society we live in, with freedoms to read, and they may appreciate the subtle beauty of a culture different from their own. Just as the fugitive in the novel learns to appreciate the beauty and knowledge the women of Ghadames posses, young readers may learn to appreciate cultures different from their own. They may appreciate that young people everywhere long for the same things, and their differences may be less than they previously believed. Stolz’s writing style is simple and informative, without being preachy. She invites the reader into this world and brings it to life.

IV. REVIEW EXCERPTS

“The story of an outsider who unsettles a household and helps a young person to grow is certainly nothing new, and some of the lessons here are purposeful. But Stolz invigorates her tale with elegant prose and a deft portrayal of a girl verging on adolescence. The vivid backdrop is intoxicating, but the story's universal concerns will touch readers most: sibling jealously, confusion about adult customs, and a growing interest in a world beyond family.” –Booklist, starred review

“This quiet story is notable for the intimate picture of the traditional Muslim world that it conveys; unfortunately, not until the author's note at the end is the time period made evident. The imprecise use of language may make it difficult for readers to visualize this distant world and to understand the characters' motivations. Still, this novel would be useful in schools studying this part of the world.”–School Library Journal


V. CONNECTIONS

**Present a booktalk presentation on fiction books about Muslims for middle school students. Other titles to include in the booktalk include: BLAZE OF SILVER by K.M Grant, A STONE IN MY HAND by Cathryn Clinton, MY NAME WAS HUSSEIN by Kristo Kyuchukov.

**Create a display of Mildred Batchelder Award winning books.

International Literature--Mem Fox

I. BIBLIOGRAPHY

Fox, Mem. 1988. KOALA LOU. Ill. by Pamela Lofts. San Diego: Gulliver Books. ISBN 0152005021

II. SUMMARY

Koala Lou is loved by everyone in the bush, but her mother loves her most of all. Each day her mother would tell Koala Lou how much she loves her. Koala Lou heard her mother tell her that a hundred times a day, but as years passed, other children were added to the family. Her mother became too busy to tell her that she loved her. Koala Lou is determined to hear those words again, so she decides to compete in the gum tree-climbing event in the Bush Olympics. Koala Lou reasons that when she wins, her mother will once again proclaim, “Koala Lou, I DO love you!”

III. CRITICAL ANALYSIS

Mem Fox’s KOALA LOU is a sweet tale of the love between a mother and her child. The characters may be animals, but the sentiment and heart-felt message are clearly human. Fox’s animals throughout the story are one of the most obvious cultural markers of the Australian setting for this story. The koala, emu, and platypus are all indigenous animals in Australia. Children and adults associate koala bears with Australia, and this story’s lead character is a lovable cuddly character. Another example of the story’s Australia setting is the description of the Bush Olympics. The bush is a distinct word that adds to the story’s authenticity. Within the Olympics, the animals will climb a gum tree, which is a native plant and is one of the most commonly found trees throughout Australia.

Lofts’s illustrations add to the story in many ways. First, because she herself grew up in Australia, she has first hand experience of the sights and scenery Fox describes in the text. The illustrations are soft, pastel colors, depicting the Koala and other animals as cuddly creatures. The animals’ expressions are particularly well done and draw the reader into the story. Their bright eyes are expressive and life-like.

As a whole, KOALA LOU is a universal story of a mother’s unending, unconditional love for her child. This sentimental message has been retold in many other stories, but Fox’s use of animals from Australia provides a unique view of the wildlife and vegetation in that country. This picture book is authentic and a good representation of an animal story from another part of the world.

IV. REVIEW EXCERPTS

“A first-rate choice for bedtime, story hour, or reading aloud.”--The Horn Book

“Lofts's colored-pencil drawings portray the Australian flora and fauna beautifully, including a few of the more exotic species…Koala Lou celebrates the eternal love of a mother for her child without the sentimentality of Robert Munsch's Love You Forever…” --Publisher’s Weekly

V. CONNECTIONS

**Create a story time around the theme “Australia: The Land Down Under.” Other books to include: WOMBAT STEW by Marcia Vaughan, PLATYPUS AND THE LUCKY DAY by Chris Riddle, WHERE THE FOREST MEETS THE SEA by Jeannie Baker

**Make Koala Bear paper plate masks, re-read the story while children act it out.

International Literature-Free Choice

I. BIBLIOGRAPHY

Ahlberg, Allan. 2006. THE RUNAWAY DINNER. Ill. by Bruce Ingman. Cambridge, MA: Candlewick Press. ISBN 0763631426.

II. SUMMARY

In THE RUNAWAY DINNER, a young boy named Banjo Cannon sits down to eat his sausage dinner, when unexpectedly, his dinner, fork, knife, table and chair run away. Banjo and his parents follow his dinner throughout the town. When he finally catches up to Melvin, the sausage, Banjo’s mom exclaims, “Don’t eat that, it’s been on the ground!” Well Banjo was still hungry, and returns home for some plum pie for dessert. Certainly everything will stay in place…or will it?

III. CRITICAL ANALYSIS

Ahlberg’s delightful, humorous tale of a boy and his runaway dinner is a surprising and fun read. The story progresses and builds as the reader is introduced to the whole dinner that has made a run for it. Ahlberg even proclaims in the books opening words: “Now here’s a story for you, full of such fun and exciting stuff you will surely love it. And the best part is…it’s all true.” This bold statement certainly draws readers in to the adventure of THE RUNAWAY DINNER.

Ahlberg is one of Britain’s most popular children’s writers, however, THE RUNAWAY DINNER is subtle in its cultural authenticity. Perhaps because British and American cultures are not very different, the book could easily be seen as an American picture book. There are a few distinct cultural makers that Ahlberg includes in the text that identify this book as a work by a British author. The first example of this is in the names of the characters. Each of the items of food on Banjo’s plate has a name. The sausage is Melvin, the peas are Peter, Percival and Paul and the carrots are Caroline, Clara, Camilla, and Cristabel. While some of these names are common in the United States, many of them stand out as decidedly “British.” Percival, Camilla and Cristabel are the most notable examples of British first names that are not used in the United States commonly.

Another example of Ahlberg’s British perspective is within the text of the story. There are a few language patterns that stand out. One phrase that is an example of a distinct language pattern is: “Presently, a picnicking family spotted the fork…” The opening word of that phrase is a clear example of British language usage. Ahlberg’s description of the food Banjo eats is also distinct. Banjo has plum pie for dessert and a pitcher of cream.

Ingman’s illustrations are representative of the antics described in the text. Each food item has stick legs and arms, and Ingman utilizes muted colors throughout. Banjo is an Anglo boy who could be from anywhere. The illustrations provide no distinct cultural markers, but they do an excellent job of adding to the fun and wit of the story.

Overall, Ahlberg’s tale is humorous, witty and quite clever. The story is not obviously British, however, there are subtle cultural markers throughout the text revealing Ahlberg’s perspective in his writing.


IV. REVIEW EXCERPTS

“The surreal adventures are relayed in a droll, conversational style with casual asides…Ingman's acrylic illustrations, done in muted tones, combine detailed panoramic scenes and fully fleshed-out characters with pen-and-ink outline sketches. The naive drawings of the stick-legged sausage and his fellow runaways will elicit giggles. This fast-paced yarn is full of kooky charm.” –School Library Journal


V. CONNECTIONS

**Share with other silly stories in a “Silly Silly Story” storytime.
**Other titles to share might include: A BIT MORE BERT by Allan Ahlberg or THE LADY WHO PUT SALT IN HER COFFEE: FROM THE PETERKIN PAPERS by Amy Schwartz