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