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.