Biography
Gaiman, Neil. (2008) The Graveyard Book. Ill. by Dave McKean. New York, NY: Harper Collins. ISBN 978006053921
Plot Summary
Nobody Owens is a good-natured boy who is being raised in the most unnatural of circumstances. In fact, you may call them the most supernatural of circumstances, for Nobody Owens is growing up in a graveyard and is learning his life lessons from the dead. When Nobody, or Bod, is a baby, his family is brutally murdered. In a miraculous feat, Bod manages to totter into a graveyard where the ghosts adopt him as their own. Ignoring the admonishments of his guardian, Bod faces many dangers, which oddly enough reside beyond the safe boundaries of the graves. The most pressing danger of all is “the man Jack” who killed Bod’s family and has an undying vendetta to make sure Nobody Owens is dead.
Critical Analysis
Neil Gaiman, who is the famed author of Coraline, presents a dark fantasy tale about a young boy who is raised among the dead. Nobody Owens, known as Bod, is the protagonist of the story, and he is accompanied by his two adoptive parents, his guardian, and a plethora of friends and neighbors, all of whom are dead. His only living companion is Scarlett. They meet as young children and later reconnect as teens. Gaiman seems to have a new life lesson for Bod with every character he comes to know, from the Indigo man in the graveyard hill to the witch ghost in the Potter’s Field, no encounter is in vain.
The primary setting is an ancient graveyard tucked away in a modern time. Although the year is not explicitly given, Gaiman does not fail to give us clues: “She (Scarlett) pulled out her LED light and turned it on.” Such a glimpse of modern civilization is rarely revealed within the confines of the graveyard where the atmosphere is frozen in times that have long passed. Yet, whenever Bod steps into the land of the living, the reader may find it surprising that a technologically advanced world is whirling around the peaceful dead.
Gaiman has written this book for young adults and children, and although it begins with a rather gruesome murder scene, the rest of the book enlists tried-and-true favorite themes among youth. There is humor, albeit gloriously dark. In an instance of mild correction, Bod’s guardian says, “You aren’t allowed out of the graveyard—it’s aren’t, by the way, not amn’t, not these days.” There are suggestions of gore: “The knife had done everything it was brought to that house to do, and both the blade and the handle were wet.” And there is action and suspense: “He pulled his black silk cord tight between his hands. It had been stretched around many necks, over the years, and had been the end of every one of the people it had embraced.” And oddly enough, there is warmth and kind displays of love, even if these prove to be a paradox to our cold and fearful perceptions of death and cemetaries.
Dave McKean lends to the magically morbid ambience of the story through his haunting illustrations. He sketches black and white images of shadowy spirits, a coldblooded killer, and crumbling tombstones. The beginning of each chapter is accompanied by McKeon’s drawings, and they give that extra ounce of creepiness that will ensure the children will be ducking under their covers.
Review Excerpts
2009 Newbery Award Winner
The Washington Post: “Like a bite of dark Halloween chocolate, this novel proves rich, bittersweet and very satisfying.”
Kirkus Review: “Wistful, witty, wise-and creepy. Gaiman's riff on Kipling's Mowgli stories never falters, from the truly spine-tingling opening, in which a toddler accidentally escapes his family's murderer, to the melancholy, life-affirming ending.”
Connections
*Would be a fun and unique required reading for junior high school students.
*This book has excellent examples of foreshadowing, plot climax, plot twist, hidden meaning, and prediction. Students would have a memorable time dissecting this book.
*Look for other books and audio recordings from Neil Gaiman:
The Graveyard Book on CD. ISBN 9780061551895
Coraline. ISBN 9780380807345
Tuesday, December 1, 2009
Review of MIDDLE SCHOOL IS WORSE THAN MEATLOAF by Jennifer L. Holm
Holm, Jennifer, L. 2007. Middle School is Worse than Meatloaf. Ill by Elicia Castaldi. New York, NY: Antheneum Books for Young Readers. ISBN 9780689852817
Plot Summary
Ginny Davis is entering the 7th grade, and has a to-do list that will ensure a year full of accolades, higher social status, and above all fun! Unfortunately, pink hair, plummeting grades, and a new stepfather who “forgets to pick you up after school” are not on the list.
Told through a collage of Ginny’s “stuff,” she maintains a sense of humor as her life unfolds before her. After all, with your delinquent brother in military school and your mother bringing a new dad into her life, what’s a ruined sweater or your dog eating your science project? It’s nothing that horse riding lessons paid by Grandpa Joe can’t cure.
Critical Analysis
Middle School is Worse than Meatloaf is as fun and quirky as it’s title suggest. Jennifer Holm brilliantly patches together a complete story told through items such as post-it notes, diary entries, ticket stubs, and newspaper clippings of 7th grader, Ginny Davis. The plot centers around Ginny’s “to-do” lists which include goals like: “Get a dad”, “Look good in the school photo for once!!”, and “Win something. Anything.” The story begins with Ginny’s “Back-to-school Shopping List” and ends with her “Ginny’s Summer List.” The pages between document the most embarrassing moments and fleeting triumphs during her 7th grade school year.
Elicia Castaldi illustrates the book with an eclectic collage that brings Ginny’s life into full color and focus. On one page, we see a chewed up pencil carelessly lying atop Ginny’s graph paper tablet that contains her hand-written “budget.” To remind the reader that Ginny is a young adolescent girl, a candy-pink lip gloss is placed beside the tablet. Another page depicts a computer screen, showing the instant messaging boxes full of dialog between Ginny and her best friend, Becky. Becky, whose screen name is beckysooboo 1 writes, “I can’t believe u didn’t get the part!! BTW did u hear that Mary Catherine Kelly is having a slumber party on Friday??” Ginny, screen name GinnyGirl, writes back, “no. r. u invited?” To which Becky response, “yes. r u?” We soon find out that Ginny is definitely not invited.
As hard as she tries, Ginny just cannot seem to catch a break. For example, she longs for a particular yellow sweater. After months of begging her mother, babysitting, and doing chores, her mother finally buys her the sweater. But, her good fortune is not to last. Ginny loses the lead role in the big ballet recital to her ex-best friend and new rival, Mary Catherine Kelly. Depressed, Ginny consults her “Five ways to shake the blues!” list and decides to buy some items of comfort, including “Pink Dream Lipstick.” On the next page, we see a sticky note safety pinned to a “Pink Dream” stained yellow sweater: “Ginny, I did my best but I think it’s ruined. You should always check your pockets before washing anything. Sorry, Mom.” Holm and Castaldi do an outstanding job at capturing the essence of pre-teen angst while the collage-style story makes it fun to piece together the puzzle of Ginny’s life.
Review Excerpts
School Library Journal: “Not quite a graphic novel but not a traditional narrative either, Holm's creative book should hook readers, especially girls who want something out of the ordinary.”
Publishers Weekly: “The punchy visuals and the sharp, funny details reel in the audience and don't let go.”
Connections
*This would be a perfect back-to-school gift for preteen and teenage children.
*Could be used to open up a discussion about serious issues that adolescence may face.
*Students could make a book about their own life using a collage of their “stuff.”
*This book is a perfect example for illustrating to students to not limit their creativity when writing or developing a concept for a book, project, etc.
Plot Summary
Ginny Davis is entering the 7th grade, and has a to-do list that will ensure a year full of accolades, higher social status, and above all fun! Unfortunately, pink hair, plummeting grades, and a new stepfather who “forgets to pick you up after school” are not on the list.
Told through a collage of Ginny’s “stuff,” she maintains a sense of humor as her life unfolds before her. After all, with your delinquent brother in military school and your mother bringing a new dad into her life, what’s a ruined sweater or your dog eating your science project? It’s nothing that horse riding lessons paid by Grandpa Joe can’t cure.
Critical Analysis
Middle School is Worse than Meatloaf is as fun and quirky as it’s title suggest. Jennifer Holm brilliantly patches together a complete story told through items such as post-it notes, diary entries, ticket stubs, and newspaper clippings of 7th grader, Ginny Davis. The plot centers around Ginny’s “to-do” lists which include goals like: “Get a dad”, “Look good in the school photo for once!!”, and “Win something. Anything.” The story begins with Ginny’s “Back-to-school Shopping List” and ends with her “Ginny’s Summer List.” The pages between document the most embarrassing moments and fleeting triumphs during her 7th grade school year.
Elicia Castaldi illustrates the book with an eclectic collage that brings Ginny’s life into full color and focus. On one page, we see a chewed up pencil carelessly lying atop Ginny’s graph paper tablet that contains her hand-written “budget.” To remind the reader that Ginny is a young adolescent girl, a candy-pink lip gloss is placed beside the tablet. Another page depicts a computer screen, showing the instant messaging boxes full of dialog between Ginny and her best friend, Becky. Becky, whose screen name is beckysooboo 1 writes, “I can’t believe u didn’t get the part!! BTW did u hear that Mary Catherine Kelly is having a slumber party on Friday??” Ginny, screen name GinnyGirl, writes back, “no. r. u invited?” To which Becky response, “yes. r u?” We soon find out that Ginny is definitely not invited.
As hard as she tries, Ginny just cannot seem to catch a break. For example, she longs for a particular yellow sweater. After months of begging her mother, babysitting, and doing chores, her mother finally buys her the sweater. But, her good fortune is not to last. Ginny loses the lead role in the big ballet recital to her ex-best friend and new rival, Mary Catherine Kelly. Depressed, Ginny consults her “Five ways to shake the blues!” list and decides to buy some items of comfort, including “Pink Dream Lipstick.” On the next page, we see a sticky note safety pinned to a “Pink Dream” stained yellow sweater: “Ginny, I did my best but I think it’s ruined. You should always check your pockets before washing anything. Sorry, Mom.” Holm and Castaldi do an outstanding job at capturing the essence of pre-teen angst while the collage-style story makes it fun to piece together the puzzle of Ginny’s life.
Review Excerpts
School Library Journal: “Not quite a graphic novel but not a traditional narrative either, Holm's creative book should hook readers, especially girls who want something out of the ordinary.”
Publishers Weekly: “The punchy visuals and the sharp, funny details reel in the audience and don't let go.”
Connections
*This would be a perfect back-to-school gift for preteen and teenage children.
*Could be used to open up a discussion about serious issues that adolescence may face.
*Students could make a book about their own life using a collage of their “stuff.”
*This book is a perfect example for illustrating to students to not limit their creativity when writing or developing a concept for a book, project, etc.
Review of THE LAST PART FIRST by Angela Johnson
Biography
Johnson, Angela. 2005. The First Part Last. New York, NY: Simon and Schuster Children’s Publishing. ISBN 9780689849237
Plot Summary
Bobby is a typical teenager moving to the rhythms in the urban heart of New York City. He is restless, impulsive, and growing in the wonderment of life. Just as he is approaching home to celebrate his sixteenth birthday, he finds his girlfriend, Nia, sitting on his stoop, “Just sittin’ there with a balloon, looking all lost.” It is on this day that Bobby’s typical teenage life becomes anything but ordinary; he learns that he will soon become a father. In a tragic and heartbreaking moment, Nia experiences grave health complications that leave Bobby as a single parent. Bobby must now cope with his ever changing and complex emotions while bearing the responsibilities of hastened adulthood.
Critical Analysis
Angela Johnson gives us an insider’s look into the true grit and raw emotions that come with teenage pregnancy. Interestingly, Johnson’s novel focuses on the male’s point of view, one that is often discredited or too easily dismissed as irrelevant. Bobby is a sixteen-year-old father whose girlfriend unexpectedly dies of pregnancy complications. His character is well-rounded, and Johnson allows us to see his wide range of emotions, his fears, and his stark humanity. She gives him a balance of concurrently possessing paternal instincts and pangs for “just being a kid.”
Nia’s character is pivotal to the plot as she changes the tone of the book on two distinct occasions: revealing her pregnancy and slipping away due to eclampsia. It is not until one of the final chapters, entitled Nia, that we get an intimate feel of Nia and her inner thoughts. Johnson releases the narration from Bobby and hands it over to Nia. Nia gives us a punctuated glimpse into her hopes and fears: “When I was five I wanted to be a firefighter. All of my uniforms would have Nia on them…I wanted my arms to be the arms that carried out babies and kids, safe.” The reader is able to make an instant connection with a character that has previously been somewhat elusive. Johnson intuitively uses this chapter to satisfy the readers’ need to feel Nia as well as Bobby.
Bobby and Nia’s baby is a critical component in the book. Johnson is able to capture the power that exudes from this tiny infant as her presence permeates every thought and action of the books’ characters. The baby is named Feather, and the significance of her name is hidden from the reader until the book begins its concluding chapters. “She came to me so slow, and it was just like somebody brushed the air with a feather.”
The setting of the novel is in New York City. Johnson displays inclusive perspectives as she takes us on a well-rounded tour of the city. Bobby bounces between the Bed-Stuy housing project of Brooklyn and a lower middle-class brownstone on the Lower West Side of Manhattan. His girlfriend, Nia, resides in an upscale, modern loft on the Upper East Side where “Every wall in their loft is so white it almost hurts my eyes."
Johnson toggles the chapters back and forth from Now and Then, giving a balanced account of present and background information. Full of romance, drama, and suspense, The First Part Last is a must-read for teens and adults alike.
Review Excerpts
Winner of the 2004 Coretta Scott King Award
Winner of the 2004 Michael L. Printz Award
School Library Review: "It will also be instantly popular for leisure reading outside of school."
Connections
*Would make an excellent book for required reading for junior high school students.
*Can be used to open a discussion about teen pregnancy.
*Look for the audio version, available on CD and MP3 format:
Johnson, Angela. ISBN 9781400090679
Johnson, Angela. 2005. The First Part Last. New York, NY: Simon and Schuster Children’s Publishing. ISBN 9780689849237
Plot Summary
Bobby is a typical teenager moving to the rhythms in the urban heart of New York City. He is restless, impulsive, and growing in the wonderment of life. Just as he is approaching home to celebrate his sixteenth birthday, he finds his girlfriend, Nia, sitting on his stoop, “Just sittin’ there with a balloon, looking all lost.” It is on this day that Bobby’s typical teenage life becomes anything but ordinary; he learns that he will soon become a father. In a tragic and heartbreaking moment, Nia experiences grave health complications that leave Bobby as a single parent. Bobby must now cope with his ever changing and complex emotions while bearing the responsibilities of hastened adulthood.
Critical Analysis
Angela Johnson gives us an insider’s look into the true grit and raw emotions that come with teenage pregnancy. Interestingly, Johnson’s novel focuses on the male’s point of view, one that is often discredited or too easily dismissed as irrelevant. Bobby is a sixteen-year-old father whose girlfriend unexpectedly dies of pregnancy complications. His character is well-rounded, and Johnson allows us to see his wide range of emotions, his fears, and his stark humanity. She gives him a balance of concurrently possessing paternal instincts and pangs for “just being a kid.”
Nia’s character is pivotal to the plot as she changes the tone of the book on two distinct occasions: revealing her pregnancy and slipping away due to eclampsia. It is not until one of the final chapters, entitled Nia, that we get an intimate feel of Nia and her inner thoughts. Johnson releases the narration from Bobby and hands it over to Nia. Nia gives us a punctuated glimpse into her hopes and fears: “When I was five I wanted to be a firefighter. All of my uniforms would have Nia on them…I wanted my arms to be the arms that carried out babies and kids, safe.” The reader is able to make an instant connection with a character that has previously been somewhat elusive. Johnson intuitively uses this chapter to satisfy the readers’ need to feel Nia as well as Bobby.
Bobby and Nia’s baby is a critical component in the book. Johnson is able to capture the power that exudes from this tiny infant as her presence permeates every thought and action of the books’ characters. The baby is named Feather, and the significance of her name is hidden from the reader until the book begins its concluding chapters. “She came to me so slow, and it was just like somebody brushed the air with a feather.”
The setting of the novel is in New York City. Johnson displays inclusive perspectives as she takes us on a well-rounded tour of the city. Bobby bounces between the Bed-Stuy housing project of Brooklyn and a lower middle-class brownstone on the Lower West Side of Manhattan. His girlfriend, Nia, resides in an upscale, modern loft on the Upper East Side where “Every wall in their loft is so white it almost hurts my eyes."
Johnson toggles the chapters back and forth from Now and Then, giving a balanced account of present and background information. Full of romance, drama, and suspense, The First Part Last is a must-read for teens and adults alike.
Review Excerpts
Winner of the 2004 Coretta Scott King Award
Winner of the 2004 Michael L. Printz Award
School Library Review: "It will also be instantly popular for leisure reading outside of school."
Connections
*Would make an excellent book for required reading for junior high school students.
*Can be used to open a discussion about teen pregnancy.
*Look for the audio version, available on CD and MP3 format:
Johnson, Angela. ISBN 9781400090679
Wednesday, November 11, 2009
Review of THE RIVER BETWEEN US by Richard Peck
Bibliography
Peck, Richard. 2003. The River Between Us. New York, NY: Dial Books. ISBN 9780803727359
Plot Summary
The River Between Us is a hauntingly beautiful story about 15-year-old Tilly Pruitt coming of age on the banks of the Mississippi River. She is living in a nation boiling with strife whose rage is bubbling over the lives of the inhabitants of the sleepy Illinois town called Grand Tower. Tilly is consumed with helping her mother around the house and caring for her clairvoyant sister who is “like a soul in torment.” Even with whispers of impending war floating along the breeze, life feels rather common to Tilly until the fateful night when “the steamboat whistle splits the air”. Descending the steps of the Rob Roy are two mysterious figures, a young woman donning petticoats and hoop skirts and a darker woman with her hair wrapped in a bandana. The strangers decide to take room and board with Tilly’s family. It is through the lives of these southern visitors that the Pruitts learn to withstand the fires of life. Instead of shriveling in the wake of the Civil War, Tilly and her family are transformed and rise from the heat stronger than they ever imagined.
Critical Analysis
Richard Peck takes an interesting approach to the setting of his historical fiction novel, The River Between Us. He sets the first and last chapters in the “present tense” of 1916. Here we meet the grandson of Tilly Pruitt Hutchings, a woman whose youth was formed during the Civil War. Young Howard Hutchings narrates these two chapters as he describes the road trip to visit his father’s side of the family. The bulk of the novel begins in the second chapter where Tilly Pruitt rewinds the narration to the dawn of the Civil War. Peck introduces his characters through Tilly, and it is her voice that transports the reader to a hilltop beside the Mississippi River: “Even though Tower Rock was over in Missouri, with the river between us, it gave our town its name: Grand Tower. Nobody wanted to live in a town named after the devil.” Living atop the hill with Tilly are her mother, her brother Noah, and her sister Cass. Noah is bound to join the ranks under General Ulysses S. Grant; Mama is determined to stop him; and Cass is haunted by ghost and violent visions.
The main theme of the novel is transformation, specifically the transformation that comes from the people in our lives. When two enigmatic strangers arrive in Grand Tower from New Orleans, the transformation of Tilly and her family begins to take form. Peck cloaks the character of Delphine Duval in a mystery of hoop skirts, corsets, and oversized bonnets. Her even more perplexing companion, Calinda, hides herself in silence; people find complexity in her stark simplicity: “I saw this other one only in silhouette at first. She was narrower, darker, shrouded in a long plain cloak.” The events that wait ahead for the Pruitts, Delphine, and Calinda bring out an inner strength that none knew they possessed. Time also reveals a secret that eventually sets everyone free: “’I am the gens de couleur, madame,’ she said, calmly proud. ‘The free people of color, if you speak no French.’”
Peck gives special attention to details, lending the story an authentic feel. His poetic decriptives of clothing, scenery, and people help the reader to visualize the text: “The railings were jammed tight with dark figures. I saw the firefly glow of the gentlemen’s seegars. I imagine I saw diamonds within the ladies’ flowing cloaks, and emeralds in their hair.” He also mixes an effective cocktail of fiction and fact that blur the line between the imagination and reality:
“’We drove ‘em back through the woods, past their cap. I’d lost my musket by then. It never would fire. When we fell to looting the camp, Grant made us torch the place to learn us not to steal. The smoke drew Polk’s fire from across on the Kentucky side. That’s when I lost this.’ He touched his sleeve.”
Through authenticity and honesty, Peck drives home the fact that each life connects with the other, and that the actions of one can have a lifelong affect on many. In the final chapter, Peck hands the narration back to Howard Hutchings. Howard has absorbed the stories told by an aging Tilly. He is left reeling with pride when it is revealed that his true grandmother is not Tilly afterall, but is the beautiful Southern Belle who fatefully exited the Rob Roy so many years ago. Howard realizes that Delphine and Calinda's arrival has also transformed his own life: "I was older now too, a lot older than when this trip began, older and looking ahead."
Review Excerpts
2004 Scott O’Dell Award for Historical Fiction
USA Today: “The book is rich in detail about life along the Mississippi and the limited, late war news that further splits communities.”
The Washington Post: “This unusual Civil War novel really boosts Peck’s credentials as
America’s best living author for young adults.”
Connections
*This would be a superb choice for required reading (ages 12 and up).
*Could be used to help construct meaning of the Civil War in a history class.
*Audio version available, ISBN 9780307282507
Peck, Richard. 2003. The River Between Us. New York, NY: Dial Books. ISBN 9780803727359
Plot Summary
The River Between Us is a hauntingly beautiful story about 15-year-old Tilly Pruitt coming of age on the banks of the Mississippi River. She is living in a nation boiling with strife whose rage is bubbling over the lives of the inhabitants of the sleepy Illinois town called Grand Tower. Tilly is consumed with helping her mother around the house and caring for her clairvoyant sister who is “like a soul in torment.” Even with whispers of impending war floating along the breeze, life feels rather common to Tilly until the fateful night when “the steamboat whistle splits the air”. Descending the steps of the Rob Roy are two mysterious figures, a young woman donning petticoats and hoop skirts and a darker woman with her hair wrapped in a bandana. The strangers decide to take room and board with Tilly’s family. It is through the lives of these southern visitors that the Pruitts learn to withstand the fires of life. Instead of shriveling in the wake of the Civil War, Tilly and her family are transformed and rise from the heat stronger than they ever imagined.
Critical Analysis
Richard Peck takes an interesting approach to the setting of his historical fiction novel, The River Between Us. He sets the first and last chapters in the “present tense” of 1916. Here we meet the grandson of Tilly Pruitt Hutchings, a woman whose youth was formed during the Civil War. Young Howard Hutchings narrates these two chapters as he describes the road trip to visit his father’s side of the family. The bulk of the novel begins in the second chapter where Tilly Pruitt rewinds the narration to the dawn of the Civil War. Peck introduces his characters through Tilly, and it is her voice that transports the reader to a hilltop beside the Mississippi River: “Even though Tower Rock was over in Missouri, with the river between us, it gave our town its name: Grand Tower. Nobody wanted to live in a town named after the devil.” Living atop the hill with Tilly are her mother, her brother Noah, and her sister Cass. Noah is bound to join the ranks under General Ulysses S. Grant; Mama is determined to stop him; and Cass is haunted by ghost and violent visions.
The main theme of the novel is transformation, specifically the transformation that comes from the people in our lives. When two enigmatic strangers arrive in Grand Tower from New Orleans, the transformation of Tilly and her family begins to take form. Peck cloaks the character of Delphine Duval in a mystery of hoop skirts, corsets, and oversized bonnets. Her even more perplexing companion, Calinda, hides herself in silence; people find complexity in her stark simplicity: “I saw this other one only in silhouette at first. She was narrower, darker, shrouded in a long plain cloak.” The events that wait ahead for the Pruitts, Delphine, and Calinda bring out an inner strength that none knew they possessed. Time also reveals a secret that eventually sets everyone free: “’I am the gens de couleur, madame,’ she said, calmly proud. ‘The free people of color, if you speak no French.’”
Peck gives special attention to details, lending the story an authentic feel. His poetic decriptives of clothing, scenery, and people help the reader to visualize the text: “The railings were jammed tight with dark figures. I saw the firefly glow of the gentlemen’s seegars. I imagine I saw diamonds within the ladies’ flowing cloaks, and emeralds in their hair.” He also mixes an effective cocktail of fiction and fact that blur the line between the imagination and reality:
“’We drove ‘em back through the woods, past their cap. I’d lost my musket by then. It never would fire. When we fell to looting the camp, Grant made us torch the place to learn us not to steal. The smoke drew Polk’s fire from across on the Kentucky side. That’s when I lost this.’ He touched his sleeve.”
Through authenticity and honesty, Peck drives home the fact that each life connects with the other, and that the actions of one can have a lifelong affect on many. In the final chapter, Peck hands the narration back to Howard Hutchings. Howard has absorbed the stories told by an aging Tilly. He is left reeling with pride when it is revealed that his true grandmother is not Tilly afterall, but is the beautiful Southern Belle who fatefully exited the Rob Roy so many years ago. Howard realizes that Delphine and Calinda's arrival has also transformed his own life: "I was older now too, a lot older than when this trip began, older and looking ahead."
Review Excerpts
2004 Scott O’Dell Award for Historical Fiction
USA Today: “The book is rich in detail about life along the Mississippi and the limited, late war news that further splits communities.”
The Washington Post: “This unusual Civil War novel really boosts Peck’s credentials as
America’s best living author for young adults.”
Connections
*This would be a superb choice for required reading (ages 12 and up).
*Could be used to help construct meaning of the Civil War in a history class.
*Audio version available, ISBN 9780307282507
Review of KIRA-KIRA by Cynthia Kadohata
Bibliography
Kadohata, Cynthia. 2004. Kira-Kira. New York, NY: Atheneum Books. ISBN 9780689856396
Plot Summary
Lying on their backs and gazing into an endless star-studded sky, Katie and Lynn dream of their brightly lit futures. Lynn envisions herself and Katie attending college, living by the sea, and buying their parents big houses. Katie just wants everything to stay kira-kira, which is Japanese for “glittering.” Soon, sisters Katie and Lynn find themselves moving from rural Iowa to a sleepy southern town in 1950’s Georgia. As their parents put in copious amounts of time at a poultry plant, Lynn becomes the glue that holds this young Japanese-American family together. Katie idolizes her older sister and settles on the fact that Lynn is smarter, wiser, and bound for greatness. But, when Lynn becomes fatally ill, the family is torn at the seams. It is only after Lynn’s death that Katie finally understands the biggest lesson in life; no matter what fate may befall you, savor each day and sprinkle it with plenty of kira-kira.
Critical Analysis
Cynthia Kadohata sets her historical fiction novel in Chesterfield, Georgia during the 1950’s. Told from the perspective of Katie, the younger sister in a Japanese-American family, Kira-Kira explores racism, civil-rights, and the unshakable strength of family bonds. Katie adores her older sister, Lynn. In fact, it is Lynn who teaches Katie her very first word, kira-kira, which means "glittering" in Japanese. Katie becomes utterly mesmerized by the word and calls everything she sees, from midnight stars to colored Kleenex, kira-kira. Her fragile mother becomes exasperated by Katie’s fanciful disposition and depends on Lynn to lead Katie through life’s many trials and disappointments; Katie is a willing follower: “Lynn was the bravest girl in the world. She was also a genius. I knew this because one day I asked her, ‘Are you a genius?’ And she said, ‘Yes.’ I believed her because the day my father taught her how to play chess, she won her first game. She said she would teach me how to play if I wanted. She always said she would teach me everything in the world I needed to know.”
Kadohata manages to show the warmth of Katie and Lynn’s bond while letting the reader feel the effects of a story laced with the poison of racism. Before Katie’s first day of school, Lynn sits down with her to prepare Katie for the bigotry that will inevitably find her:
“Have you noticed that sometimes people won’t say hello to Mom when we’re out shopping?”
“Uh-huh.”
“Well, some of the kids at school may not say hello to you, either.”
"You mean because they don’t know me?”
“No, I mean because they don’t want to know you.”
The book accurately rewrites disturbing accounts from a pre-unionized workforce, scenes that shake us from the lull of historical amnesia. One such account takes place after Katie and her baby brother spend the entire day in the hot car outside of her mother’s place of work. Riding home from the poultry processing plant, Katie remembers, “My mother smelled funny. The factory workers weren’t allowed to take unscheduled breaks, so they all wore pads in case they needed to use the bathroom. It smelled like my mother had used her pad.”
Kadohata moves the plot along with the help of Lynn’s diary. In fact, her diary is such an integral part of the story that it nearly becomes a character itself. Kadohata introduces the diary in the first chapter as Katie tells us, “I know a lot about when I was a little girl, because my sister used to keep a diary. Today I keep her diary in a drawer next to my bed.” Throughout the book, excerpts of the diary are revealed, but we see its ultimate significance in Lynn’s final entry: “To Katie I leave my diary, my dictionary, and my encyclopedia, which she had better use.” Katie proceeds to read every page of the diary and discovers that she is “the only person mentioned every single day.” Kadohata allows the words of the diary to strengthen Katie and to remind her how to paint the world with kira-kira.
Review Excerpts
Newbery Medal Winner
A New York Times Bestseller
An ALA Notable Children’s Book
Starred Review in Publisher’s Weekly: “The family’s devotion to one another, and one sister’s ability to teach the younger sister to appreciate the ‘kira-kira’, or glittering, in everyday life makes this novel shine.”
Connections
*After explaining the term kira-kira, teachers could ask students to write about something that is kira-kira to them.
*Could be used to discuss racism, discrimination, and poor working conditions in the context of the 1950’s and how it relates to today's society.
*Would make an excellent required reading for ages 10 to 14.
*Would be an ideal addition to a multicultural library within a classroom.
Kadohata, Cynthia. 2004. Kira-Kira. New York, NY: Atheneum Books. ISBN 9780689856396
Plot Summary
Lying on their backs and gazing into an endless star-studded sky, Katie and Lynn dream of their brightly lit futures. Lynn envisions herself and Katie attending college, living by the sea, and buying their parents big houses. Katie just wants everything to stay kira-kira, which is Japanese for “glittering.” Soon, sisters Katie and Lynn find themselves moving from rural Iowa to a sleepy southern town in 1950’s Georgia. As their parents put in copious amounts of time at a poultry plant, Lynn becomes the glue that holds this young Japanese-American family together. Katie idolizes her older sister and settles on the fact that Lynn is smarter, wiser, and bound for greatness. But, when Lynn becomes fatally ill, the family is torn at the seams. It is only after Lynn’s death that Katie finally understands the biggest lesson in life; no matter what fate may befall you, savor each day and sprinkle it with plenty of kira-kira.
Critical Analysis
Cynthia Kadohata sets her historical fiction novel in Chesterfield, Georgia during the 1950’s. Told from the perspective of Katie, the younger sister in a Japanese-American family, Kira-Kira explores racism, civil-rights, and the unshakable strength of family bonds. Katie adores her older sister, Lynn. In fact, it is Lynn who teaches Katie her very first word, kira-kira, which means "glittering" in Japanese. Katie becomes utterly mesmerized by the word and calls everything she sees, from midnight stars to colored Kleenex, kira-kira. Her fragile mother becomes exasperated by Katie’s fanciful disposition and depends on Lynn to lead Katie through life’s many trials and disappointments; Katie is a willing follower: “Lynn was the bravest girl in the world. She was also a genius. I knew this because one day I asked her, ‘Are you a genius?’ And she said, ‘Yes.’ I believed her because the day my father taught her how to play chess, she won her first game. She said she would teach me how to play if I wanted. She always said she would teach me everything in the world I needed to know.”
Kadohata manages to show the warmth of Katie and Lynn’s bond while letting the reader feel the effects of a story laced with the poison of racism. Before Katie’s first day of school, Lynn sits down with her to prepare Katie for the bigotry that will inevitably find her:
“Have you noticed that sometimes people won’t say hello to Mom when we’re out shopping?”
“Uh-huh.”
“Well, some of the kids at school may not say hello to you, either.”
"You mean because they don’t know me?”
“No, I mean because they don’t want to know you.”
The book accurately rewrites disturbing accounts from a pre-unionized workforce, scenes that shake us from the lull of historical amnesia. One such account takes place after Katie and her baby brother spend the entire day in the hot car outside of her mother’s place of work. Riding home from the poultry processing plant, Katie remembers, “My mother smelled funny. The factory workers weren’t allowed to take unscheduled breaks, so they all wore pads in case they needed to use the bathroom. It smelled like my mother had used her pad.”
Kadohata moves the plot along with the help of Lynn’s diary. In fact, her diary is such an integral part of the story that it nearly becomes a character itself. Kadohata introduces the diary in the first chapter as Katie tells us, “I know a lot about when I was a little girl, because my sister used to keep a diary. Today I keep her diary in a drawer next to my bed.” Throughout the book, excerpts of the diary are revealed, but we see its ultimate significance in Lynn’s final entry: “To Katie I leave my diary, my dictionary, and my encyclopedia, which she had better use.” Katie proceeds to read every page of the diary and discovers that she is “the only person mentioned every single day.” Kadohata allows the words of the diary to strengthen Katie and to remind her how to paint the world with kira-kira.
Review Excerpts
Newbery Medal Winner
A New York Times Bestseller
An ALA Notable Children’s Book
Starred Review in Publisher’s Weekly: “The family’s devotion to one another, and one sister’s ability to teach the younger sister to appreciate the ‘kira-kira’, or glittering, in everyday life makes this novel shine.”
Connections
*After explaining the term kira-kira, teachers could ask students to write about something that is kira-kira to them.
*Could be used to discuss racism, discrimination, and poor working conditions in the context of the 1950’s and how it relates to today's society.
*Would make an excellent required reading for ages 10 to 14.
*Would be an ideal addition to a multicultural library within a classroom.
Review of ISLAND OF THE BLUE DOLPHINS by Scott O'Dell
Bibliography
O’Dell, Scott. 1990. Island of the Blue Dolphins. Boston, MA: Houghton Mifflin Company. ISBN 9780395536803
Plot Summary
San Nicolas Island is a tiny rock of an island off of the coast of California. It is the early 1800’s, and there lives an American Indian tribe called the Ghalas-at. Karana is the daughter of the Chief of Ghalas-at, and she enjoys a happy life with her younger brother and fellow tribes people. Her home seems to dance with the dolphins as it is calmly tickled by the waving arms of kelp rising from the sea. All is well until the day a red ship is seen on the horizon. The ship carries Russian hunters and a fate that will change Karana’s life forever. After a devastating string of unimaginable events, Karana finds herself in complete isolation. Alone she must grieve the loss of her family; alone she must fight and learn survival; and alone she remains for the next eighteen years.
Critical Analysis
Scott O’Dell brings to life the true story of Karana, a young Indian girl who is left behind on an isolated island for eighteen years. He sets the story on the island of San Nicolas, a mere oversized rock off of the California coast. He opens the story with Karana, and her younger brother noticing a distant object gliding through the smooth sea: “At first it seemed like a small shell afloat on the sea. Then it grew larger and was a gull with folded wings.” They soon discover that it is a Russian ship teeming with unscrupulous hunters. The hunters are in pursuit of sea-otters, and San Nicolas Island harbors a bountiful supply.
Karana’s father, the Chief of Ghalas-at, makes a deal with the Russians for a percentage of their catch; however, the deceitful Russians attempt to steal away the sea-otters. A fatal exchange of fighting ensues. It is at this point that O’Dell jerks the reader from curiosity of the foreign hunters and throws them into the unstoppable whirl of devastation that forever alters the life of Karana.
Narrated by Karana, O’Dell moves the plot along nicely, and manages to present events in a suspenseful order. The reader wonders what the red ship holds, wonders how Karana will be deserted, wonders how she will live through her family’s death, and so it goes throughout the book. However, I would have liked to have felt Karana’s emotions on a deeper level. For example, after her young brother is mauled and killed by a pack of wild dogs, Karana narrates the series of events as if it is a play-by-play of a distant memory: “I carried Romo back to the village, reaching it when the sun was far down. The dogs followed me all the way, but when I had laid him down in the hut, and came out with a club in my hand, they trotted off to a low hill.” There seems to be a disconnect between the horrific events of Karana’s life and the raw emotions that she must have felt.
A prevailing theme in the book is the uncanny ability that people have to adapt in the worst of conditions. Karana is not only isolated for eighteen years, she is relentlessly faced with horrors, dangers, and adversities that would logically destroy even the strongest of people. Yet, Karana manages to find solace in her solitude: “By the time winter was over and grass began to show green on the hill my house was comfortable. I was sheltered from the wind and rain and prowling animals. I could cook anything I wished to eat. Everything I wanted was there at hand.”
In the 1990 reprint of Island of the Blue Dolphins, Ted Lewin lends his illustrations to illuminate the writing of Scott O’Dell. Chosen directly by O’Dell, Lewin depicts the book’s most poignant events with muted tones of soft watercolor paints. Each chapter contains one painting, and each painting appears to be a snapshot of frozen animation. Because the illustrations authentically capture the spirit of the novel, they enhance the reading experience, which of particular value in children’s literature.
Review Excerpts
Newbery Medal Winner of 1961
School Library Journal: “It is not only an unusual adventure of survival, but also a tale of natural beauty and personal discovery.”
Children’s Literature: “Her survival story-fighting the wild dogs and loneliness, hunting for food, and hoping to be rescued-is spell binding.”
Connections
*Excellent required reading for ages 9 to 12.
*Could be used in a themed unit that encompasses history, science, and art.
*Students could imagine themselves deserted on an island, and they might write a page describing their adventure and how they feel.
O’Dell, Scott. 1990. Island of the Blue Dolphins. Boston, MA: Houghton Mifflin Company. ISBN 9780395536803
Plot Summary
San Nicolas Island is a tiny rock of an island off of the coast of California. It is the early 1800’s, and there lives an American Indian tribe called the Ghalas-at. Karana is the daughter of the Chief of Ghalas-at, and she enjoys a happy life with her younger brother and fellow tribes people. Her home seems to dance with the dolphins as it is calmly tickled by the waving arms of kelp rising from the sea. All is well until the day a red ship is seen on the horizon. The ship carries Russian hunters and a fate that will change Karana’s life forever. After a devastating string of unimaginable events, Karana finds herself in complete isolation. Alone she must grieve the loss of her family; alone she must fight and learn survival; and alone she remains for the next eighteen years.
Critical Analysis
Scott O’Dell brings to life the true story of Karana, a young Indian girl who is left behind on an isolated island for eighteen years. He sets the story on the island of San Nicolas, a mere oversized rock off of the California coast. He opens the story with Karana, and her younger brother noticing a distant object gliding through the smooth sea: “At first it seemed like a small shell afloat on the sea. Then it grew larger and was a gull with folded wings.” They soon discover that it is a Russian ship teeming with unscrupulous hunters. The hunters are in pursuit of sea-otters, and San Nicolas Island harbors a bountiful supply.
Karana’s father, the Chief of Ghalas-at, makes a deal with the Russians for a percentage of their catch; however, the deceitful Russians attempt to steal away the sea-otters. A fatal exchange of fighting ensues. It is at this point that O’Dell jerks the reader from curiosity of the foreign hunters and throws them into the unstoppable whirl of devastation that forever alters the life of Karana.
Narrated by Karana, O’Dell moves the plot along nicely, and manages to present events in a suspenseful order. The reader wonders what the red ship holds, wonders how Karana will be deserted, wonders how she will live through her family’s death, and so it goes throughout the book. However, I would have liked to have felt Karana’s emotions on a deeper level. For example, after her young brother is mauled and killed by a pack of wild dogs, Karana narrates the series of events as if it is a play-by-play of a distant memory: “I carried Romo back to the village, reaching it when the sun was far down. The dogs followed me all the way, but when I had laid him down in the hut, and came out with a club in my hand, they trotted off to a low hill.” There seems to be a disconnect between the horrific events of Karana’s life and the raw emotions that she must have felt.
A prevailing theme in the book is the uncanny ability that people have to adapt in the worst of conditions. Karana is not only isolated for eighteen years, she is relentlessly faced with horrors, dangers, and adversities that would logically destroy even the strongest of people. Yet, Karana manages to find solace in her solitude: “By the time winter was over and grass began to show green on the hill my house was comfortable. I was sheltered from the wind and rain and prowling animals. I could cook anything I wished to eat. Everything I wanted was there at hand.”
In the 1990 reprint of Island of the Blue Dolphins, Ted Lewin lends his illustrations to illuminate the writing of Scott O’Dell. Chosen directly by O’Dell, Lewin depicts the book’s most poignant events with muted tones of soft watercolor paints. Each chapter contains one painting, and each painting appears to be a snapshot of frozen animation. Because the illustrations authentically capture the spirit of the novel, they enhance the reading experience, which of particular value in children’s literature.
Review Excerpts
Newbery Medal Winner of 1961
School Library Journal: “It is not only an unusual adventure of survival, but also a tale of natural beauty and personal discovery.”
Children’s Literature: “Her survival story-fighting the wild dogs and loneliness, hunting for food, and hoping to be rescued-is spell binding.”
Connections
*Excellent required reading for ages 9 to 12.
*Could be used in a themed unit that encompasses history, science, and art.
*Students could imagine themselves deserted on an island, and they might write a page describing their adventure and how they feel.
Wednesday, October 28, 2009
Review of BIG BUGS by Seymour Simon
Biography
Simon, Seymour. 2005. Big Bugs. San Francisco, CA: SeaStar Books. ISBN 9781587172656
Plot Summary
Seymour Simon gives young children an up-close look at some of the world’s most intriguing bugs. From the hard and cumbersome body of the goliath beetle to the dainty iridescent wings of a dragonfly, insects swarm the pages of Big Bugs. Accompanied by simple informational text, Big Bugs is sure to be a hit with the crayon-toting crowd.
Critical Analysis
Big Bugs is a slim informational picture book that is geared towards early readers. The turn of each page presents a different strange and wondrous bug that is certain to grab the attention of a young audience. Written in large bold print, Seymour Simon provides text that gives two or three facts about each insect. He cleverly compares the size or weight of the bugs to common objects. This helps to link a child’s background knowledge to the new information, giving them a clear point of reference: “The bulldog ant of Australia is about 1 ½ inches long, about the size of your pinky.” Each picture is large, often spanning the width of two pages and contains a small box exposing the insect’s actual size. The photos are slightly dim, giving the sensation that someone needs to flip the light switch to clearly see the details of the insects. None the less, the target audience will appreciate the unusual creeping little creatures.
Review Excerpts
School Library Journal: “The information is better organized and offers limited but solid introductions to the giant water bug, the goliath beetle, and robber flies.”
Booklist: “Some of the photos are eye-catching and dramatic. In others, the form of the animal is hard to discern.”
Connections
*Could be used to introduce children to key facts about insects.
*Could be used for reading practice with early intermediate readers.
* Other books about insects:
Winner, Cherie. Everything Bug: What Kids Really Want to Know about Bugs. ISBN 9781559718912
Greenaway, Theresa. Big Book of Bugs. ISBN 9780789465207
Simon, Seymour. 2005. Big Bugs. San Francisco, CA: SeaStar Books. ISBN 9781587172656
Plot Summary
Seymour Simon gives young children an up-close look at some of the world’s most intriguing bugs. From the hard and cumbersome body of the goliath beetle to the dainty iridescent wings of a dragonfly, insects swarm the pages of Big Bugs. Accompanied by simple informational text, Big Bugs is sure to be a hit with the crayon-toting crowd.
Critical Analysis
Big Bugs is a slim informational picture book that is geared towards early readers. The turn of each page presents a different strange and wondrous bug that is certain to grab the attention of a young audience. Written in large bold print, Seymour Simon provides text that gives two or three facts about each insect. He cleverly compares the size or weight of the bugs to common objects. This helps to link a child’s background knowledge to the new information, giving them a clear point of reference: “The bulldog ant of Australia is about 1 ½ inches long, about the size of your pinky.” Each picture is large, often spanning the width of two pages and contains a small box exposing the insect’s actual size. The photos are slightly dim, giving the sensation that someone needs to flip the light switch to clearly see the details of the insects. None the less, the target audience will appreciate the unusual creeping little creatures.
Review Excerpts
School Library Journal: “The information is better organized and offers limited but solid introductions to the giant water bug, the goliath beetle, and robber flies.”
Booklist: “Some of the photos are eye-catching and dramatic. In others, the form of the animal is hard to discern.”
Connections
*Could be used to introduce children to key facts about insects.
*Could be used for reading practice with early intermediate readers.
* Other books about insects:
Winner, Cherie. Everything Bug: What Kids Really Want to Know about Bugs. ISBN 9781559718912
Greenaway, Theresa. Big Book of Bugs. ISBN 9780789465207
Review of THE VOICE THAT CHALLENGED A NATION by Russell Freedman
Biography
Freedman, Russell. 2004. The Voice that Challenged a Nation: Marian Anderson and the Struggle for Equal Rights. New York, NY: Clarion Books. ISBN 9780618159765
Plot Summary
On Easter Sunday 1939, a large crowd gathered along the Mall in Washington in anticipation of hearing the voice of the nation’s finest contralto float across the chilly Potomac breeze. But this crowd had shown up for more than a brilliant vocal performance; it was silently demonstrating support for our country's civil rights. Marian Anderson did not consider herself to be a crusader, yet as she stood in the watchful shadow of the Lincoln Memorial, she shone as a beacon for racial justice everywhere. The Voice that Challenged the Nation is a biographical account of the inspiring life of classical vocalist, Marian Anderson. It tells of her humble beginnings in one of Philadelphia’s many multicultural neighborhoods, and it follows her rising career as she travels extensively throughout the Jim Crow infected South: “The Anderson’s bags were taken to the first coach on the train headed south—the Jim Crow coach reserved for blacks. As Marian recalled, the car was dirty inside and out, the windows were badly in need of washing, and the ventilation and lighting were poor.” Unwavering in her musical pursuits, Anderson became a heavily sought-after vocalist and was esteemed by European royalty as well as President Roosevelt and his wife, Eleanor. So when Anderson was racially spurned by The Daughters of the American Revolution, the public backlash peacefully came to a head on that fateful and historic Easter morning.
Critical Analysis
Russell Freedman paints a beautiful portrait of Marian Anderson. Using precision and a thorough presentation, Freedman details the famed vocalist’s life and the events that led to one of the most poignant moments in our nation’s turbulent history. He opens the book with a nearly poetic account of Anderson’s performance at the Lincoln Memorial: “Clouds, which had shadowed the monument, skittered away to the north, and the late-afternoon sun broke through to bathe the reflecting pool and shine on the gaily dressed Easter crowd.” He continues the book in chronological order of her life, borrowing from Anderson’s autobiography and other first-person accounts. Written for a youthful (ages 12 and up) audience, Freedman succeeds in presenting a richly simplified rendition of Anderson’s bounteous life. He also includes an ample cornucopia of photos that seem to animate the text. A selected bibliography for further reading and a discography of Anderson’s available releases complete this inspiring and historically relevant work.
Review Excerpts
2005 Newbery Honor Book
Robert F. Sibert Informational Book Award
School Library Journal: “This inspiring work once again demonstrates Freedman’s talent for showing how a person’s life is molded by its historical and cultural context.”
Kirkus Review: “Well-chosen, well-placed archival photographs, clear writing, abundant research, and careful documentation make an outstanding, handsome biography.”
Connections:
*Excellent choice for required reading at the junior high level.
*Other books about Marian Anderson:
Anderson, Marian. My Lord, What a Beautiful Morning: An Autobiography. ISBN 9780252070532
Keiler, Allan. Marian Anderson: A Singer's Journey. ISBN 9780252070679
Freedman, Russell. 2004. The Voice that Challenged a Nation: Marian Anderson and the Struggle for Equal Rights. New York, NY: Clarion Books. ISBN 9780618159765
Plot Summary
On Easter Sunday 1939, a large crowd gathered along the Mall in Washington in anticipation of hearing the voice of the nation’s finest contralto float across the chilly Potomac breeze. But this crowd had shown up for more than a brilliant vocal performance; it was silently demonstrating support for our country's civil rights. Marian Anderson did not consider herself to be a crusader, yet as she stood in the watchful shadow of the Lincoln Memorial, she shone as a beacon for racial justice everywhere. The Voice that Challenged the Nation is a biographical account of the inspiring life of classical vocalist, Marian Anderson. It tells of her humble beginnings in one of Philadelphia’s many multicultural neighborhoods, and it follows her rising career as she travels extensively throughout the Jim Crow infected South: “The Anderson’s bags were taken to the first coach on the train headed south—the Jim Crow coach reserved for blacks. As Marian recalled, the car was dirty inside and out, the windows were badly in need of washing, and the ventilation and lighting were poor.” Unwavering in her musical pursuits, Anderson became a heavily sought-after vocalist and was esteemed by European royalty as well as President Roosevelt and his wife, Eleanor. So when Anderson was racially spurned by The Daughters of the American Revolution, the public backlash peacefully came to a head on that fateful and historic Easter morning.
Critical Analysis
Russell Freedman paints a beautiful portrait of Marian Anderson. Using precision and a thorough presentation, Freedman details the famed vocalist’s life and the events that led to one of the most poignant moments in our nation’s turbulent history. He opens the book with a nearly poetic account of Anderson’s performance at the Lincoln Memorial: “Clouds, which had shadowed the monument, skittered away to the north, and the late-afternoon sun broke through to bathe the reflecting pool and shine on the gaily dressed Easter crowd.” He continues the book in chronological order of her life, borrowing from Anderson’s autobiography and other first-person accounts. Written for a youthful (ages 12 and up) audience, Freedman succeeds in presenting a richly simplified rendition of Anderson’s bounteous life. He also includes an ample cornucopia of photos that seem to animate the text. A selected bibliography for further reading and a discography of Anderson’s available releases complete this inspiring and historically relevant work.
Review Excerpts
2005 Newbery Honor Book
Robert F. Sibert Informational Book Award
School Library Journal: “This inspiring work once again demonstrates Freedman’s talent for showing how a person’s life is molded by its historical and cultural context.”
Kirkus Review: “Well-chosen, well-placed archival photographs, clear writing, abundant research, and careful documentation make an outstanding, handsome biography.”
Connections:
*Excellent choice for required reading at the junior high level.
*Other books about Marian Anderson:
Anderson, Marian. My Lord, What a Beautiful Morning: An Autobiography. ISBN 9780252070532
Keiler, Allan. Marian Anderson: A Singer's Journey. ISBN 9780252070679
Review of SHIPWRECK AT THE BOTTOM OF THE WORLD by Jennifer Armstrong
Biography
Armstrong, Jennifer. 1998. Shipwreck at the Bottom of the World. New York, NY: Crown Publishers. ISBN 9780517800133
Plot Summary
Shipwreck at the Bottom of the World chronicles the inconceivable true events of Captain Ernest Shackleton and his crew as they are trapped by the perilous glacial grasp of Antarctica’s frozen wasteland. Shackleton and his men set sail from England in the summer of 1914 on an urgent quest to become the first explorers to sail Antarctica from tip to tip. But, just as they neared the southern most continent, their ship Endurance, became entrapped by large masses of ice. Stranded with no means of outside communication, Shackleton and his 27 men hunkered down for a long winter aboard Endurance. Several months passed, and the warming air of spring blew hope for a yielding sea to carry them home. In unanticipated horror, the melting glaciers shifted and crushed the hardy ship “like a walnut.” What followed was to become history’s most remarkable feats of survival that have ever been recorded. In the end, Captain Shackleton and all of his men miraculously survived unrelenting blizzards, subzero temperatures, a monstrous hurricane, and dangerous treks across unmapped regions of the Southern Hemisphere.
Critical Analysis
Jennifer Armstrong takes the reader on an icy voyage with the captain and crew of the explorer ship Endurance. Written in form like a suspenseful novel, Armstrong presents a factual blow-by-blow account of Captain Ernest Shackleton and his team’s harrowing decent to the frozen Antarctic Ocean and the staggering events that followed. Miraculously salvaged photos of the Endurance crew are strategically placed throughout the book, adding depth and chilling reality to this extraordinary story. In one such photo, we see first officer Lionel Greenstreet donning a mustache of icicles while draped in remnants of soggy, waterlogged wool. What is most telling of this portrait is the warm smile that is peering from beneath its frosty frame. This is the pervading theme of this true tale—optimism in the face of mind-blowing peril.
Although written for adolescents, Armstrong uses graphic suspense that is strong enough to intrigue adults young and old. The narration reads smoothly as Armstrong utilizes descriptions that are vivid and beautifully effective: “Killer whales cruised the open leads, blowing sprouts of icy spray. The tricks of the Antarctic atmosphere brought mock suns and green sunsets, and showers of jewel-colored crystals.” The narration also has a feel of intimacy due to Armstrong’s ample use of quotes taken directly from Captain Shackleton and his crew’s diaries. Shackleton had ordered his men to keep diaries chronicling their expedition. Even through the most turbulent of situations, Shackleton managed to keep a maticulous account of his journey. Referring to the crushing of his beloved Endurance, Shackleton wrote, “Mighty blocks of ice, gripped between meeting floes, rose slowly until they jumped like cherry and stones squeezed between thumb and finger.”
With an uncanny eye for detail, Armstrong brilliantly captures the humor and passionate spirit of Shackleton and his team. She includes stories of the crew putting on plays and comical productions while confined to a frozen ship. Accompanied by photos of the men dressed in costumes and holding props, the reader is transported to a cozy little room within the heart of Endurance. There she tells of the team’s Christmas aboard as they jokingly toasted “To our sweethearts and wives—may they never meet!” Just as the reader is lulled into a sense of refuge, Armstrong ominously adds, “Outside in the darkness, the endless mass of pack ice was grinding against itself like a restless giant breaking mountains in its sleep.” Boldly honest, beautifully told, and elegantly designed, Shipwreck at the Bottom of the World is an exceptionally artful work of nonfiction.
Review Excerpts
School Library Journal: “This is a very effective presentation of not only how the disaster occurred, but of the toll it took on the crew and how they rose to the challenge.”
Boston Globe-Horn Honor Book
Kirkus Review: “This unbelievable story is enhanced by the vigorous prose; from the captivating introduction through the epilogue, it is the writing as much as the story that will rivet readers."
Starred Review in Publisher’s Weekly: "Armstrong's absorbing storytelling, illustrated with dramatic black-and-white photographs, makes this an enthralling adventure."
Connections
*Can be used within the context of a thematic unit in the classroom.
*Due to the books heavy use of scientific and mathematical references, it would provide a concrete example for math and science classes.
*Would make a perfect selection for assigned reading for junior high and high school students.
*Could be used as an opening to conversations about the human spirit and the fight for survival as well as the value of strong leadership.
*For additional reading:
Alexander, Caroline. Endurance: Shackleton's Legendary Antarctic Expedition. ISBN 9780375404030
Armstrong, Jennifer. 1998. Shipwreck at the Bottom of the World. New York, NY: Crown Publishers. ISBN 9780517800133
Plot Summary
Shipwreck at the Bottom of the World chronicles the inconceivable true events of Captain Ernest Shackleton and his crew as they are trapped by the perilous glacial grasp of Antarctica’s frozen wasteland. Shackleton and his men set sail from England in the summer of 1914 on an urgent quest to become the first explorers to sail Antarctica from tip to tip. But, just as they neared the southern most continent, their ship Endurance, became entrapped by large masses of ice. Stranded with no means of outside communication, Shackleton and his 27 men hunkered down for a long winter aboard Endurance. Several months passed, and the warming air of spring blew hope for a yielding sea to carry them home. In unanticipated horror, the melting glaciers shifted and crushed the hardy ship “like a walnut.” What followed was to become history’s most remarkable feats of survival that have ever been recorded. In the end, Captain Shackleton and all of his men miraculously survived unrelenting blizzards, subzero temperatures, a monstrous hurricane, and dangerous treks across unmapped regions of the Southern Hemisphere.
Critical Analysis
Jennifer Armstrong takes the reader on an icy voyage with the captain and crew of the explorer ship Endurance. Written in form like a suspenseful novel, Armstrong presents a factual blow-by-blow account of Captain Ernest Shackleton and his team’s harrowing decent to the frozen Antarctic Ocean and the staggering events that followed. Miraculously salvaged photos of the Endurance crew are strategically placed throughout the book, adding depth and chilling reality to this extraordinary story. In one such photo, we see first officer Lionel Greenstreet donning a mustache of icicles while draped in remnants of soggy, waterlogged wool. What is most telling of this portrait is the warm smile that is peering from beneath its frosty frame. This is the pervading theme of this true tale—optimism in the face of mind-blowing peril.
Although written for adolescents, Armstrong uses graphic suspense that is strong enough to intrigue adults young and old. The narration reads smoothly as Armstrong utilizes descriptions that are vivid and beautifully effective: “Killer whales cruised the open leads, blowing sprouts of icy spray. The tricks of the Antarctic atmosphere brought mock suns and green sunsets, and showers of jewel-colored crystals.” The narration also has a feel of intimacy due to Armstrong’s ample use of quotes taken directly from Captain Shackleton and his crew’s diaries. Shackleton had ordered his men to keep diaries chronicling their expedition. Even through the most turbulent of situations, Shackleton managed to keep a maticulous account of his journey. Referring to the crushing of his beloved Endurance, Shackleton wrote, “Mighty blocks of ice, gripped between meeting floes, rose slowly until they jumped like cherry and stones squeezed between thumb and finger.”
With an uncanny eye for detail, Armstrong brilliantly captures the humor and passionate spirit of Shackleton and his team. She includes stories of the crew putting on plays and comical productions while confined to a frozen ship. Accompanied by photos of the men dressed in costumes and holding props, the reader is transported to a cozy little room within the heart of Endurance. There she tells of the team’s Christmas aboard as they jokingly toasted “To our sweethearts and wives—may they never meet!” Just as the reader is lulled into a sense of refuge, Armstrong ominously adds, “Outside in the darkness, the endless mass of pack ice was grinding against itself like a restless giant breaking mountains in its sleep.” Boldly honest, beautifully told, and elegantly designed, Shipwreck at the Bottom of the World is an exceptionally artful work of nonfiction.
Review Excerpts
School Library Journal: “This is a very effective presentation of not only how the disaster occurred, but of the toll it took on the crew and how they rose to the challenge.”
Boston Globe-Horn Honor Book
Kirkus Review: “This unbelievable story is enhanced by the vigorous prose; from the captivating introduction through the epilogue, it is the writing as much as the story that will rivet readers."
Starred Review in Publisher’s Weekly: "Armstrong's absorbing storytelling, illustrated with dramatic black-and-white photographs, makes this an enthralling adventure."
Connections
*Can be used within the context of a thematic unit in the classroom.
*Due to the books heavy use of scientific and mathematical references, it would provide a concrete example for math and science classes.
*Would make a perfect selection for assigned reading for junior high and high school students.
*Could be used as an opening to conversations about the human spirit and the fight for survival as well as the value of strong leadership.
*For additional reading:
Alexander, Caroline. Endurance: Shackleton's Legendary Antarctic Expedition. ISBN 9780375404030
Thursday, October 15, 2009
Review of OUT OF THE DUST by Karen Hesse
Bibliography
Hess, Karen. 1977. Out of the Dust. New York, NY: Scholastic Press. ISBN 9780590360807
Plot Summary
Out of the Dust is a novel about a young girl and aspiring pianist named Billie Jo. Written in free-verse poems, Billie Jo narrates the tumultuous story of her life. Raised in the Oklahoma Panhandle during the Dust Bowl Era, we follow Billie Jo from the time she was “born at home, on the kitchen floor.” As a series of unfortunate events unfold, Billie Jo begins to wonder if life will ever afford her a break. Left with the scars of losing her mother, Billie Jo begins to lose what she holds most dear in life, playing the piano. Billie Jo’s adventures take her on a journey of self-discovery where she learns that true strength lies in perseverance.
Critical Analysis
Karen Hesse’s novel about fourteen-year-old Billie Jo transports the reader to the Oklahoma Panhandle during the Great Depression. Hesse’s poetry wraps us in the sandy gusts of the bleak Dust Bowl. Engulfed in stark images of perpetual desolation and dust-carrying winds, readers may find themselves taking a deep breath for unadulterated oxygen: “It wasn’t until the dust turned toward the house, like a fired locomotive, and I fled, barefoot and breathless, back inside, it wasn’t until the dust hissed against the windows, until it ratcheted the roof, that Daddy woke.”
Hesse writes the novel in free-form verse, and each poem is crafted in succession to tell the chronological story of Billie Jo. The voice of the novel is given to Billie Jo, and she begins her story with her mother giving birth to her on the kitchen floor: “Ma crouched, barefoot, bare bottomed over the swept boards.” Hesse quickly gives the impression that Billie Jo’s world consist of Billie Jo, her mother, her father, …and dust. Hesse writes with eloquent prose that is rich in imagery: “The wind snatched the snow right off the fields, leaving behind a sea of dust.” The use of free-form verse allows Billy Jo to tell her story with an artful beauty that only poetry can convey.
An accidental fire that leads to the crippling of Billy Jo’s hands and the death of her mother is a pivotal point in the story. A deep despair falls heavy upon the characters as Billie Jo notes that “It rained a little everywhere but here.” Hesse lets the reader know that the drought has withered up more than the landscape. The limits of the human spirit are taunted, and Billy Jo must choose to stand strong or blow away with the Oklahoma winds.
Review Excerpts
Newbery Medal Winner
Starred review in Publishers Weekly: "This intimate novel, written in stanza form, poetically conveys the heat, dust and wind of Oklahoma."
Children's Literature Review: "The novel is harsh and ugly, strong stuff that made my eleven-year-old cry when read aloud."
Kirkus Review: "Hesse presents a hale and determined heroine who confronts unrelenting misery and begins to transcend it."
Connections
*Would make an excellent required reading for older students.
*Could be used to in association with a history lesson about the Great Depression or the Dust Bowl.
*Could be used as an introduction to novels and to poetry novels.
*Students could think of a trying time in their lives and write a poem or series of poems about it.
Hess, Karen. 1977. Out of the Dust. New York, NY: Scholastic Press. ISBN 9780590360807
Plot Summary
Out of the Dust is a novel about a young girl and aspiring pianist named Billie Jo. Written in free-verse poems, Billie Jo narrates the tumultuous story of her life. Raised in the Oklahoma Panhandle during the Dust Bowl Era, we follow Billie Jo from the time she was “born at home, on the kitchen floor.” As a series of unfortunate events unfold, Billie Jo begins to wonder if life will ever afford her a break. Left with the scars of losing her mother, Billie Jo begins to lose what she holds most dear in life, playing the piano. Billie Jo’s adventures take her on a journey of self-discovery where she learns that true strength lies in perseverance.
Critical Analysis
Karen Hesse’s novel about fourteen-year-old Billie Jo transports the reader to the Oklahoma Panhandle during the Great Depression. Hesse’s poetry wraps us in the sandy gusts of the bleak Dust Bowl. Engulfed in stark images of perpetual desolation and dust-carrying winds, readers may find themselves taking a deep breath for unadulterated oxygen: “It wasn’t until the dust turned toward the house, like a fired locomotive, and I fled, barefoot and breathless, back inside, it wasn’t until the dust hissed against the windows, until it ratcheted the roof, that Daddy woke.”
Hesse writes the novel in free-form verse, and each poem is crafted in succession to tell the chronological story of Billie Jo. The voice of the novel is given to Billie Jo, and she begins her story with her mother giving birth to her on the kitchen floor: “Ma crouched, barefoot, bare bottomed over the swept boards.” Hesse quickly gives the impression that Billie Jo’s world consist of Billie Jo, her mother, her father, …and dust. Hesse writes with eloquent prose that is rich in imagery: “The wind snatched the snow right off the fields, leaving behind a sea of dust.” The use of free-form verse allows Billy Jo to tell her story with an artful beauty that only poetry can convey.
An accidental fire that leads to the crippling of Billy Jo’s hands and the death of her mother is a pivotal point in the story. A deep despair falls heavy upon the characters as Billie Jo notes that “It rained a little everywhere but here.” Hesse lets the reader know that the drought has withered up more than the landscape. The limits of the human spirit are taunted, and Billy Jo must choose to stand strong or blow away with the Oklahoma winds.
Review Excerpts
Newbery Medal Winner
Starred review in Publishers Weekly: "This intimate novel, written in stanza form, poetically conveys the heat, dust and wind of Oklahoma."
Children's Literature Review: "The novel is harsh and ugly, strong stuff that made my eleven-year-old cry when read aloud."
Kirkus Review: "Hesse presents a hale and determined heroine who confronts unrelenting misery and begins to transcend it."
Connections
*Would make an excellent required reading for older students.
*Could be used to in association with a history lesson about the Great Depression or the Dust Bowl.
*Could be used as an introduction to novels and to poetry novels.
*Students could think of a trying time in their lives and write a poem or series of poems about it.
Review of DINOTHESAURUS by Florian Douglas
Bibliography
Florian, Douglas. 2009. Dinothesaurus. Ill. by Florian Douglas. New York, NY: Simon and Schuster. ISBN 9781416979784.
Plot Summary
In his humorous and surprisingly factual collection of poems, Douglas Florian pens fun-loving odes to the prehistoric creatures of the Cretaceous period. The book begins with "The Age of Dinosaurs," which serves as an introduction to the next seventeen poems. At the turn of each page, the reader is introduced to a different dinosaur where Florian playfully provides historical facts: "Stegosaurus, Herbivorous, dined on plants inside the forest." With the concluding poem “The End of Dinosaurs,” Florian asks the reader, "What made the dinosaurs die out? Why don’t they still parade about?" His thought provoking questions are sure to spark the readers’ imaginations, both young and prehistoric!
Critical Analysis
Douglas Florian writes and illustrates his homage to primordial reptiles in his vividly inventive book of poems, Dinothesaurus. Florian’s rhymes are rhythmically inviting as the meters whimsically play off the tongue: "One hundred million years before us, lived the gig-not-o-saurus. Gigantic, titanic, enormous, colossal—what once was humongous is now just a fossil." He also cleverly wraps historical facts in a package of humorous wordplay and irreverently funny stanzas: "A fine meal of mollusk taste jolly delicious. But we aren’t vicious, we’re very polite—We always say please before we might bite."
The illustrations are an integral part of Dinothesaurus, as they play off of the poems and mirror their cheeky humor. In a stanza from "Gigantosaurus," Florian writes: "When it was hungry or got into fights, it opened its jaws and took giga-bites." Accompanying this poem is an illustration of a bionic-looking dinosaur. This brightly painted gigantosaurus fittingly spans the length of two pages. Tumbling from his mouth is a collage of modern electronics including a cell phone, calculator, and laptop computer. Parts of the dinosaur’s flesh are cut out to reveal an anatomy composed of computer chips and wires. Florian’s illustrations are creatively crafted from a variety of mediums, including watercolors, chalk, paper bags, and magazine clippings. The viewer will also pleasingly find irony in many of the pictures. For example, in the illustration of a micropachycephalosaurus, Florian places the tiny 20-inch dinosaur under a gigantic collage of letters that spell out its long, tongue-twisting name (Florian mercifully provides pronunciations below the name of each dinosaur).
Keeping in line with his fact-filled poems, Florian thoughtfully includes a "glossarysaurus," a list of dinosaur museums and fossil sites, and suggestions for further reading. With its ingenious mix of facts and fun, Dinothesaurus is sure to educate and entertain children for years to come.
Review Excerpts
Starred review in Publishers Weekly: “Florian's free-flowing, witty collection of poems and collages about dinosaurs is a giganotosaurus delight—perhaps his best work ever.”
Starred review in School Library Journal: “This smart marriage of dinosaurs and poetry will delight a wide audience.”
Kirkus review: “A set of dinophile-pleasing verses penned by a poet with a rare knack for wordplay and silly rhymes finds apt visual setting fronting playful images of monsters rearing up from extinction to grin toothily at young viewers.”
Connections
*Could be used to introduce children to dinosaurs or prehistoric times.
*Could be used to introduce children to poetry.
*The illustrations would be great examples for children to see how different methods of art can be used (i.e. collage, painting, and drawing).
*Students could write a poem about their favorite animal and make a collage to illustrate the poem.
Florian, Douglas. 2009. Dinothesaurus. Ill. by Florian Douglas. New York, NY: Simon and Schuster. ISBN 9781416979784.
Plot Summary
In his humorous and surprisingly factual collection of poems, Douglas Florian pens fun-loving odes to the prehistoric creatures of the Cretaceous period. The book begins with "The Age of Dinosaurs," which serves as an introduction to the next seventeen poems. At the turn of each page, the reader is introduced to a different dinosaur where Florian playfully provides historical facts: "Stegosaurus, Herbivorous, dined on plants inside the forest." With the concluding poem “The End of Dinosaurs,” Florian asks the reader, "What made the dinosaurs die out? Why don’t they still parade about?" His thought provoking questions are sure to spark the readers’ imaginations, both young and prehistoric!
Critical Analysis
Douglas Florian writes and illustrates his homage to primordial reptiles in his vividly inventive book of poems, Dinothesaurus. Florian’s rhymes are rhythmically inviting as the meters whimsically play off the tongue: "One hundred million years before us, lived the gig-not-o-saurus. Gigantic, titanic, enormous, colossal—what once was humongous is now just a fossil." He also cleverly wraps historical facts in a package of humorous wordplay and irreverently funny stanzas: "A fine meal of mollusk taste jolly delicious. But we aren’t vicious, we’re very polite—We always say please before we might bite."
The illustrations are an integral part of Dinothesaurus, as they play off of the poems and mirror their cheeky humor. In a stanza from "Gigantosaurus," Florian writes: "When it was hungry or got into fights, it opened its jaws and took giga-bites." Accompanying this poem is an illustration of a bionic-looking dinosaur. This brightly painted gigantosaurus fittingly spans the length of two pages. Tumbling from his mouth is a collage of modern electronics including a cell phone, calculator, and laptop computer. Parts of the dinosaur’s flesh are cut out to reveal an anatomy composed of computer chips and wires. Florian’s illustrations are creatively crafted from a variety of mediums, including watercolors, chalk, paper bags, and magazine clippings. The viewer will also pleasingly find irony in many of the pictures. For example, in the illustration of a micropachycephalosaurus, Florian places the tiny 20-inch dinosaur under a gigantic collage of letters that spell out its long, tongue-twisting name (Florian mercifully provides pronunciations below the name of each dinosaur).
Keeping in line with his fact-filled poems, Florian thoughtfully includes a "glossarysaurus," a list of dinosaur museums and fossil sites, and suggestions for further reading. With its ingenious mix of facts and fun, Dinothesaurus is sure to educate and entertain children for years to come.
Review Excerpts
Starred review in Publishers Weekly: “Florian's free-flowing, witty collection of poems and collages about dinosaurs is a giganotosaurus delight—perhaps his best work ever.”
Starred review in School Library Journal: “This smart marriage of dinosaurs and poetry will delight a wide audience.”
Kirkus review: “A set of dinophile-pleasing verses penned by a poet with a rare knack for wordplay and silly rhymes finds apt visual setting fronting playful images of monsters rearing up from extinction to grin toothily at young viewers.”
Connections
*Could be used to introduce children to dinosaurs or prehistoric times.
*Could be used to introduce children to poetry.
*The illustrations would be great examples for children to see how different methods of art can be used (i.e. collage, painting, and drawing).
*Students could write a poem about their favorite animal and make a collage to illustrate the poem.
Review of THANKS A MILLION by Nikki Grimes
Bibliography
Grimes, Nikki. Thanks a Million. Ill. by Cozbi A. Cabrera. New York, NY: HarperCollins. ISBN 978068817293
Plot Summary
Nikki Grimes pens a lovely book of poems that softly exalt the virtue of appreciativeness. The book contains many endearing poems that warm the heart: "The turkey lies waiting while we bow for grace, to offer up thanks, for this time and place." But, the book does not limit itself to catchy and charming rhymes, many profound verses are situated among the lighter poems. One such poem is titled “Shelter”. In this poem, we hear the voice of a young boy who lives at a shelter with his mother and young brother: “Things could be worse, I know. At least, I’m not alone. My mom and brother hold me tight when I cry late at night.” Touching and heartfelt, Thanks a Million reminds us to be grateful and to find the good in every situation.
Critical Analysis
Thanks a Million is a charming book dedicated to evoke an attitude of gratefulness. Nikki Grimes gracefully presents her poetic gratitude journal in the form of eighteen poems. Each poem is unique from the others in style and form, yet the common theme of thankfulness resonates from cover to cover. The titles of the poems are fittingly unpretentious, spanning topics such as “Reward”, “Weekends”, and “Lunch Box Love Notes.” The diversification of poetic forms play to the reader’s need for variety. This is especially essential when a solitary theme permeates every poem. Poems such as “The Lunchroom” and “Shoe Surprise” ascribe to longer verse while “Even the Trees” is a haiku that is celebratory in its simplicity. Thanks a Million has a simmering effect and provides a soothing read. That said, its reclined pace may not hold the attention of younger children.
Contrasting the often-delicate ripple of endearing words, Cozbi Cabrera paints the pages of this book with bold colors and beautifully haunting images. The cover of the book depicts a young boy who is the color of warm, dark chocolate. His ebony skin tone is starkly highlighted against a bright yellow backdrop. In his possession are a single flower and a gentle smile. The celebration of multiculturalism is beautifully apparent as children from disparate ethnicities are painted in inspiring harmony. Reminding us of the power of a simple “thank you”, Grimes and Cabrera succeed in showing us the beauty of gratefulness.
Review Excerpts
Children’s Literature: “I think of books like this as enhancing basic life lessons—good for all of us.”
School Library Journal: “A lovely book for reflection and discussion.”
Kirkus Review: “One can envision this collection stimulating discussions about the need to say "thank you," as well as encouraging young writers to try their hand at expressing their thoughts in poetry. Good job.”
Connections
*Can be used to begin a discussion about thankfulness.
*Teachers can ask children to write a poem about something that they are thankful for.
*The wide representation of ethnicities makes this book a perfect addition to promote multiculturalism in the classroom.
Grimes, Nikki. Thanks a Million. Ill. by Cozbi A. Cabrera. New York, NY: HarperCollins. ISBN 978068817293
Plot Summary
Nikki Grimes pens a lovely book of poems that softly exalt the virtue of appreciativeness. The book contains many endearing poems that warm the heart: "The turkey lies waiting while we bow for grace, to offer up thanks, for this time and place." But, the book does not limit itself to catchy and charming rhymes, many profound verses are situated among the lighter poems. One such poem is titled “Shelter”. In this poem, we hear the voice of a young boy who lives at a shelter with his mother and young brother: “Things could be worse, I know. At least, I’m not alone. My mom and brother hold me tight when I cry late at night.” Touching and heartfelt, Thanks a Million reminds us to be grateful and to find the good in every situation.
Critical Analysis
Thanks a Million is a charming book dedicated to evoke an attitude of gratefulness. Nikki Grimes gracefully presents her poetic gratitude journal in the form of eighteen poems. Each poem is unique from the others in style and form, yet the common theme of thankfulness resonates from cover to cover. The titles of the poems are fittingly unpretentious, spanning topics such as “Reward”, “Weekends”, and “Lunch Box Love Notes.” The diversification of poetic forms play to the reader’s need for variety. This is especially essential when a solitary theme permeates every poem. Poems such as “The Lunchroom” and “Shoe Surprise” ascribe to longer verse while “Even the Trees” is a haiku that is celebratory in its simplicity. Thanks a Million has a simmering effect and provides a soothing read. That said, its reclined pace may not hold the attention of younger children.
Contrasting the often-delicate ripple of endearing words, Cozbi Cabrera paints the pages of this book with bold colors and beautifully haunting images. The cover of the book depicts a young boy who is the color of warm, dark chocolate. His ebony skin tone is starkly highlighted against a bright yellow backdrop. In his possession are a single flower and a gentle smile. The celebration of multiculturalism is beautifully apparent as children from disparate ethnicities are painted in inspiring harmony. Reminding us of the power of a simple “thank you”, Grimes and Cabrera succeed in showing us the beauty of gratefulness.
Review Excerpts
Children’s Literature: “I think of books like this as enhancing basic life lessons—good for all of us.”
School Library Journal: “A lovely book for reflection and discussion.”
Kirkus Review: “One can envision this collection stimulating discussions about the need to say "thank you," as well as encouraging young writers to try their hand at expressing their thoughts in poetry. Good job.”
Connections
*Can be used to begin a discussion about thankfulness.
*Teachers can ask children to write a poem about something that they are thankful for.
*The wide representation of ethnicities makes this book a perfect addition to promote multiculturalism in the classroom.
Wednesday, September 30, 2009
Review of THE RUNAWAY TORTILLA by Eric Kimmel
Kimmel, Eric A. 2000. The Runaway Tortilla. Ill. by Randy Cecil. New York, NY: Winslow Press. ISBN 9781890817183
Plot Summary
Tía Lupe and Tío José are proprietors of a popular Mexican restaurant in a Texas border town. Tía Lupe, known for her infamously light tortillas, gets a shocking surprise when one of her tortillas leaps from the griddle and makes a mad dash for freedom. Exclaiming, “I’m too beautiful to eat!” the vain little tortilla begins her rolling journey across the barren Texas plains. Tía Lupe and Tío José chase after their rebellious creation while she tauntingly says, “Run as fast as fast can be. You won’t get a bite of me. Doesn’t matter what you do. I’ll be far ahead of you!” Over and over she rolls, passing two horned toads, three donkeys, four jackrabbits, five rattlesnakes, and so on. Each creature is in hot pursuit of the runaway tortilla, and each is taunted by her repetitive “Run as fast as can be” anthem. Finally, the little tortilla reaches the edge of a canyon, or arroyo. There she is met by a sly fox who implores the tortilla to help dislodge a grasshopper from his throat in exchange for great treasure. Reluctantly, the tortilla rolls into Señor Coyote’s throat when “Snap!” the runaway tortilla makes a beautiful little snack for the coyote.
Critical Analysis
Eric Kimmel found inspiration for The Runaway Tortilla from the folktale of The Gingerbread Man. Keeping instep with the classic repetitive rhyming catchphrase of the original tale, Kimmel’s runaway tortilla arrogantly teases her pursuers. This singsong type of rhythm quickly captures the attention of children, who are apt to sing along with the tortilla as she rolls through the Texas sand. Kimmel enhances his story with rich multicultural elements such as using the Spanish titles of Tío, Tía, Señor, and Señorita for his characters. He also gives us splashes of Spanish vocabulary on prominent objects such as the restaurant’s name, El Papagayo Feliz. Kimmel sets his tale in a sleepy Texas border town, but quickly shows that the pace of the story is anything but slow. He brings the reader along on a suspenseful quest as Tía Lupe and Tío José run after the runaway tortilla. He also incorporates elements of counting and prediction as the children count the increasing number of pursuers and wonder which one will finally catch the floured fugitive.
Randy Cecil is a cowboy hat-wearing illustrator who hails from Houston, Texas. His Texas influence flows through his paintbrush, creating images of cowboys, cacti, and open plains. He playfully paints the words of the tortilla’s taunting catchphrase like a ribbon that winds delicately around the characters on the pages. Soft muted hues of orange, green, blue, and yellow sweep the scenes as the tortilla with the red painted lips spins across each page. The humorous notion of a runaway tortilla who thinks she is too beautiful for consumption combined with pleasing illustrations is sure to make Eric Kimmel’s story a tale worthy of folklore for generations to come.
Review Excerpts
Kirkus: “How sad. How delicious!”
School Library Journal: “The primitive oil paintings feature a palette of sunset colors, a rotund T'a and T'o, and a lipsticked, scowling tortilla.”
The Midwest Book Review: “Eric Kimmel's Runaway Tortilla pairs Randy Cecil's zany drawings with the take-off on the classic.”
Connections
*Can be used to compare and contrast traditional folktales with contemporary works.
*This is a perfect addition to a multicultural library in the classroom.
*Can be used in teaching thematic units such as Texas, cultural food, or folk stories.
*Students could write their own creative version of a classic story.
Review of AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FOR EVERYONE
Schwartz, Alvin. 1992. And the Green Grass Grew All Around: Folk Poetry from Everyone. New York, NY: Harper Collins Publishers. ISBN 9780060227586
Plot Summary
And the Green Grass Grew All Around is a compilation of over 250 folk poems. The introductory chapter reveals Alvin Schwartz’s fascination with silly chants and whimsical folk poems and songs. His interest in folk poems began in childhood where his classmates relentlessly teased him. When he cried on his first day of school, children chanted, “Cry, baby, cry. Stick your finger in your eye. Tell your mother it wasn’t I.” Schwartz being an exceptionally thin child only added fuel as children fired rhymes at him such as: “Skinny bone, skinny bone, in the corner all alone.” Yet, through adversity, Shwartz found comfort in the rhythm of words, and what he presents to us is his personal record of the folk poetry that has rung through the American culture for decades.
Critical Analysis
This 196-page book is divided into fifteen thematic chapters ranging from “People” to “Fun and Games.” Within the pages of And the Green Grass Grew All Around are nearly 300 folk poems and songs that have been handed down generation after generation. While Alvin Schwartz has recorded these poems for posterity’s sake, there is no single author who can be credited for penning these culturally classic rhymes; however, Schwartz includes an extensive “Sources” section that attempts to trace the origins of each rhyme in the book.
The text is printed in simple Times New Roman black font set against cream colored paper. The subtle airiness of the pages lends plenty of space for the fun illustrations of Sue Truesdell. Truesdell accompanies the text with humorous black and white ink drawings that are reminiscent of satirical newspaper cartoons. She also keeps the lines of her drawings loose and fluid—a perfect accessory to the often irreverently playful rhymes.
Each poem is variant in length, many are as short as two lines while others span two or three pages. Songs that have been shunned in our modern “politically correct” era pop up their cheeky little heads with lyrics such as, “Mine eyes have seen the glory of the closing of the school. We have tortured all the teachers, we have broken every rule.” Of course, these old favorites were created in more innocent times. This book is sure to take its adult readers back to a time of beautiful naitivité while causing snickers and giggles among children. A fun read aloud for children and adults of all ages, Schwartz holds a captive audience and continues the folk poetry tradition of “passing it on.”
Review Excerpts
School Library Journal: “A marvelous book that is sure to become a classic if children have any say in the matter.”
Kirkus: “It's hard to imagine a child who wouldn't greet this treasure trove with enthusiasm.”
Connections
*Can be used as an introduction to folk poetry and the concept of folk tales.
*This book could be used as an example for children to create their own poem, song, or rhyme.
*Other books containing children’s poetry:
Prelusky, Jack. The 20th Century Children’s Poetry Treasury. ISBN 9780679893141
Sierra, Judy. Schoolyard Rhymes. ISBN 9780375925160
Review of CHICKERELLA by Mary Jane and Herm Auch
Auch, Mary Jane. 2005. Chickerella. Ill by Herm and Mary Jane Auch. New York, NY: Holiday House. ISBN 9780823418046
Plot Summary
Chickerella delivers a modern take on the traditional downtrodden servant-wins-the-prince story. The story begins with an endearing dialogue between Chickerella’s father and his beloved daughter, the fashionista Chickerella. He soon marries an evil-plotting hen who brings with her two gaudily dressed and spoiled daughters. The stepmother and stepsisters hastily send Chickeralla’s kind father on a “wild goose chase.” Now that they have Chickerella to themselves, they lock her in the springhouse and force her to sew dresses for them. Left to eat bugs and drink magical water from the floorboards of the coop, Chickerella begins to lay solid glass eggs. For the next few days, Chickerella is frantically preparing her stepsisters’ gowns for the Fowl Ball. As she dreams of going to the ball to see the amazing fashions, her Fairy Goosemother transforms Chickerella and admonishes her to be home by midnight. At the ball, she catches the eyes of the prince, who himself is a fan of fashion. Running down the steps at midnight, Chickerella hastily lays a glass egg, which the prince uses to later find her. This is where the authors surprise us with a twist ending. Instead of marrying the handsome prince, Chickerella and the prince establish their own fashion line…and live happily ever after.
Critical Analysis
Mary Jane Auch puts a modern spin on a children’s classic tale. She humorously created a characature of Cinderella, playfully named Chickerella. But this is no ordinary chick; Chickerella is a fashion-forward and forward-thinking little bird. She is fiercely independent and dreams of all things fashion: “’Who wants to get married?’ Chickerella asked, ‘I just want to see the fancy ball gowns.’” Auch cleverly use the chicken theme to use as a play on words, “Chickerella ran cluck naked all the way home.” She also utilized chicken related objects as major props of the story. For example, the quintessential glass slipper is parodied as a glass egg that Chickerella hastily lays on the ballroom steps. But, what really sets this plot away from the traditional fairytale is the ending, which is a small victory for liberated minds everywhere. Instead of Chickerella marrying the heroic prince, Chickerella and the prince become best friends who discover a mutual love for fashion: “’I’m into eggscessories,’ said the prince.” They decide that happily-ever-after is defined as believing in your dreams and following your passions.
Far from being a mere backdrop, the illustrations are vivid, lively, and could easily be the main attraction of the book. Husband and wife duo Mary Jane and Herm Auch molded clay and wire to form characters that seemingly pop out at the reader. They then went on to design elaborate sets and costumes, complete with ornate beadwork and meticulously placed feathers. It is fitting that the Auchs, who take us on a clever departure from a classic tale, would creatively put a whimsical twist on children’s illustrations as well.
Review Eggscerpts
Publisher’s Weekly: “Photographs of the 3-D Fairy Goosemother, the Fowl Ball and the glass egg clue are worth the price of admission.”
School Library Journal: “This is a pun-filled story for libraries in which fractured fairy tales are popular, and the ending will satisfy children who like ‘eggstravaganzas.’”
Kirkus Review: “Wordplay and visual details will have adult readers laughing aloud, from the ‘Chickenstock’ sandals to the ‘eggstravaganza’ of a fashion show in ‘New Yolks.’”
Connections
*Can be used in the context of art. Art classes can explore the detailed, hand-sewed costumes and create their own Chickerella-inspired costume using beads, sequins, and feathers.
*Can be used as a catalyst to discuss independence and career choices.
*Can be used to compare and contrast traditional fairytales with their modern counterparts.
Wednesday, September 16, 2009
Review of ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART by Eric Carle
Bibliography
Carle, Eric. 2007. Artist to Artist: 23 Major Illustrators Talk to Children about Their Art. Ill. by Mitsumasa Anno, Quentin Blake, Ashley Bryan, Nancy Ekholm Burkert, Eric Carle, Tomie dePaola, Jane Dyer, Mordicai Gerstein, Robert Ingpen, Steven Kellogg, Leo Lionni, Petra Mathers, Wendell Minor, Barry Moser, Jerry Pinkney, Alice Provensen, Robert Sabuda, Matthew Reinhart, Maurice Sendak, Gennady Spirin, Chris Van Allsburg, Rosemary Wells, and Paul O. Zelinsky. ISBN 9780399246005
Plot Summary
In this exquisitely beautiful picture book, Eric Carle compiles the profiles and artwork of twenty-three brilliant artists who illustrate children’s literature. Each artist is introduced with a short “letter” to children regarding art and creativity. Some of the letters are autobiographical in nature; others are explanations of their particular style; all are intriguing and offer encouragement for the young artist within us all. Eric Carle sagely tells the children, “My way is just one approach, but there are as many different kinds of artists, illustrators, designers, and picture-makers, just as there are many kinds of people in the world.”
Following the introductory letters are self-portraits of each artist. These drawings alone would make any art gallery or picture book swell with pride. As a bonus, when you turn the flap of each self-portrait, samples of the artist’s work spring from the pages and pull you into each of their magical worlds. A special point of interest is the inclusion of childhood drawings from many of the illustrators.
Critical Analysis
Famed children’s book illustrator Eric Carle presents an anthology of fellow artists who have made waves in the world of children’s picture books. While this is not a traditional children’s book, in the sense that there is no set storyline, this book maintains a quality that would provide a treasured read aloud to children and adults of all ages. The artists provide brief explanations of how they felt about art, school, and life as children. Many share how they went from doodling on the margins of their homework to becoming accomplished illustrators. There are common themes of following one’s passions and honing individual skills, whether as an artist or in another vocation.
The artwork within each chapter is vivid, bold, and colorful. There is a broad, all-encompassing range of artistic styles displayed within the pages. From the watercolor cowboys of Jerry Pinkney to the pop-up creations of Robert Sabuda and Matthew Reinhart, we see the genius in each stroke of the brush or cut of the paper. The visual effect of this book is reason alone to show to children. The letters from each artist are the proverbial cherries on top.
Review Excerpts
Children's Literature: "In an attractive package, all this information helps us understand a bit about the artists' origins and current thinking about their work."
Kirkus Reviews: "Their diversity shines in the text of their letters, in which they share childhood stories, sources of inspiration, views on art, details of how they work and advice on becoming an artist."
Connectons
*This book is an excellent resource to prompt a discussion about "what I want to be when I grow up."
*Children could write letters back to the artists about their own aspirations.
*Children can explore and read the many picture books that are mentioned in this book.
*This book could be used to introduce various styles of art.
Carle, Eric. 2007. Artist to Artist: 23 Major Illustrators Talk to Children about Their Art. Ill. by Mitsumasa Anno, Quentin Blake, Ashley Bryan, Nancy Ekholm Burkert, Eric Carle, Tomie dePaola, Jane Dyer, Mordicai Gerstein, Robert Ingpen, Steven Kellogg, Leo Lionni, Petra Mathers, Wendell Minor, Barry Moser, Jerry Pinkney, Alice Provensen, Robert Sabuda, Matthew Reinhart, Maurice Sendak, Gennady Spirin, Chris Van Allsburg, Rosemary Wells, and Paul O. Zelinsky. ISBN 9780399246005
Plot Summary
In this exquisitely beautiful picture book, Eric Carle compiles the profiles and artwork of twenty-three brilliant artists who illustrate children’s literature. Each artist is introduced with a short “letter” to children regarding art and creativity. Some of the letters are autobiographical in nature; others are explanations of their particular style; all are intriguing and offer encouragement for the young artist within us all. Eric Carle sagely tells the children, “My way is just one approach, but there are as many different kinds of artists, illustrators, designers, and picture-makers, just as there are many kinds of people in the world.”
Following the introductory letters are self-portraits of each artist. These drawings alone would make any art gallery or picture book swell with pride. As a bonus, when you turn the flap of each self-portrait, samples of the artist’s work spring from the pages and pull you into each of their magical worlds. A special point of interest is the inclusion of childhood drawings from many of the illustrators.
Critical Analysis
Famed children’s book illustrator Eric Carle presents an anthology of fellow artists who have made waves in the world of children’s picture books. While this is not a traditional children’s book, in the sense that there is no set storyline, this book maintains a quality that would provide a treasured read aloud to children and adults of all ages. The artists provide brief explanations of how they felt about art, school, and life as children. Many share how they went from doodling on the margins of their homework to becoming accomplished illustrators. There are common themes of following one’s passions and honing individual skills, whether as an artist or in another vocation.
The artwork within each chapter is vivid, bold, and colorful. There is a broad, all-encompassing range of artistic styles displayed within the pages. From the watercolor cowboys of Jerry Pinkney to the pop-up creations of Robert Sabuda and Matthew Reinhart, we see the genius in each stroke of the brush or cut of the paper. The visual effect of this book is reason alone to show to children. The letters from each artist are the proverbial cherries on top.
Review Excerpts
Children's Literature: "In an attractive package, all this information helps us understand a bit about the artists' origins and current thinking about their work."
Kirkus Reviews: "Their diversity shines in the text of their letters, in which they share childhood stories, sources of inspiration, views on art, details of how they work and advice on becoming an artist."
Connectons
*This book is an excellent resource to prompt a discussion about "what I want to be when I grow up."
*Children could write letters back to the artists about their own aspirations.
*Children can explore and read the many picture books that are mentioned in this book.
*This book could be used to introduce various styles of art.
Review of JOSEPH HAD A LITTLE OVERCOAT by Simms Taback
Bibliography
Taback, Simms. 1999. Joseph had a Little Overcoat. New York, NY: Viking ISBN 9780670878550
Plot Summary
Inspired by the Yiddish folk song “I Had a Little Overcoat,” Simms Taback writes about a resourceful character named Joseph. Joseph is a man of meager means, and we first see him draped in an old patched overcoat. When the overcoat becomes too worn, Joseph makes it into a jacket. When the jacket becomes worn, he makes it into a vest. And so it goes until he loses the now small button that was the only remnant left of the old overcoat. Never to be dismayed, resourceful Joseph turns his memory of the cloth into a book, proving “You can always make something out of nothing.”
Critical Analysis
Taback’s charming tale with a moral is written in a catchy, repetitive pattern which makes this a perfect book for early readers or English language learners. Each transformation of the overcoat begins with, “Joseph had a little (jacket, vest, etc). It got old and worn. So, he made a (tie, button, etc) out of it.” There is a steady rhythm to the book when read aloud, and young children quickly catch on to the objective. The children I read to began to giggle with anticipation of the next reinvention of the old worn cloth.
The illustrations are striking as deep, vivid colors are painted against a solid black backdrop. I got the sense that the drawings could be stills from a film reel. Each character is full of expression and drawn in a way that makes them appear to be frozen within animation. Talback also incorporates symbolism within his illustrations. In each evolution of the coat, a strategically placed hole is cut out in the shape of the new creation (i.e. vest, scarf, button, etc). The holes symbolize the holes in Joseph’s beloved overcoat.
The cultural elements in the story are seamlessly woven throughout the book. We learn of a Yiddish folk song, which is printed on the final page and is the inspiration for the book. There are also accents of Jewish culture sprinkled throughout the illustrations. For example, there are newspapers sprawled on the floor with humorous headlines reading, “Rabbi from Chelm Visits Kazrilevke” and “Fiddler on Roof Falls off Roof.”
Review Excerpts
2000 Caldecott Award
Publishers Weekly: "The author puts a droll spin on his narrative when Joseph loses the last remnant of the coat--a button--and decides to make a book about it."
Connections
*This book could be used as a catalyst for conversations about topics ranging from creativity to recycling.
*Children could use this book as an inspiration to make a book about their favorite thing (i.e. teddy bear, a pair of shoes, etc), and how they could use it in different ways.
*This book could be used in the context of cultural lesson plans or as an addition to a multicultural book collection.
Taback, Simms. 1999. Joseph had a Little Overcoat. New York, NY: Viking ISBN 9780670878550
Plot Summary
Inspired by the Yiddish folk song “I Had a Little Overcoat,” Simms Taback writes about a resourceful character named Joseph. Joseph is a man of meager means, and we first see him draped in an old patched overcoat. When the overcoat becomes too worn, Joseph makes it into a jacket. When the jacket becomes worn, he makes it into a vest. And so it goes until he loses the now small button that was the only remnant left of the old overcoat. Never to be dismayed, resourceful Joseph turns his memory of the cloth into a book, proving “You can always make something out of nothing.”
Critical Analysis
Taback’s charming tale with a moral is written in a catchy, repetitive pattern which makes this a perfect book for early readers or English language learners. Each transformation of the overcoat begins with, “Joseph had a little (jacket, vest, etc). It got old and worn. So, he made a (tie, button, etc) out of it.” There is a steady rhythm to the book when read aloud, and young children quickly catch on to the objective. The children I read to began to giggle with anticipation of the next reinvention of the old worn cloth.
The illustrations are striking as deep, vivid colors are painted against a solid black backdrop. I got the sense that the drawings could be stills from a film reel. Each character is full of expression and drawn in a way that makes them appear to be frozen within animation. Talback also incorporates symbolism within his illustrations. In each evolution of the coat, a strategically placed hole is cut out in the shape of the new creation (i.e. vest, scarf, button, etc). The holes symbolize the holes in Joseph’s beloved overcoat.
The cultural elements in the story are seamlessly woven throughout the book. We learn of a Yiddish folk song, which is printed on the final page and is the inspiration for the book. There are also accents of Jewish culture sprinkled throughout the illustrations. For example, there are newspapers sprawled on the floor with humorous headlines reading, “Rabbi from Chelm Visits Kazrilevke” and “Fiddler on Roof Falls off Roof.”
Review Excerpts
2000 Caldecott Award
Publishers Weekly: "The author puts a droll spin on his narrative when Joseph loses the last remnant of the coat--a button--and decides to make a book about it."
Connections
*This book could be used as a catalyst for conversations about topics ranging from creativity to recycling.
*Children could use this book as an inspiration to make a book about their favorite thing (i.e. teddy bear, a pair of shoes, etc), and how they could use it in different ways.
*This book could be used in the context of cultural lesson plans or as an addition to a multicultural book collection.
Review of HENRY'S FREEDOM BOX by Ellen Levine
Levine, Ellen. 2007. Henry’s Freedom Box. Ill. by Kadir Nelson. New York, NY: Scholastic Press. ISBN 9780439777339
Plot Summary
Henry’s Freedom Box is a true story written by Ellen Levine about a slave who literally mailed himself to freedom. In this Caldecott award winning book, we are transported back to a time when slavery was alive and abominably well in our country. Henry Brown was a young black child who was born into slavery in Virginia. The simple, yet powerful introduction of Henry sets the tone for the book, “Henry Brown wasn’t sure how old he was. Henry was a slave. And slaves weren’t allowed to know their birthdays.” Levine compellingly displays the objectification of slaves as she recounts the moment Henry was given to another owner as a gift. We next see Henry as a disenchanted young man working wearily in a tobacco factory. He soon meets another enslaved woman who instantly becomes Henry’s sole source of light and happiness. They are married and have three children together. Yet, as quickly as Henry found his wife, she was hastily sold away along with their three children. This becomes Henry’s catalyst for making a move that only a desperate man could imagine. With the aid of his best friend and a white man, who is partnered with the Underground Railroad, Henry puts himself into a wooden crate and is mailed to Philadelphia where he finds his freedom.
Critical Analysis
Ellen Levine was inspired to write about Henry “Box” Brown after reading William Still’s The Underground Railroad. In Still’s book, he tells of the story of Henry Box, an American slave who mailed himself in a 3 ft. square box from Richmond, Virginia to Philadelphia, Pennsylvania. Her writing is clear and concise, making the book a comprehensible read for younger readers. At the same time, the images that her words convey make the book piercing enough to intrigue adult readers. Levine uses symbolism to convey the underlying themes of the book. For example, she writes of a young Henry being given to another owner away from his family. As his parents are tearfully hugging him goodbye, Henry spots a bird soaring through the air and notes the bird’s freedom as he thinks, “Free bird! Happy bird!” She also uses symbolism as a means of foreshadowing. In the beginning of the book, Henry and his mother are watching the autumn leaves fall to the ground. His mother makes a chilling remark, “They are torn from the trees like slave children are torn from their families.” The aforementioned scene, where Henry watches the unrestrained bird, he also notices the leaves aimlessly swirling in the wind.
The illustrations by Kadir Nelson give us the feeling of peeking into the windows of Henry’s world. Nelson worked with oil paints and pencil to create bold, emotional images of this book’s characters. The tones of the illustrations are apropos to the story, muted and deep. Nelson uses soft brush strokes to show us a warm scene of a young Henry resting securely in his mother’s tender arms. In contrast, he potently draws with tighter lines on more crowded and complex images to convey the chaotic and frantic feel of Henry searching for his wife and children at a slave market. One of my favorite illustrations by Nelson is his depiction of Henry turned upside down in his wooden crate. The image is large and bold, spanning across two pages. Nelson draws the box as though one side is made of glass, and you can see Henry’s forehead and hand tightly pressed against the pane while lines of agony are painted down Henry’s poignant face.
Review Excerpts
Caldecott Honor Book
Starred in Booklist: “Transcending technique in the humanity Nelson imbues in his characters, especially Brown and his mother---her dream of freedom deferred, his amazingly achieved.”
New York Times Best Seller
Connections
*This book could be used as an opening to discussions about slavery in the history of the United States.
*Gather other books illustrated by Kadir Nelson that pertain to slavery or civil rights.
Rappaport, Doreen. Abe’s Honest Words: The Life of Abraham Lincoln. ISBN 9781423104087
Shange, Ntozake. Coretta Scott. ISBN 9780061253645
Weatherford, Carole Boston. Moses: When Harriet Tubman Led her People to Freedom.
ISBN 9780786851751
*This book can be used in conjunction with Henry’s Freedom Box lesson plan found at
http://www2.scholastic.com/browse/collateral.jsp?id=32442
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