Review of THE RUNAWAY TORTILLA by Eric Kimmel

Bibliography
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

Bibliography
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

Bibliography
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.

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.

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.

Review of HENRY'S FREEDOM BOX by Ellen Levine

Bibliography
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