1. BIBLIOGRAPHY
Hesse, Karen. 1997. Out of the Dust. New York, NY: Scholastic Press. ISBN 0590371258
2. PLOT SUMMARY
Fourteen year old Billie Joe has a passion for piano during the Great Depression. When she and her father are both partly responsible for a horrible accident that kills her mother and unborn baby brother and severely burns her hands, Billie Joe has to come to terms with her trying life circumstances. As she struggles against the physical and emotional pain inflicted by her loss along with the hardships of the Oklahoma dust bowl, she gradually learns to forgive and move on.
3. CRITICAL ANALYSIS
This is a moving story about the strength of the human spirit. Told in the first person and chronologically much like a journal, it is a very emotional account of personal hardship in very uncertain times. The use of free verse succinctly and powerfully conveys the feelings and impressions inherent in these struggles. While the voice and style is that of a simple Oklahoma farm girl, the wisdom imparted is far more sophisticated. The backdrop of the Great Depression and Oklahoma dust bowl is carefully crafted into the heroine’s personal tension with her father and, ultimately, with herself. Hesse manages to make the two year spiritual journey accessible and believable.
4. REVIEW EXCERPT(S)
From Publisher’s Weekly (starred review): “This intimate novel, written in stanza form, poetically conveys the heat, dust and wind of Oklahoma. With each meticulously arranged entry Hesse paints a vivid picture of her heroine's emotions."
From School Library Journal: “A triumphant story, eloquently told through prose-poetry.”
5. CONNECTIONS
*Write a free verse journal
*Read other books by Karen Hesse:
The Music of Dolphins ISBN 0192719602
A Time of Angels ISBN 0786806214
Phoenix Rising ISBN 0140376283
*Read other books about the Oklahoma dust bowl
Children of the Dust Bowl: The True Story of the School at Weedpatch Camp ISBN 0517880946
Dust to Eat: Drought and Depression in the 1930s ISBN 0618154493
Sunday, February 25, 2007
A POCKETFUL OF POEMS by Nikki Grimes
1. BIBLIOGRAPHY
Grimes, Nikki. 2001. A Pocketful of Poems. New York, NY: Clarion Books. ISBN 0395938686
2. PLOT SUMMARY
This collection of brief free verse and haiku poems is told in the voice of a city girl named Tiana, who describes her world with words as she moves through the seasons of a year.
3. CRITICAL ANALYSIS
With a definitive urban feel, the reader connects with the life and times of a young, African-American girl growing up in Harlem. The poetry ranges from lighthearted to insightful and sometimes both at the same time. The brevity and often mundane subject matter of the poems make it an accessible collection, but also deceptively simplistic. Grimes has a talent for maintaining the voice of a child while imbuing the work with subtle beauty and sophistication.
The cut paper and found-object collage of Javaka Steptoe sometimes integrates the poetry perfectly and other times overwhelms the senses. In some instances, the poems are cleverly incorporated into the artwork, such as in the spokes of an exploding Fourth of July firework. In other cases, the poetry is lost amongst the distraction.
4. REVIEW EXCERPT(S)
From School Library Journal: “A playful and thoroughly successful pairing of words and pictures.”
5. CONNECTIONS
*Write free verse and/or haiku
*Other books of poetry by Nikki Grimes:
It’s Raining Laughter: Poems ISBN 1590780779
What is Goodbye: Poems on Grief ISBN 0786826231
Is it far to Zanzibar?: Poems about Tanzania ISBN 0688131573
Grimes, Nikki. 2001. A Pocketful of Poems. New York, NY: Clarion Books. ISBN 0395938686
2. PLOT SUMMARY
This collection of brief free verse and haiku poems is told in the voice of a city girl named Tiana, who describes her world with words as she moves through the seasons of a year.
3. CRITICAL ANALYSIS
With a definitive urban feel, the reader connects with the life and times of a young, African-American girl growing up in Harlem. The poetry ranges from lighthearted to insightful and sometimes both at the same time. The brevity and often mundane subject matter of the poems make it an accessible collection, but also deceptively simplistic. Grimes has a talent for maintaining the voice of a child while imbuing the work with subtle beauty and sophistication.
The cut paper and found-object collage of Javaka Steptoe sometimes integrates the poetry perfectly and other times overwhelms the senses. In some instances, the poems are cleverly incorporated into the artwork, such as in the spokes of an exploding Fourth of July firework. In other cases, the poetry is lost amongst the distraction.
4. REVIEW EXCERPT(S)
From School Library Journal: “A playful and thoroughly successful pairing of words and pictures.”
5. CONNECTIONS
*Write free verse and/or haiku
*Other books of poetry by Nikki Grimes:
It’s Raining Laughter: Poems ISBN 1590780779
What is Goodbye: Poems on Grief ISBN 0786826231
Is it far to Zanzibar?: Poems about Tanzania ISBN 0688131573
BEAST FEAST by Douglas Florian
1. BIBLIOGRAPHY
Florian, Douglas. 1994. Beast Feast. New York, NY: Scholastic Inc.
ISBN 0152017372
2. PLOT SUMMARY
This book contains a clever collection of 21 rhyming animal poems accompanied by watercolor paintings.
3. CRITICAL ANALYSIS
The poems in this collection are sure to appeal to children. Most of them are brief and all have some sort of rhythm and rhyming scheme. The majority are infused with wit and humor and several reveal some interesting observations. In terms of subject matter, Florian highlights creatures both common (pigeon) and exotic (kiwi), from small insects to large mammals. While the complexity and depth of insight is often superficial, the result is still very entertaining.
In many instances, the full-page watercolor illustrations (on the opposing page) which accompany each poem are essential for the overall effect. The Boa (“Just when you think you know the boa,/There’s moa and moa and moa and moa.”) is more enjoyable when you see the illustration of an enormous snake wrapped several times around a man. Even the use of type-style is incorporated into the visual element of some poems- upside down, expanded, oversized and artistically arranged. The result is a symbiotic relationship between poetry and art.
4. REVIEW EXCERPT(S)
From Publisher’s Weekly: “An ideal read-aloud, this volume will leave young listeners as lighthearted as its own contents.”
From School Library Journal: “This collection is an uncluttered, short presentation by an author/illustrator who knows what children will find funny-add to that the bonus of factual information tucked into each poem, and the result is a winner.”
5. CONNECTIONS
*Children write and illustrate their own beast poem
*Read other animal poetry collections by Douglas Florian:
Zoo’s Who ISBN 0152046399
Lizards, Frogs and Polliwogs ISBN 0152052488
Mammalabilia ISBN 0152050248
Insectlopedia ISBN 0152163352
*Perform dramatic readings of select poems
Florian, Douglas. 1994. Beast Feast. New York, NY: Scholastic Inc.
ISBN 0152017372
2. PLOT SUMMARY
This book contains a clever collection of 21 rhyming animal poems accompanied by watercolor paintings.
3. CRITICAL ANALYSIS
The poems in this collection are sure to appeal to children. Most of them are brief and all have some sort of rhythm and rhyming scheme. The majority are infused with wit and humor and several reveal some interesting observations. In terms of subject matter, Florian highlights creatures both common (pigeon) and exotic (kiwi), from small insects to large mammals. While the complexity and depth of insight is often superficial, the result is still very entertaining.
In many instances, the full-page watercolor illustrations (on the opposing page) which accompany each poem are essential for the overall effect. The Boa (“Just when you think you know the boa,/There’s moa and moa and moa and moa.”) is more enjoyable when you see the illustration of an enormous snake wrapped several times around a man. Even the use of type-style is incorporated into the visual element of some poems- upside down, expanded, oversized and artistically arranged. The result is a symbiotic relationship between poetry and art.
4. REVIEW EXCERPT(S)
From Publisher’s Weekly: “An ideal read-aloud, this volume will leave young listeners as lighthearted as its own contents.”
From School Library Journal: “This collection is an uncluttered, short presentation by an author/illustrator who knows what children will find funny-add to that the bonus of factual information tucked into each poem, and the result is a winner.”
5. CONNECTIONS
*Children write and illustrate their own beast poem
*Read other animal poetry collections by Douglas Florian:
Zoo’s Who ISBN 0152046399
Lizards, Frogs and Polliwogs ISBN 0152052488
Mammalabilia ISBN 0152050248
Insectlopedia ISBN 0152163352
*Perform dramatic readings of select poems
Saturday, February 10, 2007
THE LEGEND OF THE BLUEBONNET: AN OLD TALE OF TEXAS by Tomie dePaola
1. BIBLIOGRAPHY
DePaola, Tomie. 1992. The Legend of the Bluebonnet: An Old Tale of Texas. New York, NY: G.P. Putnam’s Sons. ISBN 0698113594
2. PLOT SUMMARY
When a long drought leads to famine, the Comanche People ask the Great Spirits for guidance. The Great Spirits tell the shaman that the People must sacrifice that which is most valuable to them to atone for their selfishness. While everyone else rationalizes why they need not part with their prized possessions, She-Who-Is-Alone sacrifices the one thing that links her to her now departed family- her beloved doll. Because of her selfless deed, the Great spirits send the needed rain along with the bluebonnet flower as a sign of their forgiveness.
3. CRITICAL ANALYSIS
It is evident through both the text and illustrations that a great deal of research about Comanche customs, religious beliefs and rituals was required in the writing of this tale. (Indeed, dePaola includes an author’s note at the conclusion of the story which has information about the flower, sources and the Comanche People.) For example, the opening page (which consists primarily of dialogue) transports the reader to a Comanche rain dance. His description of She-Who-Is-Alone’s doll includes the materials out of which it is made. These details impart more valuable information than the storyline alone.
The folkart style illustrations appear deceptively simple. While the impassive and unchanging expression of the heroine is somewhat irksome, other subtle details show complexity- the blue sheen of She-Who-Is-Alone’s hair in the sunlight, the way the stars slowly appear and then gradually fade as morning approaches.
At first glance, this picture book might seem geared toward younger children, but it is in reality probably more appropriate for older children who can understand and appreciate the message of the story. (Younger children might be confused or even frightened.) While the story explains the origin of the Texas state flower, it is really about sacrifice.
4. REVIEW EXCERPT(S)
Booklist: "An ideal complement to Native American and Texas studies..."
5. CONNECTIONS
*Read this book in conjunction with a Native American (plains or Comanche in particular) unit
-Make a Native American doll
-Make a tipi
*Writing- What would you sacrifice?
*Bluebonnet art- popcorn and blue powdered tempera
*Read other books about Native American legends:
The Legend of the Indian Paintbrush by Tomie de Paola ISBN 0698113608
Thirteen Moons on Turtle’s Back by Joseph Brushac ISBN 0698115848
How the Stars Fell Into the Sky: a Navajo Legend by Jerrie Oughton 0395779383
*Read other folktales by Tomie dePaola:
The Legend of the Poinsettia ISBN 0698115678
The Legend of Old Befana ISBN 0152438173
Jamie O’Rourke and the Big Potato ISBN 0698116038
DePaola, Tomie. 1992. The Legend of the Bluebonnet: An Old Tale of Texas. New York, NY: G.P. Putnam’s Sons. ISBN 0698113594
2. PLOT SUMMARY
When a long drought leads to famine, the Comanche People ask the Great Spirits for guidance. The Great Spirits tell the shaman that the People must sacrifice that which is most valuable to them to atone for their selfishness. While everyone else rationalizes why they need not part with their prized possessions, She-Who-Is-Alone sacrifices the one thing that links her to her now departed family- her beloved doll. Because of her selfless deed, the Great spirits send the needed rain along with the bluebonnet flower as a sign of their forgiveness.
3. CRITICAL ANALYSIS
It is evident through both the text and illustrations that a great deal of research about Comanche customs, religious beliefs and rituals was required in the writing of this tale. (Indeed, dePaola includes an author’s note at the conclusion of the story which has information about the flower, sources and the Comanche People.) For example, the opening page (which consists primarily of dialogue) transports the reader to a Comanche rain dance. His description of She-Who-Is-Alone’s doll includes the materials out of which it is made. These details impart more valuable information than the storyline alone.
The folkart style illustrations appear deceptively simple. While the impassive and unchanging expression of the heroine is somewhat irksome, other subtle details show complexity- the blue sheen of She-Who-Is-Alone’s hair in the sunlight, the way the stars slowly appear and then gradually fade as morning approaches.
At first glance, this picture book might seem geared toward younger children, but it is in reality probably more appropriate for older children who can understand and appreciate the message of the story. (Younger children might be confused or even frightened.) While the story explains the origin of the Texas state flower, it is really about sacrifice.
4. REVIEW EXCERPT(S)
Booklist: "An ideal complement to Native American and Texas studies..."
5. CONNECTIONS
*Read this book in conjunction with a Native American (plains or Comanche in particular) unit
-Make a Native American doll
-Make a tipi
*Writing- What would you sacrifice?
*Bluebonnet art- popcorn and blue powdered tempera
*Read other books about Native American legends:
The Legend of the Indian Paintbrush by Tomie de Paola ISBN 0698113608
Thirteen Moons on Turtle’s Back by Joseph Brushac ISBN 0698115848
How the Stars Fell Into the Sky: a Navajo Legend by Jerrie Oughton 0395779383
*Read other folktales by Tomie dePaola:
The Legend of the Poinsettia ISBN 0698115678
The Legend of Old Befana ISBN 0152438173
Jamie O’Rourke and the Big Potato ISBN 0698116038
SCARY STORIES TO TELL IN THE DARK by Alvin Schwartz
1. BIBLIOGRAPHY
Schwartz, Alvin. 1981. Scary Stories to Tell in the Dark. New York, NY: HarperCollins Children’s Books. ISBN 0064401707
2. PLOT SUMMARY
This collection of spooky folklore consists of five “chapters” of stories, songs and poems. Each chapter has a theme: things that make you “jump,” ghosts, creepy hodgepodge, contemporary tales and funny stories. The book concludes with notes, sources and bibliography.
3. CRITICAL ANALYSIS
This book offers a little bit of everything. The stories in the first chapter are suspenseful with an abrupt ending designed to startle. They lose some of their effect when read rather than when told orally as intended, but they are fun to read nonetheless. The second and third chapters about ghosts and misc. are frightening, chilling or just disgusting. The fourth chapter consisting of modern cautionary tales could also be labeled as urban legends. The humorous last chapter ends the book on a lighthearted note. Stephen Gammell’s black and white drawings interspersed throughout lend well to the eerie overall atmosphere. The tales in this collection are bound to be retold around the campfire or at slumber parties just as they were initially.
For those with an interest in folklore, Schwartz provides excellent background information in the “notes” section. The “sources” chapter is fairly in-depth and includes variants and the names of collectors/informants when available. The bibliography contains pertinent books and articles, with appropriate material for young people marked with an asterisk.
4. REVIEW EXCERPT(S)
From Children's Books 1981 (NY Public Library):"A fine collection of short tales to chill the bones of young and old with interesting notes for folktale buffs."
5. CONNECTIONS
*Read other scary stories by Alvin Schwartz:
More Scary Stories to Tell in the Dark ISBN 0064401774
Scary Stories 3: More Tales to Chill Your Bones (Scary Stories) ISBN 0060217944
*Have a mock fireside storytelling session (in the dark, with flashlights)
*Write/tell a modified version of one of the stories
Schwartz, Alvin. 1981. Scary Stories to Tell in the Dark. New York, NY: HarperCollins Children’s Books. ISBN 0064401707
2. PLOT SUMMARY
This collection of spooky folklore consists of five “chapters” of stories, songs and poems. Each chapter has a theme: things that make you “jump,” ghosts, creepy hodgepodge, contemporary tales and funny stories. The book concludes with notes, sources and bibliography.
3. CRITICAL ANALYSIS
This book offers a little bit of everything. The stories in the first chapter are suspenseful with an abrupt ending designed to startle. They lose some of their effect when read rather than when told orally as intended, but they are fun to read nonetheless. The second and third chapters about ghosts and misc. are frightening, chilling or just disgusting. The fourth chapter consisting of modern cautionary tales could also be labeled as urban legends. The humorous last chapter ends the book on a lighthearted note. Stephen Gammell’s black and white drawings interspersed throughout lend well to the eerie overall atmosphere. The tales in this collection are bound to be retold around the campfire or at slumber parties just as they were initially.
For those with an interest in folklore, Schwartz provides excellent background information in the “notes” section. The “sources” chapter is fairly in-depth and includes variants and the names of collectors/informants when available. The bibliography contains pertinent books and articles, with appropriate material for young people marked with an asterisk.
4. REVIEW EXCERPT(S)
From Children's Books 1981 (NY Public Library):"A fine collection of short tales to chill the bones of young and old with interesting notes for folktale buffs."
5. CONNECTIONS
*Read other scary stories by Alvin Schwartz:
More Scary Stories to Tell in the Dark ISBN 0064401774
Scary Stories 3: More Tales to Chill Your Bones (Scary Stories) ISBN 0060217944
*Have a mock fireside storytelling session (in the dark, with flashlights)
*Write/tell a modified version of one of the stories
CINDERELLA by Marcia Brown
1. BIBLIOGRAPHY
Brown, Marcia. 1954. Cinderella or The Little Glass Slipper. Trans. From Charles Perrault. United States: Troll Associates. ISBN 0684126761
2. PLOT SUMMARY
The beautiful, kind and hard-working Cinderella is mistreated by her step-mother and two, spoiled step-sisters. With the magical help of her fairy godmother (who warns that the magic will end at midnight), Cinderella is able to attend two balls. She goes unrecognized at both balls where her beauty and charm delight everyone, especially a prince. At the second ball, she looses track of the time and must flee abruptly at midnight, leaving one small, glass slipper behind. The smitten prince vows to marry the one who fits the slipper. After the prince’s herald arrives and the stepsisters unsuccessfully attempt to fit the tiny slipper, Cinderella puts on the shoe and produces its mate. Her godmother reappears and transforms her outfit into a splendid gown. After forgiving her step-sisters, she goes to (and a few days later) marries the prince.
3. CRITICAL ANALYSIS
The winner of the Caldecott Medal in 1955, Marcia Brown’s translation of the Charles Perrault version is more authentic than the syrupy Disneyfied version that many associate with the tale. Although the text may be a bit lengthy and some of the vocabulary inaccessible for the youngest children, older children will delight in the details. The subtle pastel and black line artwork is a good complement to the text and transports the reader to the distant once-upon-a-time past. Much about the dress, style and decorum of the time are revealed through the illustrations. As is typical for characters in folk tales, Cinderella is a very two-dimensional persona. It is unfortunate that her value comes primarily from her beauty (rather than her unflagging kindness). The other characters are depicted as rather flat as well, with little development of the fairy godmother or prince. But with hope that the step-sisters have mended their ways and a happy ending, the reader or listener will be left satisfied overall.
4. REVIEW EXCERPT(S)
From Books in Print database: “This translation is excellent for story-telling and also for reading aloud. Marcia Brown's illustrations are full of magic and enchantment…”
5. CONNECTIONS
*Compare versions of Cinderella:
By Gender-
Bubba, the Cowboy Prince by Helen Ketteman ISBN 0590255061
Prince Cinders by Babette Cole ISBN 0698115546
By Culture-
Yeh Shen by Ai-Ling Louie ISBN 0698113888
Fair, Brown and Trembling by Jude Daly ISBN0374422575
*Perform a dramatic interpretation
*Write a “fractured” ending
*Write a modern Cinderella
*Read other fairy tales collected by Charles Perrault
Brown, Marcia. 1954. Cinderella or The Little Glass Slipper. Trans. From Charles Perrault. United States: Troll Associates. ISBN 0684126761
2. PLOT SUMMARY
The beautiful, kind and hard-working Cinderella is mistreated by her step-mother and two, spoiled step-sisters. With the magical help of her fairy godmother (who warns that the magic will end at midnight), Cinderella is able to attend two balls. She goes unrecognized at both balls where her beauty and charm delight everyone, especially a prince. At the second ball, she looses track of the time and must flee abruptly at midnight, leaving one small, glass slipper behind. The smitten prince vows to marry the one who fits the slipper. After the prince’s herald arrives and the stepsisters unsuccessfully attempt to fit the tiny slipper, Cinderella puts on the shoe and produces its mate. Her godmother reappears and transforms her outfit into a splendid gown. After forgiving her step-sisters, she goes to (and a few days later) marries the prince.
3. CRITICAL ANALYSIS
The winner of the Caldecott Medal in 1955, Marcia Brown’s translation of the Charles Perrault version is more authentic than the syrupy Disneyfied version that many associate with the tale. Although the text may be a bit lengthy and some of the vocabulary inaccessible for the youngest children, older children will delight in the details. The subtle pastel and black line artwork is a good complement to the text and transports the reader to the distant once-upon-a-time past. Much about the dress, style and decorum of the time are revealed through the illustrations. As is typical for characters in folk tales, Cinderella is a very two-dimensional persona. It is unfortunate that her value comes primarily from her beauty (rather than her unflagging kindness). The other characters are depicted as rather flat as well, with little development of the fairy godmother or prince. But with hope that the step-sisters have mended their ways and a happy ending, the reader or listener will be left satisfied overall.
4. REVIEW EXCERPT(S)
From Books in Print database: “This translation is excellent for story-telling and also for reading aloud. Marcia Brown's illustrations are full of magic and enchantment…”
5. CONNECTIONS
*Compare versions of Cinderella:
By Gender-
Bubba, the Cowboy Prince by Helen Ketteman ISBN 0590255061
Prince Cinders by Babette Cole ISBN 0698115546
By Culture-
Yeh Shen by Ai-Ling Louie ISBN 0698113888
Fair, Brown and Trembling by Jude Daly ISBN0374422575
*Perform a dramatic interpretation
*Write a “fractured” ending
*Write a modern Cinderella
*Read other fairy tales collected by Charles Perrault
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