Module/Genre 6 Fiction, Fantasy and Young Adult
THE GIVER
1. BIBLIOGRAPHY
Lowry, Lois. 1993. THE GIVER. New York, NY: Houghton Mifflin Company. ISBN 0395645662
2. PLOT SUMMARY
Lois Lowry’s futuristic tale takes readers into a world where feelings and emotions have been forbidden. The main character of this book is Jonas, a young boy who is to become a twelve, also known as a citizen in training. In this futuristic tale all of the twelve’s are given assignments in the community, which they will train for and take on as adults. At the ceremony of twelve’s Jonas thinks that he has been forgotten as his number has been skipped, only to find out that his assignment is handed out last because of its importance. Jonas is handed the rare assignment of receiver, because of his capacity to “See Beyond.” The receiver’s assignment is to hold all the pleasurable and painful memories of the past. Jonas is shocked on his first day of training, when the Giver unleashes emotions and feelings that he never knew existed. As Jonas experiences different things, he starts to believe that it is unfair that he is the only one who knows this way of life. However, the Giver urges him, that this is the way it has always been and that the people need to be protected. Jonas soon persuades the Giver to let him leave for the land of Elsewhere, so that the memories may eventually find their way back, and transform the community. Lowry has added two characters: Rosemary and Gabriel that add elements of surprise to the ending of this well-drawn out story.
3. CRITICAL ANALYSIS
I had difficulty classifying this title to a specific genre of “Fantasy” or “Science Fiction.” Lowry’s’ book contained many different elements that made it hard to determine where exactly it fit with these similar genres. Initially, I thought the Giver would be Fantasy, because it contained several of the six basic fantasy motifs. For example, with the motif of “Other Worlds”, Jonas lived in a place where humans were not allowed to feel emotion or see color. Heroism was another motif displayed in the Giver. Towards the end of the story Jonas decides that there needs to be change in the community and devises a plan to escape, only to have it foiled by the sudden upcoming release of Gabriel (the baby from the nurturing center living with his family). After Jonas finds out what an actual release is, he decides that it is unfair and inhumane, so he decides to take Gabriel early in the morning, protecting him from the elements until they reach Elsewhere, where they will both be safe. Another element of heroism that is incorporated into this title is: “The hero is assisted by a protective figure.” Lowry presents the protected figure known as the Giver, who is Jonas’ trainer. Jonas and the Giver talk for hours on end about how the world used to be and how the world could be. The Giver protects Jonas in many ways. He protects Jonas from his parents after he finds out that his father is part of administering releases, and he also protects him form the community by aiding Jonas in his initial plan to escape.
“Science fiction differs from fantasy not in subject matter but in aim, and its unique aim is to suggest real hypotheses about mankind’s future or about the nature of the universe.” (Engdahl, 1971 p. 450.) After I read this statement in the textbook, I had to reconsider my classification of this title, because this book can be interpreted as what life may be like on Earth in the future. Although some of the community’s concepts are bit far-fetched the Giver offers explanations that are plausible. For example, when the Giver explains, we cannot all have memories because then we would all be burdened and pained. When I thought about this, it made sense, but in actuality it wouldn’t seem right. Lowry’s writing creates many instances like this that leave the reader thinking beyond everyday life and into the possibilities of the future. Readers may even find it plausible that their existence is in what Jonas would consider Elsewhere.
4. REVIEW EXCERPTS
Publishers Weekly - 08-08-1994
Winner of the 1994 Newbery Medal, this thought-provoking novel centers on a 12-year-old boy's gradual disillusionment with an outwardly utopian futuristic society; in a starred review, PW said, ``Lowry is once again in top form... unwinding a tale fit for the most adventurous readers.''
Booklist - 04-15-1993 Starred Review
The simplicity and directness of Lowry's writing force readers to grapple with their own thoughts about this dichotomy; though it is clear what the right answer is (and, at times, the narrative lacks subtlety in insisting upon that answer), the allure of a life without pain will give even the least philosophical of readers something to ponder.
Kirkus - 02-15-1993
Wrought with admirable skill--the emptiness and menace underlying this Utopia emerge step by inexorable step: a richly provocative novel.
School Library Journal- 05-01-1993
The author makes real abstract concepts, such as the meaning of a life in which there are virtually no choices to be made and no experiences with deep feelings. This tightly plotted story and its believable characters will stay with readers for a long time.
5. CONNECTIONS
*Use this book to discuss how our feelings and emotions benefit us.
*Ask students how they feel about the concept of release, and what makes it wrong or right?
*Challenge students about what it would be like to live in a world like this, and ask if they think that this could actually occur?
*Have students write an essay on what happened to Jonas and Gabriel as they heard people singing.
JOEY PIGZA LOSES CONTROL
1. BIBLIOGRAPHY
Gantos, Jack. 2000. JOEY PIGZA LOSES CONTROL. New York, NY: Farrar, Straus and Giroux. ISBN 0374399891
2. PLOT SUMMARY
Jack Gantos has written a story of a boy with ADHD, Joey Pigza, and his personal journey of acceptance with his alcoholic father and himself. Ganto’s starts Joey’s adventure quickly with him and his mother on the way to his newly sober father’s and grandmother’s house. Along the way Joey daydreams of what life would be like to be a family all together again, but his mother won’t hear of it. Joey soon finds out that his father won’t either, because he has a new girlfriend Leezy. Upon Joey’s arrival he finds that his Dad is all for moving forward in life as long as Joey listens while he does the talking. Joey’s Dad, Carter, takes it upon himself to take Joey off of his ADHA medicine. At first Joey is apprehensive, but then with a few good days under his belt, and more persuasion from his father, Joey decides that maybe he doesn’t need it after all. Joey can barley contain the excitement from telling his mother his good news, of no longer needing the patch, However, not long after, Joey starts to get that buzzing feeling inside of losing control, just as his Grandma had predicted. With mounting pressure from Joeys father to move in with him and Leezy, and more importantly to win the baseball championship, Joey longs for home. He misses his patch and most of all he misses the comfort of his mother. Ganto’s ending is a whirlwind with the championship loss, Joey on the run, and a quick getaway with grandma waving goodbye in the rearview mirror.
3. CRITICAL ANALYSIS
In Joey Pigza Loses Control, Jack Gantos has created a work of contemporary realistic fiction that can be enjoyed by readers of all ages. With an intended audience of middle readers, kids will follow Joey and his adventures with his father. Readers with ADHD will find that they can relate to Joey. They may even find themselves feeling some of the exact same emotions as Joey does throughout the book.
Readers with divorced parents will relate to his torn feelings when thinking of his mother and his father. For example, when Joey says, “Being away from Mom made me feel different. Like there was one Joey for mom and a different Joey for Dad and that I was becoming two Joeys. Mom’s Joey didn’t want to get a tattoo but Dad’s Joey did.” Readers will also be able to sympathize with Joey’s need to please his mother and his father. An example of this is when Joey’s Dad flushes his patches down the toilet. Joey knows he should tell his mother, but at the same time Joey wants to protect his father. Kids will also find Joey’s antics familiar as he tries to get his parents back together, but they will quickly be jilted back to reality as Joey’s mother says, “Don’t go there Joey!”
Readers will also find the familiar need of parental acceptance, as Joey tries to please his father by playing baseball and bungee jumping. Ganto’s conveys this to readers as he recounts the look on Joey’s dad’s face as he struck out the opposing team: “When I trotted off the field Dad was beaming and his canoe smile was sailing the seven seas.”
Readers will gain a new awareness for those who suffer from ADHD as Gantos describes one of Joey’s episodes; “ I stood on my tiptoes and rubbed harder until the itch was on fire and I could think of nothing else, and feel nothing else and imagine nothing else but that burning spot which was just getting hotter and hotter until I finally yanked my hand away and jammed it into my pocket and stood there twisting my hips around like pipe cleaners and hating myself just like old times and suddenly I knew for certain the other Joey had started to catch up to me and I wondered what to do about it.” Passages like this will make readers sensitive to what a person’s mind goes through when dealing with this type of disorder. The reality of this book will leave a definite impact on its audience.
4. REVIEW EXCERPTS
Publishers Weekly - 02-25-2002 Starred Review
"Like its predecessor, Joey Pigza Swallowed the Key, this high-voltage, honest novel mixes humor, pain, fear and courage with deceptive ease."
Booklist™ - 09-01-2000 Starred Review
Few children these days don't know someone wrestling with ADHD; meeting up with Joey is a fine way to gain insight into the problems "hyper" children face. But the story is more than message. Ganto's skillful pacing, sly humor, and in-depth characterization make it a truly memorable read.
Kirks - 06-15-2000 Starred Review
Carter is truly frightening, a vision of what Joey could grow up to be, did he not possess the inner honesty to acknowledge his limitations (eventually), and caring adults to help him. A tragic tale in many ways, but a triumph too.
School Library Journal™ - 09-01-2000 Starred Review
Readers will be drawn in immediately to the boy's gripping first-person narrative and be pulled pell-mell through episodes that are at once hilarious, harrowing, and ultimately heartening as Joey grows to understand himself and the people around him. The ride home isn't smooth, but it is hopeful and loving.
VOYA™ - 02-01-2001
The reader is drawn into Joey's struggle for self-control while his medication wears off and as his father's behavior becomes more erratic with the increased consumption of alcohol. Through Joey's narration, Gantos brilliantly portrays the often-manic pace of an ADHD mind, but he alleviates the tension with touches of humor. Gantos's style of writing and the subject matter make this book a great middle school read-aloud.-Ruth Cox.
5. CONNECTIONS
* This book would be an excellent introduction to the subject of ADHAD.
* This book may also spark discussion on alcoholism and how children cope with their parent’s addictions.
* Ask students to write a reaction paper about how they would have reacted in Joey’s position. Would they have told the other parent about what was going on?
*After this title, read other stories of Joey’s adventures out-loud as a class.
THE FIRST PART LAST
1. BIBLIOGRAPHY
Johnson, Angela. 2003. THE FIRST PART LAST. New York, NY: Simon and Schuster Books for Young Readers. ISBN 0689849222
2. PLOT SUMMARY
Angela Johnson has written a contemporary novel about teenage pregnancy and the repercussions it brings to life. Bobby is sixteen years old, and he is not concerned with when he will be getting his license, instead Bobby must think of diapers, bottles, and a babysitter for his new baby Feather. With the sudden pregnancy complications that his girlfriend Nia endures, Bobby is left on his own with the decision of what should be done with Feather. Should he continue on with the adoption process (because it is the best choice) or should he “be a man” and take care of his baby? Bobby makes the decision to keep Feather, but sleepless nights are the least of his worries. He leaves Feather with the neighbor, Coco, ditches school and gets arrested for tagging a wall. When Bobby’s father picks him up from the police station he already knows that he has let everyone down, most of all Feather. At times Bobby just wants to forget it all, forget that he has a baby, forget what happened to Nia, and just be a kid again. Angela Johnson’s writing conveys the all too real situation that Bobby cannot escape, a realization that readers cannot deny.
3. CRITICAL ANALYSIS
The reality of Bobby’s situation is realistically captured through Angela Johnson’s writing. Her choice to write each chapter in “THEN” and “NOW” will give readers a chance to see how much Bobby’s life has been affected. For example, one minute Bobby is thinking of when he, J.L., and K-Boy pranked a teacher by turning everything upside down, and in the very next chapter he is dropping off his baby at the sitter. By the end of this powerful novel, readers will understand what Bobby meant when he said, “Nothing’s changed and everything has.”
Depending on the demographics of the audience, Johnson has definitely incorporated controversial elements into this novel, from the main plot of teen pregnancy to the subtle allusions of teen sex. Some parents and families may welcome this type of book and its subject matter while others will be guarded with a young impressionable audience. I think that readers who do choose to complete this book in its entirety will find that Johnson has chosen to address these situations with respect and good taste. For instance, when Johnson’s writing alludes to the intimate actions of Bobby and Nia she writes, “My parents won’t be home until tonight. We’ve got a long time. I pull her to me then lift her up off the floor. We step on the pizza box as we head toward her room. I’m glad we have a long time. I’m glad.”
With the rise in teen pregnancy, this book could provide a positive learning experience for readers. This glimpse inside the world of a teen parent may make readers think twice about their actions and ramifications. Readers will relate to Bobby, and they will be able to sympathize with his feelings of just wanting to be a kid. Although Bobby longs for his childhood, Johnson’s writing is sure to convey his love for Feather.
4. REVIEW EXCERPTS
Booklist - 09-01-2003 Starred Review
There's no romanticizing. The exhaustion is real, and Bobby gets in trouble with the police and nearly messes up everything. But from the first page, readers feel the physical reality of Bobby's new world: what it's like to hold Feather on his stomach, smell her skin, touch her clenched fists, feel her shiver, and kiss the top of her curly head. Johnson makes poetry with the simplest words in short, spare sentences that teens will read again and again.
Horn Book Magazine - 07-01-2003
What elevates this scenario above melodrama is Johnson's unique storytelling strategy: she follows the arc of Bobby's consciousness in alternating short chapters labeled "then" (before Feather's birth) and "now." This allows the reader to measure how far sleep-starved single dad Bobby has fallen, psychically--and how far he's come. While this prequel to the Coretta Scott King Award-winning Heaven isn't bereft of humor (Nia's parents' home is "so neat and clean you could probably make soup in the toilet"), what resonates are the sacrifices Bobby makes for Feather's sake.
Kirkus - 06-01-2003
By narrating from a realistic first-person voice, Johnson manages to convey a story that is always complex, never preachy. The somewhat pat ending doesn't diminish the impact of this short, involving story. It's the tale of one young man and his choices, which many young readers will appreciate and enjoy.
Publishers Weekly - 06-16-2003 Starred Review
Each nuanced chapter feels like a poem in its economy and imagery; yet the characters-Bobby and the mother of his child, Nia, particularly, but also their parents and friends, and even newborn Feather-emerge fully formed.
School Library Journal - 06-01-2003 Starred Review
Scenes in which Bobby expresses his love for his daughter are breathtaking. Teens who enjoyed Margaret Bechard's Hanging on to Max (Millbrook, 2002) will love this book, too, despite very different conclusions. The attractive cover photo of a young black man cradling an infant will attract readers
VOYA- 06-01-2003
This well-written book is not like anything that I've ever read before. It goes fast and has realistic fiction, romance, and suspense all in one. Most teen pregnancy books are about what the girl goes through, but this one is written from a different, exciting angle. Both girls and boys can read it.
5. CONNECTIONS
*This book would be an excellent read-aloud to start a discussion on teen pregnancy.
*Have students talk about what it would be like to be a parent, and the emotional responsibilities that come along with it.
*Ask students if they think that Bobby’s parents were right to make him do most of the work.
*Address preventive measures: condoms and birth control.
Thursday, November 15, 2007
Friday, November 2, 2007
Module/Genre 5 Historical Fiction
Module/Genre 5 Historical Fiction
THE BALLAD OF LUCY WHIPPLE
1. BIBLIOGRAPHY
Cushman, Karen. 1996. THE BALLAD OF LUCY WHIPPLE. New York, NY: Clarion Books of Houghton Mifflin Books. ISBN 0395728061
2. PLOT SUMMARY
Karen Cushman has written a novel of young girl California Morning Whipple and her family’s move West during the California Gold rush. This story is not typical with a widowed mother and her four children moving westward from Massachusetts to the desolate mining town of Lucky Diggins to pursue “the hearts desire.” California or Lucy, as she renames herself at age 12, is the oldest of four children and hates everything about Lucky Diggins. Gone are Grandma and Granpop, the library, and the fresh tomatoes that were so abundant back home. Throughout the story Lucy plots her return to Massachusetts only to be derailed by the death of her only brother Butte and a saloon fire that takes everything they owned. Lucy’s complicated relationship with her mother comes full circle at the end of this novel when mama pursues her knew heart’s desire and Lucy pleads to let her too pursue her own. As Lucy packs up to pursue her own heart’s desire she finds that she has had it all along, her family. Lucy realizes that she can no longer find them in Massachusetts, but she will always have them in her heart.
3. CRITICAL ANALYSIS
Cushman’s writing provides readers with descriptive details that create the element of a “living past”, and it will leave them sympathizing with California and her living conditions. Upon arrival at Lucky Diggins, mama is thrilled with the promise of the land that lies before them. On the contrary, Lucy, describes the air as heavy with heat and dust burning her nose and stinging her eyes. Lucy describes the land as sunburned and barren and that, “Surely Hell was not far away.” California’s hate for the land eventually leads her to rename herself. In one of her many letters to her grandparents she explains she cannot hate California and be California.
Karen Cushman focuses on Lucy’s love for books and writing with the many letters that close the beginning chapters. Lucy has her one and only book, Ivanhoe, that she reads over and over. Finally there is a light at the end of the tunnel when her former teacher from New England sends her a box full of books. With her new collection Lucy soon becomes the makeshift Librarian of Lucky Diggins loaning her beloved books to miners and those miners loaning them to others. With Cushman’s focus on Lucy’s hobby of reading, the historical period will become a realization for readers whose own pastimes include cell phones, televisions, and computers. Lucy’s passion for reading and writing may lead young readers to a new found appreciation for their own books.
The novel takes on more dimensions with the different perspectives from characters and the relationships in Lucy’s life. One of the relationships that Lucy struggles with the most is that of her deceased father. She refers to him as Pa and always reminisces about him being the skinniest man ever, with his beard that she loved to rub against her face. As life goes on in Lucky Diggins she remembers him by always telling stories about him to her younger siblings. Lucy tells stories of when she was younger and would walk in the woods or to Oakbridge with her Pa. The day finally comes when she fears that she has forgotten him, and things get even more complicated when miners try and woo Lucy’s mother for marriage. Lucy is stubborn and steadfast that no one will ever take the place of her father. Her feelings only begin to change with the arrival of Brother Clyde Claymore, with his big hands and beliefs that even sway the non-marrying mind of her mother. The importance of Lucy’s father is also evident when she befriends a runaway slave and gives him the name of her adored father. The slave, Bernard as she calls him has a very important role in this story, because he explains how different is compared to the rest of the community of Luck Diggins. His goals are simple, not to strike it rich, but to simply be free.
Another relationship that gave shape to this novel is that of Lucy's brother Butte. Butte, the man of the household, has a conflicting relationship with his eldest sister that grows into love when he almost drowns. When Butte finally passes Lucy writes a letter making a statement that will resonate with all siblings, “Dear Gram and Grampop, Butte is dead. He is eleven years old, could do his sums, and knew fifty words for liquor. I didn’t know it but I loved him.” Readers will find it hard to believe that a young boy, during this time had to work and earn money to help the family.
All of these relationships are important because they give shape to the story and the details within the relationships give readers a glimpse into the life and times during the gold rush era. Readers will be astounded to find what life was like before television, cell phones, and Ipods.
Readers will be shocked by Cushman’s conclusion. With the amount of time that Lucy spent trying to leave Lucky Diggins, it is ironic that this would be the place she called home even after her family and Brother Clyde departed for the Sandwich islands. Karen Cushman leaves readers with an authors note about the California gold rush and where the idea for this story came from. Cushman explains that 90% of people came to California looking for gold, and that this story was about the other 10% of people. This story was inspired by the women and children, who came without a man and had to make their own way. Cushman states, “Lucy Whipple personifies the gold rush pioneers. She came to California to get rich and get out; yet beguiled by the land and the people, she stayed to be a Californian and enrich her new home with the experiences, culture, and expectations she brought with her.” Cushman has taken a time in history and interweaved it with imaginary people to resemble what life was like for families who headed westward in pursuit of their dreams.
4. REVIEW EXCERPTS
Publishers Weekly - 05-18-1998
A starred review to this gold-rush novel by Newbery Medalist Cushman, calling it "a coming-of-age story rich with historical flavor." Here she also renders serious social issues through sharply etched portraits: a runaway slave who has no name of his own, a preacher with a congregation of one, a raggedy child whose arms are covered in bruises. The writing reflects her expert craftsmanship; for example, Lucy's brother Butte, dead for lack of a doctor, is eulogized thus: "He was eleven years old, could do his sums, and knew fifty words for liquor."
School Library Journal
The two main characters are 12-years-old Lucy, who uses her considerable drive toward a much longed for return to the civilized world of her native New England, and Lucy's widowed mother, Arvella, a down-to-earth pioneer with an unquenchable thirst for adventure. This is also a tale of two strong-willed women locked in a mother-daughter conflict. Cushman's forceful writing combined with a narration in which the characters live and breathe make this a first choice for libraries.
Booklist
Cushman's research shows at times, but there's joy in the daily details (bread made with flour and water, with a drop of molasses to kill the taste of weevils) and in the tall-tale exaggeration of Lucy's narrative (she lives in a space so small "I can lie in bed and stir the beans on the stove without getting up”). There's sadness, too, as when her younger brother becomes sick and dies, and there's no doctor to help. In fact, the tone is reminiscent of Chaplin's movie The Gold Rush, with its mixture of farce and pathos. Many readers will recognize their own dislocations in Lucy's reluctant adventure. In a vividly written afterword, Cushman places Lucy's personal narrative in its historical context.
Kirkus Reviews
With a story that is less a period piece than a timeless and richly comic coming-of-age story, Cushman remains on a roll.
5. CONNECTIONS
* Have students research actual gold mining towns of California.
* Have students research to find women who went westward in pursuit of gold or a new life.
* Use this book to open discussion on Slavery and actual people like Bernard Freeman’s character who lived during this period of time.
* Talk about how the United States annexed California from Mexico, who had taken it from the Spanish. This discussion could eventually lead to the question of, “Who was here first?”
* Research the Maidu Indian people and how there downfall was caused by the Gold Rush.
*Titles to pair with this:
Schroeder, Lisa Golden. CALIFORNIA GOLD RUSH COOKING. ISBN 0736806032
Schanzer, Rosalyn. GOLD FEVER! TALES FROM THE CALIFORNIA GOLD RUSH. ISBN 0792273036
Raabe, Emily. The Gold Rush: California or Bust! ISBN 0823964949
Gregory, Kristiana. Seeds of Hope: The Gold Rush Diary of Susanna Fairchild, California Territory, 1849. ISBN 0590511572
CLEOPATRA
1. BIBLIOGRAPHY
Stanley, Diane & Vennma, Peter. 1994. CLEOPATRA. Ill by Diane Stanley. New York, NY: Morrow Junior Books. ISBN 0688104134
2. PLOT SUMMARY
Diane Stanley’s Cleopatra is a narrative biography that readers will be quickly drawn into. The story like format and intricate illustrations will even keep the attention of reluctant readers. Stanley has written this book in a non-traditional view of Cleopatra. In addition to highlighting her beauty, Stanley also highlights her intelligence. Stanley writes of the 18 year old queen of Egypt and her failed marriage to her brother Ptolemy XIII, which led to a battle that would drive Cleopatra out of Egypt by the age 20. Stanley focuses on the courtship between Cleopatra and Julius Caesar, and how she cleverly won him over. Cleopatra and Julius Caesar’s relationship was short-lived, eventually ending in Caesar’s death. With the death of Julius, Cleopatra would marry yet once again this time to Mark Antony. Stanley describes this, “Cleopatra captivated Antony, just as she had Julius Caesar. This was to be the second- and last love of her life.” Although Antony was already married, he soon divorced and lived his life with Cleopatra and their three children. Antony eventually gave Cleopatra and her three children large parts of Rome, incensing his former wife’s brother, Octavian. These events would eventually lead to the battle of Actium, where Anotny would abandon his ship and men to Octavian, and retreat to Cleopatra’s fleet. With the Accidental death of her husband Anotny, Cleopatra knew that she would be Octavian’s next target. According to Plutarch, before Octavian could disgrace her in death, Cleopatra took her own life with poison at age 39.
3. CRITICAL ANALYSIS
In this title, Stanley has provided a depiction of Cleopatra that is contradictory to her ancient enemies. Stanley provides a note to readers on ancient sources, citing “Everything we know about Cleopatra was written by her enemies. It is not surprising, then, that she was portrayed as a conniving, immoral woman.” Stanley also makes the point that much of the information acquired on Cleopatra’s infamous life was written by Greek historian, Plutarch. Stanley states, “Plutarch lived a 100 years after Cleopatra, and much of what he writes may have been mere gossip or legend, and many of his sources were influenced by the propaganda put fourth by the conquering Octavian and his supporters.” These points are crucial for readers to understand, because it displays how a historical event can have conflicting accounts.
Stanley also provides readers with other tools: preface, ancient maps, epilogue, and a pronunciation guide. The preface will prove to be most useful to readers by explaining the time frame of Cleopatra’s life such as: “Many people believe that Cleopatra was one of the ancient queens of Egypt. But, in fact, she did not live in the days of Pharaohs.” Readers may even be surprised to find out that Cleopatra was Macedonian Greek and not Egyptian.
It is important to make note of how Stanley tries to depict the human side of Cleopatra. Unlike many who viewed her as frivolous with her, “Mountains of baggage, her many servants, and her lavish ways.” Stanley accomplishes this in her writing with Plutarch's account of a fishing trip Cleopatra and Antony took. The story is as follows: “Antony was catching nothing, so he secretly ordered a servant to swim under the boat and attach fish to his line. The queen soon discovered his game, and played a trick of her own.” An account like this is readers will connect with. We may not all conquer foreign lands, but we are all guilty of having fun.
The artwork was done in gouache and is reminiscent of roman painting. The pages are covered in detail, from the intricate mosaic patterns to the architecture in the background. The use of rich colors will draw the reader’s eye into the page. The text is 13-pt Korinna, and it is segregated on its own space with the use of blocked mosaics and boarders. The text in this biography plays an important role because the look of it makes readers feel like they are reading a story rather than an informational book, an element that will make this title easy and enjoyable.
4. REVIEW EXCERPTS
Publishers Weekly
Here they make a seemingly effortless leap into ancient times, masterfully relating Cleopatra's life story through words and pictures. A succinct preface places the tale in historical context, noting that much of what is known about Cleopatra is based on legend or gossip--and that most accounts of her life were penned by her enemies. Stanley includes occasional quotes from the writings of Plutarch as she ably distills complex political machinations as well as the particulars of Cleopatra's often enigmatic private life, including her banishment from Alexandria and her fateful love for first Julius Caesar and then Mark Antony.
School Library Journal
In this lively, well-crafted biography, Stanley and Vennema brush the cobwebs from the popularly held portrait of Cleopatra to reveal a vital, warm, and politically adroit ruler. Lucid writing combines with carefully selected anecdotes, often attributed to the Greek historian Plutarch, to create an engaging narrative.
Booklist
The artwork includes full-page paintings of dramatic scenes as well as impressive painted mosaics that make up the jacket art, title page, and the background for the text. The story concerns Cleopatra's life from the age of 18, when she became the queen of Egypt (51 B.C.), through her liaisons with Julius Caesar and Mark Antony, and her struggle to bring back Egypt's former glory, to her death at the age of 39. One of the most impressive qualities of this beautiful book is its recognition of the problems of researching and writing history. Not only does a note introduce Plutarch as the main source, but it also discusses why Plutarch's account may not be entirely reliable.
Kirkus Reviews
In striving for accuracy, however, the authors sacrifice the romance of the story. Stanley's drawings, on the other hand, are exquisitely wrought with vivid color and fine mosaic detail. Stanley and Vennema's latest illustrated biography is a beautifully decorated, dull account of one of the most powerful women rulers of all time.
5. CONNECTIONS
*Have student research other accounts of Cleopatra and have them compare and contrast those accounts with this book.
*CRAFT- Have students take a good look at the cover of this title and explain to the technique of mosaics. With cut paper or tile let students create their own work mimicking this technique.
WORTH
1. BIBLIOGRAPHY
LaFaye, A. 2004. WORTH. New York, NY: Simon & Schuster Books for Young Readers. ISBN141554780.
2. PLOT SUMMARY
LaFaye has written a timely novel about a boy Nathanial Peale and his life after a tragic accident on the family farm. All Nathaniel has ever known his life with Ma working as a tinker and Pa working the Nebraska land, but all that changes when a quick storm comes and in the rush to get the crops in, Nathaniel’s leg gets injured by a spooked horse, forever changing his life. With Nathaniel unable to work Pa has no choice but to take in an orphan, John Worth, to help work the land. No one in the family is happy about this situation. Ma will not let John sleep or eat inside, and Nathaniel despises John for taking his spot next to Pa. Nathaniel struggles with his relationship with his father, because it will never be the same. With Nathaniel in school and John at home, both of the boys feel out of place, but they eventually learn to respect each others situation, especially when Nathaniel learns that John has lost his family to a fire. After a few unfortunate fights, John finally gets to eat at the table, and the boys eventually begin reading Greek myths together. In the end the boys really bond when they catch Horace Danver fence cutting, and save the town from a range war. Ultimately, Nathaniel realizes that having John, having a brother, would not be too bad.
3. CRITICAL ANALYSIS
Early on in the novel, LaFaye’s descriptive writing remains faithful to what life was like during this time. For example, Nathaniel describes his school: “The place was like root cellar dirt walls, air choked up with must, and bugs. Bugs crawled all over the place.” After reading these excerpt readers will be grateful for all that today’s schools offer them. LaFaye’s vocabulary terms like “cattle thief” and “fence cutter” will likely prompt readers into finding out more about range wars and how and why they occurred. LaFaye’s writing and language choices help historical period come to life.
Readers will personally connect with this story because of the turmoil that the two boys are dealing with. Jon Worth’s situation will make readers sympathetic right away when they hear how he is treated by the Peale family. Making him sit away from the rest of the family during church and sleep outside, and with Nathaniel reminding himself, “He might live at our place and work with pa, but like ma said, he was a farmhand not a son. Not my brother. Just a boy who did my work.” After passages like this it maybe hard for readers to connect with Nathaniel and his selfish feelings, but they will slowly feel compassion towards him, as he longs for the past relationship with his father and to do the things that he took for granted. LaFaye makes Nathaniel’s anger apparent in the chapter six when he ponders, “Why’d God have to break me up inside? Why’d he have to kill John’s parents? If he’d just left well enough, we’d each have our pa back. We’d be happy. Part of a family, not sitting here all alone in a mess of people.” The real turning point in the story occurs after a fight between the boys. Ma initially blames John only to find out that it was her son who had instigated the confrontation. After Ma and Nathaniel apologize, it is then that the walls broken down between them all as John looks at ma and reminisces about his own mother saying, “I miss her till it chokes me.” As readers progress through the novel they will get to know the two young characters and realize how ironic their circumstances are, Nathaniel in school and John working the farm, and both of them wishing to be in the others shoes.
LaFaye gives readers a writing that is filled with emotion and hope, in a plot that reminds readers that sometimes life gives us situations that we are unprepared for, but are not impossible to overcome. LaFaye concludes the story with John, no longer a nuisance to Nathaniel, but a brother, “A Brother to swap stories with, who’d learn about history from me and teach me how to do my sums. Come winter, when work around the farm grows as thin as bare trees, Pa might even let him go to school with me.”(pg144.)
4. REVIEW EXCERPTS
Publishers Weekly - 08-28-2006
LaFaye takes an unusual perspective on the Orphan Train, focusing on the adoptive family, in what PW called a "spare, lyrical novel."
School Library Journal
LaFaye’s gives an unsparing look at the grueling hardships of day-to-day farm life during the late 19th-century and the ongoing battle between farmers and ranchers for control of the land. A compelling and historically accurate story beautifully rendered.
Booklist
Nathaniel's angry first-person narrative is brutally honest, and, at first, he is bitterly resentful of John, an orphan who lost his family in a New York City tenement fire: "Just 'cause he lost his father didn't mean he had a right to mine." Through Nathaniel’s narrative comes a sense of the grueling daily work, the family struggle to try to hold on to the land and avoid failure. The short, spare novel doesn't need the heavy heroic parallels; it tells its own story of darkness and courage. A great choice for American history classes.
Children's Literature
LaFaye's splendid prose evokes the searing physical pain of Nathaniel’s leg injury and John's lonely grief over his family's death in a tenement fire. The novel incorporates important themes of 19th century rural America in believable and moving ways: the range wars pitting rancher against farmer; the community's ambivalence about the need for schooling; the uncertainties of lives in which family members die suddenly and bankrupt families abandon their homesteads; and the plight of foreign immigrants seeking tolerance.
Kirkus Reviews
It's a lively story of two boys set against a backdrop of the Orphan Trains, range wars, lynchings, drownings, and sheep killings. Something for everyone.
5. CONNECTIONS
* Have students read more about orphan trains and range wars.
* Divide the class into pairs and have each individual in a pair represent Nathaniel and have the other represent John, let them continue the story to write about their next adventure together. Other options would be:
Let students reenact an excerpt from the story.
Let them journal about how they would feel in the given situation.
* Use this book as a bridge discussion to the compassion, and talk about feelings and why we feel the way we do, and how we can overcome feelings of jealousy and despair, like Nathaniel and John eventually did.
THE BALLAD OF LUCY WHIPPLE
1. BIBLIOGRAPHY
Cushman, Karen. 1996. THE BALLAD OF LUCY WHIPPLE. New York, NY: Clarion Books of Houghton Mifflin Books. ISBN 0395728061
2. PLOT SUMMARY
Karen Cushman has written a novel of young girl California Morning Whipple and her family’s move West during the California Gold rush. This story is not typical with a widowed mother and her four children moving westward from Massachusetts to the desolate mining town of Lucky Diggins to pursue “the hearts desire.” California or Lucy, as she renames herself at age 12, is the oldest of four children and hates everything about Lucky Diggins. Gone are Grandma and Granpop, the library, and the fresh tomatoes that were so abundant back home. Throughout the story Lucy plots her return to Massachusetts only to be derailed by the death of her only brother Butte and a saloon fire that takes everything they owned. Lucy’s complicated relationship with her mother comes full circle at the end of this novel when mama pursues her knew heart’s desire and Lucy pleads to let her too pursue her own. As Lucy packs up to pursue her own heart’s desire she finds that she has had it all along, her family. Lucy realizes that she can no longer find them in Massachusetts, but she will always have them in her heart.
3. CRITICAL ANALYSIS
Cushman’s writing provides readers with descriptive details that create the element of a “living past”, and it will leave them sympathizing with California and her living conditions. Upon arrival at Lucky Diggins, mama is thrilled with the promise of the land that lies before them. On the contrary, Lucy, describes the air as heavy with heat and dust burning her nose and stinging her eyes. Lucy describes the land as sunburned and barren and that, “Surely Hell was not far away.” California’s hate for the land eventually leads her to rename herself. In one of her many letters to her grandparents she explains she cannot hate California and be California.
Karen Cushman focuses on Lucy’s love for books and writing with the many letters that close the beginning chapters. Lucy has her one and only book, Ivanhoe, that she reads over and over. Finally there is a light at the end of the tunnel when her former teacher from New England sends her a box full of books. With her new collection Lucy soon becomes the makeshift Librarian of Lucky Diggins loaning her beloved books to miners and those miners loaning them to others. With Cushman’s focus on Lucy’s hobby of reading, the historical period will become a realization for readers whose own pastimes include cell phones, televisions, and computers. Lucy’s passion for reading and writing may lead young readers to a new found appreciation for their own books.
The novel takes on more dimensions with the different perspectives from characters and the relationships in Lucy’s life. One of the relationships that Lucy struggles with the most is that of her deceased father. She refers to him as Pa and always reminisces about him being the skinniest man ever, with his beard that she loved to rub against her face. As life goes on in Lucky Diggins she remembers him by always telling stories about him to her younger siblings. Lucy tells stories of when she was younger and would walk in the woods or to Oakbridge with her Pa. The day finally comes when she fears that she has forgotten him, and things get even more complicated when miners try and woo Lucy’s mother for marriage. Lucy is stubborn and steadfast that no one will ever take the place of her father. Her feelings only begin to change with the arrival of Brother Clyde Claymore, with his big hands and beliefs that even sway the non-marrying mind of her mother. The importance of Lucy’s father is also evident when she befriends a runaway slave and gives him the name of her adored father. The slave, Bernard as she calls him has a very important role in this story, because he explains how different is compared to the rest of the community of Luck Diggins. His goals are simple, not to strike it rich, but to simply be free.
Another relationship that gave shape to this novel is that of Lucy's brother Butte. Butte, the man of the household, has a conflicting relationship with his eldest sister that grows into love when he almost drowns. When Butte finally passes Lucy writes a letter making a statement that will resonate with all siblings, “Dear Gram and Grampop, Butte is dead. He is eleven years old, could do his sums, and knew fifty words for liquor. I didn’t know it but I loved him.” Readers will find it hard to believe that a young boy, during this time had to work and earn money to help the family.
All of these relationships are important because they give shape to the story and the details within the relationships give readers a glimpse into the life and times during the gold rush era. Readers will be astounded to find what life was like before television, cell phones, and Ipods.
Readers will be shocked by Cushman’s conclusion. With the amount of time that Lucy spent trying to leave Lucky Diggins, it is ironic that this would be the place she called home even after her family and Brother Clyde departed for the Sandwich islands. Karen Cushman leaves readers with an authors note about the California gold rush and where the idea for this story came from. Cushman explains that 90% of people came to California looking for gold, and that this story was about the other 10% of people. This story was inspired by the women and children, who came without a man and had to make their own way. Cushman states, “Lucy Whipple personifies the gold rush pioneers. She came to California to get rich and get out; yet beguiled by the land and the people, she stayed to be a Californian and enrich her new home with the experiences, culture, and expectations she brought with her.” Cushman has taken a time in history and interweaved it with imaginary people to resemble what life was like for families who headed westward in pursuit of their dreams.
4. REVIEW EXCERPTS
Publishers Weekly - 05-18-1998
A starred review to this gold-rush novel by Newbery Medalist Cushman, calling it "a coming-of-age story rich with historical flavor." Here she also renders serious social issues through sharply etched portraits: a runaway slave who has no name of his own, a preacher with a congregation of one, a raggedy child whose arms are covered in bruises. The writing reflects her expert craftsmanship; for example, Lucy's brother Butte, dead for lack of a doctor, is eulogized thus: "He was eleven years old, could do his sums, and knew fifty words for liquor."
School Library Journal
The two main characters are 12-years-old Lucy, who uses her considerable drive toward a much longed for return to the civilized world of her native New England, and Lucy's widowed mother, Arvella, a down-to-earth pioneer with an unquenchable thirst for adventure. This is also a tale of two strong-willed women locked in a mother-daughter conflict. Cushman's forceful writing combined with a narration in which the characters live and breathe make this a first choice for libraries.
Booklist
Cushman's research shows at times, but there's joy in the daily details (bread made with flour and water, with a drop of molasses to kill the taste of weevils) and in the tall-tale exaggeration of Lucy's narrative (she lives in a space so small "I can lie in bed and stir the beans on the stove without getting up”). There's sadness, too, as when her younger brother becomes sick and dies, and there's no doctor to help. In fact, the tone is reminiscent of Chaplin's movie The Gold Rush, with its mixture of farce and pathos. Many readers will recognize their own dislocations in Lucy's reluctant adventure. In a vividly written afterword, Cushman places Lucy's personal narrative in its historical context.
Kirkus Reviews
With a story that is less a period piece than a timeless and richly comic coming-of-age story, Cushman remains on a roll.
5. CONNECTIONS
* Have students research actual gold mining towns of California.
* Have students research to find women who went westward in pursuit of gold or a new life.
* Use this book to open discussion on Slavery and actual people like Bernard Freeman’s character who lived during this period of time.
* Talk about how the United States annexed California from Mexico, who had taken it from the Spanish. This discussion could eventually lead to the question of, “Who was here first?”
* Research the Maidu Indian people and how there downfall was caused by the Gold Rush.
*Titles to pair with this:
Schroeder, Lisa Golden. CALIFORNIA GOLD RUSH COOKING. ISBN 0736806032
Schanzer, Rosalyn. GOLD FEVER! TALES FROM THE CALIFORNIA GOLD RUSH. ISBN 0792273036
Raabe, Emily. The Gold Rush: California or Bust! ISBN 0823964949
Gregory, Kristiana. Seeds of Hope: The Gold Rush Diary of Susanna Fairchild, California Territory, 1849. ISBN 0590511572
CLEOPATRA
1. BIBLIOGRAPHY
Stanley, Diane & Vennma, Peter. 1994. CLEOPATRA. Ill by Diane Stanley. New York, NY: Morrow Junior Books. ISBN 0688104134
2. PLOT SUMMARY
Diane Stanley’s Cleopatra is a narrative biography that readers will be quickly drawn into. The story like format and intricate illustrations will even keep the attention of reluctant readers. Stanley has written this book in a non-traditional view of Cleopatra. In addition to highlighting her beauty, Stanley also highlights her intelligence. Stanley writes of the 18 year old queen of Egypt and her failed marriage to her brother Ptolemy XIII, which led to a battle that would drive Cleopatra out of Egypt by the age 20. Stanley focuses on the courtship between Cleopatra and Julius Caesar, and how she cleverly won him over. Cleopatra and Julius Caesar’s relationship was short-lived, eventually ending in Caesar’s death. With the death of Julius, Cleopatra would marry yet once again this time to Mark Antony. Stanley describes this, “Cleopatra captivated Antony, just as she had Julius Caesar. This was to be the second- and last love of her life.” Although Antony was already married, he soon divorced and lived his life with Cleopatra and their three children. Antony eventually gave Cleopatra and her three children large parts of Rome, incensing his former wife’s brother, Octavian. These events would eventually lead to the battle of Actium, where Anotny would abandon his ship and men to Octavian, and retreat to Cleopatra’s fleet. With the Accidental death of her husband Anotny, Cleopatra knew that she would be Octavian’s next target. According to Plutarch, before Octavian could disgrace her in death, Cleopatra took her own life with poison at age 39.
3. CRITICAL ANALYSIS
In this title, Stanley has provided a depiction of Cleopatra that is contradictory to her ancient enemies. Stanley provides a note to readers on ancient sources, citing “Everything we know about Cleopatra was written by her enemies. It is not surprising, then, that she was portrayed as a conniving, immoral woman.” Stanley also makes the point that much of the information acquired on Cleopatra’s infamous life was written by Greek historian, Plutarch. Stanley states, “Plutarch lived a 100 years after Cleopatra, and much of what he writes may have been mere gossip or legend, and many of his sources were influenced by the propaganda put fourth by the conquering Octavian and his supporters.” These points are crucial for readers to understand, because it displays how a historical event can have conflicting accounts.
Stanley also provides readers with other tools: preface, ancient maps, epilogue, and a pronunciation guide. The preface will prove to be most useful to readers by explaining the time frame of Cleopatra’s life such as: “Many people believe that Cleopatra was one of the ancient queens of Egypt. But, in fact, she did not live in the days of Pharaohs.” Readers may even be surprised to find out that Cleopatra was Macedonian Greek and not Egyptian.
It is important to make note of how Stanley tries to depict the human side of Cleopatra. Unlike many who viewed her as frivolous with her, “Mountains of baggage, her many servants, and her lavish ways.” Stanley accomplishes this in her writing with Plutarch's account of a fishing trip Cleopatra and Antony took. The story is as follows: “Antony was catching nothing, so he secretly ordered a servant to swim under the boat and attach fish to his line. The queen soon discovered his game, and played a trick of her own.” An account like this is readers will connect with. We may not all conquer foreign lands, but we are all guilty of having fun.
The artwork was done in gouache and is reminiscent of roman painting. The pages are covered in detail, from the intricate mosaic patterns to the architecture in the background. The use of rich colors will draw the reader’s eye into the page. The text is 13-pt Korinna, and it is segregated on its own space with the use of blocked mosaics and boarders. The text in this biography plays an important role because the look of it makes readers feel like they are reading a story rather than an informational book, an element that will make this title easy and enjoyable.
4. REVIEW EXCERPTS
Publishers Weekly
Here they make a seemingly effortless leap into ancient times, masterfully relating Cleopatra's life story through words and pictures. A succinct preface places the tale in historical context, noting that much of what is known about Cleopatra is based on legend or gossip--and that most accounts of her life were penned by her enemies. Stanley includes occasional quotes from the writings of Plutarch as she ably distills complex political machinations as well as the particulars of Cleopatra's often enigmatic private life, including her banishment from Alexandria and her fateful love for first Julius Caesar and then Mark Antony.
School Library Journal
In this lively, well-crafted biography, Stanley and Vennema brush the cobwebs from the popularly held portrait of Cleopatra to reveal a vital, warm, and politically adroit ruler. Lucid writing combines with carefully selected anecdotes, often attributed to the Greek historian Plutarch, to create an engaging narrative.
Booklist
The artwork includes full-page paintings of dramatic scenes as well as impressive painted mosaics that make up the jacket art, title page, and the background for the text. The story concerns Cleopatra's life from the age of 18, when she became the queen of Egypt (51 B.C.), through her liaisons with Julius Caesar and Mark Antony, and her struggle to bring back Egypt's former glory, to her death at the age of 39. One of the most impressive qualities of this beautiful book is its recognition of the problems of researching and writing history. Not only does a note introduce Plutarch as the main source, but it also discusses why Plutarch's account may not be entirely reliable.
Kirkus Reviews
In striving for accuracy, however, the authors sacrifice the romance of the story. Stanley's drawings, on the other hand, are exquisitely wrought with vivid color and fine mosaic detail. Stanley and Vennema's latest illustrated biography is a beautifully decorated, dull account of one of the most powerful women rulers of all time.
5. CONNECTIONS
*Have student research other accounts of Cleopatra and have them compare and contrast those accounts with this book.
*CRAFT- Have students take a good look at the cover of this title and explain to the technique of mosaics. With cut paper or tile let students create their own work mimicking this technique.
WORTH
1. BIBLIOGRAPHY
LaFaye, A. 2004. WORTH. New York, NY: Simon & Schuster Books for Young Readers. ISBN141554780.
2. PLOT SUMMARY
LaFaye has written a timely novel about a boy Nathanial Peale and his life after a tragic accident on the family farm. All Nathaniel has ever known his life with Ma working as a tinker and Pa working the Nebraska land, but all that changes when a quick storm comes and in the rush to get the crops in, Nathaniel’s leg gets injured by a spooked horse, forever changing his life. With Nathaniel unable to work Pa has no choice but to take in an orphan, John Worth, to help work the land. No one in the family is happy about this situation. Ma will not let John sleep or eat inside, and Nathaniel despises John for taking his spot next to Pa. Nathaniel struggles with his relationship with his father, because it will never be the same. With Nathaniel in school and John at home, both of the boys feel out of place, but they eventually learn to respect each others situation, especially when Nathaniel learns that John has lost his family to a fire. After a few unfortunate fights, John finally gets to eat at the table, and the boys eventually begin reading Greek myths together. In the end the boys really bond when they catch Horace Danver fence cutting, and save the town from a range war. Ultimately, Nathaniel realizes that having John, having a brother, would not be too bad.
3. CRITICAL ANALYSIS
Early on in the novel, LaFaye’s descriptive writing remains faithful to what life was like during this time. For example, Nathaniel describes his school: “The place was like root cellar dirt walls, air choked up with must, and bugs. Bugs crawled all over the place.” After reading these excerpt readers will be grateful for all that today’s schools offer them. LaFaye’s vocabulary terms like “cattle thief” and “fence cutter” will likely prompt readers into finding out more about range wars and how and why they occurred. LaFaye’s writing and language choices help historical period come to life.
Readers will personally connect with this story because of the turmoil that the two boys are dealing with. Jon Worth’s situation will make readers sympathetic right away when they hear how he is treated by the Peale family. Making him sit away from the rest of the family during church and sleep outside, and with Nathaniel reminding himself, “He might live at our place and work with pa, but like ma said, he was a farmhand not a son. Not my brother. Just a boy who did my work.” After passages like this it maybe hard for readers to connect with Nathaniel and his selfish feelings, but they will slowly feel compassion towards him, as he longs for the past relationship with his father and to do the things that he took for granted. LaFaye makes Nathaniel’s anger apparent in the chapter six when he ponders, “Why’d God have to break me up inside? Why’d he have to kill John’s parents? If he’d just left well enough, we’d each have our pa back. We’d be happy. Part of a family, not sitting here all alone in a mess of people.” The real turning point in the story occurs after a fight between the boys. Ma initially blames John only to find out that it was her son who had instigated the confrontation. After Ma and Nathaniel apologize, it is then that the walls broken down between them all as John looks at ma and reminisces about his own mother saying, “I miss her till it chokes me.” As readers progress through the novel they will get to know the two young characters and realize how ironic their circumstances are, Nathaniel in school and John working the farm, and both of them wishing to be in the others shoes.
LaFaye gives readers a writing that is filled with emotion and hope, in a plot that reminds readers that sometimes life gives us situations that we are unprepared for, but are not impossible to overcome. LaFaye concludes the story with John, no longer a nuisance to Nathaniel, but a brother, “A Brother to swap stories with, who’d learn about history from me and teach me how to do my sums. Come winter, when work around the farm grows as thin as bare trees, Pa might even let him go to school with me.”(pg144.)
4. REVIEW EXCERPTS
Publishers Weekly - 08-28-2006
LaFaye takes an unusual perspective on the Orphan Train, focusing on the adoptive family, in what PW called a "spare, lyrical novel."
School Library Journal
LaFaye’s gives an unsparing look at the grueling hardships of day-to-day farm life during the late 19th-century and the ongoing battle between farmers and ranchers for control of the land. A compelling and historically accurate story beautifully rendered.
Booklist
Nathaniel's angry first-person narrative is brutally honest, and, at first, he is bitterly resentful of John, an orphan who lost his family in a New York City tenement fire: "Just 'cause he lost his father didn't mean he had a right to mine." Through Nathaniel’s narrative comes a sense of the grueling daily work, the family struggle to try to hold on to the land and avoid failure. The short, spare novel doesn't need the heavy heroic parallels; it tells its own story of darkness and courage. A great choice for American history classes.
Children's Literature
LaFaye's splendid prose evokes the searing physical pain of Nathaniel’s leg injury and John's lonely grief over his family's death in a tenement fire. The novel incorporates important themes of 19th century rural America in believable and moving ways: the range wars pitting rancher against farmer; the community's ambivalence about the need for schooling; the uncertainties of lives in which family members die suddenly and bankrupt families abandon their homesteads; and the plight of foreign immigrants seeking tolerance.
Kirkus Reviews
It's a lively story of two boys set against a backdrop of the Orphan Trains, range wars, lynchings, drownings, and sheep killings. Something for everyone.
5. CONNECTIONS
* Have students read more about orphan trains and range wars.
* Divide the class into pairs and have each individual in a pair represent Nathaniel and have the other represent John, let them continue the story to write about their next adventure together. Other options would be:
Let students reenact an excerpt from the story.
Let them journal about how they would feel in the given situation.
* Use this book as a bridge discussion to the compassion, and talk about feelings and why we feel the way we do, and how we can overcome feelings of jealousy and despair, like Nathaniel and John eventually did.
Thursday, October 18, 2007
Module/Genre 4 Nonfiction Literature
Module/Genre 4 Nonfiction Literature
OUT OF SIGHT: PICTURES OF HIDDEN WORLDS
1. BIBLIOGRAPHY
Simon, Seymour. 2000. OUT OF SIGHT: PICTURES OF HIDDEN WORLDS. New York, NY: Sea Star Books. ISBN 1587170116
2. PLOT SUMMARY
Seymour Simon has written the perfect informational picture book for intriguing minds of all ages, the photography jumps right off the page and readers will not be let down from one page to the next. Simon has created a world where the naked eye cannot go. With brief text and bold pictures, readers will be fascinated with the representations of their insides: tomograms of lungs, skin magnified at 500x and an endoscope inside the heart are just a few of the areas of the human body that Simon covers. Simon also explains the hidden world of time with a bullet slashing a card; this eye catching piece will have the reader saying, “Wow!”
Simon closes the book with hidden worlds of geography and space and reminding readers that there are many more hidden worlds out there left to explore.
3. CRITICAL ANALYSIS
Seymour Simon writes an introduction to the reader stating, “There are worlds that are too small, too distant, too fast. There are worlds that are behind or within other objects. And there are kinds of lights that eyes just cannot see.” This brief note is very important because it broadens the reader’s knowledge into hidden worlds they are about to encounter on the book's pages.
With each page Simon goes beyond educating the reader as to what they are looking at, he goes in detail as to how the image was generated and how it can be manipulated. For example, with the lady bug, Simon uses basic vocabulary to describe the “colorful looking monster,” but he does not underestimate the reader's comprhension, he then specifies that the image is actually a SEM (scanning electron micrograph). From there he further details the different views that can be presented with this tool, and explains that the color in this photo is computer processed to make details more visible. Simon makes SEM knowledge more applicable to young readers when he presents an image of velcro. Readers will be surprised to find out that the worm looking creatures are nothing more that part of their shoes magnified at 140x.
The illustrations in this book are similar to that of a photo essay, with their massive size and minimal text. Blocks of text are utilized to not deter from the striking images. Neon brain scans and a satellite image of the Himalayas will let the reader peak inside a world of the unknown, and the new images will give-way to a different perspective to what they had previously known. Young readers may challenge the idea that they’re brain is not red and blue, or that mountains are not flat, but triangular, and this is exactly what Simon wants the reader to do…Explore!
Simon leaves the reader with some very intriguing questions: “What are the secrets of matter? Does life exist on other planets? Where did life itself come from?” These questions and this book will definitely get readers thinking about the world, beyond what they can see.
4. REVIEW EXCERPTS
Booklist - 10-01-2000
At times the text seems torn between discussing what we are seeing and explaining how the image was made. More emphasis on technique would have made this a stronger, more coherent book, but anyone who comes across it will happily browse through the intriguing and sometimes awesome pictures collected in this handsome volume.
Publishers Weekly- 07-24-2000
The author keeps his text to a minimum, explaining succinctly each image featured and the methods and instruments used to capture them, including compound microscopes, fiber optics, CAT scans, MRIs, thermograms and high-speed photography. Only occasionally does the narrative become overly technical for the targeted audience, as in a description of the magnification of subatomic particles in motion. Even the creepy pictures (a head louse magnified 320 times; and plaque and tartar on the surface of a tooth, magnified some 2,700 times) will attract readers.
School Library Journal - 11-01-2000
The text serves primarily as extended captions to the photos, providing information on the ways the pictures were taken and a basic explanation of what the images represent. The large, bright illustrations are beautifully reproduced and present some fascinating views of the world. The subjects range from the very small, such as the head of a bedbug, to the very large and far away, as photographed by the Hubble Space Telescope. This book would work well with an adult who wants to share the wonders of science with young children.
5. CONNECTIONS
*Use this book as introduction to a science unit, and then let children examine other specimens with a microscope.
* Use this book as a game, show the students the different photographs and let them guess at what they think they may be looking at. As time progresses, give the students different clues that are relative to what they are looking at. Start with an easy one! (Lungs page 19.)
* After talking about the use of strobe lights and photography, bring in a strobe light to demonstrate the effects they have, even as you look at an image in person. Then take multiple photos, develop, and discuss!
*Look at the various geography photos and explain relief maps, then let each student develop a key and color their own relief map.
* After reading this book, have students make their own suggestions of things that are too small to see with the naked eye.
*Other titles to pair with this:
Maynard, Christopher. MICRO MONSTERS: LIFE UNDER THE MICROSCOPE. ISBN 0789447568
Kramer, Stephen & Kunkel, Dennis. HIDDEN WORLDS: LOOKING THROUGH A Scientist’s MICROSCOPE. ISBN 0618354050
Bullock, Linda. LOOKING THROUGH A MICROSCOPE. ISBN 0516279122
ACTUAL SIZE
1. BIBLIOGRAPHY
Jenkins, Steve. 2004. ACTUAL SIZE. New York, NY: Houghton Mifflin Company. ISBN 0618375945
2. PLOT SUMMARY
At first glance readers may assume that this title is nothing more than another informational picture book about animals, but once opened, readers will be astounded with the massive pictures and facts. Jenkins has composed a book of animals that are either mammoth or miniscule to the readers own proportion. His writing style incorporates the reader and makes them part of the experience. Animals stretch across the pages of white space to bring perspective to their size, and these are not enlargements but the actual size of the animal depicted. Readers will be taken aback when they realize that the size of giant squid’s eye is larger than their own head. Jenkins’s text is short and simple, crafted in away that will not overwhelm readers or distract from his illustrations. Jenkins challenge’s readers to see how you will measure up to these creatures, and people will surely welcome the challenge.
3. CRITICAL ANALYSIS
Steve Jenkins has come up with a very interactive nonfiction book that children will jump right into. With an introduction that asking the reader if they have ever shaken the hand of a gorilla, it is a sure bet they will turn the page to learn a bit more. The concept of this book is reader participation, not just about memorizing facts, and this will encourage readers to incorporate themselves in relation to the animals.
Jenkins has mastered the idea of child-friendly illustrations with his use of cut and torn paper collages. Some of the animals in this book may be frightening to young readers if they were presented in actual photographs, especially the foldout of the saltwater crocodile. Jenkins’s paper collages downplay the demure of the dangerous creatures to make the book more inviting to younger audiences. The paper elements also add texture and dimension to the large animals, so that their depictions are somewhat realistic. Jenkins’s made a solid choice with the white background, which really makes his work the forefront of the book.
The text of the book is minimal, set in Futura. This font choice contains no serifs keeping inline with the entire book that has very little detail. Each animal is labeled with its name in boldface, and it is accompanied by a sentence that is sure to grab an inattentive listener. For example, “The Goliath Frog lives in Africa. It’s big enough to catch and eat birds and rats.” Jenkins’s presents the animals information in the format of “little known facts” so that the initial discovery may lead a reader to explore on further.
In the back of the book Jenkins’s includes a glossary that includes all the animals in the book. This section provides a more in-depth look at each creature. Although they are short, they include facts about weight, habitat, and types of prey. Jenkins’s concept of a picture glossary makes sense for younger audiences, who may not remember the exact name of animal they want to learn more about. Using this tool children can flip right to back of the book and point to the animal that intrigues them most. These tid-bits are perfect for intermediate readers assigned to report on an animal, the information presented is concise and understandable the confident reader.
4. REVIEW EXCERPTS
Booklist - 05-15-2004 Starred Review
The resulting juxtapositions will leave children marveling at one species' daintiness, and then shuddering as they mentally sketch in the unseen portions of more formidable beasts. Jenkins' artwork is gorgeous (a gatefold of a frog in midleap is particularly memorable), and, at the end of the book, thumbnail images of the featured animals paired with information about habitat and behavior put the piquant visuals into a broader context. An unusual, unusually effective tool for connecting children to nature's astonishing variety.
Horn Book Magazine - 05-01-2004
The relative sizes are accentuated by the white backdrop and are grounded by the straightforward information that accompanies the creatures--one or two brief sentences followed by the animal's height/length and weight--as they parade across the expansive pages.
Kirkus - 05-01-2004
Four concluding pages provide more information about the featured animals, along with reasonably sized, full-body reiterations of the illustrations. Sadly enough, however, in a book that is so intimately concerned with measurement, only English units are used, seemingly ignoring the fact that the metric system is the universal language of science worldwide. A regrettable flaw in an otherwise outstanding offering.
Publishers Weekly - 04-19-2004
Animals in Action A trio of titles explores the animal kingdom. Actual Size by Steve Jenkins is the Caldecott Honor artist's latest foray into the natural world. Here, his signature cut- and torn-paper collage artwork depicts animals to scale, imitating fur and skin remarkably.
School Library Journal - 06-01-2004
Mixing deceptive simplicity with absolute clarity, this beautiful book is an enticing way to introduce children to the glorious diversity of our natural world, or to illustrate to budding scientists the importance of comparison, measurement, observation, and record keeping. A thoroughly engaging read-aloud and a must-have for any collection
5. CONNECTIONS
* Have students choose one animal from Jenkins’s book and have them do an in depth report on it, with the stipulation that they find an unusual characteristic of there particular animal.
* Give each child a map and have them find where these animals are indigenous too, and then discuss the types of climates they live in.
* Get a long roll of paper and measure out 23 feet. Next, look at Jenkins depiction of the Saltwater Crocodile and ask students to re-create the reptile on paper. Students could be assigned to different parts of the reptile’s structure.
* To gain more perspective on the proportion of these animals, collect different household items to compare to the illustrations. Give children a chance to brainstorm ideas about what else may be similar in size. Let students create there own book with an ACTUAL SIZE animal on one page and on the opposite page have them make a list of all the things that are relative to the size of that particular animal.
* Explain to students the illustration process of this book, and then give them various colors of construction paper and let them try mimicking Jenkins’s style, except let them choose a animal, maybe a pet of their own.
*Other titles to pair with this:
Jenkins, Steve. PREHISTORIC ACTUAL SIZE. ISBN 0618535780
Jenkins, Steve. WHAT DO YOU DO WHEN SOMETHING WANTS TO EAT YOU? ISBN 0395825148
Page, Robin. & Jenkins, Steve. WHAT DO YOU DO WITH A TAIL LIKE THIS? ISBN 0618256288
Jenkins, Steve. Big & Little. ISBN 0395726646
SECRETS OF A CIVIL WAR SUBMARINE: Solving the Mysteries of the H.L. Hunley
1. BIBLIOGRAPHY
Walker, Sally M. 2005. SECRETS OF A CIVIL WAR SUBMARINE: Solving the Mysteries of the H.L. Hunley. Illustrations and maps on pp.7, 13,15,17,18,19,36,80 by Laura Westlund. Minneapolis, MN: Carolrhoda Books Inc. ISBN 1575058308
2. PLOT SUMMARY
Walker has written a detailed account of Civil War submarine, the H.L. Hunley. Walker’s writing begins with a brief history of its builders: Horace Lawson Hunley and James McClintock and their arrival in Mobile, Alabama in 1862. Her writings then move to the submarine itself describing its structure and how the effects of buoyancy allow it to: sink, rise, and deliver torpedoes. Walker gives an account of the two fatal disasters that occurred before the Hunley went down for the third and final time. Before the Hunley disappeared it did accomplish the mission of sinking the Housatonic, making it the first submarine to sink an enemy ship. Walker proceeds on with the moment readers are waiting for: discovery of the Hunley. The last chapters of the book really delve into the recovery of the Hunley, the science of making it happen, the treasures within, and the secrets of the lives lost.
3. CRITICAL ANALYSIS
This book is not typical of an informational title. From the beginning it is apparent that the author and reader will embark on a journey together. Walker approaches this title with her personal view of what she has learned and what has yet to be learned.
The journey of the Hunley starts with her people, and Walker makes the people of Hunley just as important as the Hunley itself, and this is evident from the beginning with the history and facts of Horace Lawson Hunley and James McClintock both who designed the infamous submarine. McClintock was an engineer who built gauges for steam-operated equipment. Horace Hunley was a wealthy plantation owner who worked as a lawyer, customs officer and captain of a blockade runner. Walker further explains Horace Hunley's ambitions for building submarines, marked not by profit but by his belief that Southern States had been right to secede the United States in 1861. Before the H.L.Hunley, Horace and McClintock made two submarines that were unsuccessful: the Pioneer and American Diver. The closing pages of this book offer even more evidence as to how important the people of the Hunley were. Chapters eight and nine offer a personal look at the crew with the forensic archeology and recovering their personal belongings. Archeologist, Doug Owsley worked with others to reconstruct each crew member’s skull, so that each name may have a face.
This title not only gives the reader a look into history, but several lessons in science. It is in Chapter two where Walker educates the reader about the principle of buoyancy. She explains the basic scientific law, “That two objects cannot be on the same place at the same time.” There are three separate diagrams explaining how buoyancy applies to the Hunley. The principle consists of the following:
Positive Bouyancy-pg16 “If we could place the Hunley in a giant swimming pool, we could observe how much water she displaces. The Hunley floats because she is positively buoyant.”
Negative Bouyancy-pg18 “As the Hunley dives, water enters her ballast tanks. She becomes heavier than the water she displaces. Negatively buoyant, she sinks.”
Neutral Buoyancy-pg19 “The Hunleys weight equals the weight of the water she displaces. She is neutrally buoyant and holds steady in the water.”
The second half of Walker's titl;e gives way to the rising of the Hunley.After long searching for the sunken Hunley, it was on May 3rd 1995 that Clive Cussler, Wes Hall, Randolph Wilbanks, and Henry Pecorelli finally discovered the Hunley. Next would come the rising of the Hunley. This process would be aided by a Klarissa B, a barge with six legs securely planted on the ocean floor to create stability, and 32 nylon slings would be placed underneath the submarine, finally a crane would lift it out of the water. Archeologist, Maria Jacobsen reiterates the importance of math to young readers stating, “Designing the truss and determining how many slings were needed required hundreds of mathematical calculations. Math is very, very powerful tool for calculating what is going to happen when you are lifting heavy yet fragile objects.”
Walker’s title offers a wealth of information that may be overwhelming to a young reader initially, but she uses simple yet informative language so that the reader may digest and retain the information. The author also offers a glossary and a list of websites that may aid the reader in further research and understanding. Like many informational titles Walker has chosen to use chapters making it approachable to readers who can only mange a chapter at a time, they may be more apt to read a title that has starting and stopping points along the way.
The cover of this book utilizes the element of attractive design, with an underwater shot of the H.L Hunley with highlighted bursts of green and yellow. Readers may be disappointed if they are anticipating more photographs like this. The majority of the pages are laden with text and smaller photographs, still readers will take interest in the historical documents and diagrams sprinkled throughout. Highlights of the crew’s personal items found aboard and compelling details will help readers connect with the journey and disaster.
The mysteries of the Hunley are not solved within the concluding pages, but the author leaves the reader with an endearing note that expresses her commitment and personal journey with the book and H.L. Hunley. The element of the unknown may spark some readers into an inforamtional journey of their own.
4. REVIEW EXCERPTS
Booklist- 04-15-2005 Starred Review
Walker begins with the history of the Hunley's design and construction as well as its place in Civil War and naval history. She really hits her stride, though, in explaining the complex techniques and loving care used in raising the craft, recovering its contents, and even reconstructing models of the crewmembers' bodies. Back matter includes a detailed author's note, source notes, a bibliography, and recommended Web sites. Thoroughly researched, nicely designed, and well illustrated with clear, color photos, the book will serve as an informative guide to anyone interested in the Hunley or intrigued by archaeology.
School Library Journal - 05-01-2005 Starred Review
This is a finely crafted account of the Hunley from its inception to the modern archaeological quest to exhume her from the water. It is divided into chronological chapters complete with pictures, maps, and primary sources. Half of the book discusses the construction and design of the submarine, in addition to its practice runs and its first and only mission. The archaeological process is well documented in both words and pictures, and the conclusions are interesting and even surprising.
VOYA - 06-01-2005
Walker skillfully combines history, science, and storytelling in clear and accessible writing that will appeal to middle school students as well as older readers. Abundant photographs and illustrations are attractive and informative, and the layout is clean and attention grabbing. Although technical details are occasionally overwhelming, Walker keeps her focus on the people involved in the tale.
Children's Literature
The book discusses the problems that then arose: ownership, safe recovery, excavation, and conservation. Maps, diagrams, photos of the Civil War participants, and photos of the actual ship and artifacts aboard are compelling. A satisfying account of the humans on board—there were skeletal remains plus teeth which provided a beginning—shows how researchers work with historians to verify the identities while forensic experts use this information to recreate possible appearances in clay. An intriguing look at a wide variety of scientific fields and scientists at work, a sidelight through Civil War history, and the mysteries of the ocean floor are all hooks to interest readers in this well-conceived book.
5. CONNECTIONS
*Have students research the civil war and have them find other pertinent events that occurred, and then make a class timeline with all of their findings.
*Use this title to start a discussion on other famous shipwrecks that have occurred through history.
*Other titles to pair with this:
Clary, Margie Willis. MAKE IT THREE: THE STORY OF THE CSS H.L.HUNLEY SUBMARINE. ISBN 0878441581
Walker, Sally M. SHIPWRECK SEARCH: DISCOVERY OF THE H.L. HUNLEY. ISBN 0822564491
Boehm Jerome, Kate. Farnsworth, Bill. Sofo, Frank. CIVIL WAR SUB: THE MYSTERY OF THE HUNLEY. ISBN 0448425971
Hawk, Fran. THE STORY OF THE H.L. HUNLEY AND QUEENIE’S COIN EDITION 1. ISBN 1585362182
OUT OF SIGHT: PICTURES OF HIDDEN WORLDS
1. BIBLIOGRAPHY
Simon, Seymour. 2000. OUT OF SIGHT: PICTURES OF HIDDEN WORLDS. New York, NY: Sea Star Books. ISBN 1587170116
2. PLOT SUMMARY
Seymour Simon has written the perfect informational picture book for intriguing minds of all ages, the photography jumps right off the page and readers will not be let down from one page to the next. Simon has created a world where the naked eye cannot go. With brief text and bold pictures, readers will be fascinated with the representations of their insides: tomograms of lungs, skin magnified at 500x and an endoscope inside the heart are just a few of the areas of the human body that Simon covers. Simon also explains the hidden world of time with a bullet slashing a card; this eye catching piece will have the reader saying, “Wow!”
Simon closes the book with hidden worlds of geography and space and reminding readers that there are many more hidden worlds out there left to explore.
3. CRITICAL ANALYSIS
Seymour Simon writes an introduction to the reader stating, “There are worlds that are too small, too distant, too fast. There are worlds that are behind or within other objects. And there are kinds of lights that eyes just cannot see.” This brief note is very important because it broadens the reader’s knowledge into hidden worlds they are about to encounter on the book's pages.
With each page Simon goes beyond educating the reader as to what they are looking at, he goes in detail as to how the image was generated and how it can be manipulated. For example, with the lady bug, Simon uses basic vocabulary to describe the “colorful looking monster,” but he does not underestimate the reader's comprhension, he then specifies that the image is actually a SEM (scanning electron micrograph). From there he further details the different views that can be presented with this tool, and explains that the color in this photo is computer processed to make details more visible. Simon makes SEM knowledge more applicable to young readers when he presents an image of velcro. Readers will be surprised to find out that the worm looking creatures are nothing more that part of their shoes magnified at 140x.
The illustrations in this book are similar to that of a photo essay, with their massive size and minimal text. Blocks of text are utilized to not deter from the striking images. Neon brain scans and a satellite image of the Himalayas will let the reader peak inside a world of the unknown, and the new images will give-way to a different perspective to what they had previously known. Young readers may challenge the idea that they’re brain is not red and blue, or that mountains are not flat, but triangular, and this is exactly what Simon wants the reader to do…Explore!
Simon leaves the reader with some very intriguing questions: “What are the secrets of matter? Does life exist on other planets? Where did life itself come from?” These questions and this book will definitely get readers thinking about the world, beyond what they can see.
4. REVIEW EXCERPTS
Booklist - 10-01-2000
At times the text seems torn between discussing what we are seeing and explaining how the image was made. More emphasis on technique would have made this a stronger, more coherent book, but anyone who comes across it will happily browse through the intriguing and sometimes awesome pictures collected in this handsome volume.
Publishers Weekly- 07-24-2000
The author keeps his text to a minimum, explaining succinctly each image featured and the methods and instruments used to capture them, including compound microscopes, fiber optics, CAT scans, MRIs, thermograms and high-speed photography. Only occasionally does the narrative become overly technical for the targeted audience, as in a description of the magnification of subatomic particles in motion. Even the creepy pictures (a head louse magnified 320 times; and plaque and tartar on the surface of a tooth, magnified some 2,700 times) will attract readers.
School Library Journal - 11-01-2000
The text serves primarily as extended captions to the photos, providing information on the ways the pictures were taken and a basic explanation of what the images represent. The large, bright illustrations are beautifully reproduced and present some fascinating views of the world. The subjects range from the very small, such as the head of a bedbug, to the very large and far away, as photographed by the Hubble Space Telescope. This book would work well with an adult who wants to share the wonders of science with young children.
5. CONNECTIONS
*Use this book as introduction to a science unit, and then let children examine other specimens with a microscope.
* Use this book as a game, show the students the different photographs and let them guess at what they think they may be looking at. As time progresses, give the students different clues that are relative to what they are looking at. Start with an easy one! (Lungs page 19.)
* After talking about the use of strobe lights and photography, bring in a strobe light to demonstrate the effects they have, even as you look at an image in person. Then take multiple photos, develop, and discuss!
*Look at the various geography photos and explain relief maps, then let each student develop a key and color their own relief map.
* After reading this book, have students make their own suggestions of things that are too small to see with the naked eye.
*Other titles to pair with this:
Maynard, Christopher. MICRO MONSTERS: LIFE UNDER THE MICROSCOPE. ISBN 0789447568
Kramer, Stephen & Kunkel, Dennis. HIDDEN WORLDS: LOOKING THROUGH A Scientist’s MICROSCOPE. ISBN 0618354050
Bullock, Linda. LOOKING THROUGH A MICROSCOPE. ISBN 0516279122
ACTUAL SIZE
1. BIBLIOGRAPHY
Jenkins, Steve. 2004. ACTUAL SIZE. New York, NY: Houghton Mifflin Company. ISBN 0618375945
2. PLOT SUMMARY
At first glance readers may assume that this title is nothing more than another informational picture book about animals, but once opened, readers will be astounded with the massive pictures and facts. Jenkins has composed a book of animals that are either mammoth or miniscule to the readers own proportion. His writing style incorporates the reader and makes them part of the experience. Animals stretch across the pages of white space to bring perspective to their size, and these are not enlargements but the actual size of the animal depicted. Readers will be taken aback when they realize that the size of giant squid’s eye is larger than their own head. Jenkins’s text is short and simple, crafted in away that will not overwhelm readers or distract from his illustrations. Jenkins challenge’s readers to see how you will measure up to these creatures, and people will surely welcome the challenge.
3. CRITICAL ANALYSIS
Steve Jenkins has come up with a very interactive nonfiction book that children will jump right into. With an introduction that asking the reader if they have ever shaken the hand of a gorilla, it is a sure bet they will turn the page to learn a bit more. The concept of this book is reader participation, not just about memorizing facts, and this will encourage readers to incorporate themselves in relation to the animals.
Jenkins has mastered the idea of child-friendly illustrations with his use of cut and torn paper collages. Some of the animals in this book may be frightening to young readers if they were presented in actual photographs, especially the foldout of the saltwater crocodile. Jenkins’s paper collages downplay the demure of the dangerous creatures to make the book more inviting to younger audiences. The paper elements also add texture and dimension to the large animals, so that their depictions are somewhat realistic. Jenkins’s made a solid choice with the white background, which really makes his work the forefront of the book.
The text of the book is minimal, set in Futura. This font choice contains no serifs keeping inline with the entire book that has very little detail. Each animal is labeled with its name in boldface, and it is accompanied by a sentence that is sure to grab an inattentive listener. For example, “The Goliath Frog lives in Africa. It’s big enough to catch and eat birds and rats.” Jenkins’s presents the animals information in the format of “little known facts” so that the initial discovery may lead a reader to explore on further.
In the back of the book Jenkins’s includes a glossary that includes all the animals in the book. This section provides a more in-depth look at each creature. Although they are short, they include facts about weight, habitat, and types of prey. Jenkins’s concept of a picture glossary makes sense for younger audiences, who may not remember the exact name of animal they want to learn more about. Using this tool children can flip right to back of the book and point to the animal that intrigues them most. These tid-bits are perfect for intermediate readers assigned to report on an animal, the information presented is concise and understandable the confident reader.
4. REVIEW EXCERPTS
Booklist - 05-15-2004 Starred Review
The resulting juxtapositions will leave children marveling at one species' daintiness, and then shuddering as they mentally sketch in the unseen portions of more formidable beasts. Jenkins' artwork is gorgeous (a gatefold of a frog in midleap is particularly memorable), and, at the end of the book, thumbnail images of the featured animals paired with information about habitat and behavior put the piquant visuals into a broader context. An unusual, unusually effective tool for connecting children to nature's astonishing variety.
Horn Book Magazine - 05-01-2004
The relative sizes are accentuated by the white backdrop and are grounded by the straightforward information that accompanies the creatures--one or two brief sentences followed by the animal's height/length and weight--as they parade across the expansive pages.
Kirkus - 05-01-2004
Four concluding pages provide more information about the featured animals, along with reasonably sized, full-body reiterations of the illustrations. Sadly enough, however, in a book that is so intimately concerned with measurement, only English units are used, seemingly ignoring the fact that the metric system is the universal language of science worldwide. A regrettable flaw in an otherwise outstanding offering.
Publishers Weekly - 04-19-2004
Animals in Action A trio of titles explores the animal kingdom. Actual Size by Steve Jenkins is the Caldecott Honor artist's latest foray into the natural world. Here, his signature cut- and torn-paper collage artwork depicts animals to scale, imitating fur and skin remarkably.
School Library Journal - 06-01-2004
Mixing deceptive simplicity with absolute clarity, this beautiful book is an enticing way to introduce children to the glorious diversity of our natural world, or to illustrate to budding scientists the importance of comparison, measurement, observation, and record keeping. A thoroughly engaging read-aloud and a must-have for any collection
5. CONNECTIONS
* Have students choose one animal from Jenkins’s book and have them do an in depth report on it, with the stipulation that they find an unusual characteristic of there particular animal.
* Give each child a map and have them find where these animals are indigenous too, and then discuss the types of climates they live in.
* Get a long roll of paper and measure out 23 feet. Next, look at Jenkins depiction of the Saltwater Crocodile and ask students to re-create the reptile on paper. Students could be assigned to different parts of the reptile’s structure.
* To gain more perspective on the proportion of these animals, collect different household items to compare to the illustrations. Give children a chance to brainstorm ideas about what else may be similar in size. Let students create there own book with an ACTUAL SIZE animal on one page and on the opposite page have them make a list of all the things that are relative to the size of that particular animal.
* Explain to students the illustration process of this book, and then give them various colors of construction paper and let them try mimicking Jenkins’s style, except let them choose a animal, maybe a pet of their own.
*Other titles to pair with this:
Jenkins, Steve. PREHISTORIC ACTUAL SIZE. ISBN 0618535780
Jenkins, Steve. WHAT DO YOU DO WHEN SOMETHING WANTS TO EAT YOU? ISBN 0395825148
Page, Robin. & Jenkins, Steve. WHAT DO YOU DO WITH A TAIL LIKE THIS? ISBN 0618256288
Jenkins, Steve. Big & Little. ISBN 0395726646
SECRETS OF A CIVIL WAR SUBMARINE: Solving the Mysteries of the H.L. Hunley
1. BIBLIOGRAPHY
Walker, Sally M. 2005. SECRETS OF A CIVIL WAR SUBMARINE: Solving the Mysteries of the H.L. Hunley. Illustrations and maps on pp.7, 13,15,17,18,19,36,80 by Laura Westlund. Minneapolis, MN: Carolrhoda Books Inc. ISBN 1575058308
2. PLOT SUMMARY
Walker has written a detailed account of Civil War submarine, the H.L. Hunley. Walker’s writing begins with a brief history of its builders: Horace Lawson Hunley and James McClintock and their arrival in Mobile, Alabama in 1862. Her writings then move to the submarine itself describing its structure and how the effects of buoyancy allow it to: sink, rise, and deliver torpedoes. Walker gives an account of the two fatal disasters that occurred before the Hunley went down for the third and final time. Before the Hunley disappeared it did accomplish the mission of sinking the Housatonic, making it the first submarine to sink an enemy ship. Walker proceeds on with the moment readers are waiting for: discovery of the Hunley. The last chapters of the book really delve into the recovery of the Hunley, the science of making it happen, the treasures within, and the secrets of the lives lost.
3. CRITICAL ANALYSIS
This book is not typical of an informational title. From the beginning it is apparent that the author and reader will embark on a journey together. Walker approaches this title with her personal view of what she has learned and what has yet to be learned.
The journey of the Hunley starts with her people, and Walker makes the people of Hunley just as important as the Hunley itself, and this is evident from the beginning with the history and facts of Horace Lawson Hunley and James McClintock both who designed the infamous submarine. McClintock was an engineer who built gauges for steam-operated equipment. Horace Hunley was a wealthy plantation owner who worked as a lawyer, customs officer and captain of a blockade runner. Walker further explains Horace Hunley's ambitions for building submarines, marked not by profit but by his belief that Southern States had been right to secede the United States in 1861. Before the H.L.Hunley, Horace and McClintock made two submarines that were unsuccessful: the Pioneer and American Diver. The closing pages of this book offer even more evidence as to how important the people of the Hunley were. Chapters eight and nine offer a personal look at the crew with the forensic archeology and recovering their personal belongings. Archeologist, Doug Owsley worked with others to reconstruct each crew member’s skull, so that each name may have a face.
This title not only gives the reader a look into history, but several lessons in science. It is in Chapter two where Walker educates the reader about the principle of buoyancy. She explains the basic scientific law, “That two objects cannot be on the same place at the same time.” There are three separate diagrams explaining how buoyancy applies to the Hunley. The principle consists of the following:
Positive Bouyancy-pg16 “If we could place the Hunley in a giant swimming pool, we could observe how much water she displaces. The Hunley floats because she is positively buoyant.”
Negative Bouyancy-pg18 “As the Hunley dives, water enters her ballast tanks. She becomes heavier than the water she displaces. Negatively buoyant, she sinks.”
Neutral Buoyancy-pg19 “The Hunleys weight equals the weight of the water she displaces. She is neutrally buoyant and holds steady in the water.”
The second half of Walker's titl;e gives way to the rising of the Hunley.After long searching for the sunken Hunley, it was on May 3rd 1995 that Clive Cussler, Wes Hall, Randolph Wilbanks, and Henry Pecorelli finally discovered the Hunley. Next would come the rising of the Hunley. This process would be aided by a Klarissa B, a barge with six legs securely planted on the ocean floor to create stability, and 32 nylon slings would be placed underneath the submarine, finally a crane would lift it out of the water. Archeologist, Maria Jacobsen reiterates the importance of math to young readers stating, “Designing the truss and determining how many slings were needed required hundreds of mathematical calculations. Math is very, very powerful tool for calculating what is going to happen when you are lifting heavy yet fragile objects.”
Walker’s title offers a wealth of information that may be overwhelming to a young reader initially, but she uses simple yet informative language so that the reader may digest and retain the information. The author also offers a glossary and a list of websites that may aid the reader in further research and understanding. Like many informational titles Walker has chosen to use chapters making it approachable to readers who can only mange a chapter at a time, they may be more apt to read a title that has starting and stopping points along the way.
The cover of this book utilizes the element of attractive design, with an underwater shot of the H.L Hunley with highlighted bursts of green and yellow. Readers may be disappointed if they are anticipating more photographs like this. The majority of the pages are laden with text and smaller photographs, still readers will take interest in the historical documents and diagrams sprinkled throughout. Highlights of the crew’s personal items found aboard and compelling details will help readers connect with the journey and disaster.
The mysteries of the Hunley are not solved within the concluding pages, but the author leaves the reader with an endearing note that expresses her commitment and personal journey with the book and H.L. Hunley. The element of the unknown may spark some readers into an inforamtional journey of their own.
4. REVIEW EXCERPTS
Booklist- 04-15-2005 Starred Review
Walker begins with the history of the Hunley's design and construction as well as its place in Civil War and naval history. She really hits her stride, though, in explaining the complex techniques and loving care used in raising the craft, recovering its contents, and even reconstructing models of the crewmembers' bodies. Back matter includes a detailed author's note, source notes, a bibliography, and recommended Web sites. Thoroughly researched, nicely designed, and well illustrated with clear, color photos, the book will serve as an informative guide to anyone interested in the Hunley or intrigued by archaeology.
School Library Journal - 05-01-2005 Starred Review
This is a finely crafted account of the Hunley from its inception to the modern archaeological quest to exhume her from the water. It is divided into chronological chapters complete with pictures, maps, and primary sources. Half of the book discusses the construction and design of the submarine, in addition to its practice runs and its first and only mission. The archaeological process is well documented in both words and pictures, and the conclusions are interesting and even surprising.
VOYA - 06-01-2005
Walker skillfully combines history, science, and storytelling in clear and accessible writing that will appeal to middle school students as well as older readers. Abundant photographs and illustrations are attractive and informative, and the layout is clean and attention grabbing. Although technical details are occasionally overwhelming, Walker keeps her focus on the people involved in the tale.
Children's Literature
The book discusses the problems that then arose: ownership, safe recovery, excavation, and conservation. Maps, diagrams, photos of the Civil War participants, and photos of the actual ship and artifacts aboard are compelling. A satisfying account of the humans on board—there were skeletal remains plus teeth which provided a beginning—shows how researchers work with historians to verify the identities while forensic experts use this information to recreate possible appearances in clay. An intriguing look at a wide variety of scientific fields and scientists at work, a sidelight through Civil War history, and the mysteries of the ocean floor are all hooks to interest readers in this well-conceived book.
5. CONNECTIONS
*Have students research the civil war and have them find other pertinent events that occurred, and then make a class timeline with all of their findings.
*Use this title to start a discussion on other famous shipwrecks that have occurred through history.
*Other titles to pair with this:
Clary, Margie Willis. MAKE IT THREE: THE STORY OF THE CSS H.L.HUNLEY SUBMARINE. ISBN 0878441581
Walker, Sally M. SHIPWRECK SEARCH: DISCOVERY OF THE H.L. HUNLEY. ISBN 0822564491
Boehm Jerome, Kate. Farnsworth, Bill. Sofo, Frank. CIVIL WAR SUB: THE MYSTERY OF THE HUNLEY. ISBN 0448425971
Hawk, Fran. THE STORY OF THE H.L. HUNLEY AND QUEENIE’S COIN EDITION 1. ISBN 1585362182
Monday, October 1, 2007
Module/Genre 3 Poetry
Module/Genre 3 Poetry
PLEASE BURY ME IN THE LIBRARY
1. BIBLIOGRAPHY
Lewis, Patrick J. 2005. PLEASE BURY ME IN THE LIBRARY. Ill. By Kyle M. Stone. Orlando, FA: Gulliver Books Harcourt, Inc. ISBN1415593515
2. PLOT SUMMARY
Patrick Lewis has compiled a book within a book with 16 poems that portray the
likings of conversations, haikus, and of course books. Short and rapid poems move the reader quickly through this richly illustrated book. Some of the poems contain rhyming stanzas that children are familiar with; others are a bit more obscure to show the reader that all poetry doesn’t have to rhyme.
3. CRITICAL ANALYSIS
Illustrator, Kyle Stone, depicts a cover scene that just makes you want to pick up this book. The face of the book depicts three little mice reading by candlelight in a library, and the illustrator does not let down on the inside pages. Stone’s work is completed with acrylics and mixed media, which was surprising because the colors are so deep that they give the look of layered oil on canvas. Stone’s work also has depth and dimension, created by bursts of light color and elements of texture. Lewis and Stone were in definite collaboration with the poem, “What if Books Had Different Names.” Stone writes of familiar children’s books and characters with a twist, as shown in present Furious George, Mary Had a Little Clam, and Green Eggs and
Spam. Stone’s illustrations show opposite with a little lamb prepared to eat his green eggs and Spam.
Some of the works in this book would be excellent for introducing children to poetry because of their length and subject matter. A stepping stone into this book can be found with the piece: “Eating Alphabet Soup.” From there, readers could move on to “A Classic” to try and describe what the message of the poem is. Beginners would also do well with “Necessary Gardens.” This piece would make a good introduction to Acrostic poems. Other poems in this book may be a bit too hard for poetry newcomers to grasp, for example the piece: “Reading in the Dark.” Although short, it tends to be a bit more complex and poetic with lines: “Mouse holes, and underground maps. You Know, I hoot to Lantern-Eye. Books are loaded traps.”
4. REVIEW EXCERPTS
Booklist - 02-15-2005
Despite the picture-book format, it will take children older than the preschool crowd to appreciate the wordplay, which on occasion is quite sophisticated (Lewis credits Lear, Carroll, and X. J Kennedy as his inspirations). The acrylic and mixed-media artwork adds whimsy to the words
Kirkus - 04-01-2005 Starred Review
In 16 poems, all but two appearing here for the first time, the Midwest's cleverest living comic poet enjoins readers, "Please bury me in the library / With a dozen long-stemmed proses." He suggests altering classic titles ("Green Eggs and Spam"), offers reading-related haiku, a library acrostic-and even literary criticism, from "A great book is a homing device / For navigating paradise" to "A bad book owes to many trees / A forest of apologies."
Publishers Weekly - 03-14-2005
Despite its clever title, Lewis (Arithme-Tickle) and Stone's combination of sentimental rhymes and at times ghoulish whimsy creates a volume of poetry about reading that may leave bookworms with a bit of indigestion.
School Library Journal - 06-01-2005
The brief selections encompass various forms, from an eight-word acrostic to haiku to rhyming quatrains and couplets. The tone is generally light, with the last few entries turning more to wonder and metaphor ("A good book is a kind/Of person with a mind/Of her own..."). Usually printed one per spread, the poems are accompanied by richly dark artwork. The thickly applied acrylic paint and mixed-media illustrations are sometimes reminiscent of the work of David Shannon, with a comically grotesque air, and add comprehension to the verses.
5. CONNECTIONS
* Read the poem on page 4, “What if Books Had Different Names?” and have children make illustrations of these new creatures. Compile all the drawings and add the poem on the opposite pages, to the correlating drawings.
* Have students analyze the poem, “A Classic” on page 14, and ask students what they think the author is trying to convey. Once they understand the concept, have them name a book that they themselves and their parents enjoy.
* Read “Summer Reading at the Beach,” on page 24, and challenge students to add another stanza, including their own favorite summer activities.
*Other titles:
Prelutsky, Jack. READ A RHYME WRITE A RHYME. ISBN 0375822860
Lewis, J. Patrick. DOODLE DANDIES. ISBN 0689848897
IT’S RAINING LAUGHTER
1. BIBLIOGRAPHY
Grimes, Nikki. 1997. Its RAINING LAUGHTER. Photography by Myles C. Pinkney. New York, NY: Dial Books for Young Readers. ISBN0803720041
2. PLOT SUMMARY
It’s Raining Laughter is compiled of twelve poems that capture the emotions of children in their daily lives. Most of the poems are written in one to two stanzas while others cover multiple pages with lines spread throughout. For the most part, the poems are straightforward but on a level that will challenge the reader to think of times when they encountered similar emotions. Critical thinking exercises may be required of the two poems, “Where’d You Get Them Names?” and “Listen,” which deal with more complex messages. The variety offered in this book will welcome and test readers at the same time
3. CRITICAL ANALYSIS
The illustrations in this book have been taken over by the photography of Miles C. Pinkney. His work gives this book realness because of the random upstaged shots of the children. Readers will delight in seeing the subjects smile, giggle, play and ponder. Pinkney uses an array of picture sizes and techniques to compliment each poem. For example, the piece “Wallet Size” Pinkney uses a close up shot of a young boy with a warm smile conveying the poem’s message of acceptance. In another poem “Listen” Pinkney captures children eating fruit in several pictures to reflect lines four and five of the poem, (Each day is like fruit resting ripe in my hand). Along with the young faces that cover the pages are color blocks to highlight the text. The only issue I see with the photography is that all of the images are composed of African-American children, and the lack of diversity may or may not may lead to a more narrow audience.
Grime’s collection of poems are written in a straight-forward manner to draw in readers. For example, in “Remember” the descriptive details will make the reader feel as though they too are standing nervously on stage. “At the Library” grasps readers from the beginning, opening with: I flip the pages of a book and slip inside, where crystal seas await and pirates hide. This piece also demonstrates enchanting elements of her writing as she writes about a paradise where birds can talk, children fly, and trees prefer to walk.
4. REVIEW EXCERPTS
School Library Journal
Twelve joyous poems about growing up are filled with music, laughter, and love. Simple childhood pleasures such as running, playing, reading, and remembering are touched on with insight and humor. Full-color photographs of African-American children at work and play are placed on pastel-shaded pages that convey all the exuberance and delight of the selections. A harmonious blend of words and pictures.
Children's Literature
Nikki Grimes' joyful poems are paired with photos by Myles C. Pinkney to create an uplifting reading experience for children. Whether the children are shown learning to play the piano, running, or giggling, the enthusiasm is contagious. You'll be smiling before you reach the last page.
5. CONNECTIONS
*Read the poem “Remember,” and afterwards have children brainstorm about very important moments in their lives, then have them write a poem to try and capture the way the felt.
*Use the poems “Sideways” and “Four Eyes” to open up a discussion on bullying and differences. Discuss how differences are not always bad, but make us unique.
* Use the poem “Listen” to discuss peer pressure, ask the children: “What is it that the author is telling you not to try?”
Other titles to pair with for a poetry unit:
Fletcher, J. Ralph. WRITING KIND OF DAY. ISBN 1590783530
Fletcher, J. Ralph. WRITERS NOTEBOOK: UNLOCKING THE WRITER WITHIN YOU. ISBN 1590783530
STOP PRETENDING WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY
1. BIBLIOGRAPHY
Sones, Sonya. 1999. STOP PRETENDING WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY. New York, NY: Harper Collins Publishers. ISBN 0060283866
2. PLOT SUMMARY
Sonya Sones has written a novel in narrative poems, based on a true-life experience she had at age thirteen. Sones fills the book with poems about her feelings as she goes through a tumultuous time with her family. Christmas Eve was not spent unwrapping gifts. Instead it was the night of the breakdown, when Sones eldest sister was admitted to the Psych ward. Many of the poems frequently flash back to when the sisters were younger and life was normal. Her writing reflects guilt as she wonders how this could have happened, or how just days prior there was no sign of the girl who now breaks into tirades as they play Monopoly in the hospital visiting room. Sones words depict anger, resentment, sorrow, and eventually love.
3. CRITICAL ANALYSIS
The author writes a note in the concluding pages, explaining more about her personal situation, and how her sister now leads a productive normal life. She stresses the importance of the subject matter in this book hoping that it will help more people bring their own situations to light. Sones’s inspiration for this book came from Myra Cohn Livingston, an instructor at UCLA, who had instructed the class to write a poem using falling rhythms, and with that came, the piece “Hospitalized.” With more encouragement from Livingston, Sones’s eventually compiled this book. The reader is left with professional resources if they are ever in a situation needing help.
The poems in this book are written much like chapters in a regular novel, except shorter and a lot more powerful. Readers will find themselves breezing through the rapid stanzas only to be stopped by the awe of the words. The poem “In Art Class” starts with: I am drawing my sister with saucers for eyes. The saucers are spinning out sparks. The piece then progresses with the eyes of each family member, closing with the author saying, “I’m drawing myself without any eyes at all.” Although brief, the pain of each family member still makes an impact with the reader.
Sones’s language in “Stop Pretending” comes to life, as you can visualize a tormented young girl yelling, “Don’t you tell me you don't know me. Stop this crazy act and show me that you haven’t changed.” This book is more than just an example of a novel written in poems, it is the key to a doorway where people are not comfortable going.
4. REVIEW EXCERPTS
School Library Journal
An unpretentious, accessible book that could provide entry points for a discussion about mental illness-its stigma, its realities, and its affect on family members. Based on the journals Sones wrote at the age of 13 when her 19-year-old sister was hospitalized due to manic depression, the simply crafted but deeply felt poems reflect her thoughts, fears, hopes, and dreams during that troubling time.
Kirkus Reviews
The form, a story-in-poems, fits the story remarkably well, spotlighting the musings of the 13-year-old narrator, and pinpointing the emotions powerfully.
KLIATT
The poetry is compelling. It is so heartfelt: the pain and confusion of a young teenager when her family life dissolves into chaos because of mental illness.
Children's Literature
This is one of the most beautiful and most disturbing books aimed at young people that I have ever read. Beautiful not just in its use of free verse, but in the use of language and images that brings even mundane subjects to life.
For anyone who has actually had this experience, the book can only be read in short doses; for anyone who hasn't, it's a fantastic view of a world we would probably not want to be a part of.
5. CONNECTIONS
* Use this book as an ice breaker to talk about mental illness or address what it must be like for families who have members dealing with other problems.
*Break children into small groups and have them discuss what it would be like to have a sibling in this same situation.
* Ask students to choose one organization listed in the back of the book and have them research it more in depth. One task could be for them to find various coping mechanisms to deal with stress.
* Have an open discussion about other situations that have an effect on the entire family. Prompts that could be used are eating disorders or drug and alcohol abuse.
Other titles:
Rosenberg, Liz. 17. ISBN 081264915X
Horrocks, Anita. ALMOST EDEN. ISBN 0887767427
Fischer, Jackie Moyer. AN EGG ON THREE STICKS. ISBN 0312317751
Hautman, Pete. INVISIBLE. ISBN 0689869037
PLEASE BURY ME IN THE LIBRARY
1. BIBLIOGRAPHY
Lewis, Patrick J. 2005. PLEASE BURY ME IN THE LIBRARY. Ill. By Kyle M. Stone. Orlando, FA: Gulliver Books Harcourt, Inc. ISBN1415593515
2. PLOT SUMMARY
Patrick Lewis has compiled a book within a book with 16 poems that portray the
likings of conversations, haikus, and of course books. Short and rapid poems move the reader quickly through this richly illustrated book. Some of the poems contain rhyming stanzas that children are familiar with; others are a bit more obscure to show the reader that all poetry doesn’t have to rhyme.
3. CRITICAL ANALYSIS
Illustrator, Kyle Stone, depicts a cover scene that just makes you want to pick up this book. The face of the book depicts three little mice reading by candlelight in a library, and the illustrator does not let down on the inside pages. Stone’s work is completed with acrylics and mixed media, which was surprising because the colors are so deep that they give the look of layered oil on canvas. Stone’s work also has depth and dimension, created by bursts of light color and elements of texture. Lewis and Stone were in definite collaboration with the poem, “What if Books Had Different Names.” Stone writes of familiar children’s books and characters with a twist, as shown in present Furious George, Mary Had a Little Clam, and Green Eggs and
Spam. Stone’s illustrations show opposite with a little lamb prepared to eat his green eggs and Spam.
Some of the works in this book would be excellent for introducing children to poetry because of their length and subject matter. A stepping stone into this book can be found with the piece: “Eating Alphabet Soup.” From there, readers could move on to “A Classic” to try and describe what the message of the poem is. Beginners would also do well with “Necessary Gardens.” This piece would make a good introduction to Acrostic poems. Other poems in this book may be a bit too hard for poetry newcomers to grasp, for example the piece: “Reading in the Dark.” Although short, it tends to be a bit more complex and poetic with lines: “Mouse holes, and underground maps. You Know, I hoot to Lantern-Eye. Books are loaded traps.”
4. REVIEW EXCERPTS
Booklist - 02-15-2005
Despite the picture-book format, it will take children older than the preschool crowd to appreciate the wordplay, which on occasion is quite sophisticated (Lewis credits Lear, Carroll, and X. J Kennedy as his inspirations). The acrylic and mixed-media artwork adds whimsy to the words
Kirkus - 04-01-2005 Starred Review
In 16 poems, all but two appearing here for the first time, the Midwest's cleverest living comic poet enjoins readers, "Please bury me in the library / With a dozen long-stemmed proses." He suggests altering classic titles ("Green Eggs and Spam"), offers reading-related haiku, a library acrostic-and even literary criticism, from "A great book is a homing device / For navigating paradise" to "A bad book owes to many trees / A forest of apologies."
Publishers Weekly - 03-14-2005
Despite its clever title, Lewis (Arithme-Tickle) and Stone's combination of sentimental rhymes and at times ghoulish whimsy creates a volume of poetry about reading that may leave bookworms with a bit of indigestion.
School Library Journal - 06-01-2005
The brief selections encompass various forms, from an eight-word acrostic to haiku to rhyming quatrains and couplets. The tone is generally light, with the last few entries turning more to wonder and metaphor ("A good book is a kind/Of person with a mind/Of her own..."). Usually printed one per spread, the poems are accompanied by richly dark artwork. The thickly applied acrylic paint and mixed-media illustrations are sometimes reminiscent of the work of David Shannon, with a comically grotesque air, and add comprehension to the verses.
5. CONNECTIONS
* Read the poem on page 4, “What if Books Had Different Names?” and have children make illustrations of these new creatures. Compile all the drawings and add the poem on the opposite pages, to the correlating drawings.
* Have students analyze the poem, “A Classic” on page 14, and ask students what they think the author is trying to convey. Once they understand the concept, have them name a book that they themselves and their parents enjoy.
* Read “Summer Reading at the Beach,” on page 24, and challenge students to add another stanza, including their own favorite summer activities.
*Other titles:
Prelutsky, Jack. READ A RHYME WRITE A RHYME. ISBN 0375822860
Lewis, J. Patrick. DOODLE DANDIES. ISBN 0689848897
IT’S RAINING LAUGHTER
1. BIBLIOGRAPHY
Grimes, Nikki. 1997. Its RAINING LAUGHTER. Photography by Myles C. Pinkney. New York, NY: Dial Books for Young Readers. ISBN0803720041
2. PLOT SUMMARY
It’s Raining Laughter is compiled of twelve poems that capture the emotions of children in their daily lives. Most of the poems are written in one to two stanzas while others cover multiple pages with lines spread throughout. For the most part, the poems are straightforward but on a level that will challenge the reader to think of times when they encountered similar emotions. Critical thinking exercises may be required of the two poems, “Where’d You Get Them Names?” and “Listen,” which deal with more complex messages. The variety offered in this book will welcome and test readers at the same time
3. CRITICAL ANALYSIS
The illustrations in this book have been taken over by the photography of Miles C. Pinkney. His work gives this book realness because of the random upstaged shots of the children. Readers will delight in seeing the subjects smile, giggle, play and ponder. Pinkney uses an array of picture sizes and techniques to compliment each poem. For example, the piece “Wallet Size” Pinkney uses a close up shot of a young boy with a warm smile conveying the poem’s message of acceptance. In another poem “Listen” Pinkney captures children eating fruit in several pictures to reflect lines four and five of the poem, (Each day is like fruit resting ripe in my hand). Along with the young faces that cover the pages are color blocks to highlight the text. The only issue I see with the photography is that all of the images are composed of African-American children, and the lack of diversity may or may not may lead to a more narrow audience.
Grime’s collection of poems are written in a straight-forward manner to draw in readers. For example, in “Remember” the descriptive details will make the reader feel as though they too are standing nervously on stage. “At the Library” grasps readers from the beginning, opening with: I flip the pages of a book and slip inside, where crystal seas await and pirates hide. This piece also demonstrates enchanting elements of her writing as she writes about a paradise where birds can talk, children fly, and trees prefer to walk.
4. REVIEW EXCERPTS
School Library Journal
Twelve joyous poems about growing up are filled with music, laughter, and love. Simple childhood pleasures such as running, playing, reading, and remembering are touched on with insight and humor. Full-color photographs of African-American children at work and play are placed on pastel-shaded pages that convey all the exuberance and delight of the selections. A harmonious blend of words and pictures.
Children's Literature
Nikki Grimes' joyful poems are paired with photos by Myles C. Pinkney to create an uplifting reading experience for children. Whether the children are shown learning to play the piano, running, or giggling, the enthusiasm is contagious. You'll be smiling before you reach the last page.
5. CONNECTIONS
*Read the poem “Remember,” and afterwards have children brainstorm about very important moments in their lives, then have them write a poem to try and capture the way the felt.
*Use the poems “Sideways” and “Four Eyes” to open up a discussion on bullying and differences. Discuss how differences are not always bad, but make us unique.
* Use the poem “Listen” to discuss peer pressure, ask the children: “What is it that the author is telling you not to try?”
Other titles to pair with for a poetry unit:
Fletcher, J. Ralph. WRITING KIND OF DAY. ISBN 1590783530
Fletcher, J. Ralph. WRITERS NOTEBOOK: UNLOCKING THE WRITER WITHIN YOU. ISBN 1590783530
STOP PRETENDING WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY
1. BIBLIOGRAPHY
Sones, Sonya. 1999. STOP PRETENDING WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY. New York, NY: Harper Collins Publishers. ISBN 0060283866
2. PLOT SUMMARY
Sonya Sones has written a novel in narrative poems, based on a true-life experience she had at age thirteen. Sones fills the book with poems about her feelings as she goes through a tumultuous time with her family. Christmas Eve was not spent unwrapping gifts. Instead it was the night of the breakdown, when Sones eldest sister was admitted to the Psych ward. Many of the poems frequently flash back to when the sisters were younger and life was normal. Her writing reflects guilt as she wonders how this could have happened, or how just days prior there was no sign of the girl who now breaks into tirades as they play Monopoly in the hospital visiting room. Sones words depict anger, resentment, sorrow, and eventually love.
3. CRITICAL ANALYSIS
The author writes a note in the concluding pages, explaining more about her personal situation, and how her sister now leads a productive normal life. She stresses the importance of the subject matter in this book hoping that it will help more people bring their own situations to light. Sones’s inspiration for this book came from Myra Cohn Livingston, an instructor at UCLA, who had instructed the class to write a poem using falling rhythms, and with that came, the piece “Hospitalized.” With more encouragement from Livingston, Sones’s eventually compiled this book. The reader is left with professional resources if they are ever in a situation needing help.
The poems in this book are written much like chapters in a regular novel, except shorter and a lot more powerful. Readers will find themselves breezing through the rapid stanzas only to be stopped by the awe of the words. The poem “In Art Class” starts with: I am drawing my sister with saucers for eyes. The saucers are spinning out sparks. The piece then progresses with the eyes of each family member, closing with the author saying, “I’m drawing myself without any eyes at all.” Although brief, the pain of each family member still makes an impact with the reader.
Sones’s language in “Stop Pretending” comes to life, as you can visualize a tormented young girl yelling, “Don’t you tell me you don't know me. Stop this crazy act and show me that you haven’t changed.” This book is more than just an example of a novel written in poems, it is the key to a doorway where people are not comfortable going.
4. REVIEW EXCERPTS
School Library Journal
An unpretentious, accessible book that could provide entry points for a discussion about mental illness-its stigma, its realities, and its affect on family members. Based on the journals Sones wrote at the age of 13 when her 19-year-old sister was hospitalized due to manic depression, the simply crafted but deeply felt poems reflect her thoughts, fears, hopes, and dreams during that troubling time.
Kirkus Reviews
The form, a story-in-poems, fits the story remarkably well, spotlighting the musings of the 13-year-old narrator, and pinpointing the emotions powerfully.
KLIATT
The poetry is compelling. It is so heartfelt: the pain and confusion of a young teenager when her family life dissolves into chaos because of mental illness.
Children's Literature
This is one of the most beautiful and most disturbing books aimed at young people that I have ever read. Beautiful not just in its use of free verse, but in the use of language and images that brings even mundane subjects to life.
For anyone who has actually had this experience, the book can only be read in short doses; for anyone who hasn't, it's a fantastic view of a world we would probably not want to be a part of.
5. CONNECTIONS
* Use this book as an ice breaker to talk about mental illness or address what it must be like for families who have members dealing with other problems.
*Break children into small groups and have them discuss what it would be like to have a sibling in this same situation.
* Ask students to choose one organization listed in the back of the book and have them research it more in depth. One task could be for them to find various coping mechanisms to deal with stress.
* Have an open discussion about other situations that have an effect on the entire family. Prompts that could be used are eating disorders or drug and alcohol abuse.
Other titles:
Rosenberg, Liz. 17. ISBN 081264915X
Horrocks, Anita. ALMOST EDEN. ISBN 0887767427
Fischer, Jackie Moyer. AN EGG ON THREE STICKS. ISBN 0312317751
Hautman, Pete. INVISIBLE. ISBN 0689869037
Friday, September 21, 2007
Module/Genre 2 Traditional Literature
Module/Genre 2 Traditional Literature
CINDERELLA
1. BIBLIOGRAPHY
Knight, Hilary. 1978. CINDERELLA. New York, NY: Random House Inc. ISBN 039483760
2. PLOT SUMMARY
Hilary Knight tells the traditional tale of Cinderella with a whimsical look, setting it apart from the popular Walt Disney version. This is the story of a young girl who’s mother passes away and who’s father searches for a new wife. He soon remarries and with the addition of a new wife, so too come two step sisters that are not fond of Cinderella. Overcome with jealousy the mother and her daughters make Cinderella’s life rough. When an invitation arrives for a ball, the sisters fuss about what to wear, knowing that Cinderella has nothing wear and will not be in attendance. Alone and crying, Cinderella’s luck is about to change with the help of a fairy godmother, who drapes her in a beautiful gown and glass slippers. There is one stipulation; she must return home by midnight. Cinderella is the highlight of the ball only to have her evening end abruptly at midnight, and leaving a slipper behind for her prince to eventually find her.
3. CRITICAL ANALYSIS
Knight tells this classic story with very little derailment from other popular versions. At first glance the paragraphs may look a bit daunting, but the story is quick with the text moving the reader right along. Very quickly the fairy godmother will take the reader and listener to a magical place as she casts spells of, “Mixing berries and sassafras, and dress you in gossamer with slippers of glass.”
What really sets this book apart from others are the illustrations. Knight’s impressionist’s style is achieved with watercolor and ink. The pastel hues give each page an old Victorian look. Readers and little girls especially are sure to appreciate the detail of each dress along with the silly jealous faces, belonging to the step-sisters. Children will also enjoy the hidden details in each page, from a spider to a carriage passing by the window.
This edition does lack the details that go into the making of the magical carriage, that are familiar to this generation’s Walt Disney viewers. Also readers will be left waiting if they are looking for the memorable saying bibbidi-bobbidi- boo, but children will still be satisfied. Readers will still be able to identify with Cinderella’s underdog character that is typical of traditional fantasy.
4. REVIEW EXCERPTS
Publishers Weekly - 09-03-2001
Hilary Knight remains true to the original in his retelling of Cinderella. First published in 1978, his subdued hues and robust, stylized drawings create a once-upon-a-time enchantment.
School Library Journal™ - 09-01-2001
The pen-and-watercolor pictures show the gravestone of Cinderella's mother by the front doorway and the unpleasant stepsisters constantly bickering. Cinderella looks like a sweet `60s model as she goes about her work, and the prince seems like a pudgy fop. The story ends with the stepsisters forgiven and, if the pictures are any indication, happy to wait hand and foot on the newlyweds.
5. CONNECTIONS
*Compare this version of Cinderella to a more familiar version.
*Make students a booklet with the text of Cinderella and let them do their own illustrations.
*Make a carriage out of a balloon and paper mache.
*Find other familiar stories that have been retold and let students compare the different versions. Have the class make a list of similarities and differences.
TONY’S BREAD
1. BIBLIOGRAPHY
DePaola, Tomie. 1989. TONY’S BREAD. Hong Kong, China: South China Printing Company. ISBN 0399216936
2. PLOT SUMMARY
DePaola’s Italian folktale is the story of a baker, his daughter, and a dream. Tony is baker of simple breads from a small town outside of Milano, where he lives with his beautiful daughter Serafina. Tony has been reluctant to let anyone marry Serafina, for no one is good enough. Angelo, a wealthy nobleman strolls the streets of Milano and, upon seeing Serafina he immediately wants to marry her, but first he must devise a plan that will entice the baker to grant his approval, so he may have the hand of Serafina. With the help of the aunties delivering letters, it is not long before Tony meets with Angelo to bring his bakery to Milano, so long as the Serafina can be his bride. Arriving in Milano, Tony is overwhelmed with all the goods, and fearing that his simple bread is not good enough, he creates a new recipe that is even better!
3. CRITICAL ANALYSIS
DePaola begins his story with a note, about the story, to the reader giving simple history to the folktale and the creation of the Italian bread Panettone. DePaola explains that there are several stories of how the bread was created, but this one in particular just captured his imagination. This story offers the reader much more than a classic folktale, with its simple Italian words strategically placed in the text. The words are placed in such a way that the reader will know what the term is referring to.
The illustrations in this story are much like other books illustrated by DePaola with black outlines and one-dimensional pictures. Pages are dominated by bold color choices, although there is a little use of pastel shading in some of the background scenes. The books characters are simple with round faces and minimal expressions, but, none the less, convey the emoting that Tomie is writing about.
DePoala’s story has captured Lloyd Alexander’s value of hope in traditional fantasy perfectly, with the reader walking away a bit more encouraged in their own dreams. Tony’s mistaken bread pan, and the flower pot loaf success, shows young readers that things do not always have to be perfect, and that sometimes things that we thought were mistakes can turn out to be our biggest achievements.
4. REVIEW EXCERPTS
Publishers Weekly
The tale is a typically charming DePaolian effort, and the illustrations abound with his trademark coziness. Another nice touch: like Tony's currant-filled buns, the story is sprinkled with Italian words and phrases, translations of which are cleverly woven into the text.
Children's Literature
After Tony becomes famous for his loaves of bread baked in flowerpots, he and Serafina move to Milano, where she marries Angelo and the three live happily ever after. Bravo to dePaola for creating this humorous and wonderfully illustrated original Italian folktale!
5. CONNECTIONS
*Read this tale at Christmas for an untraditional story time; after reading prepare a quick bread recipe, and send each participant home with the recipe for panettone. Give each child a color sheet, with Italy on it and show them the actual location of Milano. On the backside prepare a simple vocabulary sheet of Italian words that were throughout the story.
*Other crafts to pair with this story are:
* Have each child make there own Italian pastry shop, out of shoeboxes, and line them up together like an actual village.
* Have children paint flower pots as a gift. Inside the flower pot place a sealed bag of flour, and other dry ingredients, and then tie a ribbon to it with the recipe and a small card.
*Read other titles by Tomie DePaola and compare the illustrations in each.
* Other Italian folk tales to pair with this:
Calvino, Italo. ITALIAN FOLK TALES. ISBN 0460051008
DePaola, Tomie. THE LEGEND OF OLD BEFANA. ISBN 152438173
DePaola, Tomie. STREGA NONA. ISBN 8424133498
DePaola, Tomie. MERRY CHRISTMAS STREGA NONA. ISBN 015253184X
PIO PEEP TRADITIONAL SPANISH NURSERY RHYMES
1. BIBLIOGRAPHY
Selected by: Ada, A.F. Campoy, Isabel F. English Adaptations: Schertle, Alice. 2003. PIO PEEP TRADITIONAL SPANISH NURSERY RHYMES. Illustrated by Escirva, Vivi. China: Harper Collins Publishers. ISBN 0688160190
2. PLOT SUMMARY
This title collects twenty-seven traditional nursery rhymes that are fun, brief, and can be enjoyed by all ages. Pages are filled with original Spanish folklore that are mirrored with English re-creations. “De Colores” is the perfect place to start if the reader plans on reading aloud both versions. Listeners will easily pick up on one familiar word with the repetition of De Colores, De Colores. The poems reflect the doings of all things from animals to angels, all with quick versed stanzas that keep the reading short and sweet for the even the youngest listener.
3. CRITICAL ANALYSIS
Even without the poems, the culturally specific illustrations in this book stand alone. Vivi Escriva captured more than just the text. With her use of bright colors encompassing the entire page, she reflected the importance of color in Hispanic culture. Women are dressed in traditional Spanish garb, while little girls dance on the pages with full floral skirts. One of best displays of color is in the piece titled Los Pollitos Dicen, where yellow baby chicks just pop from the page. Even with the dominant colors on the pages, Escriva uses white space and pastels to frame the text, so it is easy for the reader to read.
Another great quality about this book is its ability to tie in familiar games and songs, and put a spin on them. Children will be amused with the poem Sea Serpent, and soon will be playing the game that accompanies the song. With the use of song and game, children may be more receptive to learning the Spanish language since it doesn’t feel like work. The only problem I see with the book is the lack of a pronunciation guide. Readers will be frustrated with the double “L” that is found throughout the Spanish language.
The book also provides an introduction to the reader to explain the history of Spanish folklore and where some of the specific pieces come from Mexico, Puerto Rico, the Dominican Republic, and Central America. The authors also make a note to the reader that the English translations are not exactly the same as the Spanish originals, in hopes of keeping the poetry fluid for the reader. Closing pages of the book give brief introductions to the authors, adapter, and illustrator.
4. REVIEW EXCERPTS
School Library Journal
Deeply rhythmic verses, compelling rhyme schemes, and words that "play trippingly on the tongue" characterize every verse. Schertle's excellent English adaptations are not literal translations but poetic re-creations. They retain the rhythm, meter, and general meaning of the originals, making the rhymes as memorable and memorizable in English as they are in Spanish.
Booklist
They are presented both in Spanish and in English, although "to preserve the charm of the original rhymes," the English versions are not translations but "poetic recreations." Even adult readers with a rudimentary knowledge of Spanish will see some of the differences, but both versions have a sweet, rhythmic simplicity that will get children singing, clapping, and perhaps making some forays into a new language.
Kirkus - 04-15-2003
A few of the rhymes are associated with children's games, such as "El patio de mi casa" and children can get the sense of the game from the words, but there are few notes accompanying the individual rhymes.
Criticas- 05-01-2003
Perfect for beginning the year with the very youngest; the rhymes sing off the page and are excellent for filling those transitional moments with language-rich activity. In either tongue, love of language and poetic expression find an outlet here
5. CONNECTIONS
*Make children a color sheet with simple animals and objects from the poems with the Spanish word next to them, so that children will have a guide to their new vocabulary guides.
* Read other traditional nursery rhymes, and convert the main characters name in Spanish.
* Read the poem Piñata on page 45; give children a brief history of what it is and why they are used. Other activities to consider would be making a piñata or breaking one.
* After reading Tortillas for Mommy, have a simple snack with the traditional Mexican flat bread.
*Other titles to pair with this:
Elya, Susan Middleton, and Lopez, Loretta. SAY HOLA TO SPANISH. ISBN 1880000644
Elya, Susan Middleton, and Lopez, Loretta. SAY HOLA TO SPANISH OTRA VEZ. ISBN 1880000830
Elya, Susan Middleton. BEBE GOES SHOPPING. ISBN 015205426X
Tuesday, September 4, 2007
Module 1 Picture Books
Module/Genre 1 Picture Books
1. BIBLIOGRAPHY
Taback, Simms. 1999. JOSEPH HAD A LITTLE OVERCOAT. Ill. by Simms Taback. New York, NY: Viking. ISBN 0670878553
2. PLOT SUMMARY
Simms Taback writes a simple but playful story of a man named Joseph and the many becomings of his overcoat. Each page depicts how the overcoat changes and becomes something different, but remains very useful to Joseph. Each time the overcoat takes on a new task, so too does Joseph, from the fair to a wedding to singing in the chorus. The fabric gets smaller each time and eventually becoming a button that gets lost. The book concludes with the message you can always make something out of nothing.
3. CRITICAL ANALYSIS
A note to the reader in the end explains how and why Taback came up with this story from his childhood love of the folk song, “I had a Little Overcoat.” Eventually taking on the song with his name and writing a children’s book. I think that this book can send various messages to children, from recycling and not being wasteful to taking something and making it their own.
Simms Taback also did the illustrations in this engineered picture book. His choice of bright colors gives the story a visual punch as the reader flows through the text. Bold colors and die cut illustrations keep the reader interested and keep the children guessing what Joseph will come up with next for the old overcoat. Each page has a black outline where the text lies, and it makes it easy for the eye to follow through the vibrant pages. Not only is this a good book for sharing aloud to a group, but it also would work well as a one on one read because of the details in the background illustrations. Small details and patterns fill the background pages and will keep any reader interested. Young audiences will enjoy the repetitive text and eventually be saying…. “So he made a…” along with the reader.
Taback’s messages are universal in this picture book for young and old alike.
4. REVIEW EXCERPTS
Booklist- 01-01-2000
“This newly illustrated version of a book Taback first published in 1977 is a true example of accomplished bookmaking--from the typography and the endpapers to the bar code, set in what appears to be a patch of fabric. Taback's mixed-media and collage illustrations are alive with warmth, humor, and humanity.”
School Library Journal – 01-01-2000 Starred Review
The rhythm and repetition make it a perfect story time read-aloud.-Linda Ludke, London Public Library, Ontario, Canada
Publishers Weekly - 11-01-1999
Taback works into his folk art a menagerie of wide-eyed animals witnessing the overcoat's transformation, miniature photographs superimposed on paintings and some clever asides reproduced in small print (a wall hanging declares, "Better to have an ugly patch than a beautiful hole"; a newspaper headline announces, "Fiddler on Roof Falls off Roof").
Randolph Caldecott Medal: 2000
ALA Notable Children's Books: 2000
5. CONNECTIONS
*Talk to children about not being wasteful and encourage them to think of things around their house that they could save instead of throwing away. Ask children to make suggestions about what else Joseph could have made or what they would like to tray making on their own.
*Teach children about making something their own by singing a song and incorporating their own name into it. An example would Old McDonald, children could take turns singing and placing their own name in front of “Mc” and stating an animal of their choice.
* Other recycling books:
Green, Jen. WHY SHOULD I RECYCLE? ISBN 0764131559
Lamerand, Violaine. CRAFTS FROM JUNK. (Step By Step)
ISBN 0736814795
Duck for President
1. BIBLIOGRAPHY
Cronin, Doreen. 2004. DUCK FOR PRESIDENT. Ill by Betsey Lewin. New York, NY: Simon & Schuster Children’s Publishing Division. ISBN 0689863772
2. PLOT SUMMARY
Doreen Cronin writes a humorous story of a duck and his current unhappy living conditions on the farm of Farmer Brown. After the chore list is posted, Duck decides his sick of hard work and being covered in dirt, so he springs into action organizing an election of who should be in charge of the farm. The ballot consists of only two nominees: Duck and Farmer Brown, and to no surprise Duck sweeps his competition to take over the farm. Duck’s run of the farm is not what he had expected, at the end of the day he still covered in dirt and tired. Upon Duck’s satisfaction of farm work he eventually runs for governor and president only to be dissatisfied by those too. Duck eventually leaves behind the White House to go back working for Farmer Brown and penning his autobiography.
3. CRITICAL ANALYSIS
This book is a quick fun read sending the message to children that being in charge is not always what they may think and that the grass is not always greener on the other side... The language in the text will evoke youngsters to question several words such as election, protested, and campaign. Children will follow duck through 2 elections as he makes campaign stops at parades, town meetings and late-night television…only to find that he was better off where he had originally started, reaffirming again to kids that they should be grateful for what and where they already are.
Storytimes have revealed one weakness of this book; the adult humor incorporated in the background paintings. Most children will not understand the political humor, but it does keep the adults interested. Other times I have been frustrated reading this title aloud only to be interrupted constantly by inquiring minds who want to know the meaning of the political jargon that is found throughout the story. Precise vocabulary may be the explanation for the author’s word choices, assuming that different words would expand the reader and listeners semantic development.
Betsey Lewin illustrates this book with watercolor and harsh black outlines. The drawings are simple, and highlighted with potent splashes of watercolor. Color-rich drawings of red, black and yellow make each page pop on a back drop that mainly consisting of white. On some pages text placement should have been reconsidered because of the dark hues that lay in the background. There are also various pages where the text will begin at the top of one page only to jump down to the bottom on the very next. I find books like this very hard to read aloud unless I am very familiar with them. Often times I find myself getting caught up in the story and audience and forget to read a sentence that lies at the bottom on the corner of the page.
Overall, I always enjoy reading this book and I will continue to use it as a story time staple on President’s Day. I have found that this is one title that I can take into the schools and the kids will pay attention to it, contrary to other nonfiction easy books addressing the subject that I have tried in the past.
4. REVIEW EXCERPTS
Publishers Weekly - 02-16-2004
The focus on Duck's dissatisfaction and loneliness at the top makes the story line perhaps better suited to adults, even as Lewin's chunky-outlined watercolors continue to cater to the younger crowd with her usual dashes of humor and daffy sweetness.
School Library Journal - 03-01-2004 Starred Review
This award-winning team returns with a third story of farm animals with ambition. Duck is tired of doing his chores (mowing the lawn and grinding the coffee beans), and decides to hold an election to replace Farmer Brown
5. CONNECTIONS
*This title is perfect to introduce the very young to the election process and can also
be used as an introduction to President’s Day.
*This title could be used to set the stage for a simple unit exploring the various levels of government. Students could eventually hold a mock election, and tally up votes.
Crafts could include campaign signs, buttons, and patriotic decorations.
*Have students select a job they think they would like to have, and have them do an interview or research to find out what that job actually entails.
* Other titles to pair this book with:
Krosoczka, Jarret J. MAX FOR PRESIDENT. ISBN 0375824286
Christelow, Eileen. VOTE! ISBN: 0618486062
Granfield, Linda. AMERICA VOTES: HOW OUR PRESIDENT IS ELECTED. ISBN1553379896
Barnes, Peter W. WOODROW FOR PRESIDENT: A TAIL OF VOTING, CAMPAIGNS AND ELECTIONS. ISBN 1893622010
Talking with Artists
1. BIBLIOGRAPHY
Cummings, Pat. TALKING WITH ARTISTS. New York, NY: Simon & Schuster Children’s Publishing Division. ISBN 0027242455
2. PLOT SUMMARY
Talking With Artists, compiled by Pat Cummings, gives readers a glimpse into the lives of 14 artists from where they started to their present careers in illustrating. Each illustrator opens with “My Story,” a brief history and overview of their childhood and love of drawing. Following, each artist is asked a series of eight questions, ranging from a typical days work to their very first book deal. Past and present photographs of each illustrator fill the pages along with their professional and amateur artwork. This book and its personal story will give promise to all children whatever there dream may be.
3. CRITICAL ANALYSIS
The book opens with an endearing letter to the reader, reminding them if they too want to become artists they need to not be afraid of working for what they want to achieve. Cummings reminds the reader to, “Not be afraid of the “work” in “artwork”. Keep drawing. That’s all we did. We just kept drawing.” I think that this message applies to more than just artwork but life and general. Children and adults alike need to be reminded that anything in life that seems worthwhile is going to take work. Cumming’s message is again reiterated by illustrator, Victoria Chess who states, “If you want to be an illustrator, do it all the time and practice, practice, practice.”
The parts of the book that I really enjoyed were the illustrations of when the subjects were younger. It is obvious in some of the amateurs work how much talent they had even as children. At age nine, Diane Dillon, drew a parrot that was more than a traditional depiction. Her use of color and shape gives the animal a surrealist look. I think that Cumming’s could have included more illustration samples to help break up all the pages of text.
The interview questions hold some of the more interesting detail throughout the book. They give readers insider secrets to how some of the artist’s drawings are achieved with the help of special tools and ink, like that of the Hippopotamus, by J. Patrick Lewis. The last point I found most interesting is how each illustrator became a professional in the publishing world. It seemed that most either fell into it by chance or by knowing someone that knew someone, who knew someone else. None of the illustrators filled a wanted add or posted a resume. From this I have learned that being an artist is more a way of life, than it is making a living.
The book concludes with a glossary and list of books by the artists that would be more suited for the aspiring illustrator, rather than the average reader. Overall, Cumming’s collection is brief, and knowledgeable.
4. REVIEW EXCERPTS
Horn Book Award for Nonfiction 1992
Booklist - 05-01-1992 Starred Review
Cummings attends further to children's insatiable curiosity by including a recent photo of each artist, a sampling of his or her work, and the artist's signature. But what kids will love best is the picture of each artist as a child and the sampling of childhood artwork.
Publishers Weekly- 03-16-1992
Some interview topics--how to get that first book contract, for example--seem less suited to children than to parents, who might be reassured to learn that making art can be financially as well as personally rewarding.
School Library Journal - 05-01-1992 Starred Review
Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum
5. CONNECTIONS
*Provide students with the exact same storyline and have them each come up with their own illustrations. Let students compare there depictions with one another to see how differently they each perceived the story.
*Offer programming for an entire month, based on art. Each class could offer students a different type of medium to work with. At the very last class offer several of the mediums to work with to create a piece composed of different elements.
*Other books in addition to this title:
Christelow, Eileen. WHAT DO AUTHORS DO? ISBN 0395866219
Preller, James. THE BIG BOOK OF PICTURE_BOOK AUTHORS AND ILLUSTRATORS. ISBN 0439201543
K. Backus, L. Evans, M. Thompson. 25 TERRIFIC ART PROJECTS BASED ON FAVORITE PICTURE BOOKS. ISBN 043922263X
Joseph Had a Little Overcoat
1. BIBLIOGRAPHY
Taback, Simms. 1999. JOSEPH HAD A LITTLE OVERCOAT. Ill. by Simms Taback. New York, NY: Viking. ISBN 0670878553
2. PLOT SUMMARY
Simms Taback writes a simple but playful story of a man named Joseph and the many becomings of his overcoat. Each page depicts how the overcoat changes and becomes something different, but remains very useful to Joseph. Each time the overcoat takes on a new task, so too does Joseph, from the fair to a wedding to singing in the chorus. The fabric gets smaller each time and eventually becoming a button that gets lost. The book concludes with the message you can always make something out of nothing.
3. CRITICAL ANALYSIS
A note to the reader in the end explains how and why Taback came up with this story from his childhood love of the folk song, “I had a Little Overcoat.” Eventually taking on the song with his name and writing a children’s book. I think that this book can send various messages to children, from recycling and not being wasteful to taking something and making it their own.
Simms Taback also did the illustrations in this engineered picture book. His choice of bright colors gives the story a visual punch as the reader flows through the text. Bold colors and die cut illustrations keep the reader interested and keep the children guessing what Joseph will come up with next for the old overcoat. Each page has a black outline where the text lies, and it makes it easy for the eye to follow through the vibrant pages. Not only is this a good book for sharing aloud to a group, but it also would work well as a one on one read because of the details in the background illustrations. Small details and patterns fill the background pages and will keep any reader interested. Young audiences will enjoy the repetitive text and eventually be saying…. “So he made a…” along with the reader.
Taback’s messages are universal in this picture book for young and old alike.
4. REVIEW EXCERPTS
Booklist- 01-01-2000
“This newly illustrated version of a book Taback first published in 1977 is a true example of accomplished bookmaking--from the typography and the endpapers to the bar code, set in what appears to be a patch of fabric. Taback's mixed-media and collage illustrations are alive with warmth, humor, and humanity.”
School Library Journal – 01-01-2000 Starred Review
The rhythm and repetition make it a perfect story time read-aloud.-Linda Ludke, London Public Library, Ontario, Canada
Publishers Weekly - 11-01-1999
Taback works into his folk art a menagerie of wide-eyed animals witnessing the overcoat's transformation, miniature photographs superimposed on paintings and some clever asides reproduced in small print (a wall hanging declares, "Better to have an ugly patch than a beautiful hole"; a newspaper headline announces, "Fiddler on Roof Falls off Roof").
Randolph Caldecott Medal: 2000
ALA Notable Children's Books: 2000
5. CONNECTIONS
*Talk to children about not being wasteful and encourage them to think of things around their house that they could save instead of throwing away. Ask children to make suggestions about what else Joseph could have made or what they would like to tray making on their own.
*Teach children about making something their own by singing a song and incorporating their own name into it. An example would Old McDonald, children could take turns singing and placing their own name in front of “Mc” and stating an animal of their choice.
* Other recycling books:
Green, Jen. WHY SHOULD I RECYCLE? ISBN 0764131559
Lamerand, Violaine. CRAFTS FROM JUNK. (Step By Step)
ISBN 0736814795
Duck for President
1. BIBLIOGRAPHY
Cronin, Doreen. 2004. DUCK FOR PRESIDENT. Ill by Betsey Lewin. New York, NY: Simon & Schuster Children’s Publishing Division. ISBN 0689863772
2. PLOT SUMMARY
Doreen Cronin writes a humorous story of a duck and his current unhappy living conditions on the farm of Farmer Brown. After the chore list is posted, Duck decides his sick of hard work and being covered in dirt, so he springs into action organizing an election of who should be in charge of the farm. The ballot consists of only two nominees: Duck and Farmer Brown, and to no surprise Duck sweeps his competition to take over the farm. Duck’s run of the farm is not what he had expected, at the end of the day he still covered in dirt and tired. Upon Duck’s satisfaction of farm work he eventually runs for governor and president only to be dissatisfied by those too. Duck eventually leaves behind the White House to go back working for Farmer Brown and penning his autobiography.
3. CRITICAL ANALYSIS
This book is a quick fun read sending the message to children that being in charge is not always what they may think and that the grass is not always greener on the other side... The language in the text will evoke youngsters to question several words such as election, protested, and campaign. Children will follow duck through 2 elections as he makes campaign stops at parades, town meetings and late-night television…only to find that he was better off where he had originally started, reaffirming again to kids that they should be grateful for what and where they already are.
Storytimes have revealed one weakness of this book; the adult humor incorporated in the background paintings. Most children will not understand the political humor, but it does keep the adults interested. Other times I have been frustrated reading this title aloud only to be interrupted constantly by inquiring minds who want to know the meaning of the political jargon that is found throughout the story. Precise vocabulary may be the explanation for the author’s word choices, assuming that different words would expand the reader and listeners semantic development.
Betsey Lewin illustrates this book with watercolor and harsh black outlines. The drawings are simple, and highlighted with potent splashes of watercolor. Color-rich drawings of red, black and yellow make each page pop on a back drop that mainly consisting of white. On some pages text placement should have been reconsidered because of the dark hues that lay in the background. There are also various pages where the text will begin at the top of one page only to jump down to the bottom on the very next. I find books like this very hard to read aloud unless I am very familiar with them. Often times I find myself getting caught up in the story and audience and forget to read a sentence that lies at the bottom on the corner of the page.
Overall, I always enjoy reading this book and I will continue to use it as a story time staple on President’s Day. I have found that this is one title that I can take into the schools and the kids will pay attention to it, contrary to other nonfiction easy books addressing the subject that I have tried in the past.
4. REVIEW EXCERPTS
Publishers Weekly - 02-16-2004
The focus on Duck's dissatisfaction and loneliness at the top makes the story line perhaps better suited to adults, even as Lewin's chunky-outlined watercolors continue to cater to the younger crowd with her usual dashes of humor and daffy sweetness.
School Library Journal - 03-01-2004 Starred Review
This award-winning team returns with a third story of farm animals with ambition. Duck is tired of doing his chores (mowing the lawn and grinding the coffee beans), and decides to hold an election to replace Farmer Brown
5. CONNECTIONS
*This title is perfect to introduce the very young to the election process and can also
be used as an introduction to President’s Day.
*This title could be used to set the stage for a simple unit exploring the various levels of government. Students could eventually hold a mock election, and tally up votes.
Crafts could include campaign signs, buttons, and patriotic decorations.
*Have students select a job they think they would like to have, and have them do an interview or research to find out what that job actually entails.
* Other titles to pair this book with:
Krosoczka, Jarret J. MAX FOR PRESIDENT. ISBN 0375824286
Christelow, Eileen. VOTE! ISBN: 0618486062
Granfield, Linda. AMERICA VOTES: HOW OUR PRESIDENT IS ELECTED. ISBN1553379896
Barnes, Peter W. WOODROW FOR PRESIDENT: A TAIL OF VOTING, CAMPAIGNS AND ELECTIONS. ISBN 1893622010
Talking with Artists
1. BIBLIOGRAPHY
Cummings, Pat. TALKING WITH ARTISTS. New York, NY: Simon & Schuster Children’s Publishing Division. ISBN 0027242455
2. PLOT SUMMARY
Talking With Artists, compiled by Pat Cummings, gives readers a glimpse into the lives of 14 artists from where they started to their present careers in illustrating. Each illustrator opens with “My Story,” a brief history and overview of their childhood and love of drawing. Following, each artist is asked a series of eight questions, ranging from a typical days work to their very first book deal. Past and present photographs of each illustrator fill the pages along with their professional and amateur artwork. This book and its personal story will give promise to all children whatever there dream may be.
3. CRITICAL ANALYSIS
The book opens with an endearing letter to the reader, reminding them if they too want to become artists they need to not be afraid of working for what they want to achieve. Cummings reminds the reader to, “Not be afraid of the “work” in “artwork”. Keep drawing. That’s all we did. We just kept drawing.” I think that this message applies to more than just artwork but life and general. Children and adults alike need to be reminded that anything in life that seems worthwhile is going to take work. Cumming’s message is again reiterated by illustrator, Victoria Chess who states, “If you want to be an illustrator, do it all the time and practice, practice, practice.”
The parts of the book that I really enjoyed were the illustrations of when the subjects were younger. It is obvious in some of the amateurs work how much talent they had even as children. At age nine, Diane Dillon, drew a parrot that was more than a traditional depiction. Her use of color and shape gives the animal a surrealist look. I think that Cumming’s could have included more illustration samples to help break up all the pages of text.
The interview questions hold some of the more interesting detail throughout the book. They give readers insider secrets to how some of the artist’s drawings are achieved with the help of special tools and ink, like that of the Hippopotamus, by J. Patrick Lewis. The last point I found most interesting is how each illustrator became a professional in the publishing world. It seemed that most either fell into it by chance or by knowing someone that knew someone, who knew someone else. None of the illustrators filled a wanted add or posted a resume. From this I have learned that being an artist is more a way of life, than it is making a living.
The book concludes with a glossary and list of books by the artists that would be more suited for the aspiring illustrator, rather than the average reader. Overall, Cumming’s collection is brief, and knowledgeable.
4. REVIEW EXCERPTS
Horn Book Award for Nonfiction 1992
Booklist - 05-01-1992 Starred Review
Cummings attends further to children's insatiable curiosity by including a recent photo of each artist, a sampling of his or her work, and the artist's signature. But what kids will love best is the picture of each artist as a child and the sampling of childhood artwork.
Publishers Weekly- 03-16-1992
Some interview topics--how to get that first book contract, for example--seem less suited to children than to parents, who might be reassured to learn that making art can be financially as well as personally rewarding.
School Library Journal - 05-01-1992 Starred Review
Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum
5. CONNECTIONS
*Provide students with the exact same storyline and have them each come up with their own illustrations. Let students compare there depictions with one another to see how differently they each perceived the story.
*Offer programming for an entire month, based on art. Each class could offer students a different type of medium to work with. At the very last class offer several of the mediums to work with to create a piece composed of different elements.
*Other books in addition to this title:
Christelow, Eileen. WHAT DO AUTHORS DO? ISBN 0395866219
Preller, James. THE BIG BOOK OF PICTURE_BOOK AUTHORS AND ILLUSTRATORS. ISBN 0439201543
K. Backus, L. Evans, M. Thompson. 25 TERRIFIC ART PROJECTS BASED ON FAVORITE PICTURE BOOKS. ISBN 043922263X
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