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