McKissack, Patricia C. 2006. PORCH LIES: TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILY CHARACTERS. Ill. by Andre Carrilho. New York: Schwartz & Wade Books.
ISBN 0375836195
*Plot Summary
Patricia McKissack has written a collection of entertaining tales, which she calls "porch lies." These stories are inspired by ones she listened to as a child in Nashville, Tennessee, on the porch of her grandparents' house. The plots of these stories are varied, from a man trying to get into heaven to a woman who allows outlaws to reside in her home. Although the stories follow different plot lines, they all represent characteristics of great storytelling and the African American oral tradition.
*Critical Analysis
The stories McKissack relates to readers have simple plots; most involve a twist or surprise ending that make them appealing to readers. The settings consist of small towns and some larger cities mostly in the south, but they seem of little consequence when compared to the lively characters McKissack has created. The presence of interesting characters, like determined musician Bukka Black and "rascal" Mingo Cass, is one example of repeated elements throughout the book. Likewise, McKissack's use of exaggeration and fanciful events can be found in several stories. For example, in "A Grave Situation," Mis Cricket is dug up from her own grave after being "rescued" by Link Murphy. Also, most stories include protagonists who are African Americans; many of these characters strike up unlikely friendships like the one between Mis Cricket and Link Murphy.
As a tribute to oral traditions and storytelling, each tale lends itself to reading aloud. The dialect and slang of the characters make the stories more interesting. Accordingly, McKissack uses many idiomatic expressions and figures of speech. Characters "chitchat," smile "as wide as a country mile," and suffer temperatures "hot as blue blazes." This quality of her writing changes the reader into a listener and surely adds to the charm and appeal of the stories. Illustrations in the collection are spare but add interest to each story. The black and white cartoons are at once surreal, whimsical, and unique.
The book itself is organized into sections, each representing a separate story and listed in the table of contents. Although the story lines may be unfamiliar to younger readers, McKissack's "author's note" at the beginning of the book relates the purpose and background of her writing. In addition, a short introduction of the person telling the porch lie and the circumstances surrounding the tale comes before every story. The culture represented is predominantly African American although not every character is black. This cultural impact is seen in several stories as references to racism, the Ku Klux Klan, and peculiarity of a friendship between a white woman and a black man are made. Ultimately, McKissack's stories and characters are interesting and likable, drawing in any reader who enjoys a good story.
*Personal/Student Response
As I made my way through this collection, I was reminded of the pleasure I have always taken in listening to family members tell stories about the past. None of McKissack's tales were familiar to me, but I could find a bit to relate to in each story. The more I read; the more I came to enjoy the book. My personal favorite is "Aunt Gran and the Outlaws." The idea of hardened criminals having a sentimental side pleased me, and the ending was terrific.
I chose to share the "author's note" and the first story, "When Pete Bruce Came to Town," with several third grade classes when they visited the library. I had to prompt the children a bit to understand the trick played by Pete Bruce, but they enjoyed the tale even if they didn't fully understand it. I know this because many students were searching for other Patricia McKissack books and wondering when they could check out PORCH LIES, so they could read more of her stories. (They were especially interested when I mentioned that a couple of the stories were a bit creepy.) I hope to share more with them and perhaps some of the fourth and fifth graders; I predict that as the children come to understand the patterns of speech and plot, they will enjoy the book more and more.
*Review Excerpts
“These 10 literate stories make for great leisure listening and knowing chuckles.”
School Library Journal
“Like McKissack’s award-winning THE DARK THIRTY (1992), the nine original tales in this uproarious collection draw on African American oral tradition and blend history and legend with sly humor, creepy horror, villainous characters, and wild farce…Great for sharing, on the porch and in the classroom.”
BookList *Starred Review*
*Connections
-Research (through interviews with family members) a family story and write an original "porch lie."
-Research African American oral traditions.
-Discuss friendships between unlikely people and make connections to other stories that include similar relationships.
-Discuss the use of idioms, slang, and figures of speech in the book. (What impact does the language have? Can you use these in your writing?)
-Research some of the historical and cultural references mentioned in the collection (the Great Depression, music, classic literature and poetry).
-Discuss the elements of good storytelling. How does this relate to oral reading such as fluency and prosody?
Friday, September 28, 2007
Adopted by the Eagles
Goble, Paul. Adapter. 1994. ADOPTED BY THE EAGLES. Ill. by Paul Goble. New York: Bradbury Press. ISBN 0027365751
*Plot Summary
In the “old Buffalo Days” young Tall Bear and White Hawk are best friends or “kolas.” In an act of surprising and sudden betrayal, White Hawk, who is driven by his jealousy concerning a beautiful tribe member named Red Leaf, attempts to kill his friend. At the time of the act, Tall Bear's fate seems dark and grim. However, with the aid of a family of eagles, Tall Bear eventually makes a triumphant return to his old life and shows grace in his dealings with his former “kola” and his fellow tribe members.
*Critical Analysis
This Lakota folktale retold and illustrated by Paul Goble is a serious story depicting a dramatic series of events. Goble sets the tone for the story in his author's note in which he describes the history of the tale and expresses his opinion about how teachers should use the book in class. The narrative is simple but provides adequate details to set the stage for drama. Readers learn about the men and their relationship as “kolas” which gives insight into the culture of the Lakota people. Goble also writes some details in the native language of the tribe. True to the tradition of folk literature, the plot moves quickly and tells of a battle between good and evil, in which ultimately the good Tall Bear prevails. Similarly, key to the plot is the family of eagles who rescue Tall Bear from his otherwise sad future. All of these elements work well together to create an interesting story.
Goble's beautiful, naive style illustrations surely assist in telling the folktale. Although the tone is serious throughout, the mood of the story varies as the plot develops. Goble's use of light and dark colors convey these changes. For example, in a series of three double-page spreads depicting the scenes before, during, and after the betrayal; the pictures become increasingly dark. The blue sky turns bleaker, and the dark rocks take up more space on the pages. This use of color not only enhances the mood but also increases the tension. Additionally, Goble’s colorful illustrations portray the beauty of nature.
Although the narrative itself is obviously of great importance to Goble, his India ink and watercolor paintings occupy the majority of the space on each double-page spread and show cultural details visually. The layout is consistent throughout the book, but at one important moment during the story, Tall Bear's delivery back to his tribe, only a single sentence accompanies the illustration. “His Eagle brothers carried him to earth.” With this one sentence and a magnificent, brightly colored painting occupying the two pages, Goble accentuates the drama and the significance of this part of the story. Finally, photographs of Chief Edgar Red Cloud (a well-known storyteller) and Paul Goble can be found at the beginning and end of the book. These photos serve as a reminder of the culture and tradition this story represents.
*Personal Response
Although folktales are not my favorite genre of literature, I enjoyed reading and learning about the story ADOPTED BY THE EAGLES. I found Tall Bear's capacity to forgive, despite White Hawk's treachery, inspiring. Reading the author's note added to my experience and made me consider the excitement of hearing a good story regardless of culture. After reading the book initially, I liked taking a closer look at the wonderful illustrations. I hope to share this story in the library, and I look forward to seeing the reaction of my students.
*Review Excerpts
“…this version remains an absorbing tale. The watercolor illustrations, as usual, are excellent.”
School Library Journal
“The illustrations are vintage Goble—stylized figures in historically accurate clothing, outlined in white and set against landscapes of vast sky or dark, slanting rock.”
BookList
*Connections
-Discuss the idea of forgiveness and do journal writing about a personal experience with forgiveness.
-Research folktales (Native American or others) looking for the origins and inspirations.
-Make connections to modern stories which involve betrayal. How is this story similar or different from those? Is forgiveness present in those stories?
-Research the Lakota tribe to find out more about the culture and customs of the people.
-Discuss alternate endings to the story. How would a different resolution affect the quality of the story?
-Invite a storyteller to visit the class.
-Research the art of storytelling.
*Plot Summary
In the “old Buffalo Days” young Tall Bear and White Hawk are best friends or “kolas.” In an act of surprising and sudden betrayal, White Hawk, who is driven by his jealousy concerning a beautiful tribe member named Red Leaf, attempts to kill his friend. At the time of the act, Tall Bear's fate seems dark and grim. However, with the aid of a family of eagles, Tall Bear eventually makes a triumphant return to his old life and shows grace in his dealings with his former “kola” and his fellow tribe members.
*Critical Analysis
This Lakota folktale retold and illustrated by Paul Goble is a serious story depicting a dramatic series of events. Goble sets the tone for the story in his author's note in which he describes the history of the tale and expresses his opinion about how teachers should use the book in class. The narrative is simple but provides adequate details to set the stage for drama. Readers learn about the men and their relationship as “kolas” which gives insight into the culture of the Lakota people. Goble also writes some details in the native language of the tribe. True to the tradition of folk literature, the plot moves quickly and tells of a battle between good and evil, in which ultimately the good Tall Bear prevails. Similarly, key to the plot is the family of eagles who rescue Tall Bear from his otherwise sad future. All of these elements work well together to create an interesting story.
Goble's beautiful, naive style illustrations surely assist in telling the folktale. Although the tone is serious throughout, the mood of the story varies as the plot develops. Goble's use of light and dark colors convey these changes. For example, in a series of three double-page spreads depicting the scenes before, during, and after the betrayal; the pictures become increasingly dark. The blue sky turns bleaker, and the dark rocks take up more space on the pages. This use of color not only enhances the mood but also increases the tension. Additionally, Goble’s colorful illustrations portray the beauty of nature.
Although the narrative itself is obviously of great importance to Goble, his India ink and watercolor paintings occupy the majority of the space on each double-page spread and show cultural details visually. The layout is consistent throughout the book, but at one important moment during the story, Tall Bear's delivery back to his tribe, only a single sentence accompanies the illustration. “His Eagle brothers carried him to earth.” With this one sentence and a magnificent, brightly colored painting occupying the two pages, Goble accentuates the drama and the significance of this part of the story. Finally, photographs of Chief Edgar Red Cloud (a well-known storyteller) and Paul Goble can be found at the beginning and end of the book. These photos serve as a reminder of the culture and tradition this story represents.
*Personal Response
Although folktales are not my favorite genre of literature, I enjoyed reading and learning about the story ADOPTED BY THE EAGLES. I found Tall Bear's capacity to forgive, despite White Hawk's treachery, inspiring. Reading the author's note added to my experience and made me consider the excitement of hearing a good story regardless of culture. After reading the book initially, I liked taking a closer look at the wonderful illustrations. I hope to share this story in the library, and I look forward to seeing the reaction of my students.
*Review Excerpts
“…this version remains an absorbing tale. The watercolor illustrations, as usual, are excellent.”
School Library Journal
“The illustrations are vintage Goble—stylized figures in historically accurate clothing, outlined in white and set against landscapes of vast sky or dark, slanting rock.”
BookList
*Connections
-Discuss the idea of forgiveness and do journal writing about a personal experience with forgiveness.
-Research folktales (Native American or others) looking for the origins and inspirations.
-Make connections to modern stories which involve betrayal. How is this story similar or different from those? Is forgiveness present in those stories?
-Research the Lakota tribe to find out more about the culture and customs of the people.
-Discuss alternate endings to the story. How would a different resolution affect the quality of the story?
-Invite a storyteller to visit the class.
-Research the art of storytelling.
Bubba, the Cowboy Prince
Helen, Ketteman. 1997. BUBBA, THE COWBOY PRINCE. Ill. by James Warhola. New York: Scholastic Press. ISBN 0590255061
*Plot Summary
Bubba is a hard-working Texas ranch hand who is treated horribly by his stepfather and two stepbrothers. Similar to the fairy tale character Cinderella, Bubba, despite his mistreatment, doesn’t resent his family and keeps his hopes high. He still desires the chance to attend the ball and win the heart of Miz Lurleen, a wealthy rancher and landowner. With the help of his magical fairy godcow, Bubba captures Miz Lurleen’s heart, and the story ends in true fairy tale fashion.
*Critical Analysis
In this fractured fairy tale, author Helen Ketteman has successfully created an exciting Texas tale. Bubba and Miz Lurleen are characters who represent the archetype of the “good guy.” Meanwhile, Bubba’s stepfather and stepbrothers provide the necessary evil to the plot. The Texas setting is well-developed through the characters’ occupations, accents, and figures of speech. True to fairy tale structure, the plot moves quickly and reaches a satisfactory resolution.
Readers will enjoy the story despite its predictable plot because of Ketteman’s style. The Texas theme adds interest and humor. For example, not every fairy tale includes a villain who proclaims the hero to be “sorrier than a steer in a stockyard” as Bubba’s stepbrother says of him. Similarly, the dialect adds to the Texas theme and lends itself to story telling. Another fairy tale characteristic is the magic motif which is demonstrated by Bubba’s fairy godcow. Ketteman’s story reminds readers enough of Cinderella to be familiar, but includes interesting changes to the style and theme which make the story worthwhile.
James Warhola’s illustrations add to the overall appeal of this book by emphasizing the characters’ personalities and the Texas theme. For example, when Bubba’s family laughs at his suggestion that he go to the ball along with his stepbrothers, even the stepfather’s horse and dog are giggling. In addition to portraying personalities, Warhola also does an excellent job showing the emotions of each character. At the stroke of midnight when the fairy godcow’s magical spell has expired and Bubba turns “fourteen shades of red,” Warhola’s illustration conveys Bubba’s shock and embarrassment. Accordingly, Texas as a theme and setting come to life in the colorful oil paintings. As readers see a lovely fairy godcow and Miz Lurleen’s living room full of all things Texas; cowboy boot candle sticks, a cactus-shaped coat rack, and a bench with a picture of the Alamo painted on its back.
Along with the text, these witty illustrations convey both humor and magic and set the mood of the story. Readers will identify the magic motif with eye-catching paintings of the fairy godcow in the clouds, and stars surrounding Bubba after he’s given the “handsomest cowboy duds” by his fairy godcow. In several scenes, animals are shown displaying very human emotions and actions (laughing, dancing, being lazy, feeling shocked); this adds to the lighthearted mood of the story. Another memorable page shows a series of three pictures and the transformation of a steer becoming a beautiful stallion. The wide-eyed look of dismay on the animal’s face adds to the appeal using humor and magic. Warhola’s paintings successfully aid the author’s efforts to put a new twist on an old story.
*Personal/Student Response
Reading a variation of an old tale is not always my first choice as a reader; however, I enjoyed this story. Being a native of west Texas, I liked the silly Texas setting, dialect, and slang. The illustrations are terrific and make the story even funnier and more interesting.
Although I enjoyed reading the book on my own, reading it to students was even better. I shared this with several second grade classes in the library, and the students loved it. The narrative and illustrations lend themselves perfectly to reading aloud. Many of the kids were excited to discover and share the differences and similarities between this story and the traditional Cinderella story. The illustrations were another source of great enthusiam. We had a great time searching for the fairy godcow on each page (she's on almost every page), and a few children also noticed small details like the expression on the moon's face when Bubba rides away from the ball and loses his boot. Judging by the reaction of the second grade classes, Ketteman and Warhola do an excellent job grabbing the attention and imagination of young people.
*Review Excerpts
“While spoofing Cinderella is not a new idea, Ketteman and Warhola’s (Aunt Hilarity’s Bustle) well-matched flair for hyperbole gives the narrative and illustrations a one-two punch. Just the ticket for buckaroos lookin’ fer a good read.”
Publishers Weekly
“Ketteman wisely leaves the plot unchanged, but the story has a distinct western flair and a humorous tall-tale feel that is greatly enhanced by the exaggerated actions and facial expressions of the characters in Warhola’s double-page-spread oil paintings.”
BookList
*Connections
-Create a graphic organizer depicting the similarities and differences between Bubba’s tale and the traditional Cinderella story.
-Write an epilogue describing Bubba and Miz Lurleen's life together and the future of Bubba's stepbrothers and stepfather.
-Research the traditional Cinderella story. (What are its origins? Why is it such a popular tale?)
-Discuss the idea of magic. How would the story be different without magic? Would it be possible? Would the story be as good?
-Research and brainstorm ideas for changing the setting of the fractured fairy tale. (What details would we change if the story were set in Alaska? Hawaii? Mexico? New York?)
-Read a variety of other Cinderella stories and choose personal favorites and discuss reasons for preferences.
*Plot Summary
Bubba is a hard-working Texas ranch hand who is treated horribly by his stepfather and two stepbrothers. Similar to the fairy tale character Cinderella, Bubba, despite his mistreatment, doesn’t resent his family and keeps his hopes high. He still desires the chance to attend the ball and win the heart of Miz Lurleen, a wealthy rancher and landowner. With the help of his magical fairy godcow, Bubba captures Miz Lurleen’s heart, and the story ends in true fairy tale fashion.
*Critical Analysis
In this fractured fairy tale, author Helen Ketteman has successfully created an exciting Texas tale. Bubba and Miz Lurleen are characters who represent the archetype of the “good guy.” Meanwhile, Bubba’s stepfather and stepbrothers provide the necessary evil to the plot. The Texas setting is well-developed through the characters’ occupations, accents, and figures of speech. True to fairy tale structure, the plot moves quickly and reaches a satisfactory resolution.
Readers will enjoy the story despite its predictable plot because of Ketteman’s style. The Texas theme adds interest and humor. For example, not every fairy tale includes a villain who proclaims the hero to be “sorrier than a steer in a stockyard” as Bubba’s stepbrother says of him. Similarly, the dialect adds to the Texas theme and lends itself to story telling. Another fairy tale characteristic is the magic motif which is demonstrated by Bubba’s fairy godcow. Ketteman’s story reminds readers enough of Cinderella to be familiar, but includes interesting changes to the style and theme which make the story worthwhile.
James Warhola’s illustrations add to the overall appeal of this book by emphasizing the characters’ personalities and the Texas theme. For example, when Bubba’s family laughs at his suggestion that he go to the ball along with his stepbrothers, even the stepfather’s horse and dog are giggling. In addition to portraying personalities, Warhola also does an excellent job showing the emotions of each character. At the stroke of midnight when the fairy godcow’s magical spell has expired and Bubba turns “fourteen shades of red,” Warhola’s illustration conveys Bubba’s shock and embarrassment. Accordingly, Texas as a theme and setting come to life in the colorful oil paintings. As readers see a lovely fairy godcow and Miz Lurleen’s living room full of all things Texas; cowboy boot candle sticks, a cactus-shaped coat rack, and a bench with a picture of the Alamo painted on its back.
Along with the text, these witty illustrations convey both humor and magic and set the mood of the story. Readers will identify the magic motif with eye-catching paintings of the fairy godcow in the clouds, and stars surrounding Bubba after he’s given the “handsomest cowboy duds” by his fairy godcow. In several scenes, animals are shown displaying very human emotions and actions (laughing, dancing, being lazy, feeling shocked); this adds to the lighthearted mood of the story. Another memorable page shows a series of three pictures and the transformation of a steer becoming a beautiful stallion. The wide-eyed look of dismay on the animal’s face adds to the appeal using humor and magic. Warhola’s paintings successfully aid the author’s efforts to put a new twist on an old story.
*Personal/Student Response
Reading a variation of an old tale is not always my first choice as a reader; however, I enjoyed this story. Being a native of west Texas, I liked the silly Texas setting, dialect, and slang. The illustrations are terrific and make the story even funnier and more interesting.
Although I enjoyed reading the book on my own, reading it to students was even better. I shared this with several second grade classes in the library, and the students loved it. The narrative and illustrations lend themselves perfectly to reading aloud. Many of the kids were excited to discover and share the differences and similarities between this story and the traditional Cinderella story. The illustrations were another source of great enthusiam. We had a great time searching for the fairy godcow on each page (she's on almost every page), and a few children also noticed small details like the expression on the moon's face when Bubba rides away from the ball and loses his boot. Judging by the reaction of the second grade classes, Ketteman and Warhola do an excellent job grabbing the attention and imagination of young people.
*Review Excerpts
“While spoofing Cinderella is not a new idea, Ketteman and Warhola’s (Aunt Hilarity’s Bustle) well-matched flair for hyperbole gives the narrative and illustrations a one-two punch. Just the ticket for buckaroos lookin’ fer a good read.”
Publishers Weekly
“Ketteman wisely leaves the plot unchanged, but the story has a distinct western flair and a humorous tall-tale feel that is greatly enhanced by the exaggerated actions and facial expressions of the characters in Warhola’s double-page-spread oil paintings.”
BookList
*Connections
-Create a graphic organizer depicting the similarities and differences between Bubba’s tale and the traditional Cinderella story.
-Write an epilogue describing Bubba and Miz Lurleen's life together and the future of Bubba's stepbrothers and stepfather.
-Research the traditional Cinderella story. (What are its origins? Why is it such a popular tale?)
-Discuss the idea of magic. How would the story be different without magic? Would it be possible? Would the story be as good?
-Research and brainstorm ideas for changing the setting of the fractured fairy tale. (What details would we change if the story were set in Alaska? Hawaii? Mexico? New York?)
-Read a variety of other Cinderella stories and choose personal favorites and discuss reasons for preferences.
Friday, September 14, 2007
A Caldecott Celebration
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION. New York: Walker and Company. ISBN 0802786588
*Summary
Leonard S. Marcus gives readers the inside scoop on six artists of children’s books. Illustrators Robert McCloskey, Marcia Brown, Maurice Sendak, William Steig, Chris Van Allsburg, and David Wiesner are featured in the book. Marcus documents the inspirations, artistic interests, and creative processes of six Caldecott Medal winners from the 1940s to the 1990s. The book is divided into six parts with an introduction by the author, so it can also serve as a resource for biographical information about each person. Using photos, advice, and information from the artists, readers gain an understanding of each person and the artistic process of illustrating a children’s book. Choosing one illustrator from each decade, Marcus focuses on sixty years of Caldecott history.
*Critical Analysis
Marcus’s approach to sharing information serves the fascinating stories of each artist well. Readers will be drawn to each biography quickly upon seeing a photo of the illustrator, the cover of the award winning book, and an interesting quote from the artist’s Caldecott acceptance speech. The layout of the book is also great because each double page spread contains a combination of text and pictures.
Marcus has provided interesting and entertaining information about each of his subjects, and the text is large sized and easy to follow, so children and adults will find the book both approachable and informative. At the end of each illustrator’s section is a list of all books by the artist and awards earned. Although the book is well-organized with a consistent layout, the biographies are reflective of each individual artist, so no two are the same; therefore, the book avoids redundancy.
Another aspect that readers, especially those interested in art, will enjoy is many pictures portraying the process of the artist. Sketches, dummies, and inspirations are all featured. To see just how simply the process begins is interesting. Additionally, the book includes a short glossary of technical art terms (like dummy) to help readers better understand the process. Finally, this book can also be used as a resource for those interested in the Caldecott Medal. Marcus provides a list of all winners from 1938 to1998. In his introduction, he briefly explains the history of the award and its purpose. This book provides a starting point for anyone interested in art and artists , children's books, or the Caldecott Medal.
*Personal Response
This book is informative and interesting. I hope to have a chance to share some of the stories with my students in the library. I am only beginning to understand the importance of book illustrations and the details book publishing, so I was excited to learn about each illustrator. The details provided in the book (William Steig ponders how to draw animals who act like humans and Robert McCloskey brings ducks to live in his apartment for further study, for example) make this an interesting read. I think children would enjoy seeing how art is created also.
*Review Excerpts
“So many good stories for children and adults to enjoy.”
School Library Journal
“A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/illustrator studies.”
BookList *Starred Review*
*Connections
-Choose one illustrator and do further research into his or her life and art.
-Conduct a similar interview with a local (accessible) artist.
-Meet a local artist who can speak to some of the artist techniques described in the book.
-Discuss the idea of “process” and how it relates to reading and writing. Discuss the students’ own work. (What are the advantages to using a process when doing a creative project?)
-Illustrate a chosen passage of a children’s book in a different way than the original illustrator.
-Use the book as a companion to the picture books. (This might be particularly exciting in an art class.)
*Summary
Leonard S. Marcus gives readers the inside scoop on six artists of children’s books. Illustrators Robert McCloskey, Marcia Brown, Maurice Sendak, William Steig, Chris Van Allsburg, and David Wiesner are featured in the book. Marcus documents the inspirations, artistic interests, and creative processes of six Caldecott Medal winners from the 1940s to the 1990s. The book is divided into six parts with an introduction by the author, so it can also serve as a resource for biographical information about each person. Using photos, advice, and information from the artists, readers gain an understanding of each person and the artistic process of illustrating a children’s book. Choosing one illustrator from each decade, Marcus focuses on sixty years of Caldecott history.
*Critical Analysis
Marcus’s approach to sharing information serves the fascinating stories of each artist well. Readers will be drawn to each biography quickly upon seeing a photo of the illustrator, the cover of the award winning book, and an interesting quote from the artist’s Caldecott acceptance speech. The layout of the book is also great because each double page spread contains a combination of text and pictures.
Marcus has provided interesting and entertaining information about each of his subjects, and the text is large sized and easy to follow, so children and adults will find the book both approachable and informative. At the end of each illustrator’s section is a list of all books by the artist and awards earned. Although the book is well-organized with a consistent layout, the biographies are reflective of each individual artist, so no two are the same; therefore, the book avoids redundancy.
Another aspect that readers, especially those interested in art, will enjoy is many pictures portraying the process of the artist. Sketches, dummies, and inspirations are all featured. To see just how simply the process begins is interesting. Additionally, the book includes a short glossary of technical art terms (like dummy) to help readers better understand the process. Finally, this book can also be used as a resource for those interested in the Caldecott Medal. Marcus provides a list of all winners from 1938 to1998. In his introduction, he briefly explains the history of the award and its purpose. This book provides a starting point for anyone interested in art and artists , children's books, or the Caldecott Medal.
*Personal Response
This book is informative and interesting. I hope to have a chance to share some of the stories with my students in the library. I am only beginning to understand the importance of book illustrations and the details book publishing, so I was excited to learn about each illustrator. The details provided in the book (William Steig ponders how to draw animals who act like humans and Robert McCloskey brings ducks to live in his apartment for further study, for example) make this an interesting read. I think children would enjoy seeing how art is created also.
*Review Excerpts
“So many good stories for children and adults to enjoy.”
School Library Journal
“A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/illustrator studies.”
BookList *Starred Review*
*Connections
-Choose one illustrator and do further research into his or her life and art.
-Conduct a similar interview with a local (accessible) artist.
-Meet a local artist who can speak to some of the artist techniques described in the book.
-Discuss the idea of “process” and how it relates to reading and writing. Discuss the students’ own work. (What are the advantages to using a process when doing a creative project?)
-Illustrate a chosen passage of a children’s book in a different way than the original illustrator.
-Use the book as a companion to the picture books. (This might be particularly exciting in an art class.)
Henry's Freedom Box
Levine, Ellen. 2007. HENRY'S FREEDOM BOX. Ill. by Kadir Nelson. New York: Scholastic Press. ISBN 0439928788
*Plot Summary
Henry Brown is a slave in Richmond, Virginia in the mid-1800s. Henry’s life is full of injustices: he doesn’t know his birth date, he is separated from his mother and siblings, and he is eventually separated from his wife and children. Despite the tragedies Henry faces, he gains his freedom as a stowaway packed in a wooden box which is mailed from Virginia to Philadelphia. With the help of the Underground Railroad, Henry finally gains his freedom.
*Critical Analysis
Ellen Levine uses a simple, but effective style to tell this fictionalized account of Henry Brown’s real journey to freedom. The plot moves quickly with only a few uses of dialogue, so the character of Henry is revealed mostly through narration. The author makes great use of foreshadowing, as students will see the pattern in the prophetic words of both Henry’s mother and his wife regarding separation from family. Despite the obvious sadness and tragedy of the story, Levine shows both joy and sorrow in an understated way that allows readers to understand Henry’s world with limited explanation.
Working well with the interesting plot are Kadir Nelson’s beautiful illustrations. From the first page, the combination of text and paintings draws readers to Henry. “Henry Brown wasn’t sure how old he was. Henry was a slave,” the text reads. “And slaves weren’t allowed to know their birthdays.” These simple statements along with the haunting illustration in which Henry seems to be looking directly at the reader are attention-getting. Nelson’s representational paintings help us quickly feel close to the characters and add to the plot by creating tension and mood. Also adding to the mood are the colors Nelson uses to convey sunlight, shadows, and darkness. The mood enhances the drama and contributes to the enjoyment of the story.
Another interesting aspect of the illustrations is the depiction of Henry as he’s being transported in the box. Instead of always drawing the box completely closed, Nelson allows readers to “peek” inside by leaving one side open. To see Henry upside down and curled into a ball, adds tension, drama, and a sense of immediacy to the story. Finally, perspective is well-used in the illustrations as the wooden box, with its address to Philadelphia, sits in the foreground while Henry’s friends try to convince clerks to handle the package carefully in the background. Another picture portrays a close view of Henry’s pain as he adjusts to his confining surroundings and travels on his side. Nelson’s paintings make the story of Henry Brown seem even more remarkable.
*Personal Response
As soon as I saw the first page and read the first paragraph, I was hooked. The illustrations in this book are spectacular. Considering the primary function of illustrations in a picture book is to complement the text, Nelson is on target. I enjoyed the story itself, but the paintings are what made it seem real to me, particularly the ones showing Henry inside the box. Personally, I wanted to know more about Henry’s family members and whether he ever saw any of them again. Perhaps this would be a good jumping off point for research with children. I look forward to sharing this book in the library.
*Review excerpts
“Inspired by an actual 1830s lithograph, this beautifully crafted picture book briefly relates the story of Henry ‘Box’ Brown’s daring escape from slavery.”
School Library Journal
“Thanks to Nelson’s penetrating portraits, readers will feel as if they can experience Henry’s thoughts and feelings as he matures through unthinkable adversity.”
Publishers Weekly
*Connections
-Research the Underground Railroad and find other unusual or interesting stories of survival.
-Discuss and write about the theme of perseverance which is present in the book. Make personal connections or text to text connections around this theme.
-Research and write a short biography of the real Henry Brown. (Are all the facts presented in the book accurately? In what way has the story been fictionalized?)
-Discuss the losses Henry suffered in his family. This may be an opportunity to discuss grief and ways to deal with it.
*Plot Summary
Henry Brown is a slave in Richmond, Virginia in the mid-1800s. Henry’s life is full of injustices: he doesn’t know his birth date, he is separated from his mother and siblings, and he is eventually separated from his wife and children. Despite the tragedies Henry faces, he gains his freedom as a stowaway packed in a wooden box which is mailed from Virginia to Philadelphia. With the help of the Underground Railroad, Henry finally gains his freedom.
*Critical Analysis
Ellen Levine uses a simple, but effective style to tell this fictionalized account of Henry Brown’s real journey to freedom. The plot moves quickly with only a few uses of dialogue, so the character of Henry is revealed mostly through narration. The author makes great use of foreshadowing, as students will see the pattern in the prophetic words of both Henry’s mother and his wife regarding separation from family. Despite the obvious sadness and tragedy of the story, Levine shows both joy and sorrow in an understated way that allows readers to understand Henry’s world with limited explanation.
Working well with the interesting plot are Kadir Nelson’s beautiful illustrations. From the first page, the combination of text and paintings draws readers to Henry. “Henry Brown wasn’t sure how old he was. Henry was a slave,” the text reads. “And slaves weren’t allowed to know their birthdays.” These simple statements along with the haunting illustration in which Henry seems to be looking directly at the reader are attention-getting. Nelson’s representational paintings help us quickly feel close to the characters and add to the plot by creating tension and mood. Also adding to the mood are the colors Nelson uses to convey sunlight, shadows, and darkness. The mood enhances the drama and contributes to the enjoyment of the story.
Another interesting aspect of the illustrations is the depiction of Henry as he’s being transported in the box. Instead of always drawing the box completely closed, Nelson allows readers to “peek” inside by leaving one side open. To see Henry upside down and curled into a ball, adds tension, drama, and a sense of immediacy to the story. Finally, perspective is well-used in the illustrations as the wooden box, with its address to Philadelphia, sits in the foreground while Henry’s friends try to convince clerks to handle the package carefully in the background. Another picture portrays a close view of Henry’s pain as he adjusts to his confining surroundings and travels on his side. Nelson’s paintings make the story of Henry Brown seem even more remarkable.
*Personal Response
As soon as I saw the first page and read the first paragraph, I was hooked. The illustrations in this book are spectacular. Considering the primary function of illustrations in a picture book is to complement the text, Nelson is on target. I enjoyed the story itself, but the paintings are what made it seem real to me, particularly the ones showing Henry inside the box. Personally, I wanted to know more about Henry’s family members and whether he ever saw any of them again. Perhaps this would be a good jumping off point for research with children. I look forward to sharing this book in the library.
*Review excerpts
“Inspired by an actual 1830s lithograph, this beautifully crafted picture book briefly relates the story of Henry ‘Box’ Brown’s daring escape from slavery.”
School Library Journal
“Thanks to Nelson’s penetrating portraits, readers will feel as if they can experience Henry’s thoughts and feelings as he matures through unthinkable adversity.”
Publishers Weekly
*Connections
-Research the Underground Railroad and find other unusual or interesting stories of survival.
-Discuss and write about the theme of perseverance which is present in the book. Make personal connections or text to text connections around this theme.
-Research and write a short biography of the real Henry Brown. (Are all the facts presented in the book accurately? In what way has the story been fictionalized?)
-Discuss the losses Henry suffered in his family. This may be an opportunity to discuss grief and ways to deal with it.
The Man Who Walked Between the Towers
Gerstein, Mordicai. 2003. THE MAN WHO WALKED BETWEEN THE TOWERS. Ill. by Mordicai Gerstein. Brookfield, CT: Roaring Brook Press. ISBN 0761317910
*Plot Summary
When French aerialist Philippe Petit looks up at the almost complete World Trade Centers in New York City, he sees more than just two incredibly tall buildings. He sees a challenge. “If he saw three balls, he had to juggle. If he saw two towers, he had to walk! That’s how he was.” In August of 1974, Petit secretly goes to the roof of the south tower, and with the help of friends, strings a five-eighths inch thick cable across the forty feet between the twin towers. The next day he spends an hour walking, dancing, and even laying on the wire to the amazement of all who see him.
*Critical Analysis
The author and illustrator, Mordicai Gerstein, has created an awe inspiring book with plain, straightforward narration and interesting illustrations. Although the text offers little dialogue and only a few descriptive phrases, accompanied by the illustrations, it provides enough to keep readers curious about the fast-moving plot. Knowing that the story is nonfiction makes the character Philippe Petit intriguing; however, Petit's performance between the towers drives the story. Gerstein balances Petit’s 1974 performance with the events on September 11, 2001. He strikes this balance respectfully, without being overly sentimental or overly enthusiastic.
In addition to the excitement created by the story itself, Gerstein’s illustrations also encourage readers to keep turning pages and find out if Philippe will be successful in his attempt to walk between the towers. The layout of the illustrations, along with the simple text, creates tension and adds to the plot. Gerstein arranges multiple separated pictures on one page to show the progression of time and Petit’s activities. For example, he places three illustrations showing the gradual tightening of the wire and the time passing from night to dawn. Arrangements like this one add details to enhance the text.
Gerstein also uses perspective to convey drama in the story of Petit’s high wire act. In one scene, readers see the barely visible city and water below as Philippe crawls down the ledge of the roof to retrieve the misguided wire. Gerstein chooses key scenes to show up close, like the width of the cable. In a picture storybook depicting a person’s performance on a high wire act at one thousand three hundred forty feet, accurately portraying the setting is essential, and Gerstein’s use of color, perspective, and point of view are excellent.
*Personal/Student Response
Although I had seen this book around, for some reason I had never bothered to pick it up and take a look inside. As soon as I realized the subject of the book, I was excited to find out more because the idea of a person performing between the twin towers amazed me. I shared this book with three fifth grade classes in the library. One student from each class asked whether Petit is still alive today; they were very interested in the real man. Other students found it almost impossible to believe that someone actually did this. Next time I read this to fifth grade classes, I will either add more information about the actual event or give them an opportunity to do some research.
Finally, I was impressed with how much the kids enjoyed the illustrations. One student even commented on the feeling one double page spread gave her. She felt relaxed and peaceful when looking at the depiction on Philippe performing between the towers. I was delighted to hear such a response, and I have a feeling Gerstein would appreciate it too!
*Review Excerpts
“Gerstein’s dramatic paintings include perspectives bound to take any reader’s breath away. Truly affecting is the book’s final painting of the imagined imprint of the towers, now existing ‘in memory’ –linked by Philippe and his high wire.”
Publishers Weekly
“Here’s a joyful true story of the World Trade Center from a time of innocence before 9/11.”
BookList
“The pacing of the narrative is as masterful as the placement and quality of the oil-and-ink paintings.”
School Library Journal
*Connections
-Research and write a “newspaper article” about the actual event.
-Research the life of Philippe Petit.
-Discuss the events of September 11, 2001. (What happened? What has happened since the attack?)
-Just as the book depicts the memory of Petit’s feat and the World Trade Centers, students may write about an important or favorite memory from their lives.
- Research the building of the twin towers. (Find out about the architects, the construction length, and construction techniques.)
-Write a journal entry concerning a passion, connecting to Petit’s passion for performing.
*Plot Summary
When French aerialist Philippe Petit looks up at the almost complete World Trade Centers in New York City, he sees more than just two incredibly tall buildings. He sees a challenge. “If he saw three balls, he had to juggle. If he saw two towers, he had to walk! That’s how he was.” In August of 1974, Petit secretly goes to the roof of the south tower, and with the help of friends, strings a five-eighths inch thick cable across the forty feet between the twin towers. The next day he spends an hour walking, dancing, and even laying on the wire to the amazement of all who see him.
*Critical Analysis
The author and illustrator, Mordicai Gerstein, has created an awe inspiring book with plain, straightforward narration and interesting illustrations. Although the text offers little dialogue and only a few descriptive phrases, accompanied by the illustrations, it provides enough to keep readers curious about the fast-moving plot. Knowing that the story is nonfiction makes the character Philippe Petit intriguing; however, Petit's performance between the towers drives the story. Gerstein balances Petit’s 1974 performance with the events on September 11, 2001. He strikes this balance respectfully, without being overly sentimental or overly enthusiastic.
In addition to the excitement created by the story itself, Gerstein’s illustrations also encourage readers to keep turning pages and find out if Philippe will be successful in his attempt to walk between the towers. The layout of the illustrations, along with the simple text, creates tension and adds to the plot. Gerstein arranges multiple separated pictures on one page to show the progression of time and Petit’s activities. For example, he places three illustrations showing the gradual tightening of the wire and the time passing from night to dawn. Arrangements like this one add details to enhance the text.
Gerstein also uses perspective to convey drama in the story of Petit’s high wire act. In one scene, readers see the barely visible city and water below as Philippe crawls down the ledge of the roof to retrieve the misguided wire. Gerstein chooses key scenes to show up close, like the width of the cable. In a picture storybook depicting a person’s performance on a high wire act at one thousand three hundred forty feet, accurately portraying the setting is essential, and Gerstein’s use of color, perspective, and point of view are excellent.
*Personal/Student Response
Although I had seen this book around, for some reason I had never bothered to pick it up and take a look inside. As soon as I realized the subject of the book, I was excited to find out more because the idea of a person performing between the twin towers amazed me. I shared this book with three fifth grade classes in the library. One student from each class asked whether Petit is still alive today; they were very interested in the real man. Other students found it almost impossible to believe that someone actually did this. Next time I read this to fifth grade classes, I will either add more information about the actual event or give them an opportunity to do some research.
Finally, I was impressed with how much the kids enjoyed the illustrations. One student even commented on the feeling one double page spread gave her. She felt relaxed and peaceful when looking at the depiction on Philippe performing between the towers. I was delighted to hear such a response, and I have a feeling Gerstein would appreciate it too!
*Review Excerpts
“Gerstein’s dramatic paintings include perspectives bound to take any reader’s breath away. Truly affecting is the book’s final painting of the imagined imprint of the towers, now existing ‘in memory’ –linked by Philippe and his high wire.”
Publishers Weekly
“Here’s a joyful true story of the World Trade Center from a time of innocence before 9/11.”
BookList
“The pacing of the narrative is as masterful as the placement and quality of the oil-and-ink paintings.”
School Library Journal
*Connections
-Research and write a “newspaper article” about the actual event.
-Research the life of Philippe Petit.
-Discuss the events of September 11, 2001. (What happened? What has happened since the attack?)
-Just as the book depicts the memory of Petit’s feat and the World Trade Centers, students may write about an important or favorite memory from their lives.
- Research the building of the twin towers. (Find out about the architects, the construction length, and construction techniques.)
-Write a journal entry concerning a passion, connecting to Petit’s passion for performing.
Saturday, September 1, 2007
Purposes and plans
Welcome! This blog fulfills a requirement of my coursework at Texas Woman's University. I am currently enrolled in Literature for Children and Young Adults (LS 5603) at TWU, and I will be reviewing books throughout the semester and posting those reviews here!
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