Genre 6--Book Review 3

BIBLIOGRAPHY

Gantos, Jack. 2000. JOEY PIGZA LOSES CONTROL. New York: Farrar, Straus and Giroux.
ISBN: 0-374-39989-1

PLOT SUMMARY
Joey’s on his “good-meds,” and with his faithful Chihuahua Pablo at his side, he’s on his way to visit his dad—for the first time in a long time. Joey has just one hope, “I just want him to love me a much as I already love him.” He arrives at his father’s house, also occupied by his chain-smoking grandmother, and immediately Joey recognizes that his dad is “wired.” Joey knows the symptoms and he realizes what his mother meant “when she said he was like me only bigger.”

As soon as his mother’s car turns the corner, Joey’s crazy grandmother chastises him. His father, Carter, drags him to visit Storybook Land Fun Park, where his “whole life turned around.” Carter uses the park as a temple of sorts—cracked concrete statues of Humpty Dumpty and Little Miss Muffet as gods.

Things go downhill quickly. Carter coaches a little league team and he pins all his hopes on Joey, a talented but erratic pitcher, for the championship. He tells Joey, “This is our goal, Joey—to be champions together.” Carter’s behavior becomes more and more unpredictable and his warped reasoning leads him to flush Joey’s ADHD medicine down the toilet. Joey knows that the meds help him be “normal” but Carter argues, “…the greatest thing I could do for you is to show you that you are a normal kid and don’t need this stuff.”

Other than his mother, the only sane, reasonable adult in the book is Carter’s girlfriend Leezy. She attempts to keep Carter from going over the deep end but she’s more an enabler than anything else.

In the final game for the championship, Joey “loses it” and is taken out of the game. He runs away and calls his mom who rescues him. In JOEY PIGZA LOSES CONTROL, Jack Gantos reveals a world where adults can’t always be relied on and children sometimes have to understand that.

CRITICAL ANALYSIS

In the sequel to JOEY PIGZ A SWALLOWED THE KEY, Jack Gantos continues the story of Joey, a great kid that needs a little help to keep things together. Even when his “patch” is fully engaged, Joey has energy to spare and a quick wit and imagination that endears him to the reader. Always eager to please, Joey’s antics are easily forgiven.

The first-person narration, from Joey’s point of view, gives the reader a sense of the chaotic whirl of thoughts and emotions that confront a child with ADHD. JOEY PIGZA LOSES CONTROL also helps the reader understand that without guidance and intervention, the child with ADHD may grow into an adult that never overcomes the challenges of the disorder. Joey’s father Carter and grandmother struggle with nicotine and alcohol addictions and lead messy lives that are at once funny and terribly sad.

The book has been called a tragicomedy and that label fits accurately. At one moment the reader may laugh at Joey’s outrageous behavior (pretending to be a mannequin in a department store or locking his dog in the glove box of a car) and the next moment the reader might feel a wave of sadness when Joey tries so hard and fails. Like Joey’s young life, the book is a roller-coaster.

REVIEW EXCERPTS AND HONORS

NEWBERY HONOR BOOK

Review from SCHOOL LIBRARY JOURNAL, September 1, 2000
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.-Starr LaTronica

Starred Review from BOOKLIST, October 1, 2000
Gantos has given Joey a remarkably vivid personality, and, blending irrepressible humor with a powerful depiction of a child's longing for normalcy, he has written a dead-on portrayal of a young person assessing the often self-serving behavior of the adults who control his life.-Susan Dove Lempke

Review from PUBLISHERS WEEKLY, August 11, 2000
Joey is torn between wanting to call his mom immediately and sticking with his father. "Even though I knew he was wrong," Joey says, "he was my dad, and I wanted him to be right." Like its predecessor, this high-voltage, honest novel mixes humor, pain, fear and courage with deceptive ease. Struggling to please everyone even as he sees himself hurtling toward disaster, Joey emerges as a sympathetic hero, and his heart of gold never loses its shine.

CONNECTIONS

Teach students about ADHD by using the exercise included in the activity described in this article:
http://escholarship.bc.edu/cgi/viewcontent.cgi?article=1110&context=education/tecplus

Author’s website with teachers’ guides:
http://www.jackgantos.com/index.html

Use the book as an example of a personal narrative. Have students write a personal narrative about a summer in their lives.

Use the book to teach literary conflict. Identify the various conflicts: Joey vs. Carter, Joey vs. himself, etc.

Genre 6--Book Review 2

BIBLIOGRAPHY

Yang, Gene Luen. 2006. AMERICAN BORN CHINESE. Ill. by Gene Luen Yang. New York: First Second.
ISBN-13: 978-159643-152-2

PLOT SUMMARY

In Gene Leun Yang’s graphic novel, AMERICAN BORN CHINESE, three stories twine together under the mysterious old herbalist clicking away at her abacus.

The first story is a fable about a Monkey King who wants to be a God. He struggles against his true identify and attempts to reinvent himself. The God of all, Tze-Yo-Tzuh, urges the “little monkey” to accept himself as he was created. The God declares, “I do not make mistakes, little monkey. A monkey I intended you to be. A monkey you are. Please accept this and stop your foolishness.” But the little monkey refuses and is buried beneath a mountain of rocks.

The second story is about a young boy, Jin Wang, who is American born Chinese—his parents are from Taiwan and his life bridges American culture and the culture of his parents. Like many young people who straddle this divide, Jin is often isolated. He finally makes a friend in Wei Chin who is “F.O.B.” (fresh off the boat). Jin soon finds that he has fallen in love with an American girl, Amelia Harris. He curls his hair to appear more like one of the popular boys. Although Amelia clearly likes him, he stops seeing her when a boy asks him to stop asking her out because, “She has to start paying attention who she hangs out with.” Jin agrees but he takes out his anger and frustration on his true friend, Wei Chin.

The third story is about Danny, a popular teenage boy who life is interrupted by his cousin, Chin-Kee. Chin-Kee , an fusion of every Asian stereotype, brings a dead cat for lunch, sings “She Bangs,” and answers all the questions in every classroom. Mortified by his cousin’s behavior, Danny changes schools after every visit.

Then, the stories merge. Chin-Kee is revealed as the Monkey King and Danny is revealed as Jin. The resolution shows Jin reuniting with Wei Chin and learning an important lesson—accepting your true self is the only way to happiness.

CRITICAL ANALYSIS

Gene Leun Yang’s graphic novel, AMERICAN BORN CHINESE has its origins as a web comic. The story is developed through narration and illustrations. Characterizations are seen most clearly, not in the dialogue, but in facial expressions and exaggerated images.

The vibrant colors and bold ink drawings give life to a coming-of-age story that addresses complex issues such as self-acceptance and racial stereotypes. Yang has given voice to the feelings that many Chinese born Americans must experience—a desire to be accepted into a dominant culture while maintaining a cultural identity.

The clever, twisting plot embeds an ancient past in a modern context. The book is a triumph and deserves a place in all young adult collections.

REVIEW EXCERPTS AND HONORS

MICHAEL L. PRINTZ 2007

NATIONAL BOOK AWARD FINALIST

Review from VOICE OF YOUTH ADVOCATES, October 1, 2006This graphic novel could be especially cathartic for teens and adults of Asian descent, but people of any ethnicity would find themselves reflected in the universal themes of self-acceptance, peer pressure, and racial tensions. This book is recommended for libraries serving teens and adults, particularly those enjoying graphic novels.-Sherrie Williams.

Review from LIBRARY JOURNAL, March 15, 2007
The art is simple, colorful, and both attractive and effective. Some potty humor; recommended for teen and adult collections.-M.C.

Review from PUBLISHERS WEEKLY, June 12, 2006
This much-anticipated, affecting story about growing up different is more than just the story of a Chinese-American childhood; it's a fable for every kid born into a body and a life they wished they could escape.

Review from BOOKLIST, September 1, 2006
Yang helps the humor shine by using his art to exaggerate or contradict the words, creating a synthesis that marks an accomplished graphic storyteller. The stories have a simple, engaging sweep to them, but their weighty subjects--shame, racism, and friendship--receive thoughtful, powerful examination.-Jesse Karp

CONNECTIONS
The novel began as a web comic. Visit the website and view other web comics in serial form.
http://www.moderntales.com/

Interview with author:
http://tcj.com/index.php?option=com_content&task=view&id=666&Itemid=48

Great lesson plan addressing racial stereotypes:
http://www.firstsecondbooks.com/teachers/abcLesson.html

Genre 6--Book Review 1

BIBLIOGRAPHY

Colfer, Eoin. 2001. ARTEMIS FOWL. New York: Hyperion Books.
ISBN: 0-7868-0801-2

PLOT SUMMARY
Possibly the greatest criminal mastermind of all time, bold beyond comprehension, and accompanied by a faithful companion (who also happens to be quite lethal), Artemis Fowl intends to restore the coffers of his family’s dwindling fortunes—and he happens to be twelve years old. ARTEMIS FOWL, Eoin Colfer’s introduction to the popular character, set the stage for the series that followed. Colfer introduces the reader to Artemis, his faithful retainer Butler, Butler’s sister Juliet, and a underworld of faeries and supernatural creatures. Along with excitement, Artemis’s life holds sadness as well. His father is missing and his mother is greatly altered by his absence.

Artemis is no ordinary thief; no boring bank jobs or museum heists could challenge his brilliance. He wants “the pot at the end of the rainbow”—the fairy gold. But first, he must unlock the mysteries of the magical world by possessing the Book that reveals all. Through cunning, guile, and his computer, Artemis unlocks the enigma. He and Butler use the knowledge to trap a fairy who has come to Ireland to renew her powers.

The extraordinary young rouge Artemis has not captured an ordinary fairy, however, he has captured Captain Holly Short, the first female member of the elite police force, LEPrecon. Artemis and his crew are almost undone by the technology savvy group of faeries that will do anything to rescue one of their own.

In the end, Artemis’s brilliance crafts the ultimate outcome. The family is rich again and his beloved mother’s health and mind are restored.

CRITICAL ANALYSIS

In many ways, Eoin Colfer’s ARTEMIS FOWL reads like a Mickey Spillane paperback. The characters are a bit one-dimensional, the dialogue is abrupt, and in the end, you aren’t quite sure if the good guy won or not. Artemis Fowl is no Harry Potter—his battles are not based on good versus evil. He simply wants to relieve an unsuspecting leprechaun of her fortune. He’s a kidnapper, albeit a twelve-year-old who has been thrust into the position of caretaker for his family’s home and his addled mother.

The plot moves quickly and the story is at its best when Artemis matches wits with the clever Captain Holly Short. He didn’t expect the leprechaun to be “so human” and a female. Although Holly is the victim, she shows compassion for her captors—creating a complexity in the relationship between her and Artemis.

The fairy world, set deep in the bowls of the earth, is dark and a bit gothic. In a funny subplot, the faeries contend with an inadequate infrastructure and social bureaucracy. The faeries are largely portrayed as heroic and intelligent (although the dwarf Mulch is an exception) while the “Mud People” (humans) are responsible for polluting the planet.

Overall, ARTEMIS FOWL is entertaining and, for many young readers, it is great fuel for the imagination.

REVIEW EXCERPTS AND HONORS

Review from SCHOOL LIBRARY JOURNAL, May 2001
The fairy characters are mouthy and eccentric, but Artemis is too stiff and enigmatic to be interesting; the story bogs down when the focus is on him. The combination of choppy sentences and ornate language will appeal to some readers, although not necessarily to Harry Potter fans; the emphasis here is more on action (some of it gory), technology, and deadpan humor than on magic, and only one character (Artemis) is a child.-Eva Mitnick

Review from THE HORN BOOK, July/August 2001
It is a relief to see fleeting chinks in Artemis's James Bond--style cool, as when he thinks about his mother, who has become severely depressed and delusional since the disappearance of Artemis's father. Still, the long stretches devoted to the fairy world's maneuverings, which only readers fond of technical detail will find appealing, overwhelm these moments.-C.M.H.

Review from THE NEW YORK TIMES BOOK REVIEW, June 17, 2001
I'm troubled by the fact that though the prose lacks luster, it doesn't lack lust: a spicy, nonerotic, slobbering bloodlust. . . . Colfer adopts the rhythms of macho banter from television police dramas . . . and B-grade buddy war films. . . . Nevertheless, young readers may thrill in seeing that the clandestine mysteries of faerie are, like all aspects of our culture, subject to decay in the light of day. . . . What Colfer has done, and very ably, is to pitch a great movie idea.-Gregory Maguire

CONNECTIONS

Since Artemis “cracked the code” of the Book, have students study code-breaking. Here’s a lesson plan from Education World for ideas:
http://www.education-world.com/a_lesson/00-2/lp2207.shtml

A study of Irish faeries would be a great connection. Here’s a lesson plan with ideas:
http://www.learningtogive.org/lessons/unit226/lesson20.html

Character and quotes matching activity:
http://www.teachit.co.uk/attachments/9305.pdf

Great website by the author includes videos (the author’s one-man show), links to other books, games, and many other features.
http://www.artemisfowl.com/

Genre 5--Book Review 3

BIBLIOGRAPHY

Klages, Ellen. 2006. THE GREEN GLASS SEA. New York: Viking.
ISBN: 0-670-06134-4

PLOT SUMMARY

Dewey Kerrigan, a science-minded girl, travels alone to meet her father at a secret location “somewhere in New Mexico.” The year is 1943 and the most talented scientists in the United States have gathered together to work on “the gadget,” the invention that will surely end World War II and change the world forever. Dewey enters a town—known as “the hill”-- nameless to anyone except those who live there. After her father is called away, Dewey moves in with the Gordons. Although Terry Gordon, a “lady scientist,” tries to make Dewey welcome, her daughter Suze bristles at sharing her room with “Screwey Dewey.” In the following weeks, however, Suze and Dewey discover a friendship that will comfort them for “the duration.”

One afternoon, J. Robert Oppenheimer and Terry bring devastating news to Dewey. Her father has been killed—just crossing the street. His death is a reminder of the tenuous nature of all life. Several weeks later, July 16, 1945, the “gadget” is tested while Dewey, Suze, and other residents of “the hill” watch the “bright light, as bright as the sun.”

In the final chapter of Ellen Klages novel, THE GREEN GLASS SEA, the Gordons take Suze and Dewey to visit the blast site where they stand at the edge of a sea of green glass—the desert sand melted into “the first new mineral created on this planet in millions of year.”

CRITICAL ANALYSIS

Ellen Klages's remarkable novel THE GREEN GLASS SEA chronicles the fascinating story about the building of the atomic bomb. Told in third person narration from the perspective of eleven-year-old Dewey, the author tells a compelling and often disturbing story. Klages places fictional characters beside actual participants in what is known as “the Manhattan Project.” The details in the book portray a convincing sense of realness.

The historical novel is a coming-of-age story that follows Dewey’s young life. As the story opens her grandmother, with whom she had been living, has had a stroke. Dewey doesn’t know her alcoholic mother. Her mother hasn’t seen her in since she was a baby; in an alcoholic stupor she dropped Dewey and the accident left young Dewey crippled. After a blissful year and a half living with her father, he is killed. In spite of everything, the little girl proves to be a survivor. The tragedy of Dewey’s life parallels the complexity of a world with a weapon that threatens to destroy it. She overcomes loss, but the cost is tremendous.

Klages deftly navigates the frightening reality the scientists feel at their success. The atomic bomb promises a quick end to the war but stirs conflicting emotions. Those emotions linger more than sixty years later.

REVIEW EXCERPTS AND HONORS

2007 SCOTT O’DELL AWARD

Review from PUBLISHERS WEEKLY, October 23, 2006
Details about the era-popular music, pastimes and products-add authenticity to the story as do brief appearances of some historic figures including Robert Oppenheimer, who breaks the news to Dewey that her father has been killed in a car accident.

Starred Review from BOOKLIST, November 15, 2006
The novel occasionally gets mired down in detail, but the characters are exceptionally well drawn, and the compelling, unusual setting makes a great tie-in for history classes. -John Green

Review from VOICE OF YOUTH ADVOCATES, February 1, 2007
The book is well written, with intelligent characters and understandable descriptions of the place and the work being accomplished. Its well-researched information, including the debate that occurred when the scientists realized what they had created, will appeal to readers of historical fiction.-Cindy Faughnan

CONNECTIONS

Read Paul Zindel’s THE GADGET about the teenage son of another Los Alamos scientist.

For older students, research the dropping of the atomic bomb on Hiroshima and Nagasaki and have them debate the choice that the United States government made.
http://lessons.ctaponline.org/~thampton/

Research Trinitite.
http://www.orau.org/ptp/collection/hiroshimatrinity/trinitite.htm

Create collages like the budding young artist Suze.

Genre 5--Book Review 2

BIBLIOGRAPHY

Speare, Elizabeth George. 1958. THE WITCH OF BLACKBIRD POND. Boston: Houghton Mifflin.
ISBN: 0-670-06134-4

Audiobook published by Listening Library and read by Mary Beth Hurt.


PLOT SUMMARY

After her grandfather’s death, sixteen-year-old Katherine Tyler leaves her beloved home in Barbados and buys passage on a ship destined for Connecticut. On the voyage, Katherine-known to her family as Kit-quickly discovers that her independence and loyalist upbringing invites suspicion among the Puritans in the colonies. During an episode on the journey, Kit jumps overboard to rescue a little girl’s doll and competently swims back to the ship. The little girl, Prudence, is delighted, but her mother is outraged. She suggests that Kit’s swimming prowess reveals that she may be a witch since “No respectable woman could stay afloat like that.” During the voyage Kit also captures the attention of the captain’s son Nat and a young minister, John Holbrook.

After Kit reaches her aunt and uncle’s home, she begins to discover the severe lifestyle of the Puritans. Although she chafes against the religious fanaticism of the culture, she finds a tenuous friendship with her cousin Judith and a deep fondness for her cousin Mercy.

Suitors soon come to call and the handsome, successful William Ashby sets his sights for Kit while Judith becomes determined to marry John Holbrook. Kit begins to teach school with Mercy and befriends a Quaker woman named Hannah who, although permitted to live at the edge of the community, is ostracized and condemned as a witch. Kit also befriends Prudence and introduces her to Hannah. She teaches the little girl to read and write. After an outbreak of fever ravages the town, several people blame Hannah for the disease and determine to bring her to trial. Kit intervenes and, with Nat’s assistance, helps her escape.

In the middle of the night, the townsfolk come to her aunt and uncle's home and accuse Kit of witchcraft. Her hornbook was found in Hannah’s house and serves as the “proof” of her association with the old witch. At the questioning, Nat saves her by bringing Prudence to testify to her innocence.

Judith ends up marrying William and Mercy marries John Holbrook. Kit determines to go back to her beloved Barbados and become a governess. Before she leaves, however, Nat comes up the river on his new ship “The Witch” which he named in her honor. He proposes marriage and Kit happily accepts.

CRITICAL ANALYSIS

Elizabeth George Speare’s young adult novel THE WITCH OF BLACKBIRD POND, published in 1958,is a historical novel that paints an accurate picture of life in the new American colonies. The characters are complex and well-developed. Written in the third person, the book is told from Kit’s point of view and the people and events are filtered by her perspective.

Speare, through straightforward description and narration, clearly show the hardships of living in the rawness of the new world. The narrow minds and prejudices of the Puritans are reflected while also showing their humanity and commitment to their ideals.

Speare also captures the political conflicts of the period and the impending Revolution. Kit is torn between her loyalties to the King—after all her grandfather was a loyal subject—and her new relationships with her uncle and Nat.

Although perhaps a bit predictable, the “witch hunt” at the end of the novel provides a dramatic climax. The ending was also a bit predictable, but would probably satisfy young readers.

The audiobook is read by Mary Beth Hurt. Her characterizations are most effective when she portrays the adult characters. Her tone reflects the formality of the period. Her portrayal of Kit, however, seemed too mature.

REVIEW EXCERPTS AND HONORS

Newbery Medal 1959

Review from PUBLISHERS WEEKLY, October 23, 2006
Details about the era-popular music, pastimes and products-add authenticity to the story as do brief appearances of some historic figures including Robert Oppenheimer, who breaks the news to Dewey that her father has been killed in a car accident.

Starred Review from BOOKLIST, November 15, 2006
The novel occasionally gets mired down in detail, but the characters are exceptionally well drawn, and the compelling, unusual setting makes a great tie-in for history classes. -John Green

Review from VOICE OF YOUTH ADVOCATES, February 1, 2007
The book is well written, with intelligent characters and understandable descriptions of the place and the work being accomplished. Its well-researched information, including the debate that occurred when the scientists realized what they had created, will appeal to readers of historical fiction.-Cindy Faughnan

Review from SCHOOL LIBRARY JOURNAL, 2003
Hurt's use of vocal inflection and expression make this an excellent choice for listening whether as an enrichment to the social studies curriculum or purely for pleasure.-Maureen Cash Moffet

CONNECTIONS

Use as part of a study on the Salem Witch Trials.

This is great website with extensive ideas for teaching early American studies and the novel. It includes great webquests.
http://eduscapes.com/newbery/59a.html

Read one of Elizabeth Speare's other books: THE BRONZE BOW or THE SIGN OF THE BEAVER.

Hold a mock trial as part of a reader’s theater project.

Genre 5--Book Review 1

BIBLIOGRAPHY

Schlitz, Laura Amy. 2007. GOOD MASTERS! SWEET LADIES! VOICES FROM A MEDIEVAL VILLAGE. Ill. by Robert Byrd. Cambridge, MA: Candlewick Press.
ISBN: 978-0-7636-1578-9

PLOT SUMMARY

Well, it’s an interesting place to visit, but you wouldn’t want to live there! If you’re not dealing with lice and fleas, it’s wild boars and drunken fathers. The 2008 Newbery Medal recipient, GOOD MASTERS! SWEET LADIES! by school librarian Laura Amy Schlitz creates a lively, historically accurate version of an English village in 1255.

As her students immersed themselves in the study of the Middle Ages, “going at it hammer and tongs,” Schlitz wanted to offer them something to perform; her solution was to write twenty-two monologues—so each child could be a “star” for three minutes. The characters come from all ranks of society and include Nelly who catches eels for her family’s livelihood and Giles a beggar who declares “…sometimes I manage real tears. (It’s an art.)”

Interspersed between the monologues, Schlitz presents short history lessons that provide background for the characters. Pen and ink illustrations by Robert Byrd are inspired by the Munich Nuremberg manuscript, an illuminated 13th century German manuscript.

CRITICAL ANALYSIS

Reminiscent of Chaucer’s CANTERBURY TALES, GOOD MASTERS! SWEET LADIES! by Laura Amy Schlitz offers the reader (and aspiring actors) twenty-two authentic portraits of Medieval characters. Subtitled VOICES FROM A MEDIEVAL VILLAGE, the book is written as a series of monologues that each present a well-developed individual. The language and syntax reads like a simplified version of Middle English and she uses both poetic and prose forms. Vocabulary unique to Medieval England lends a sense of authenticity. Schlitz teaches as she entertains; she includes notes throughout the book explaining religious beliefs, remedies for diseases, and other trivia about life during the period that young readers will find at times revolting and fascinating. “Friants are boar droppings.”

Illustrations by Robert Byrd provide a perfect complement to the tales. The volume opens with the artist’s rendering of a map--“A Medieval Manor, England, 1255.” The map places each character in their proper place. The monologues are illustrated like a medieval manuscript.

Schlitz and Byrd have created a beautiful book that deserves a place on school library shelves.

REVIEW EXCERPTS AND HONORS

NEWBERY MEDAL 2008

Review from SCHOOL LIBRARY JOURNAL, August 1, 2007
Designed for performance and excellent for use in interdisciplinary history classrooms, the book offers students an incredibly approachable format for learning about the Middle Ages that makes the period both realistic and relevant.-Alana Abbott

Starred Review from BOOKLIST, August 1, 2007
Reminiscent of medieval art, Byrd's lively ink drawings, tinted with watercolors, are a handsome addition to this well-designed book. This unusually fine collection of related monologues and dialogues promises to be a rewarding choice for performance or for reading aloud in the classroom.-Carolyn Phelan

Review from PUBLISHERS WEEKLY, August 27, 2007
Schlitz wrote these 22 brief monologues to be performed by students at the school where she is a librarian; here, bolstered by lively asides and unobtrusive notes, and illuminated by stunningly atmospheric watercolors, they bring to life a prototypical English village in 1255.

CONNECTIONS

Of course the monologues (and duets) beg to be performed as reader’s theater.

The book and monologues grew out of a school’s Renaissance faire and would be a valuable contribution to any study of Medieval England.

A website from the publisher offers a teacher’s guide featuring character analysis, casting advice, discussion questions, and costuming ideas. More ideas include a project for creating a travel guide for a Medieval building researched by students.
http://www.candlewick.com/book_files/0763615781.btg.1.pdf

Have students create illuminated manuscripts.
http://www.princetonol.com/groups/iad/lessons/high/ken-illumination.htm

Genre 4--Book Review 3

BIBLIOGRAPHY

Murphy, Jim. 2003. AN AMERICAN PLAGUE: THE TRUE AND TERRIFYING STORY OF THE YELLOW FEVER EPIDEMIC OF 1793. New York: Clarion Books.
ISBN: 0-395-77608-2

SUMMARY

In the late, hot summer, the open sewers in the streets of Philadelphia poured over--teeming with vermin. Ships docked at the wharf and spewed forth rotten coffee and human waste. Noxious, oppressive fumes permeated the air. Then the death bells began to knoll incessantly. A plague had taken root. In his book AN AMERICAN PLAGUE: THE TRUE AND TERRIFYING STORY OF THE YELLOW FEVER EPIDEMIC OF 1793, award-winning author Jim Murphy recounts the compelling story of an illness that threatened to destroy a fledgling United States. Philadelphia, the nation’s first capital, was a bustling, crowded seaport and in August 1793, “this destroying scourge, this malignant fever, crept in among us.” Suspense builds as the disease spreads. Several subplots add layers to the story: controversy among doctors over various forms of treatment, President Washington’s retreat and the threats to the government, and the relationships between those who died, those who lived, and those who carried the burden of it all.

Illustrations include replicas of period maps, newspapers, images of fever victims, and portraits of prominent figures in the history.

CRITICAL ANALYSIS

The compelling social history AN AMERICAN PLAGUE: THE TRUE AND TERRIFYING STORY OF THE YELLOW FEVER EPIDEMIC OF 1793 reads like a horror story; however, the most horrifying aspect of the history is its truth and the warning that modern science has yet to find a cure. Thoroughly researched and balanced, Jim Murphy’s account is fascinating. By using extracts from journals, newspapers, and firsthand accounts, Murphy gives an authenticity to his narrative. Medical details are given directly—horrible and intriguing.

Murphy arranges the facts chronologically; each chapter begins with a date as if an omnipotent narrator were reporting a story or keeping a journal. Each chapter also begins with a full-page replica of a newspaper account or, most descriptive, a directory of those who died. Lists and lists of names: men, women, and children of all ages and from all walks of life.

The characters in the history are well-developed as individuals. Dr. Benjamin Rush is a hero and a demon—stubbornly convinced his bleeding and poison cure will save them all. The doctors bickered among themselves and the desperate patients grasped at hope. The Free African Society, risking their own lives, answered a call to help their white neighbors only to be disparaged when an accounting of the events were later retold.

Sources used by the author are annotated in a reference section at the end of the book. A note detailing the illustrations and a complete index add to the book’s credibility and use as a reference for all libraries.

REVIEW EXCERPTS AND AWARDS

BOSTON GLOBE-HORN BOOK AWARD
ROBERT F. SIBERT INFORMATIONAL BOOK AWARD
JAMES MADISON BOOK AWARD
A NATIONAL BOOK AWARD FINALIST
ORBIS PICTUS AWARD
A NEWBERY HONOR BOOK

Review from VOICE OF YOUTH ADVOCATES, December 1, 2003
This book represents nonfiction at its best. -Sarah Dornback.

Review from SCHOOL LIBRARY JOURNAL, October 1, 2004
Black-and-white reproductions of period paintings, maps, and news articles enhance this absorbing title.

Review from BOOKLIST, June 1, 2003
Murphy re-creates the fear and panic in the infected city, the social conditions that caused the disease to spread, and the arguments about causes and cures.

CONNECTIONS

History Connection: Research the lives of various characters (Dr. Walter Reed, Dr. Benjamin Rush, Elizabeth Drinker, or Absalom Jones) from the book and present biographies.

Math Connection: Calculate the number of deaths in percentages. What percentage of Philadelphians died? Americans?

Science Connection: Investigate various types of contagious diseases, their causes and cures, and present.

Language Connection: In groups, have students create a replica newspaper from Philadelphia 1793. Include obituaries, advertisements for cures, and governmental announcements.

Genre 4--Book Review 2

BIBLIOGRAPHY

Freedman, Russell. 2002. CONFUCIUS: THE GOLDEN RULE. Ill. by Frédéric Clément. New York: Scholastic.
ISBN: 0-439-13957-0

SUMMARY

Popular culture presents Confucius as a comic figure offering his witty sayings with the opening “Confucius say…”. In CONFUCIUS: THE GOLDEN RULE, Newbery Medal winner Russell Freedman contradicts that image with a biography of Kongfuzi, better known by Confucius, the Latin name given to him by Jesuit missionaries. Freedman’s research is dependent upon THE ANALECTS, a volume of the sayings of Confucius. Since there are no works directly attributed to the teacher-philosopher, all that is known of his life and teachings has been gathered by followers and disciples in that one anthology.

Born into poverty more than 2500 years ago, Confucius evolved as a respected sage, teacher, and revolutionary in a turbulent feudal era in China’s history. Throughout his life he studies, teaches, and travels throughout Asia seeking an enlightened ruler willing to implement his reforms for government. After the death of Confucius, his followers continued to espouse the ideals of his philosophy known as Confucianism.

The biography is presented in an attractive book illustrated by Frédéric Clément.

CRITICAL ANALYSIS

Russell Freedman’s detailed biography presents Confucius as a true revolutionary who risked his life by teaching radical reforms for government. Through the use of historically researched dialogue between Confucius and his students, Freedman creates a well-developed personality—a man of great intellect, wit, humanity, and humor. The relationships between the “master” and his students speak the most about the character of the man. He accepted students from all walks of life and believed that, “When people are educated, distinctions between classes disappear.”

Freedman clearly outlines the complexity of Chinese history and gives young readers an important context for studying the life of Confucius. Chinese words are written in both pinyin and Chinese characters.

Frédéric Clément’s illustrations evoke pages from ancient manuscripts and add tremendously to the overall design of the book. His Asian-inspired paintings, framed by colorful borders, are layered with fresh fruits and flowers. The collage-like results are an apt metaphor for the works of Confucius—the ancient brought forward into the present.

The biography reveals a man who is a model of all those who desire to learn and all those aspire to teach. As Confucius say: “To study quietly, to remain always hungry for knowledge, to teach others without growing weary—all this comes to me naturally.”

REVIEW EXCERPTS

Review from SCHOOL LIBRARY JOURNAL, September 1, 2002

Clement's illustrations are superb. His "portrait" of Confucius is unidealized, based on written descriptions of him.-Patricia D. Lothrop

Review from PUBLISHER’S WEEKLY, August 5, 2002

For today's students, this portrait is a comprehensible introduction to Eastern thought. Just as Confucius "prodded [his students] to think in new ways," it will open new doors for young readers.

Review from KIRKUS REVIEW, July 15, 2002

Clement's ancient-looking paintings are a beautiful match for the text in this handsome volume. A must for all collections.

CONNECTIONS

Use book as part of a study of Asian culture.

A great website for lesson plans: http://k12east.mrdonn.org/China.html

Have students create banners or posters with Confucius quotes.

Discuss the meaning of Confucian sayings.

Some good discussion starters: “An exemplary person should be slow to speak yet quick to act.”

“Don’t worry when people fail to recognize your merits. Worry when you fail to recognize theirs.”

“A promise easily made is hard to keep.”

For older students, watch BIOGRAPHY-CONFUCIUS: WORDS OF WISDOM (2005)

Genre 4--Book Review 1

BIBLIOGRAPHY

Simon, Seymour. 1989. STORMS. New York: Morrow Junior Books.
ISBN: 0-688-07413-8

SUMMARY

No need to hide under the bed any longer. After reading STORMS by award winning science writer Seymour Simon, young readers will understand how storms form, the catastrophic results from major storms, and how to protect themselves during a major weather event. The photo essay also describes various types of storms including thunderstorms, tornadoes, and hurricanes. Simon also includes a short mention of storm myths and forecasting. Vivid photographs from several sources including the National Center for Atmospheric Research provide illustrations.

CRITICAL ANALYSIS

In his book, STORMS, writer Seymour Simon uses vivid language to effectively capture the nervous excitement associated with storms. His straightforward description such as “In twenty minutes, a single thunderstorm can drop 125 gallons of water and give off more electrical energy than is used in a large city during an entire week” helps young readers put storms in an understandable perspective. Simon uses appropriate scientific language such as “cumulonimbus,” “cells,” and “squall” while keeping the book simple enough for young children to understand. Because the book is a general survey and does not go into great detail about each particular type of storm, it would be best used as an introduction to the subject.

The exciting photographs on each page reveal storms as nature’s art. Full page images of lightning flashes charge across dark glossy pages are especially thrilling.

REVIEW EXCERPTS

Review from SCHOOL LIBRARY JOURNAL, April 1, 1989
The type is large and clear, and the information is sufficient for basic reports. --Rosanne Cerny

Review from BOOKLIST, March 1, 1989
The book's design is handsome; stark black backgrounds highlight dramatic weather photos, including a series of tornado shots that show the twister's growth and decline. An attractive, readable, and highly useful discussion. - Denise Wilms

Review from KIRKUS REVIEWS, February 15, 1989
A dramatic look at the formation of thunderstorms, tornadoes, and hurricanes, with spectacular, full-color photos on every page.

CONNECTIONS

Use as part of a unit study on weather. Include other books on weather by Simon including WEATHER and TORNADOES.

Make lightening artwork by drawing with white or silver crayons on black paper.

Use as part of a study on weather and extend the study with a webquest. A great example: http://davidson.k12.nc.us/webquests/weather/weather.htm

Use the instructions provided in the book to practice judging the distance of lightening by timing how long it takes to hear the thunder. Have students simulate lightening by flashing lights and thunder by using cymbals.

Make your own tornado with a vortex experiment. http://www.nationalgeographic.com/ngkids/trythis/try4.html

Genre 3--Book Review 3

BIBLIOGRAPHY

Sones, Sonya. 1999. STOP PRETENDING: WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY. New York: Harper Collins.
ISBN: 0-06-028387-4

PLOT SUMMARY
Written as a series of short poems, Sonya Sones’s novel, STOP PRETENDING: WHAT HAPPENED WHEN MY BIG SISTER WENT CRAZY, describes the thoughts, emotions, and conflicts of a young girl as she struggles with her sister’s mental illness. Told in first person by the thirteen-year-old Cookie, the free-verse novel, begins with a poem titled, “My Whole Family,” “I can/remember what / things were like before she / got sick; my whole family climbed / into / the big / hammock on the / moondappled beach, wove / ourselves together, and swayed / as one.” The “whole family” is fragmented by the heart-wrenching breakdown of Cookie’s older sister and her subsequent hospitalization.

Throughout the novel, Cookie navigates conflicting emotions, the reactions of her peers, and her parents’ struggling relationship. As the days and weeks progress the everyday events in life altered beyond any normalcy. In the midst of it all, Cookie finds love with an earnest boy and discovers herself in the art of photography.

As Sister begin to emerge from the depths of her illness, a glimmer of hope and reconciliation emerges in the form of humor as the family plays Scrabble in the visiting room. At the end, the letters come together to make things “BETTER.”

In an author’s note at the end of the book, Sones reveals that the poems were inspired by events that took place in her own life and the journals that she kept during that time.

CRITICAL ANALYSIS
STOP PRETENDING: WHAT HAPPENED WHEN BY BIG SISTER WENT CRAZY, a novel-in-verse by Sonya Sones, has received more than a dozen awards and honors including the Claudia Lewis award for poetry. The debut novel captures an autobiographical episode in the author’s life.

The verse-in-novel form allows the writer to connect closely with the emotion of the narrator. The poetry possesses a compression in language that allows a story to be told at its barest level and, at times, it seems raw. Sones successfully taps into the elements of poetry that allow her to capture an almost visceral reaction. Most readers can complete the novel in one sitting, and probably do. The story has an immediacy that urges the reader forward, becoming fully absorbed.

Individually the poems the poems cannot stand alone; they find strength in context. The book is intended for young adult readers and the subject matter may be too mature for middle school.

REVIEW EXCERPTS
Review from KIRKUS REVIEWS, October 1, 1999
… a compelling tale and presenting a painful passage through young adolescence.

Review from SCHOOL LIBRARY JOURNAL, October 1, 1999
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.-Sharon Korbeck

Review from BOOKLIST, November 15, 1999
… this debut novel shows the capacity of poetry to record the personal and translate it into the universal.
-Michael Cart

CONNECTIONS
The author’s website discusses the novel and gives several links (the book does as well) to mental health sites.
http://www.sonyasones.com/

The cover of the first edition shows a self-portrait of the author’s sister. The photograph is taken in a mirror and is out-of-focus. Have students take their own self-portraits, one where they are not immediately recognizable.

Play Scrabble with invented words like the characters do in the last poem in the book.

Have a mental health professional talk with students.

Read other books about characters with mental health issues like CUT by Patricia McCormick andSPEAK by Laurie Halse Anderson.

Genre 3--Book Review 2

BIBLIOGRAPHY

George, Kristine O’Connell. 1998. OLD ELM SPEAKS: TREE POEMS. Ill. by Kate Kiesler. New York: Houghton Mifflin.
ISBN: 0-395-87611-7

PLOT SUMMARY

Kristine O’Connell George, one of the primary voices in children’s poetry, offers a volume of thirty shorts poems about the life of trees, the life in trees, and the life surrounding trees. As a whole, OLD ELM SPEAKS: TREE POEMS, is a metaphor for the world. In one poem, “Bridge,” a tree is literally a bridge but figuratively a difficult crossing in growing up, “This tree across the stream / is a trickier bridge / than it might seem. / Quick quickly skipping / or slow slip tiptoe, / it’s a wet and mossy, / often soggy / crossing.” In others the trees offer advice, food, or hiding places.

Kate Kiesler illustrates the book with images of trees and children—one lovely painting for each poem.

CRITICAL ANALYSIS

OLD ELM SPEAKS: TREE POEMS by Kristine O’Connell George speaks to the reader in a calm, steady voice. The quiet tone of the thirty poems asks the reader to slow down and notice. The collection opens with exactly that comment in “Oak’s Introduction,” “I’ve been wondering / when you’d notice.” The personification of the mighty oak responding to a child who had stopped for a moment sets the mood for the poems that follow.

George uses a variety of poetic forms including haiku, concrete poetry, and free verse and although the book is marketed to children, the poetry is sophisticated and brings to mind the work of Williams Carlos Williams. Her language includes intelligent metaphors as in “Bud,” “Snap open the clasp-- / and you will find, / inside this tiny valise, / one rolled and folded / neatly packed / leaf.”George’s playfulness with language—especially alliteration—pleases the reader’s ear and the unconventional use of rhyme (not in a specific pattern) sometimes surprises and sometimes nudges.

Kate Kiesler’s oil paintings reflect the poetry in exactly the right way. The colors are subdued and the images seem slightly out of focus—in an impressionist style. One of the most beautiful, the illustration for “Broken String,” evokes a winter day with the remnants of summer still a memory.
George and Kiesler together have created an exquisite, dreamy book about one of nature’s greatest gifts—trees.

REVIEW EXCERPTS

ALA Booklist Editor's Choice

Starred Review from BOOKLIST, September 1, 1998
Kiesler's warm oil paintings beautifully complement the poems, making for a totally satisfying experience that is sure to be a favorite of anyone who's ever stopped to notice trees. -Helen Rosenberg

Starred Review from SCHOOL LIBRARY JOURNAL, September 1, 1998
A celebration of these mighty living things and the people who love them.-Pamela K. Bomboy

Review from PUBLISHERS WEEKLY, September 14, 1998
Dedicated to "the saplings," this leaf-filled collection would make just the right gift for nature lovers.

CONNECTIONS
There are many websites that include wonderful activities that correspond to the book.
The author’s website offers lesson plans for teachers, an author’s biography, and audios of the poet.
http://www.kristinegeorge.com/

A library blog lists some great activities and further study ideas including making a salad from things that grow on trees .
http://k8talksbooks.blogspot.com/2008/03/old-elm-speaks-by-kristine-oconnell.html

A study of trees for Arbor Day seems a great time to read the book along with a version of Johnny Appleseed.

Create a classroom “tree” where students write their poems (copied or created) on large leaves and attach them to a tree trunk on a bulletin board.

Genre 3--Book Review 1

BIBLIOGRAPHY

Prelutsky, Jack. 2007. IN AUNT GIRAFFE’S GREEN GARDEN. Ill. by Petra Mathers. New York: Harper Collins.
ISBN-13: 978-0-06-623868-5

PLOT SUMMARY

Jack Prelutsky, the inaugural winner of the Children’s Poet Laureate award from the Poetry Foundation, has written more than thirty-books of verse for children of all ages. The collection, IN AUNT GIRAFFE’S GREEN GARDEN, is an eclectic mixture of twenty-eight humorous poems. The short poems cover a variety of topics including adventurous animals and humans with quirky habits. A central theme in the poetry is geography and the animals-as-tourists travel from Mexico to Toledo. In a departure from the main theme, the last poem of the book, “There Was a Little Poet,” is, perhaps, a bit autobiographical. The last four lines of the poem are delivered in the voice of a poet, “He woke a little later / and he thought a little while / then he wrote a book of little rhymes / and smiled a little smile.” This volume, illustrated by Petra Mathers, is full of rhymes to make the reader, like the poet, smile.

CRITICAL ANALYSIS

Jack Prelutsky’s poetry collection, IN AUNT GIRAFFE’S GREEN GARDEN, invites readers to sit in a large comfy chair and share his humorous poems and Petra Mather’s vibrant illustrations with a young child. The poems are pleasing and readers are sure to smile at the silliness of animals that drive trucks, discuss philosophies, and sing. Prelutsky uses regular meter (much of the time the same trochaic form found in traditional nursery rhymes) and regular rhyme. Clearly the poetry is meant to be read aloud and shared. Most of the poems are grounded in place and when a few appear that do not have that connection, it’s a bit awkward.

The illustrations play with the words and match the liveliness of the poet’s language. The vibrancy of the color palette matched with the broad brush strokes creates a feeling of freedom that parallels the free-spirited tone of the poems. The best art in the book illustrates the title poem. Aunt Giraffe’s green garden is a riot of poppy-like flowers and butterflies. Aunt Giraffe’s faraway expression points to a place that the reader is sure to follow.

REVIEW EXCERPTS

Review from BULLETIN OF THE CENTER FOR CHILDREN’S BOOKS, September 2007
This is Prelutsky for younger audiences, with the compact verses musing rather than snappy and the subjects simple...-Deborah Stevenson

Review from SCHOOL LIBRARY JOURNAL, August 1, 2007
A playful collection that features an array of animals and geographical locations.-Donna Cardon

Review from BOOKLIST, July 1, 2007
A lighthearted, high-spirited collection for sharing any time, in groups or one-on-one.-Gillian Engberg

CONNECTIONS

These poems are meant to be read aloud.

Since many of the poems have a distinct geography, readers may find the poem’s location on a map or globe.

Have students write place poems or stories: Choose an animal and take them on a vacation. Be creative. Where are they going? How are they traveling?

An abundance of online connections are available for Jack Preluctsky and his work. One of the best that I encountered is: http://www.harperchildrens.com/webcontent/teachers_guides/pdf/0688077781.pdf

Genre 2--Book Review 3

BIBLIOGRAPHY

Yolen, Jane. 2003.MIGHTIER THAN THE SWORD: WORLD FOLKTALES FOR STRONG BOYS. Ill. by Raul Colón. New York: Harcourt, Inc.
ISBN: 0-15-216391-3

PLOT SUMMARY

In her book MIGHTIER THAN THE SWORD: WORLD FOLKTALES FOR STRONG BOYS, Jane Yolen retells fourteen folk stories featuring male protagonists who overcome adversity by wit, humor, and compassion. The tales come from China, Angola, Afghanistan, and several other countries around the world. Beginning with an “open letter” from the author to her sons and grandson, the author passionately describes the type of hero that she wants them to become--a winner who understands that “brains trump brawn almost every time.” The engaging stories serve as examples of how to be that hero.

Each tale is titled and then subtitled with the story’s lesson. For example the tale from Ireland, “Jack and His Companions,” is subtitled “A good friend is a hero, too.” The story begins with Jack as he takes leaves of his beloved mother to seek his fortune. Along the way he shows kindness to those in trouble who join him on his journey. Together, the devoted companions capture robbers and are handsomely rewarded for their efforts. In this story and all the stories, good triumphs evil.

The book concludes with detailed notes about each story’s origins and a return letter from her grandsons who declare that “…girls need to read these tales, too.”

CRITICAL ANALYSIS

The narrative style in Jane Yolen’s THAN THE SWORD: WORLD FOLKTALES FOR STRONG BOYS is clear and straightforward. Traditional stories told in a traditional manner, the collection of world folktales engage the reader while imparting important lessons about the nature of being a true hero. Sharing the tales with children who are often inundated with violent images is a perfect counterpoint for their lives.

At times, however, the collection seems a bit preachy. The introductory letter and subtitles could be construed as forced. Perhaps it may be better to allow the reader to draw conclusions without the author’s heavy hand.

The cross-hatched pen and ink drawings by illustrator Raul Colón provide the perfect complement to the stories. One full page drawing for each tale, they seem as old as the tales.

Overall, Yolen’s collection is a positive, literary book which should appeal to boys and girls of all ages.

REVIEW EXCERPTS

Review from BOOKLIST, April 1, 2003
Free of didacticism, these diverse stories give readers something to think about.

Review from SCHOOL LIBRARY JOURNAL, May 1, 2003
The prolific and talented Yolen sets her sights on folktales that demonstrate that "brains trump brawn almost every time."

Review from PUBLISHERS WEEKLY, April 14, 2003
These heroes win with their wits and hearts, not with weapons.

CONNECTIONS

Read Yolen’s book NOT ONE DAMSEL IN DISTRESS: WORLD FOLKTALES FOR STRONG GIRLS and compare the attributes for strong boys and strong girls. Are there similarities? Are there differences?

Have students create tales where the hero proves himself in some way other than using his muscle or violence.

Create posters with the morals of the stories.

Genre 2--Book Review 2

BIBLIOGRAPHY

DePaola, Tomie. 2000. JAMIE O’ROURKE AND THE POOKA. Ill. by Tomie dePaola. New York: G.P. Putnam’s Sons.
ISBN: 0-399-23467-5

PLOT SUMMARY

In the original Irish folktale, JAMIE O’ROURKE AND THE POOKA by Tomie dePaola, Jamie O’Rourke, “the laziest man in Ireland,” makes another appearance. First seen in JAMIE O’ROURKE AND THE BIG POTATO, Jamie has not changed his slothful ways. His wife Eileen has left to visit her sister leaving Jamie a “larder” full of good things to eat. Although Jamie has promised to keep order in the house, his three raucous friends arrive and soon things are in a terrible state of disarray. Mysteriously, a pooka, in the form of a donkey-like creature, arrives and quickly puts the house back in order. The cycle continues for a week until Jamie decides to give the creature a gift as a gesture of gratitude. Unbeknownst to Jamie, the reward breaks the spell and the pooka leaves for good. Jamie’s wife returns to a mess and Jamie, who is full of regrets.

CRITICAL ANALYSIS

In the second book featuring Jamie O’Rourke, Tomie dePaola has created an original story with roots in Irish folk tales. In an author’s note at the end of the story, dePaola explains the legend of the pookas in Ireland. He takes that legend and ingenuously weaves it into a fun, rollicking narrative. Young readers will delight in Jamie’s misbehavior and take pleasure when he receives exactly what he deserves. Some readers may object to the stereotypes perpetuated by the characters but most will recognize them as broad caricatures. As illustrator, dePaola’s distinctive acrylic paintings possess a simple, primitive quality that complements the folk tale in exactly the right way. The pooka is represented as a slightly ominous creature drawn in an outline form that keeps it from being too frightening. JAMIE O’ROURKE AND THE POOKA will certainly become a go-to classic for St. Patrick’s Day.

REVIEW EXCERPTS

Review from BOOKLIST, January 1, 2000
Jamie's jovial shiftlessness is affectionately depicted in dePaola's timeless, decorative style.

Starred Review from SCHOOL LIBRARY JOURNAL, February 4, 2002
…dePaola's liquid acrylic paintings spill over their frames onto the white space surrounding them.

Review from PUBLISHERS WEEKLY, January 17, 2000
DePaola's jaunty storytelling pace and his snappy Irish phrases give this tale extra sparkle.

CONNECTIONS

Since dePaola writes in Irish dialect, the book would be a great introduction to the discussion of accents. Talk about the variety of accents that people may have. Listen to a live stream of Irish radio and then have students practice their accents. Ask someone Irish to read the story. (My mom is from Ireland and she would come to my class and read stories around St. Patrick’s Day.)

http://www.liveireland.com/

Study the concept of foreshadowing. Ask students to make predictions and support their answer.

Use the story as part of an Irish theme around St. Patrick’s Day.

Read the story of The Elves and the Shoemaker and compare.

Genre 2--Book Review 1

BIBLIOGRAPHY

Ketteman, Helen. 1997. BUBBA THE COWBOY PRINCE: A FRACTURED TEXAS TALE. Ill. by James Warhola. New York: Scholastic Press.
ISBN: 0-590-25506-1

PLOT SUMMARY

BUBBA THE COWBOY PRICE is a retelling of the classic tale of Cinderella. Overworked and much-maligned Bubba is the “Cinderfella” of the traditional story told in a most untraditional manner. Dwayne and Milton, ham it up as the indulged, homely stepbrothers encouraged by the mean stepdaddy. Miz Lurleen, the story’s version of the prince, is the “prettiest and richest gal in the county.” She throws a ball to find a “feller” and her feller, of course, turns out to be Bubba. Appearing in every two-page spread, the fairy-godcow lovingly watches Bubba and, by swishing her tail, outfits Bubba in “cowboy duds” and sends him on his way to the dance on a beautiful white stallion. After Bubba loses his boot at the ball, Miz Lurleen tracks him down and they lived happily ever after.

CRITICAL ANALYSIS

In their book, BUBBA THE COWBOY PRINCE, Ketteman and Warhola offer a version of Cinderella that even six-year-old boys will love. The story is an exaggerated tale told with outrageous, fun dialogue that lends itself to accents (even the most reticent storyteller can attempt a Texas twang) and is sure to bring down the house with hoots and hollers of laughter. Cowboy enthusiasts of all ages will enjoy the boundless energy that bounces off the page. Ketteman chooses descriptive action verbs like “swished,” “galloped, and “lumbered” that enliven the story while Warhola’s exaggerated images perfectly complement the text. The colorful cartoon-like oil paintings include an amazing amount of detail that portrays the story’s emotion in the bold expressions on the faces of all the characters--including the animals. The clever inclusion of the fairy “Godcow” on each two-page spread speak to the imagination and ability of Warhola as an illustrator.

Perhaps some readers may object at the stereotypical images of western life but children will surely understand the fun and fanciful portrayal of the life “west of the Brazos.”

REVIEW EXCERPTS

Review from PUBLISHERS WEEKLY, November 17, 1997
… While spoofing Cinderella is not a new idea, Ketteman and Warhola's well-matched flair for hyperbole gives both the narrative and illustrations a one-two punch.

Review from KIRKUS, November 1997
A Cinderella parody that features the off-the-wall whang-dang hyperbole of Ketteman and the insouciance of Warhola, who proves herself only too capable of creating a fairy Godcow… Bubba and Babe, hair as big as a Texas sun, ride off to a life of happy ranching, and readers will be proud to have been along for the courtship.

Review from BOOKLIST, December 1, 1997
… With a male in the starring role, this charming and funny retelling may hold more appeal for young boys than the traditional version may. --Lauren Peterson

CONNECTIONS

BUBBA THE COWBOY PRINCE lends itself beautifully to storytelling or reader’s theater.

Include the story as part of a “cowboy” unit in the lower elementary grades. Children could read nonfiction about cowboys. Study idioms used in cowboy culture. Learning to square dance and rope could be part of the activities. Science connections could be made by discussing ranching and animal care. Math connections could be made by calculating miles on a trail or weights of animals at different stages of growth. The art possibilities seem limitless.

Use phrases to teach literary terms. For example, “bonked the bejeebers out his bean” is a great example of alliteration. Hyperbole is another concept with great examples from the book. Simile is demonstrated by phrases like “you’re as cute as a cow’s ear” and metaphor is seen is examples like “whiter than a new salt lick.” Keep the examples and terms written on a poster board for an ongoing study.

The scene at the ball depicts music giving the teacher an opportunity to introduce associated music into the lesson. Use traditional cowboy songs and make connections.

Genre 1--Book Review 3

BIBLIOGRAPHY

Wiesner, David. 2006. FLOTSAM. Ill. by David Wiesner. New York: Clarion Books.

ISBN: 978-0-618-19457-5

PLOT SUMMARY

Two-time Caldecott winner David Wiesner dives into mysterious worlds and enticingly invites his reader to follow the action in his wordless picture book FLOTSAM. The protagonist is spending the day at the beach where, through his magnifying lenses, he can see things more clearly. The boy is thoroughly prepared for an adventure and he encounters one beyond his wildest expectations. As he combs the beach for debris washed ashore, he is literally swept off his feet and finds the aptly named “Melville’s Underwater Camera” encrusted with barnacles. He rushes to town and, at the one-hour photo store, impatiently waits for what develops. The photographs reveal amazing worlds beneath the sea where mechanical fish swim in schools and men from outer space visit as tourists. The final photograph reveals the most stunning revelation-- a young girl at the beach holding a photograph and so on and so on. Through the lens of his microscope the young explorer views all the others, to the final Victorian-era boy in knickers and cap, who have made the same discovery. In the final episode, the boy takes his own picture and hurls the camera back into the ocean where finds its way to another curious beach comber.

CRITICAL ANALYSIS

David’s Wiesner wordless picture book, FLOTSAM, mesmerizes the reader from cover to cover. The fisheye centered on the dust jacket hints at the theme—seeing the world through a magnifying lens changes everything. The exquisite detail in Wiesner’s watercolor images encourage the reader to turn the pages slowly taking in every nuance. As the story begins, the colors reflect the cool watery tones of a day at the beach and the bright, vibrancy of the underwater scenes provide a vivid contrast. The reader completely surrenders to the magic as the perspective changes from extreme close-ups to landscapes. The details of the book challenge readers of all ages to discover the “secret” of the camera. Young readers (and some adults) may have questions sure to generate plenty of discussion. FLOTSAM is a work-of-art destined to become a classic.

REVIEW EXCERPTS

Caldecott Medal (Won Award) 2007

Review from BOOKLIST, August 1, 2006

…this visual wonder invites us to rethink how and what we see, out in the world and in our mind's eye. -Gillian Engberg

Review from SCHOOL LIBRARY JOURNAL, September 1, 2006

... This wordless book's vivid watercolor paintings have a crisp realism that anchors the elements of fantasy.- Joy Fleishhacker

Review from PUBLISHERS WEEKLY, July 24, 2006

New details swim into focus with every rereading of this immensely satisfying excursion.

CONNECTIONS

Purchase a disposable camera and allow students to take it home to take a photograph. Discuss the term “close-up” and carefully examine the close-up in the book. The instructions could be to take one close-up photograph. Then, develop the pictures and the students can discuss the outcome.

For older students a webquest:

http://www.njcenterforthebook.org/misc/flotsam/webquest.html

If you can take your students on a field trip, this is a great activity:

http://www.parkweb.vic.gov.au/education/marinekit/resources/Biological%20Sciences/conservation/Flotsam-Jetsam.pdf

Genre 1--Book Review 2

BIBLIOGRAPHY

Willems, Mo. 2007. KNUFFLE BUNNY TWO: A CASE OF MISTAKEN IDENTITY. Ill. by Mo Willems. New York: Hyperion.

ISBN-13: 978-1-4231-0299-1

PLOT SUMMARY

The sequel to KNUFFLE BUNNY: A CAUTIONARY TALE, KNUFFLE BUNNY TWO: A CASE OF MISTAKEN IDENTITY catches up with the book’s heroine as she navigates her way to Pre-K. Excitement builds for Trixie as she chatters excitedly to her ever devoted daddy on their walk to school. She anticipates showing her “one-of-a-kind” Knuffle Bunny to her teachers and her friends. However, the unthinkable occurs when she sees Sonja with a bunny just like her own. Arguments ensue and the teacher takes the bunnies away. Later, the bunnies are restored to their rightful owners…but are they? In the middle of the night, Trixie awakens with the horrible realization that the bunnies were switched. Phone calls and a mad dash across the neighborhood correct the mistake. During the exchange both girls express empathy for the other’s plight and Trixie makes her first best friend (“Knuffle Bunny excepted, of course.”)

CRITICAL ANALYSIS

In his picture book, KNUFFLE BUNNY: A CASE OF MISTAKEN IDENTITY, Mo Willems continues the beloved tale of Trixie, her bunny, daddy, and their neighborhood. Preschool Trixie is a whirl of emotions and Willem’s simple lines reveal her facial expressions simply and effectively. Young readers will identify with Trixie’s plight and anxieties and will be satisfied with the pleasing resolution. The recognizable cartoon images of the characters juxtaposed against the gray scale photographs of Brooklyn’s neighborhoods are distinctive and engaging. On several pages, the addition of the speech bubbles on a few of the pages detracts somewhat from the illustrations.

As the emotion reaches a climax, the two page spread of the Grand Army Plaza lit up at night demonstrates the perfect stillness of the city in its dark hours. Trixie learns many lessons throughout the book and Willems deftly crafts her situations so the reader is enlightened and contented. Great story by a unique artist and illustrator.

REVIEW EXCERPTS

Review from PUBLISHERS WEEKLY, July 17, 2007
…Not a word or image feels out of place.

Review from SCHOOL LIBRARY JOURNAL, August 1, 2007
…irresistibly funny, tender, and universal, this is another consummate star turn for Trixie, daddy, bunny, and their creator.-Kate McClelland

Review from BOOKLIST, September 1, 2007
…Willem’s cartoon-style art set against crisp black-and-white photos of New York City interiors and exteriors catches every bit of the plentiful emotion.-Ilene Cooper

CONNECTIONS

Examine Trixie’s face on different pages and ask students what Trixie may be feeling. Then, how do you know what she’s feeling? Have young students draw simple faces which express emotion.

Take a photograph of the your classroom and the playground. Print page-size photographs and copy in black and white. Have students insert images into the scenes.

Have a show and tell day where students and teacher bring their own “Knuffle Bunny.”

Talk about friendship and how we choose friends. Trixie and Sophie have something in common. They understand each other’s feelings.

Use the book to teach a lesson on similarities and differences. How are the bunnies different? How are Trixie and Sophie the same? Draw columns and compare and contrast.

The argument about the pronunciation of “Kuh-nuffle” vs. “Nuffle” could predicate a lesson on silent first consonants.

Genre 1--Book Review 1

BIBLIOGRAPHY

Gauch, Patricia Lee, David Briggs, Courtenay Palmer, Kiffin Steurer, and Semedar Megged, eds. 2007. ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART. New York: Penguin Group. ISBN: 978-0-399-24600-5

PLOT SUMMARY

ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART, a beautiful anthology of art and commentaries by twenty-three of the most celebrated illustrators of children’s book art, is presented as letters to young artists. Artists include Tomie dePaola, Maurice Sendak, Eric Carle, Jane Dyer, and many other famous and celebrated children’s book illustrators and authors. Through informal first-person dialogue, each artist tells some of their personal history, offers advice about making art, following your dreams, and words of wisdom and encouragement.

The preface is a note, written by Eric Carle. As he writes about his mentors and the important people who encouraged his work, he offers the book as “a kind of mentor for you, young artist.” As the reader turns the page, a “letter” and self-portrait is revealed. The letter page includes photographs of the artists as children and a replication of the artist’s signature. Except for a photograph of deceased artist Leo Lionni, each artist creates a self-portrait using varying mediums ranging from pencil to “pop-up” that appears on the right side of the page. Each portrait page folds open to a double page of illustrations, photographs, and captions depicting the artist’s processes, studios, materials, and art. Often the art is shown in the various stages of its creation—demonstrating to the reader the steps in the artistic method. The end of the book includes a note from the director of the Eric Carle Museum of Picture Book Art describing the art studio that allows children to make art. The book also includes short biographies of the artists and a selected bibliography of the artists’ works. Proceeds from the book benefit the Eric Carle Museum of Picture Book Art which opened in 2002 in Amherst, MA.

CRITICAL ANALYSIS

A compilation of the work and wisdom of twenty-three distinguished children’s book illustrators and authors, ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART is a wonderfully engaging celebration of creativity. The advice to young artists is inspiring and written on a level for all ages. Young children will enjoy being read to and older readers can navigate the straight forward prose independently. The majority of the missives begin with “When I was very young,” or something similar and the first person stories from artists’ childhoods give the young reader a personal connection to the artist. The book demonstrates the path to art and fulfilling your dreams inspiring the reader to gather up a box of crayons and a Big Chief tablet and begin. When Barry Moser tells the fledgling artist, “So my young friend, never let anyone tell you that you cannot do something. You can,” he makes the reader a true believer.

Each artist (except for Leo Linonni) presents a self-portrait and I found myself examining the pages over and over. Maurice Sendak draws himself into a scene with characters from his books including Where the Wild Things Are and I had to find my lighted magnifying glass to discern all the detail. Photographs and drawings of the artists’ studio allow the reader to be the “fly on the wall.” This book is a must for children (and adults) who love book art. It’s amazing.

REVIEW EXCERPTS

Starred review in SCHOOL LIBRARY JOURNAL, October 1, 2007
...the end result is a gorgeous, browsable gallery of international treasures, with a behind-the-scenes tour led by the generous and gifted creators themselves.-Wendy Lukehart, Washington DC Public Library

Review from PUBLISHERS WEEKLY, August 13, 2007
…offers a captivating look at these illustrators' methods and the passion that lies behind their work.

Review from VOICE OF YOUTH ADVOCATES, December 1, 2007
From ideas to spark inspiration to sound advice and wisdom, these literary snapshots of children's book illustrators provide special insight into the minds of artists.-Nancy K. Wallace.

CONNECTIONS

· The website for the Eric Carle Museum of Picture Book Art has a fantastic website. It includes a virtual tour of the facility, a “send e-card” capability, and shopping.

www.picturebookart.org

· After examining the self-portraits, students may create their own self-portrait.

· After reading the letters of advice from the artists, students may write their own letter offering advice and encouragement. For instance, for fifth grade students: Write a letter of advice for a kindergarten student.