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.