POETRY BLOG #2: one of those hideous books where the mother dies
Bibliographic data
Sones, Sonya. 2004. ONE OF THOSE HIDEOUS BOOKS WHRE THE MOTHER DIES. New York. Simon & Schuster Books for Young Readers. ISBN 978-0-689-85820-8
Plot Summary
In this verse novel fifteen year old Ruby is sent to live with her father in Los Angeles after her mother dies. Ruby is upset to leave her best friend Lizzie, her aunt Duffy and her boyfriend Ray to live with her famous movie star father who she has never met before.
Critical Analysis
I had never read a verse novel before and after reading this one I think I may be hooked. Each poem seems like a condensed chapter of a book, the free verse and rhyming poems are told as poems written by the main character, Ruby. These poems capture the voice of Ruby. The poems are sarcastic, humorous, and sad. In each poem I can feel the pain, the surprise, and the young love and heartache that Ruby is experiencing. Each poem is a part of the novel, but could also serve as a poem to read alone as well. The author also mixes things up by including letters of correspondence from herself to Lizzie, Ray and her late mother in the novel. The author uses a distinctive use of spacing, line breaks and poem formatting in her poems. My favorite poem is on page 208 after Ruby finds out her best friend and boyfriend back home have hooked up at the Halloween party.
I Used to Love the Rain
The way it filled the airU
with the musky smell
of earth,
the way it painted
the streets
with glistening neon light,
the way it turned
the inside of your Mustang
into a snug cocoon
Now
I hate
the rain.
I hate it
for reminding me
of that night last summer
when the rain
licked at my lashes
while your lips covered mine.
I used to love the rain.
You used to love
me.
I also liked the spacing and formatting of the poem, Suddenly There’s Another Tremor where the spacing is shifted right, left and middle to illustrate the earthquake rumbles. When the quaking finally stops the words on the page go back to left alignment illustrating the stillness. I think that book would be very appealing to young readers especially girls. I am not wasnt sure if it would be appealing to boys but after reading a few reviews from kids I did note that a lot of boys who reviewed it really liked it. It is a quick easy read, but also makes you think about the power of few words and the value of poetry to capture a feeling. Young readers will be able to identify with the main characters feelings and writing and humor. I laughed out loud on many occasions. Such as the last 4 lines of the poem, I Didn’t Want to Get on This Plane.
painfully aware that every step I take
is leading me
closer and closer
to the sperm donor himself.
I wish I would have read this when I was young, it would have definitely gotten me more interested in poetry. I loved this book!
Review Excerpt(s)
From School Library Journal
Grade 7-10–In one- to two-page breezy poetic prose-style entries, 15-year-old Ruby Milliken describes her flight from Boston to California and her gradual adjustment to life with her estranged movie-star father following her mother's death. E-mails to her best friend, her boyfriend, and her mother ("in heaven") and outpourings of her innermost thoughts display her overwhelming unhappiness and feelings of isolation, loss, and grief ("…most days,/I wander around Lakewood feeling invisible./Like I'm just a speck of dust/floating in the air/that can only be seen/when a shaft of light hits it"). Ruby's affable personality is evident in her humorous quips and clever wordplays. Her depth of character is revealed through her honest admissions, poignant revelations, and sensitive insights, Shaker Heights Public Library, OH Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
*Starred Review* Gr. 7-12. After the death of her mother, high-schooler Ruby is sent from Boston to L.A. to live with the father she has never met: "He's such a scumbag / that he divorced my mother / before I was even born." The "scumbag" is Whip Logan, a famous movie actor, but Ruby is too angry to be impressed; at the airport she wonders whether to "ask him for his autograph, / or kick him in the balls." Sones' latest free-verse novel follows Ruby through her first few months in her new home, a mansion where her every desire is granted--except what she longs for most: her best friend, her boyfriend, and of course, her mother. Sones' novel is an unusual combination of over-the-top Hollywood fairy tale and sharp, honest story about overcoming grief. A satisfying, moving novel that will be a winner for both eager and reluctant readers. Gillian EngbergCopyright © American Library Association. All rights reserved
Connections
Other novels in verse by Sonya Sones
What My Mother Doesn't Know by Sonya Sones
What My Girlfriend Doesn't Know by Sonya Sones
Stop Pretending: What Happened When my Big Sister Went Crazy
Over 60 Novels in verse are listed on Sonya Sones webpage at http://www.sonyasones.com/greatbooks.htm
Activities
Have students choose a novel in verse written by Sonya Sones or from her booklist on her webpage. Her booklist also includes a brief description of each novel in verse, which may help students choose.
Have students try their hand at writing a poem that can be a part of a verse novel. Work in groups and share with class.
Students can discuss their favorite page in a verse novel. Students can share by reading it a loud in the class.
Sunday, September 30, 2007
Saturday, September 29, 2007
POETRY BLOG #1: NIGHT GARDEN Poems from the World of Dreams
POETRY BLOG #1: NIGHT GARDEN Poems from the World of Dreams
A. Bibliographic data
Paschkis, Julie. 2000. NIGHT GARDEN Poems from the World of Dreams by Janet Wong. New York: Simon & Schuster Children's Publishing. ISBN: 0-689-82617-6
B. Brief plot summary
In this collection of poetry Janet Wong captures the surreal magic of dreaming and dreams. Common themes of dreaming, flying, falling, swimming, fear, lost loved ones, and food are brought to life with Wong’s lyric and free verse poetry. Each page is dedicated to a single poem and illustrated in beautiful painterly media. Each poem has a single picture on the opposite page of the type, and a single color is used to in the drawings that surround the rest of the page. For example in Dog Dreams, there is a color illustration of a sleeping dog across from the type. The rest of the page is filled with drawings of different types of dogs running, flying and sitting on the moon. All of these pictures are done in brown.
C. Critical analysis
The book is organized as 15 poems by Janet Wong about dreaming and dreams. There is a table of contents in the beginning of the book to help the reader find certain poems. The poetry consists of lyrical and free verse poetry. In Gently Down the Stream every second line rhymes. In contrast, there is little rhyming in the poem Flying. This poem is more free verse. The author born in America of Korean and Chinese descent introduces new vocabulary such as lo bak go and dim sum in the poem Turnip Cake. However, the poems are all universal as dreaming is timeless. Children can relate to dreaming about falling, nightmares and dreaming of good food. There is distinct use of spacing and line breaks and formatting. Some poems are broken up into 2 lines together and a space between the next 2 lines and so forth. In other poems the type itself is a part of the poem. For example, in Falling the type illustrates the dream as the words falling, down, falling fall down the page. Wong also uses repetition as a sound element to make the poem come to life. In Even in My Sleep the 3 lines
you monster
you monster
You monster
These lines coupled with the illustrations really make the capture the feeling of fear and mistrust of the dreamer. I especially liked these illustrations and the choice of red as the main color for the illustrations. The main color illustration is a picture of a hand with candy in the palm of it and a ghoulish hand reaching for the candy. The pictures in red covering the rest of the pages are of sharp toothed rat like creatures grabbing the candy from the dreamer and hungrily devouring it. I think that young readers will enjoy these poems as they are imaginative and also relatable. They are especially good for adult read aloud. The illustrations are surreal and beautiful and complement the poems very well. I like the fact that the poems are not all done in lyric and limerick style as a lot of fun poetry is for kids. This is a good way for children to become exposed to more free verse poetry that is imaginative, surreal and beautiful.
D. Review excerpt(s)
Publisher's Weekly
"In this absorbing volume, Wong (A Suitcase of Seaweed and Other Poems) and Paschkis (Play All Day) examine the familiar yet surprising qualities of dreams. The poems recall a weightless feeling of flying, an anxious sense of being late or an unexpected visit from a dead or living acquaintance ("I had forgotten you, friend./ Is that why you came/ into my dream?"). "Gently Down the Stream" alludes to the phrase "life is but a dream" and describes swimming in clear water; the accompanying illustration pictures a sinuous orange-and-turquoise fish with a peaceful human face...Paschkis's swirling imagery and Wong's quiet yet haunting words skillfully simulate the reveries they recount."
School Library Journal
"[G]entle language that evokes wonder and thoughtfulness rather than fear. . .Children will enjoy capturing their own dreams and giving them shape and meaning after they have experienced these poems."
E. Connections
Students can read the following poetry collections by Janet Wong
* A Suitcase of Seaweed and Other Poems By Janet S. Wong
* Knock on Wood: Poems about Superstitions By Janet S. Wong
* The Rainbow Hand: Poems About Mothers And Children By Janet S. Wong
Activities:
* Have students share their own dreams and write their own free verse or lyric poems about their own dreams
* After reading the poetry collection Knock on Wood: Poems about Superstitions have students discuss superstitions they are familiar with. Discuss. Students can write poems about a superstition of their choice.
A. Bibliographic data
Paschkis, Julie. 2000. NIGHT GARDEN Poems from the World of Dreams by Janet Wong. New York: Simon & Schuster Children's Publishing. ISBN: 0-689-82617-6
B. Brief plot summary
In this collection of poetry Janet Wong captures the surreal magic of dreaming and dreams. Common themes of dreaming, flying, falling, swimming, fear, lost loved ones, and food are brought to life with Wong’s lyric and free verse poetry. Each page is dedicated to a single poem and illustrated in beautiful painterly media. Each poem has a single picture on the opposite page of the type, and a single color is used to in the drawings that surround the rest of the page. For example in Dog Dreams, there is a color illustration of a sleeping dog across from the type. The rest of the page is filled with drawings of different types of dogs running, flying and sitting on the moon. All of these pictures are done in brown.
C. Critical analysis
The book is organized as 15 poems by Janet Wong about dreaming and dreams. There is a table of contents in the beginning of the book to help the reader find certain poems. The poetry consists of lyrical and free verse poetry. In Gently Down the Stream every second line rhymes. In contrast, there is little rhyming in the poem Flying. This poem is more free verse. The author born in America of Korean and Chinese descent introduces new vocabulary such as lo bak go and dim sum in the poem Turnip Cake. However, the poems are all universal as dreaming is timeless. Children can relate to dreaming about falling, nightmares and dreaming of good food. There is distinct use of spacing and line breaks and formatting. Some poems are broken up into 2 lines together and a space between the next 2 lines and so forth. In other poems the type itself is a part of the poem. For example, in Falling the type illustrates the dream as the words falling, down, falling fall down the page. Wong also uses repetition as a sound element to make the poem come to life. In Even in My Sleep the 3 lines
you monster
you monster
You monster
These lines coupled with the illustrations really make the capture the feeling of fear and mistrust of the dreamer. I especially liked these illustrations and the choice of red as the main color for the illustrations. The main color illustration is a picture of a hand with candy in the palm of it and a ghoulish hand reaching for the candy. The pictures in red covering the rest of the pages are of sharp toothed rat like creatures grabbing the candy from the dreamer and hungrily devouring it. I think that young readers will enjoy these poems as they are imaginative and also relatable. They are especially good for adult read aloud. The illustrations are surreal and beautiful and complement the poems very well. I like the fact that the poems are not all done in lyric and limerick style as a lot of fun poetry is for kids. This is a good way for children to become exposed to more free verse poetry that is imaginative, surreal and beautiful.
D. Review excerpt(s)
Publisher's Weekly
"In this absorbing volume, Wong (A Suitcase of Seaweed and Other Poems) and Paschkis (Play All Day) examine the familiar yet surprising qualities of dreams. The poems recall a weightless feeling of flying, an anxious sense of being late or an unexpected visit from a dead or living acquaintance ("I had forgotten you, friend./ Is that why you came/ into my dream?"). "Gently Down the Stream" alludes to the phrase "life is but a dream" and describes swimming in clear water; the accompanying illustration pictures a sinuous orange-and-turquoise fish with a peaceful human face...Paschkis's swirling imagery and Wong's quiet yet haunting words skillfully simulate the reveries they recount."
School Library Journal
"[G]entle language that evokes wonder and thoughtfulness rather than fear. . .Children will enjoy capturing their own dreams and giving them shape and meaning after they have experienced these poems."
E. Connections
Students can read the following poetry collections by Janet Wong
* A Suitcase of Seaweed and Other Poems By Janet S. Wong
* Knock on Wood: Poems about Superstitions By Janet S. Wong
* The Rainbow Hand: Poems About Mothers And Children By Janet S. Wong
Activities:
* Have students share their own dreams and write their own free verse or lyric poems about their own dreams
* After reading the poetry collection Knock on Wood: Poems about Superstitions have students discuss superstitions they are familiar with. Discuss. Students can write poems about a superstition of their choice.
Wednesday, September 19, 2007
TRADITIONAL LITERATURE BLOG #3: Porch Lies Tales of Slicksters, Tricksters, and Other Wiley Characters
TRADITIONAL LITERATURE BLOG #3: Porch Lies Tales of Slicksters, Tricksters, and Other Wiley Characters
Bibliographic data
Carrilho, Andre. Ed 2006. PORCH LIES TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILEY CHARACTERS. First Ed. By Patricia McKissack. New York: Random House Children’s Books. ISBN 13:978-0-375-83619-0
Brief plot summary
This book is a collection of original folktales written by Patricia McKissack, an African American author. She introduces the reader to ‘porch lies’ which are orally told folktales that include trickster and noodlehead tales. The author shares with the reader her experience listening to ‘porch lies’ on hot summer evenings at her grandparent’s house in Nashville, Tennessee. The Author’s Note section of the book introduces porch lies and sets the stage for the reader to enjoy the wonderfully written and entertaining 10 folktales or ‘porch lies’ as listed in the table of contents. The trickster tales include Mingo Cass who swindles people with his hundred dollar bill that no one has change for, to Aunt Gran, a sweet old lady who uses outlaws to protect her farm. The stories are entertaining, funny and a genuine joy to read.
Critical analysis with specific literary considerations pertinent to genre
My two favorite stories from the collection are AUNT GRAN AND THE OUTLAWS, and A GRAVE SITUATION.
AUNT GRAN AND THE OUTLAWS is set in the year 1882 during a cold Tennessee winter in the community of Webb Hollow. The KKK made midnight rides on the Webb Hollow citizens, in attempt to torment them into selling their land. When all hope is seems lost two outlaws come riding into town. Gran tricks the outlaws by telling them a story of the Webb treasure and they stay with Gran successfully being uses as a “wolf to chase out the fox.”
The story uses dialogue to reveal character and make the story come to life. For example on page 46, “Aine nobody gon’ disturb you lesson they get by me. And I reckon I can protect the likes of you two businessmen, don’t you think?” Aunt Gran said with a nod and a wink.
The folktale has many of the special literary elements particular to folk literature including a simple setting, good and evil characters, and a fast moving plot. This story is specifically a trickster folktale in that Aunt Gran outsmarts everyone in the story. At first you might think that Aunt Gran is naïve in letting the outlaws stay in her home, but you later learn that she knows the who they really are the whole time and is playing them for her advantage.
The ability to hope, one of the values of fantasy, is present in the story as well. When it seems all hope is lost Aunt Gran prays to god for someone to come and help, and the next day the two outlaws arrive.
A GRAVE SITUATION is set in Lynn Cove, Tennessee. Lincoln Murphy, whose reputation precedes him, arrives back in town after being gone for fifteen years. With his slickster moves he gains both a job as Mis Crickett’s driver starts his own jitney service using her car. When Mis Crickett gets ill, Lincoln saves her from being buried alive. We learn that Goodie Harken is a wolf in sheeps clothing and maybe Lincoln was just the opposite. The story unwinds like a mystery and the reader can form their own decision at the end. The ability to develop a capacity for belief is present in this story. The reader may realize the goodness in people and learn not to judge people before getting to know them. The author uses dialogue to reveal the character. The characters speech is natural and illustrates the characters personality. For example on page 92 when Link is explaining why he dug Ms. Cricket up.
“Mis Crickett’s been like kin to me,” Link explained. “When Mr. Harken didn’t honor Mis Crickett’s wishes, I didn’t know what to do. Who would’ve belived me? So, like a coward, I decided just to leave town. After sitting by the levee all night thinking ‘bout po’ Mis Crickett – I decided come morning to dig her up when no one was around.” Using this dialogue helps the reader to identify and understand Link’s feelings and motives.The author uses figurative language to covey meaning with emotional intensity. For example on page 90: “Once we all got home, Mis Cricket immediately sent for Goodie Harden, Dr.Tate, and the police chief, Joe Sullivan. You could have pushed Mr.Harken over with a broom straw when he found out that Mis Crickett was alive and well.
The Illustrations done by Andre Carilho are done in a black and white. They are part cartoon, part silhouette portraits with the human character always as the focal point. The use of vertical lines direct the readers eye to the action part of the illustration. For example, in A GRAVE SITUATION the thin vertical lines of Lincoln’s legs next to the long vertical line of the shovel direct your eye to the action of digging the grave. The illustrations captivate the eyes with the way they are presented off balance and at various angles
Review excerpt(s)
From Booklist*Starred Review* Gr. 3-5.
Like McKissack's award-winning The Dark Thirty (1992), the nine original tales in this uproarious collection draw on African American oral tradition and blend history and legend with sly humor, creepy horror, villainous characters, and wild farce. McKissack based the stories on those she heard as a child while sitting on her grandparents' porch; now she is passing them on to her grandchildren. Without using dialect, her intimate folk idiom celebrates the storytelling among friends, neighbors, and family as much as the stories themselves. "Some folk believe the story; some don't. You decide for yourself."
From School Library JournalGrade 5 Up
These 10 literate stories make for great leisure listening and knowing chuckles. Pete Bruce flatters a baker out of a coconut cream pie and a quart of milk; Mingo may or may not have anything smaller than a 100-dollar bill to pay his bills; Frank and Jesse James, or the Howard boys, help an old woman against the KKK-ish Knights of the White Gardenia; and Cake Norris wakes up dead one day–again. Carrilhos eerie black-and-white illustrations, dramatically off-balance, lit by moonlight, and elongated like nightmares, are well-matched with the stories. The tales are variously narrated by boys and girls, even though the authors preface seems to set readers up for a single, female narrator in the persona of McKissack herself. They contain the essence of truth but are fiction from beginning to end, an amalgam of old stories, characters, jokes, setups, and motifs. As such, they have no provenance. Still, it would have helped readers unfamiliar with African-American history to have an authors note helping separate the truth of these lies that allude to Depression-era African-American and Southern traditions. That aside, theyre great fun to read aloud and the tricksters, sharpies, slicksters, and outlaws wink knowingly at the child narrators, and at us foolish humans.–Susan Hepler, formerly at Burgundy Farm Country Day School, Alexandria, VA Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Connections
Sister Tricksters: Rollicking Tales of Clever Females by Robert and David San Souci
The Dark Thirty by Patricia McKissack
The Barefoot Book of Trickster Tales retold by Richard Walker
Bibliographic data
Carrilho, Andre. Ed 2006. PORCH LIES TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILEY CHARACTERS. First Ed. By Patricia McKissack. New York: Random House Children’s Books. ISBN 13:978-0-375-83619-0
Brief plot summary
This book is a collection of original folktales written by Patricia McKissack, an African American author. She introduces the reader to ‘porch lies’ which are orally told folktales that include trickster and noodlehead tales. The author shares with the reader her experience listening to ‘porch lies’ on hot summer evenings at her grandparent’s house in Nashville, Tennessee. The Author’s Note section of the book introduces porch lies and sets the stage for the reader to enjoy the wonderfully written and entertaining 10 folktales or ‘porch lies’ as listed in the table of contents. The trickster tales include Mingo Cass who swindles people with his hundred dollar bill that no one has change for, to Aunt Gran, a sweet old lady who uses outlaws to protect her farm. The stories are entertaining, funny and a genuine joy to read.
Critical analysis with specific literary considerations pertinent to genre
My two favorite stories from the collection are AUNT GRAN AND THE OUTLAWS, and A GRAVE SITUATION.
AUNT GRAN AND THE OUTLAWS is set in the year 1882 during a cold Tennessee winter in the community of Webb Hollow. The KKK made midnight rides on the Webb Hollow citizens, in attempt to torment them into selling their land. When all hope is seems lost two outlaws come riding into town. Gran tricks the outlaws by telling them a story of the Webb treasure and they stay with Gran successfully being uses as a “wolf to chase out the fox.”
The story uses dialogue to reveal character and make the story come to life. For example on page 46, “Aine nobody gon’ disturb you lesson they get by me. And I reckon I can protect the likes of you two businessmen, don’t you think?” Aunt Gran said with a nod and a wink.
The folktale has many of the special literary elements particular to folk literature including a simple setting, good and evil characters, and a fast moving plot. This story is specifically a trickster folktale in that Aunt Gran outsmarts everyone in the story. At first you might think that Aunt Gran is naïve in letting the outlaws stay in her home, but you later learn that she knows the who they really are the whole time and is playing them for her advantage.
The ability to hope, one of the values of fantasy, is present in the story as well. When it seems all hope is lost Aunt Gran prays to god for someone to come and help, and the next day the two outlaws arrive.
A GRAVE SITUATION is set in Lynn Cove, Tennessee. Lincoln Murphy, whose reputation precedes him, arrives back in town after being gone for fifteen years. With his slickster moves he gains both a job as Mis Crickett’s driver starts his own jitney service using her car. When Mis Crickett gets ill, Lincoln saves her from being buried alive. We learn that Goodie Harken is a wolf in sheeps clothing and maybe Lincoln was just the opposite. The story unwinds like a mystery and the reader can form their own decision at the end. The ability to develop a capacity for belief is present in this story. The reader may realize the goodness in people and learn not to judge people before getting to know them. The author uses dialogue to reveal the character. The characters speech is natural and illustrates the characters personality. For example on page 92 when Link is explaining why he dug Ms. Cricket up.
“Mis Crickett’s been like kin to me,” Link explained. “When Mr. Harken didn’t honor Mis Crickett’s wishes, I didn’t know what to do. Who would’ve belived me? So, like a coward, I decided just to leave town. After sitting by the levee all night thinking ‘bout po’ Mis Crickett – I decided come morning to dig her up when no one was around.” Using this dialogue helps the reader to identify and understand Link’s feelings and motives.The author uses figurative language to covey meaning with emotional intensity. For example on page 90: “Once we all got home, Mis Cricket immediately sent for Goodie Harden, Dr.Tate, and the police chief, Joe Sullivan. You could have pushed Mr.Harken over with a broom straw when he found out that Mis Crickett was alive and well.
The Illustrations done by Andre Carilho are done in a black and white. They are part cartoon, part silhouette portraits with the human character always as the focal point. The use of vertical lines direct the readers eye to the action part of the illustration. For example, in A GRAVE SITUATION the thin vertical lines of Lincoln’s legs next to the long vertical line of the shovel direct your eye to the action of digging the grave. The illustrations captivate the eyes with the way they are presented off balance and at various angles
Review excerpt(s)
From Booklist*Starred Review* Gr. 3-5.
Like McKissack's award-winning The Dark Thirty (1992), the nine original tales in this uproarious collection draw on African American oral tradition and blend history and legend with sly humor, creepy horror, villainous characters, and wild farce. McKissack based the stories on those she heard as a child while sitting on her grandparents' porch; now she is passing them on to her grandchildren. Without using dialect, her intimate folk idiom celebrates the storytelling among friends, neighbors, and family as much as the stories themselves. "Some folk believe the story; some don't. You decide for yourself."
From School Library JournalGrade 5 Up
These 10 literate stories make for great leisure listening and knowing chuckles. Pete Bruce flatters a baker out of a coconut cream pie and a quart of milk; Mingo may or may not have anything smaller than a 100-dollar bill to pay his bills; Frank and Jesse James, or the Howard boys, help an old woman against the KKK-ish Knights of the White Gardenia; and Cake Norris wakes up dead one day–again. Carrilhos eerie black-and-white illustrations, dramatically off-balance, lit by moonlight, and elongated like nightmares, are well-matched with the stories. The tales are variously narrated by boys and girls, even though the authors preface seems to set readers up for a single, female narrator in the persona of McKissack herself. They contain the essence of truth but are fiction from beginning to end, an amalgam of old stories, characters, jokes, setups, and motifs. As such, they have no provenance. Still, it would have helped readers unfamiliar with African-American history to have an authors note helping separate the truth of these lies that allude to Depression-era African-American and Southern traditions. That aside, theyre great fun to read aloud and the tricksters, sharpies, slicksters, and outlaws wink knowingly at the child narrators, and at us foolish humans.–Susan Hepler, formerly at Burgundy Farm Country Day School, Alexandria, VA Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Connections
Sister Tricksters: Rollicking Tales of Clever Females by Robert and David San Souci
The Dark Thirty by Patricia McKissack
The Barefoot Book of Trickster Tales retold by Richard Walker
Tuesday, September 18, 2007
TRADITIONAL LITERATURE BLOG #2: The Korean Cinderella
TRADITIONAL LITERATURE BLOG #2: The Korean Cinderella
A. Bibliographic data
Heller, Ruth. Ed 1993. THE KOREAN CINDERELLA. First ed. by Shirley Climo. Mexico. ISBN 0-06-020432-X
B. Brief plot summary
This version of Cinderella takes place in Korea. Pear Blossom is the beautiful daughter of her happy Korean mother and father. When her mother passes her father remarries an awful woman who treats Pear Blossom horribly and makes her do seemingly impossible chores. But with the help of some magical creatures Pear Blossom gets the chores down and attends the village festival where she meets the magistrate who seeks her out to marry.
C. Critical analysis with specific literary considerations pertinent to each genre.
The characters in this traditional fantasy story are not developed thoroughly as is explained in the Tunnels and Jacobs text page 102. The character development is lean and spare and the characters are mostly symbolic in terms of basic human traits. The step-mother symbolizes evil and Pear Blossom symbolizes beauty and goodness. The ability to hope, one of the values of fantasy, is illustrated by the Cinderella story. Pear Blossom may have a terrible step-mother and step-sister, but when she is about to lose all hope, magical animal friends come to her aid. I enjoyed this version of the Cinderella story because it brought in elements of the Korean culture, her straw sandals replace the glass slippers and tending rice paddies replace cleaning out the chimney. I also really liked the fact that Pear Blossom does not have to change her appearance or get all “prettied up” in order to attend the festival. Her basket of fruit and honey candy are all she needs to have a fun time at the festival. The fact that the magistrate falls in love with her the way she is, is a welcome change from the original.
The illustrations are done in a realistic style but with an ornate eastern feel. The illustrations are done in a painterly media and fill the entire page, save space for the type. I like the way some times two pages together will be reserved for illustration only. This allows the reader to absorb the beauty of the picture which is telling the story as well.
The Illustrator explains that the designs found on the cover and throughout the book were inspired by patterns painted on the eaves of Korean temples.
D. Review excerpt(s)
From Publishers WeeklyConflating several Korean variants of Cinderella, this story is "at once comfortingly familiar and intriguingly exotic," said PW, with "lavish" and extensively researched art. Ages 5-9. Copyright 1996 Reed Business Information, Inc. Book Description‘Climo and Heller conflate several Korean variants of Cinderella to offer up the story of Pear Blossom, a lovely girl who is sorely mistreated by her nasty stepmother and stepsister.… At once comfortingly familiar and intriguingly exotic, the text is especially noteworthy for its instructive but unobtrusive incorporation of Korean words.’—Publishers Weekly. ‘Heller’s paintings are exotically lush and colorful as well as engaging.… An agreeable retelling of the Cinderella story.’ —BL.
Notable 1994 Children's Trade Books in Social Studies (NCSS/CBC)
E. Connections
Students can read the following
* The Egyptian Cinderella by Shirley Climo and Illustrated by Ruth Heller
* The Irish Cinderlad by Shirley Climo and Illustrated by Ruth Heller
* The Persian Cinderella by Shirley Climo and Illustrated by Ruth Heller
Activities:
* Discuss the similarities and differences of the books
* Create their own Cinderella story, student can use own culture and knowledge and be creative!
A. Bibliographic data
Heller, Ruth. Ed 1993. THE KOREAN CINDERELLA. First ed. by Shirley Climo. Mexico. ISBN 0-06-020432-X
B. Brief plot summary
This version of Cinderella takes place in Korea. Pear Blossom is the beautiful daughter of her happy Korean mother and father. When her mother passes her father remarries an awful woman who treats Pear Blossom horribly and makes her do seemingly impossible chores. But with the help of some magical creatures Pear Blossom gets the chores down and attends the village festival where she meets the magistrate who seeks her out to marry.
C. Critical analysis with specific literary considerations pertinent to each genre.
The characters in this traditional fantasy story are not developed thoroughly as is explained in the Tunnels and Jacobs text page 102. The character development is lean and spare and the characters are mostly symbolic in terms of basic human traits. The step-mother symbolizes evil and Pear Blossom symbolizes beauty and goodness. The ability to hope, one of the values of fantasy, is illustrated by the Cinderella story. Pear Blossom may have a terrible step-mother and step-sister, but when she is about to lose all hope, magical animal friends come to her aid. I enjoyed this version of the Cinderella story because it brought in elements of the Korean culture, her straw sandals replace the glass slippers and tending rice paddies replace cleaning out the chimney. I also really liked the fact that Pear Blossom does not have to change her appearance or get all “prettied up” in order to attend the festival. Her basket of fruit and honey candy are all she needs to have a fun time at the festival. The fact that the magistrate falls in love with her the way she is, is a welcome change from the original.
The illustrations are done in a realistic style but with an ornate eastern feel. The illustrations are done in a painterly media and fill the entire page, save space for the type. I like the way some times two pages together will be reserved for illustration only. This allows the reader to absorb the beauty of the picture which is telling the story as well.
The Illustrator explains that the designs found on the cover and throughout the book were inspired by patterns painted on the eaves of Korean temples.
D. Review excerpt(s)
From Publishers WeeklyConflating several Korean variants of Cinderella, this story is "at once comfortingly familiar and intriguingly exotic," said PW, with "lavish" and extensively researched art. Ages 5-9. Copyright 1996 Reed Business Information, Inc. Book Description‘Climo and Heller conflate several Korean variants of Cinderella to offer up the story of Pear Blossom, a lovely girl who is sorely mistreated by her nasty stepmother and stepsister.… At once comfortingly familiar and intriguingly exotic, the text is especially noteworthy for its instructive but unobtrusive incorporation of Korean words.’—Publishers Weekly. ‘Heller’s paintings are exotically lush and colorful as well as engaging.… An agreeable retelling of the Cinderella story.’ —BL.
Notable 1994 Children's Trade Books in Social Studies (NCSS/CBC)
E. Connections
Students can read the following
* The Egyptian Cinderella by Shirley Climo and Illustrated by Ruth Heller
* The Irish Cinderlad by Shirley Climo and Illustrated by Ruth Heller
* The Persian Cinderella by Shirley Climo and Illustrated by Ruth Heller
Activities:
* Discuss the similarities and differences of the books
* Create their own Cinderella story, student can use own culture and knowledge and be creative!
Saturday, September 15, 2007
TRADITIONAL LITERATURE BLOG #1: The Legend of the Indian Paintbrush
TRADITIONAL LITERATURE BLOG #1: The Legend of the Indian Paintbrush
A. Bibliographic data
DePaola, Tomie. Ed 1988. The Legend of the Indian Paintbrush. First ed. Hong Kong: South China Printing Co. ISBN 0-399-2153-4
B. Brief plot summary
In the book The Legend of the Indian Paintbrush, Little Gopher is small and left out from the other boys who will grow to be warriors. But Little Gopher has a special gift. A Dream-Vision comes to him on the mountain and explains the way he will become great among his people. He will put paintbrush to buckskin to paint pictures of the deeds of the warriors. Little Gopher follows his Dream-Vision but he cannot seem to find the right colors to paint the magnificent sunset. Finally, at the end of the story Little Gopher goes finds the color of the sunset in beautiful brushes on top of the hill. Later the Indian Paintbrush flowers flourish all over the hills and he earns the title of He-Who-Brought-the-Sunset-to-the-Earth.
C. Critical analysis with specific literary considerations pertinent to each genre.
This folktale retold by Tomie DePaola is a type of Pourquoi tale as it gives an explanation of how the lovely red, orange, yellow (and even pink) Indian Paintbrush flower came to bloom throughout Wyoming, Texas, and the high plains areas of the United States. This folktale story tells a story of sacrifice and value of being true to oneself. The boy works hard at his dream, never gives up and is rewarded in the end for his perseverance.
This Native American folktale helps children to understand and appreciate the Native American culture and is a good multicultural literature to expose young children to. It reads like an orally told story and is thus good for read-alouds.
The illustrations are done in a simple realism style using a painterly media and give the story a true American Indian feel. The watercolors lend to the creation of the beautiful sunset illustrations. The illustrations complement the story as the story would not be the same without them. The reader is able to see the colors of the sunset and rejoice when the Little Gopher finds the paintbrushes with the exact colors he needs. I enjoyed this book when I read it as a child and again reading it as an adult.
D. Review excerpt(s)
Publishers Weekly
In this companion to The Legend of the Bluebonnet, Little Gopher is smaller than the rest of the children in his tribe and can't keep up with those who ride, run, wrestle or shoot with bows and arrows. But, he has a talent of his ownhe is an artist. When he grows older, a Dream-Vision comes to him: a young Indian maiden and her grandfather tell him that he will paint pictures of the great warriors with colors as pure as the evening sky. Little Gopher's paintings never satisfy him because the colors are dull and dark, but he keeps trying. In the night, a voice tells him how to find paint-filled brushes; Little Gopher locates them, and they become brilliantly colored flowers known as Indian Paintbrush. This tale is related with deceptive simplicity by dePaola; he enhances the plainness of the story with his primitive illustrations, and, like Little Gopher, he finds inspiration in the colors of the sunset. Ages 2-7. Copyright 1988 Reed Business Information, Inc.
Semrau, R. School Library Journal. Jun/Jul88. Vol. 34 Issue 10, p96.
"Little Gopher was smaller than the other young Indian boys of his Plains tribe, and although he tried hard, he could not do what the others did. The tribe's wise shaman assures him, however, that he has a different gift. As he grows up it is revealed to him in a vision that he will paint pictures of the glories of his tribe, that his own greatest work will someday be ``a picture that is as pure as the colors in the evening sky.'' As he grows older he does indeed paint the great deeds, the hunts, the visions of his tribe. But making paints to match the colors of the evening sky eludes him. One night, a voice directs him to a special vantage point where he finds brushes filled with wonderful colors. He creates at last his masterwork, and the next day the brushes have rooted and become the brilliant flowers we now call Indian Paintbrush. This book will inevitably be compared with The Legend of the Bluebonnet (Putnam, 1983), but the pivotal elements are very different. The humanity expressed in this story illustrates the value of perseverance, and of endurance of effort that will bring its reward. DePaola's softly rounded shapes and his hero's diminutive stature, downcast eyes, and sober mien breathe attitudes of acceptance, of quiet waiting, of diligent persistence. The picture of the boy gazing mutely, patiently, into the western sky is ineffably moving. And de Paola must have had a wonderful time painting the gloriously uplifting skies depicted here."
E. Connections
* Students can read The Legend of the Bluebonnet by Tomie DePaulo
* Discuss the books similarities and differences
* Student can choose a flower or plant and create their own Pourquoi tale, explaining how it came to exist. Students can be creative and illustrate their story. Younger students can dictate to a teacher. This could be and individual, group or whole-class activity.
Lesson Idea derived from
Gretchen Schroederhttp://tiger.towson.edu/~gschro2/childrenslit/multicultural/legendoftheindianpaintbrush.htm
Last Updated: December 9, 2004
A. Bibliographic data
DePaola, Tomie. Ed 1988. The Legend of the Indian Paintbrush. First ed. Hong Kong: South China Printing Co. ISBN 0-399-2153-4
B. Brief plot summary
In the book The Legend of the Indian Paintbrush, Little Gopher is small and left out from the other boys who will grow to be warriors. But Little Gopher has a special gift. A Dream-Vision comes to him on the mountain and explains the way he will become great among his people. He will put paintbrush to buckskin to paint pictures of the deeds of the warriors. Little Gopher follows his Dream-Vision but he cannot seem to find the right colors to paint the magnificent sunset. Finally, at the end of the story Little Gopher goes finds the color of the sunset in beautiful brushes on top of the hill. Later the Indian Paintbrush flowers flourish all over the hills and he earns the title of He-Who-Brought-the-Sunset-to-the-Earth.
C. Critical analysis with specific literary considerations pertinent to each genre.
This folktale retold by Tomie DePaola is a type of Pourquoi tale as it gives an explanation of how the lovely red, orange, yellow (and even pink) Indian Paintbrush flower came to bloom throughout Wyoming, Texas, and the high plains areas of the United States. This folktale story tells a story of sacrifice and value of being true to oneself. The boy works hard at his dream, never gives up and is rewarded in the end for his perseverance.
This Native American folktale helps children to understand and appreciate the Native American culture and is a good multicultural literature to expose young children to. It reads like an orally told story and is thus good for read-alouds.
The illustrations are done in a simple realism style using a painterly media and give the story a true American Indian feel. The watercolors lend to the creation of the beautiful sunset illustrations. The illustrations complement the story as the story would not be the same without them. The reader is able to see the colors of the sunset and rejoice when the Little Gopher finds the paintbrushes with the exact colors he needs. I enjoyed this book when I read it as a child and again reading it as an adult.
D. Review excerpt(s)
Publishers Weekly
In this companion to The Legend of the Bluebonnet, Little Gopher is smaller than the rest of the children in his tribe and can't keep up with those who ride, run, wrestle or shoot with bows and arrows. But, he has a talent of his ownhe is an artist. When he grows older, a Dream-Vision comes to him: a young Indian maiden and her grandfather tell him that he will paint pictures of the great warriors with colors as pure as the evening sky. Little Gopher's paintings never satisfy him because the colors are dull and dark, but he keeps trying. In the night, a voice tells him how to find paint-filled brushes; Little Gopher locates them, and they become brilliantly colored flowers known as Indian Paintbrush. This tale is related with deceptive simplicity by dePaola; he enhances the plainness of the story with his primitive illustrations, and, like Little Gopher, he finds inspiration in the colors of the sunset. Ages 2-7. Copyright 1988 Reed Business Information, Inc.
Semrau, R. School Library Journal. Jun/Jul88. Vol. 34 Issue 10, p96.
"Little Gopher was smaller than the other young Indian boys of his Plains tribe, and although he tried hard, he could not do what the others did. The tribe's wise shaman assures him, however, that he has a different gift. As he grows up it is revealed to him in a vision that he will paint pictures of the glories of his tribe, that his own greatest work will someday be ``a picture that is as pure as the colors in the evening sky.'' As he grows older he does indeed paint the great deeds, the hunts, the visions of his tribe. But making paints to match the colors of the evening sky eludes him. One night, a voice directs him to a special vantage point where he finds brushes filled with wonderful colors. He creates at last his masterwork, and the next day the brushes have rooted and become the brilliant flowers we now call Indian Paintbrush. This book will inevitably be compared with The Legend of the Bluebonnet (Putnam, 1983), but the pivotal elements are very different. The humanity expressed in this story illustrates the value of perseverance, and of endurance of effort that will bring its reward. DePaola's softly rounded shapes and his hero's diminutive stature, downcast eyes, and sober mien breathe attitudes of acceptance, of quiet waiting, of diligent persistence. The picture of the boy gazing mutely, patiently, into the western sky is ineffably moving. And de Paola must have had a wonderful time painting the gloriously uplifting skies depicted here."
E. Connections
* Students can read The Legend of the Bluebonnet by Tomie DePaulo
* Discuss the books similarities and differences
* Student can choose a flower or plant and create their own Pourquoi tale, explaining how it came to exist. Students can be creative and illustrate their story. Younger students can dictate to a teacher. This could be and individual, group or whole-class activity.
Lesson Idea derived from
Gretchen Schroederhttp://tiger.towson.edu/~gschro2/childrenslit/multicultural/legendoftheindianpaintbrush.htm
Last Updated: December 9, 2004
Saturday, September 8, 2007
PICTURE BOOKS BLOG #3: Talking with Artists
PICTURE BOOKS BLOG #3: Talking with Artists
A. BIBLIOGRAPHY
Cummings, Pat. ed. 1992. Talking with Artists. (1st ed). New York: Bradbury Press. ISBN 0027242455
B. PLOT SUMMARY
The book Talking with Artists by Pat Cummings is a compilation of 14 interviews with famous illustrators of children’s books. Each illustrator tells a short story of their life and childhood and explains how they came to love drawing. Each artists answers questions including what type of media they use, where they get their ideas from and how they got their first book published. Artists include men and women artists from varied backgrounds and ethnicity who never gave up on their dreams.
C. CRITICAL ANALYSIS
Patricia Cummings creates an informational picture book that is interesting for children to read. The photographs of the artist as a child and adult entice the reader to learn more about the artist. Drawings and paintings created by the artists as a child are included as well as illustrations from their books now. The short autobiographies of the artists give the reader a glimpse into their life, and often include unique and funny anecdotes of their childhood. The book is inspirational and reminds children to follow their dreams, whatever they might be.
D. REVIEW EXCERPTS
From Publishers Weekly
In this wide-ranging survey, 14 talented illustrators talk about their childhoods, their work and their daily routines. The broad cross-section includes Caldecott medalists (Chris Van Allsburg, David Wiesner), women (Amy Schwartz, Victoria Chess, Lois Ehlert) and African Americans (Leo Dillon, Jerry Pinkney). Brief autobiographical statements precede interviews that touch on both personal and professional concerns--working conditions, pets, business associates. Each subject is represented by one or two samples of his or her current work and one childhood piece, usually a real charmer. Unfortunately, the often poignant reminiscences and outstanding talent on display cannot overcome the book's unimaginative layout and distractingly pragmatic text. Some interview topics--how to get that first book contract, for example--seem less suited to children than to parents, who might be reassured to learn that making art can be financially as well as personally rewarding. Ages 9-up. Copyright 1992 Reed Business Information, Inc.
From School Library Journal
Grade 3-8-- Conversations with Victoria Chess, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner form the content of this book. All say that ``practice, practice, practice'' is the key to success. The illustrators that Cummings interviewed and her own comments are primarily aimed at young people who love to draw. They tell about how they got started, and where they get their ideas and techniques. There are chatty bits of information about the artists themselves, examples of their childhood drawings, and beautifully reproduced samples of current work. The same questions are asked of each contributor, but the answers range from serious commentary to lighthearted humor. The cumulative result is a short course in how to succeed in the book business and general agreement that illustration is a tremendously satisfying and enjoyable occupation. Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum. --Shirley Wilton, Ocean County College, Toms River, NJCopyright 1992 Reed Business Information, Inc.
E. CONNECTIONS
After reading the book the class could take a trip to the library to check out books illustrated by one of the artists featured in the book. Students could discuss each artist’s style and practice drawing their own pictures for the book, finding their own style.
OR
After reading the book the teacher could lead the class in a discussion on what they want to be when they grow up. The students could then take a trip to the library to find informational books on specific careers they are interested in. Depending on age level students could create a “book” with illustrations on what they want to be when they grow up and include the information found on the specific career choice.
A. BIBLIOGRAPHY
Cummings, Pat. ed. 1992. Talking with Artists. (1st ed). New York: Bradbury Press. ISBN 0027242455
B. PLOT SUMMARY
The book Talking with Artists by Pat Cummings is a compilation of 14 interviews with famous illustrators of children’s books. Each illustrator tells a short story of their life and childhood and explains how they came to love drawing. Each artists answers questions including what type of media they use, where they get their ideas from and how they got their first book published. Artists include men and women artists from varied backgrounds and ethnicity who never gave up on their dreams.
C. CRITICAL ANALYSIS
Patricia Cummings creates an informational picture book that is interesting for children to read. The photographs of the artist as a child and adult entice the reader to learn more about the artist. Drawings and paintings created by the artists as a child are included as well as illustrations from their books now. The short autobiographies of the artists give the reader a glimpse into their life, and often include unique and funny anecdotes of their childhood. The book is inspirational and reminds children to follow their dreams, whatever they might be.
D. REVIEW EXCERPTS
From Publishers Weekly
In this wide-ranging survey, 14 talented illustrators talk about their childhoods, their work and their daily routines. The broad cross-section includes Caldecott medalists (Chris Van Allsburg, David Wiesner), women (Amy Schwartz, Victoria Chess, Lois Ehlert) and African Americans (Leo Dillon, Jerry Pinkney). Brief autobiographical statements precede interviews that touch on both personal and professional concerns--working conditions, pets, business associates. Each subject is represented by one or two samples of his or her current work and one childhood piece, usually a real charmer. Unfortunately, the often poignant reminiscences and outstanding talent on display cannot overcome the book's unimaginative layout and distractingly pragmatic text. Some interview topics--how to get that first book contract, for example--seem less suited to children than to parents, who might be reassured to learn that making art can be financially as well as personally rewarding. Ages 9-up. Copyright 1992 Reed Business Information, Inc.
From School Library Journal
Grade 3-8-- Conversations with Victoria Chess, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner form the content of this book. All say that ``practice, practice, practice'' is the key to success. The illustrators that Cummings interviewed and her own comments are primarily aimed at young people who love to draw. They tell about how they got started, and where they get their ideas and techniques. There are chatty bits of information about the artists themselves, examples of their childhood drawings, and beautifully reproduced samples of current work. The same questions are asked of each contributor, but the answers range from serious commentary to lighthearted humor. The cumulative result is a short course in how to succeed in the book business and general agreement that illustration is a tremendously satisfying and enjoyable occupation. Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum. --Shirley Wilton, Ocean County College, Toms River, NJCopyright 1992 Reed Business Information, Inc.
E. CONNECTIONS
After reading the book the class could take a trip to the library to check out books illustrated by one of the artists featured in the book. Students could discuss each artist’s style and practice drawing their own pictures for the book, finding their own style.
OR
After reading the book the teacher could lead the class in a discussion on what they want to be when they grow up. The students could then take a trip to the library to find informational books on specific careers they are interested in. Depending on age level students could create a “book” with illustrations on what they want to be when they grow up and include the information found on the specific career choice.
Wednesday, September 5, 2007
PICTURE BOOKS BLOG #2: Big Jabe
A. BIBLIOGRAPHY
Nelson, Kadir. 2000. BIG JABE by Jerdine Nolen. First ed. New York: Lothrop, Lee and Shepard Books. ISBN 9780060540616
B. PLOT SUMMARY
This tall tale tells the story of a special little boy who was found in the river by a slave girl named Addy. The boy grows up to be a huge man with the strength of fifty. He works on the plantation and finds magical ways to free the slaves on Plenty Plantation farm.
C. CRITICAL ANALYSIS
Nolen’s writing uses dialogue to reveal the character of the people in the story. The speech is natural for the characters in the time and place they live. For example “Sho’ nuff strange.” Jubal agreed. “Bet they’s in Ohio by now!” He chuckled and slapped his knee. The way the dialogue is written you can almost hear Jubal saying his dialog and slapping his knee. The writer even uses the narrator as a character bringing life to the story as if the reader were hearing it from the grandmother themselves. Nolen also uses music in language to help appeal to the ear. For example when Jabe calls: “Fish, fish, where is you, fish? Jump to the wagon like Miss Addy wish!” The use of rhyme is pleasant to the ear and stays in the readers mind.
Kadir’s illustrations are done in painterly watercolor media in realism style. The illustrations bring action to the story as can be observed from the page where young Jabe yells to the fish. The fish appear to leap from the page as the watercolor white dots on the river show the light bouncing off of the river and the water splashing up into the air with the fish. The illustrations also bring action to the page where the twister blows in and when the rain storm comes. The illustration uses dark watercolors painted over each other to illustrate the ominous and bleak rain storm.
The book is an entertaining tall tale in a historical setting. The characters are brought to life through the narration and dialogue and the illustrations bring the action and excitement to the book.
D. REVIEW EXCERPTS
POWELLS’ BOOKS: [Nelson's] finely hatched watercolor and gouache illustrations emphasize images of slave life; when he does depict Big Jabe's fantastic feats, his naturalistic style permits him to depict them with an apparent realism. Author and artist empower the audience to confront an unbearable history and come away with hope. (xSTARREDx Review, Publisher's Weekly, April 17, 2000)
POWELLS’ BOOKS: [Nelson's] finely hatched watercolor and gouache illustrations emphasize images of slave life; when he does depict Big Jabe's fantastic feats, his naturalistic style permits him to depict them with an apparent realism. Author and artist empower the audience to confront an unbearable history and come away with hope. (xSTARREDx Review, Publisher's Weekly, April 17, 2000)
E. CONNECTIONS
*This story could be used in a unit on the history of slavery as it emotional engages students to feelings of the slaves at that time.
Students could discuss their own definitions of freedom
Students could discuss the mood of the story and their feelings about the characters
Students could create their own children’s book that focuses on escaping to freedom.
"Sweet Clara and the Freedom Quilt" Interdisciplinary Unit By Cynthia Weeden
http://www.slaveryinamerica.org/amliterature/amlit_lp_clara_reading.htm
*Other books about slavery
Sweet Clara and the Freedom Quilt
Nettie’s Trip South by Ann Turner
The Invisible Princess by Faith Renggold
"Sweet Clara and the Freedom Quilt" Interdisciplinary Unit By Cynthia Weeden
http://www.slaveryinamerica.org/amliterature/amlit_lp_clara_reading.htm
Nelson, Kadir. 2000. BIG JABE by Jerdine Nolen. First ed. New York: Lothrop, Lee and Shepard Books. ISBN 9780060540616
B. PLOT SUMMARY
This tall tale tells the story of a special little boy who was found in the river by a slave girl named Addy. The boy grows up to be a huge man with the strength of fifty. He works on the plantation and finds magical ways to free the slaves on Plenty Plantation farm.
C. CRITICAL ANALYSIS
Nolen’s writing uses dialogue to reveal the character of the people in the story. The speech is natural for the characters in the time and place they live. For example “Sho’ nuff strange.” Jubal agreed. “Bet they’s in Ohio by now!” He chuckled and slapped his knee. The way the dialogue is written you can almost hear Jubal saying his dialog and slapping his knee. The writer even uses the narrator as a character bringing life to the story as if the reader were hearing it from the grandmother themselves. Nolen also uses music in language to help appeal to the ear. For example when Jabe calls: “Fish, fish, where is you, fish? Jump to the wagon like Miss Addy wish!” The use of rhyme is pleasant to the ear and stays in the readers mind.
Kadir’s illustrations are done in painterly watercolor media in realism style. The illustrations bring action to the story as can be observed from the page where young Jabe yells to the fish. The fish appear to leap from the page as the watercolor white dots on the river show the light bouncing off of the river and the water splashing up into the air with the fish. The illustrations also bring action to the page where the twister blows in and when the rain storm comes. The illustration uses dark watercolors painted over each other to illustrate the ominous and bleak rain storm.
The book is an entertaining tall tale in a historical setting. The characters are brought to life through the narration and dialogue and the illustrations bring the action and excitement to the book.
D. REVIEW EXCERPTS
POWELLS’ BOOKS: [Nelson's] finely hatched watercolor and gouache illustrations emphasize images of slave life; when he does depict Big Jabe's fantastic feats, his naturalistic style permits him to depict them with an apparent realism. Author and artist empower the audience to confront an unbearable history and come away with hope. (xSTARREDx Review, Publisher's Weekly, April 17, 2000)
POWELLS’ BOOKS: [Nelson's] finely hatched watercolor and gouache illustrations emphasize images of slave life; when he does depict Big Jabe's fantastic feats, his naturalistic style permits him to depict them with an apparent realism. Author and artist empower the audience to confront an unbearable history and come away with hope. (xSTARREDx Review, Publisher's Weekly, April 17, 2000)
E. CONNECTIONS
*This story could be used in a unit on the history of slavery as it emotional engages students to feelings of the slaves at that time.
Students could discuss their own definitions of freedom
Students could discuss the mood of the story and their feelings about the characters
Students could create their own children’s book that focuses on escaping to freedom.
"Sweet Clara and the Freedom Quilt" Interdisciplinary Unit By Cynthia Weeden
http://www.slaveryinamerica.org/amliterature/amlit_lp_clara_reading.htm
*Other books about slavery
Sweet Clara and the Freedom Quilt
Nettie’s Trip South by Ann Turner
The Invisible Princess by Faith Renggold
"Sweet Clara and the Freedom Quilt" Interdisciplinary Unit By Cynthia Weeden
http://www.slaveryinamerica.org/amliterature/amlit_lp_clara_reading.htm
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