Friday, July 11, 2008
Nonfiction/Biography Review - Animals Nobody Loves By Seymour Simon
Bibliography
Simon, S. 2001. Animals Nobody Loves. New York: SeaStar Books. ISBN 1587170809
Plot Summary
Seymour Simon illustrates twenty animals that are not likely to be found curled up on any of our laps. From the depths of the ocean to the soaring blue skies, Simon delivers scientific information accompanied by startling imagery on animals that are not likely near and dear to us.
Cockroaches, Gila monsters, and devil rays are nothing you would ever want to pet, but Seymour Simon opens our minds to understand how these creatures live amongst us all.
Critical Analysis
Seymour Simon is widely known for his series books dealing with science. Animals Nobody Loves is filled with facts and details about some of the world’s creepiest and most hideous inhabitants. Seymour offers advice to the reader if they ever encounter one of these dreadful animals. “But even after a man-of-war is dead, the tentacles may still sting people who pick them up or stumble upon them in the sand.” This book can be used a real-life survival guide if ever confronted with a giant grizzly bear or a diminutive spider. Simon also dispels ugly rumors about certain animals. Just because they are not easy on the eyes, does not always mean they are out to harm you. “Bats do not attack people…most bats can be helpful to us, because they eat insect pests such as mosquitoes.” It appears that Simon is attempting to lend a hand to the animals who acquire a poor reputation based solely on their outward appearance.
What grabs the attention of the reader are the striking pictures that Seymour Simon provides. His over the top photos, such as a hyena savagely tearing through a carcass, leave the reader with resounding “ewe.” Simon portrays the fearsome animals with scientific information, accompanied by disturbingly detailed pictures. As the reader turns the pages, the frightening shot of a rattlesnake renders one speechless. Simon’s up-close and personal image of an open-mouthed snake in the attack mode shows the intricate details that comprise the snake’s poison-filled anatomy. An explicit photograph of a piranha strikes fear in the reader as they flip to this page. It feels as if the enlarged teeth would pierce the reader’s flesh if accidently touched. Simon’s amplification of pictures creates a very prominent “gross” factor. Simon’s photo of a fire ant is particularly alarming. The engorged picture of the insect becomes almost cat-sized on the book’s pages. The fire ant’s eyes, texture and body segments are frankly revealed while sending chills up the reader’s spine. While there are no references cited, people of all ages will appreciate Seymour Simon’s use of scientific fact mixed with larger-than-life imagery.
Review Excerpts
Booklist
“The pictures are fine, large, and in full color, as fascinating as they are repulsive and scary: the yawning jaws of a shark; a hyena consuming bloody food; a wasp enlarged bigger than a human fist, stinging a grasshopper.”
Kirkus Reviews
“…Simon seldom notes the value of these disliked animals. For example, vultures and hyenas are extremely useful decomposers. While the eyeballs-to-eyeballs cover of a tarantula in full color will keep readers reaching for the title, it is useful for browsing rather than research.”
Connections
Students can create their own books of animals and insects that are not on the top of the cuddle list. Within the books, students can incorporate scientific information and their own drawings of these creatures. Sources should be cited in their books in order to prove accuracy.
Additional recommended books:
Stars by Seymour Simon
ISBN-10: 0060890010
Bones: Our Skeletal System by Seymour Simon
ISBN 0688177212
Weather by Seymour Simon
ISBN 0060884398
Nonfiction/Biography Review - Michelangelo By Diane Stanley
Bibliography
Stanley, D. 2000. Michelangelo. New York: HarperCollins Publishers. ISBN 0688150861
Plot Summary
Diana Stanley’s Michelangelo depicts the life of one of the greatest artists of all time. From birth to death, Michelangelo’s personality, personal struggles, and accomplishments are brilliantly chronicled. The dynamic narrative is accompanied by beautiful illustrations of Michelangelo’s most recognizable pieces, such as the Sistine Chapel and the sculpture of David.
Critical Analysis
Stanley’s use of a conversational style in this biography appeals to a variety of young readers. Her application of accuracy is evident in her portrayal of the Renaissance way of life. A detailed map and background information is provided at the opening of Stanley’s book, creating a feeling for what is to be expected throughout the true story. The author also provides a bibliography filled with sources that validate her facts as well as providing a list of additional texts for the reader. Stanley delves deep into Michelangelo’s personality, even exposing the shocking side of the artist that many do not know about. “Perhaps it was just as well that Michelangelo worked by himself most of the time, for he didn’t have a gift for making friends…Torrigiano recalled later with relish, ‘I gave him such a punch on the nose that I felt the bone and cartilage crush like a biscuit.’” Stanley informs the reader on several important people that Michelangelo worked with during his lifetime, such as when he studied poetry, science, art and philosophy under Lorenzo de’ Medici. Stanley enlightens the reader on the grizzly techniques Michelangelo studied in order to become such an accomplished sculptor. “He spent hours there dissecting bodies, memorizing the origins and insertions of the muscles, the positions of tendons and veins.” The Sistine Chapel, perhaps Michelangelo’s most prominent and celebrated piece of art, is very visible in this biography. Stanley explains how Michelangelo approached his painting and how his style actually changed throughout the endeavor. “To study the Sistine ceiling is to watch a genius learning how to paint.” This line suggests that even the famous Michelangelo was still learning and experimenting during this daunting process.
The books design and style undoubtedly portrays Italian life during the Renaissance. Full page photos of Michelangelo’s art as well as drawings, and water color paintings provide a true depiction of the Italian Renaissance. Stanley’s marriage of colloquial dialect and eye-catching illustrations allow the reader to learn about one of the greatest artists of all time.
Review Excerpts
Publishers Weekly
“Returning to the Italian Renaissance, she looks at Michelangelo: "In an age of great artists, he was perhaps the greatest," she posits, pointing to his masterpieces in the three major artsAsculpture, painting and architecture. Her panoramic telling of his life story, fascinating in and of itself, also illuminates papal politics, the machinations of the Medicis, the technical difficulties of painting the Sistine Chapel ceiling (an assignment so unpleasant that Michelangelo thought his rival Bramante had put the pope up to it), the heady climate of Florence and other complex topics.”
Booklist
“Stanley continues her series of outstanding biographies, but this time she puts a new twist on some venerable art by using computer images. One of the most pleasing things about Stanley's books is the way her sturdy texts stand up to her strong artwork.”
Connections
Biographies can be interesting and exhilarating reading material. Students should be encouraged to write biographies on family members, friends, or even their pets! They should incorporate their sources of information, as well as an accurate chronological account of the person or animal they are writing about. Illustrations can be used such as photos drawings, or paintings.
Additional recommended books:
Bard of Avon: The Story of William Shakespeare by Diane Stanley
ISBN 0688162940
Good Queen Bess: The Story of Elizabeth I of England by Diane Stanley
ISBN 0688179614
Joan of Arc by Diane Stanley
ISBN 0064437485
Stanley, D. 2000. Michelangelo. New York: HarperCollins Publishers. ISBN 0688150861
Plot Summary
Diana Stanley’s Michelangelo depicts the life of one of the greatest artists of all time. From birth to death, Michelangelo’s personality, personal struggles, and accomplishments are brilliantly chronicled. The dynamic narrative is accompanied by beautiful illustrations of Michelangelo’s most recognizable pieces, such as the Sistine Chapel and the sculpture of David.
Critical Analysis
Stanley’s use of a conversational style in this biography appeals to a variety of young readers. Her application of accuracy is evident in her portrayal of the Renaissance way of life. A detailed map and background information is provided at the opening of Stanley’s book, creating a feeling for what is to be expected throughout the true story. The author also provides a bibliography filled with sources that validate her facts as well as providing a list of additional texts for the reader. Stanley delves deep into Michelangelo’s personality, even exposing the shocking side of the artist that many do not know about. “Perhaps it was just as well that Michelangelo worked by himself most of the time, for he didn’t have a gift for making friends…Torrigiano recalled later with relish, ‘I gave him such a punch on the nose that I felt the bone and cartilage crush like a biscuit.’” Stanley informs the reader on several important people that Michelangelo worked with during his lifetime, such as when he studied poetry, science, art and philosophy under Lorenzo de’ Medici. Stanley enlightens the reader on the grizzly techniques Michelangelo studied in order to become such an accomplished sculptor. “He spent hours there dissecting bodies, memorizing the origins and insertions of the muscles, the positions of tendons and veins.” The Sistine Chapel, perhaps Michelangelo’s most prominent and celebrated piece of art, is very visible in this biography. Stanley explains how Michelangelo approached his painting and how his style actually changed throughout the endeavor. “To study the Sistine ceiling is to watch a genius learning how to paint.” This line suggests that even the famous Michelangelo was still learning and experimenting during this daunting process.
The books design and style undoubtedly portrays Italian life during the Renaissance. Full page photos of Michelangelo’s art as well as drawings, and water color paintings provide a true depiction of the Italian Renaissance. Stanley’s marriage of colloquial dialect and eye-catching illustrations allow the reader to learn about one of the greatest artists of all time.
Review Excerpts
Publishers Weekly
“Returning to the Italian Renaissance, she looks at Michelangelo: "In an age of great artists, he was perhaps the greatest," she posits, pointing to his masterpieces in the three major artsAsculpture, painting and architecture. Her panoramic telling of his life story, fascinating in and of itself, also illuminates papal politics, the machinations of the Medicis, the technical difficulties of painting the Sistine Chapel ceiling (an assignment so unpleasant that Michelangelo thought his rival Bramante had put the pope up to it), the heady climate of Florence and other complex topics.”
Booklist
“Stanley continues her series of outstanding biographies, but this time she puts a new twist on some venerable art by using computer images. One of the most pleasing things about Stanley's books is the way her sturdy texts stand up to her strong artwork.”
Connections
Biographies can be interesting and exhilarating reading material. Students should be encouraged to write biographies on family members, friends, or even their pets! They should incorporate their sources of information, as well as an accurate chronological account of the person or animal they are writing about. Illustrations can be used such as photos drawings, or paintings.
Additional recommended books:
Bard of Avon: The Story of William Shakespeare by Diane Stanley
ISBN 0688162940
Good Queen Bess: The Story of Elizabeth I of England by Diane Stanley
ISBN 0688179614
Joan of Arc by Diane Stanley
ISBN 0064437485
Thursday, July 3, 2008
Poetry Review - Aleutian Sparrow By: Karen Hesse
Bibliography
Hesse, K. 2003. Aleutian Sparrow. New York, NY: Simon & Schuster Children's Publishing. ISBN 0689861893
Plot Summary
The Aleutian Sparrow depicts a young girl, Vera, and the events that took place when the Japanese invaded the Aleutian Islands during World War II. When the Japanese invaded the islands, the U.S. government relocated the natives to camps in the southern regions. Karen Hesse records the numerous hardships the Aleutian people experienced during their time in these dreadful camps. During the three years she was in the camp, Vera watched her fellow men perish, including some of her own friends. The spirit and determination of several of the Aleutian people begin to crack and deteriorate, similar to their abominable living conditions. All the while, Vera strived to remain positive, even finding love in her childhood friend, Alfred. When Vera and the remaining Aleutians are set free, their return is met by ransacked homes, and a ghostly silence. The close of the book is positive with the feeling that the Aleutians will prevail.
Critical Analysis
In The Aleutian Sparrow, Karen Hesse’s use of verse poetry enlightens the reader on the hardships that the Aleutians suffered during World War II. The succinct words are used evoke many strong feelings that were felt by the characters. Vera’s character is portrayed as strong and determined, despite her horrifying surroundings and injustices. Vera and the others try so hard to keep their traditions, such as Christmas, although they wish for much different things while restrained in the camp, “Here we have Christmas greens in every cabin, and we wait not for Santa, but for permission to go home.” Even as strong as Vera is, she is still human, and grieves as her friend Pari dies, “The air is fur thick, damp and green. I sit on the sand in the rain, and I scream.”
The anger and frustration of the Aleutians is noted throughout the verses. They have been living in conditions not deemed satisfactory for livestock, and they hear about how the German POWs are being treated, “They are provided a clean, safe place to live, a variety of foods….they are not expected to contribute in any way to their keep…..we are citizens of the United Sates, taken from our homes, We did nothing wrong…”
Hesse’s detailed description of Vera’s return to her home was brilliantly detailed, but heart-breaking to read, “On the Aleutians holy places collapsed under the bombs, one after another, like toy buildings. And the priceless relics from czarist Russia traveled Outside in duffels, Packed between posters of pinup girls and soiled government-issue underwear.” Here, Hesse’s words induce an immediate sadness in anyone who reads them. It brought to mind a time that I made a return to somewhere I once loved, only to find it in ruins. The Aleutian Sparrow is a verse novel that examines the unjust and unfair ways people are treated during times of war, and even within our own prejudices. In the end, the author gives us a glimmer of optimism, “And as the Aleuts have always done, We find the will to begin again.”
Review Excerpts
School Library Journal
Hesse's verses are short and flow seamlessly, one into another. Her use of similes is a powerful tool in describing people, scenes, events, and emotions. Some less sophisticated readers, however, may not catch the nuances of phrases such as, "-where blossoms framed the steaming pools like masses of perfumed hair" or "-where the old ways steep like tea in a cup of hours." Ending on a hopeful note, Aleutian Sparrow brings to light an important time in American history, and in the process introduces readers to Aleut culture.
Booklist
It's the dark history of what Americans did to their own citizens that will hold readers: after the Japanese bombed Unalaska Island in 1942, the U.S. evacuated most of the Aleut people to alien, crowded camps, where one out of four died. As Vera talks about her life in the camps, she also weaves in her people's past history and culture, ensuring that readers will want to know more.
Connections
Students should become familiar with verse novels around the beginning of middle school. Teachers can have a project that encompasses the techniques used in the verse novels. Students can choose a topic and write several verses on it, creating a narrative with a language that is conversational. The teacher can even go one step further, and relate the assignment to The Aleutian Sparrow, and have the students compose a verse novel about prejudices and/or war that they have experienced.
Additional recommended books:
*Witness by Karen Hesse ISBN 0439271991
*Out Of the Dust by Karen Hesse ISBN 0590371258
Poetry Review - Night Garden: Poems from the World of Dreams By: Janet Wong
Bibliography
Wong, J. 2000. Night Garden: Poems from the World of Dreams. Ill. By Julie Paschkis. New York, NY: Simon & Schuster Children's Publishing. ISBN 1416968164
Plot Summary
In fifteen short poems, Janet Wong articulates the world of dreams that we all have experienced. Dreams about food, friends, pets, flying, and swimming are depicted. Even the unpleasantries of nightmares are noted. Each poem is encompassed with elaborately illustrated peculiar creatures such as monsters, animals walking upright, and humans with the heads of fruits or beasts.
Critical Analysis
Janet Wong’s Night Garden: Poems from the World of Dreams captures the many facets of the dream world. The use of rhyming and alliteration express the feeling and tone of each dream. Each poem is shortly composed; however, her use of description words leads the reader to understand an even deeper meaning. Even in My Sleep seems to be a metaphor for something the poet is experiencing in real life. “You monster, you monster, You monster, how can I ever forgive you, you who would rob be even in my sleep.” It appears that the poet cannot even escape this so-called monster in their life, not even in their dreams.
Wong’s use of repetition enhances what she is trying to say in her poetry. Similar to Even in My Sleep, Nightmare also uses repetition to evoke a feeling of terror in the reader. “Will sneak into the back of your mind, will follow you, will follow you, down the hall to your cold dark room, down the hall to your cold dark room.” Because of this repetition, the reader can tell that these feelings are real and meant to scare you.
Julie Paschkis’s illustrations accompany the poetry delightfully. The book pages are mainly comprised of the illustrations, with only a small section dedicated to the actual poems. The pictures are loud and busy, which almost detracts from the poetry. Old Friend is a very short poem that has a smart and charming illustration with it. “I had forgotten you, friend. Is that why you came into my dream? I had forgotten you. When I fall asleep again, will you leave your address on my pillow?” The illustration for this poem had a young boy asleep on a pillow that was designed as a giant postcard. This simple figure conveyed innocence and the need for friendship. In Dog Dreams, Wong describes what dogs may dream about as they slumber. The illustrations for this poem are especially fanciful. Paschkis creates dogs flying through space, sitting on the moon, and dancing under trees of dog bones. I have never thought about what my dog may be dreaming of, but I think this poem may be spot-on.
Review Excerpts
Publishers Weekly
The artist responds to each poem with a multicolor image framed within a monochromatic, repetitive motif. She creates a host of weird creatures, from a hunched man in a long-nosed white mask to a turnip-headed being with pea-pod arms; to indicate the mysterious workings of the imagination, she shows strange flowers sprouting from a restful figure. Paschkis's swirling imagery and Wong's quiet yet haunting words skillfully simulate the reveries they recount.
School Library Journal
The poems use sound qualities-repetition, alliteration, and occasional rhyme-to capture each dream. Even poems about nightmares and anxieties are couched in gentle language that evokes wonder and thoughtfulness rather than fear.
Connections
Teachers can have their class create a “dream book.” Students will create different poems that describe dreams they have had. Students can use different methods like rhyming, alliteration, and repetition to create certain feelings, like Janet Wong did.
Additional recommended books:
*The Rainbow Hand: Poems About Mothers and Children by Janet Wong
ISBN 1416968415
*Knock on Wood: Poems About Superstitions by Janet Wong
ISBN 0689855125
Poetry Review - Mammalabilia By: Douglas Florian
Bibliography
Florian, D. 2000. Mammalabilia. San Diego, CA: Harcourt Children’s Books.
ISBN 0152021671
Plot Summary
In twenty-one short poems, Douglas Florian’s Mammalabilia captures the characteristics and personalities of mammals such as aardvarks, mules, camels, and tigers. Each short poem is accompanied by bold gouache illustrations.
Critical Analysis
This topical book of poetry is ideal for any teacher wishing to introduce poetry in the field of science. Each poem offers exaggerated illustrations that depict various mammals in their everyday lives. The embellished rhyming of the poems creates a hilarity that appeals to both young children, and those adults who are young at heart. Florian’s use of witty writing and creative physical sentence structure is evident in The Bactrian Camel. The few words of the poem are accentuated by their placement as if they were the camel’s humps. “Mr. Bactrian, a question for you – about your back: one lump or two?”
In The Bear, Florian chose to incorporate ‘bear’ into several words to alter their spelling. “Come Septem-bear, I sleep, I slum-bear, Till winter lum-bears, Into spring. More than that’s Em-bear-rassing.” This particular poem offers a quirky composition that young children will especially enjoy repeating.
Florian’s description of mammals, both through the poetry and the illustrations, gives the reader true scientific facts, with a twist of humor. In The Otter, Florian writes of the otter’s lifestyle as “I state most emphatic: An otter’s aquatic. An otter loves water – An utter fanatic. It’s most acrobatic, And quite charismatic. I state most emphatic: An otter’s aquatic.” As the reader studies the otter facts in the poem, they are met with a comical picture of an otter reading a book about water, while leisurely soaking in a bath tub. For anyone who is not knowledgeable on the look or way of life of animals such as lynxes, boars, hippos and other mammals, Mammalibilia introduces these creatures with a fun and amusing approach.
Review Excerpts
Publishers Weekly
Florian's humor is eccentric, but just right for his target audience. The gouache illustrations painted on primed brown paper bags, full of unusual textures and inventive designs, match the creativity of the word play.
School Library Journal
A collection of 25 poems with accompanying primitive, childlike paintings, this book follows the format and style Florian has used so successfully in Beast Feast (1994) and Insectlopedia (1998, both Harcourt). These verses, however, are more reminiscent of the silly wordplay of Ogden Nash. Readers will find a variety of rhyme schemes; meters; and forms featuring puns, concrete poems, litanies, and lists. A large painting, done in gouache on primed brown paper bags, appears on one side of the double page with a poem set on the other. The artist's renderings draw readers into the poem and invite repeated viewings after reading the verse.
Connections
Mammalabilia can be used to introduce students to different kinds of animals; some they may know about and others will be completely new to them. Teachers should incorporate poetry as much as possible in their curriculum. Topical poetry books like Mammalabilia allow teachers to read poetry and easily connect to a specific content area. Teachers can also encourage students to create their own “funny books” with comical but accurate descriptions of their pets, family members, or classmates.
Additional recommended books:
*Insectlopedia by Douglas Florian ISBN-10: 0152163352
*Beast Feast : Poems by Douglas Florian ISBN-10: 0152017372
Sunday, June 22, 2008
Folktale Review - Lon Po Po: A Red-Riding Hood Story from China By: Ed Young
Bibliography
Young, E. (1989). Lon po po: A red-riding hood story from China. Ill. By Ed Young. New York: Philomel Books. ISBN 0399216197
Plot Summary
Three sisters, Shang Tao and Paotza, live in the country with their mother who leaves them to visit their grandmother, Po Po. At dusk, a wolf disguised as their Po Po knocks on the door, telling the children to let it in. The children are suspicious since their mother has journeyed to visit their Po Po, but the wolf coaxes the children into letting it in. Upon arrival inside of the house, the fake Po Po blows out the candle, as to not reveal its true identity. The wolf acts as if it is weak and tired and piles into bed with the three young children. While in the bed, Shang feels the bushy tail and razor-sharp claws of the wolf. The wolf explains that what Shang is feeling are hemp strings to weave baskets and an awl to make shoes with. Then Shang lights another candle and catches a glimpse of the wolf’s furred face. Shang immediately begins to enlighten the wolf about gingko nuts. Shang tells the wolf how delectable and enjoyable they are. Shang, Tao and Paotze scurry up the gingko tree to pick nuts for the fake Po Po, who waits at the bottom of the soaring tree. Shang enlightens her sisters on the wolf’s real identity. The three sisters call down to the wolf, explaining that the nuts are only good if they are picked strait from the tree, and eaten immediately. They instruct the wolf to fetch a basket, sit in it, and throw a rope up to the tree so that the wolf can be hoisted up to the mouth-watering gingko nuts. At this point, the wolf is so consumed with getting to the nuts; it will do anything to acquire them. As the three sisters heave the wolf in the basket, they drop it several times. They keep assuring the wolf that they will succeed in pulling it up if they continue to try. During the final attempt, the three children pull incredibly hard, but all release the wolf when Shang signals them with a cough. This last blow to the wolf ends its life. The three children run to their home and lock the door. The next day, their mother and real Po Po return to hear the tale of the Po Po who visited the night before.
Critical Analysis
Young’s story allows the reader to be exposed to a traditional tale set in a new environment. He depicts the wolf as deceptive in nature. The wolf comes to a home with three young girls, and attempts to trick them enough so that it can eventually delight in devouring them. The tables quickly turn as Shang discovers the wolf’s true character. Young portrays Shang as very intelligent and cunning. When she sees the wolf’s face in the candlelight, she does not scream or bolt from the bed. Instead, she chooses to prey on the wolf’s weaknesses, which in this case is food. The strong, charismatic character of Shang could be thought of as a fine role model for young girls. When the other two sisters learn about the wolf, they all come together as a team to defeat the wolf. The reader can see Shang’s persuasive skills when she says, “But Po Po, Gingko is magic only when it is plucked directly from the tree. You must come and pluck it from the tree yourself” (Young 1989). As the three girls unsuccessfully hoist the wolf up the tree repeatedly, the wolf’s character turns from deceiving to desperate, almost comical. Any outsider witnessing this event could tell that the girls were trying to con the wolf. The wolf becomes so fixated on getting the gingko nuts, masking its identity is no longer a priority. It as if the wolf has lost all focus because of his obsession with achieving something to eat. Like in most traditional tales, good triumphs over evil.
The illustrations in the book reveal the wolf’s figure and face to the reader, but not to the children. Because of this, the reader is able to see how much danger the children are actually in. The picture of the wolf in bed with the children is particularly scary. We see the younger girls, Tao and Paotza, looking longingly towards their Po Po. At this same time, we see Shang with a dubious look on her face. The pictures help tell the story. They add a sense of actuality when we see the scenarios drawn out for us.
Review Excerpts
Publishers Weekly
Like ancient Oriental paintings, the illustrations are frequently grouped in panels. When the girls meet the wolf, e.g., the left panel focuses on their wary faces peering out from the darkness, the middle enlarges the evil wolf's eye and teeth, and the third is a vivid swirl of the blue clothes in which the wolf is disguised. The juxtaposition of abstract and realistic representations, the complicated play of color and shadow, and the depth of the artist's vision all help transform this simple fairy tale into an extraordinary and powerful book.
School Library Journal
The clever animal blows out the candle before the children can see him , and is actually in bed with them when they start asking the traditional "Why, Grandma!" questions. The eldest realizes the truth and tricks the wolf into letting them go outside to pick gingko nuts , and then lures him to his doom. The text possesses that matter-of-fact veracity that characterizes the best fairy tales. The watercolor and pastel pictures are remarkable: mystically beautiful in their depiction of the Chinese countryside, menacing in the exchanges with the wolf, and positively chilling in the scenes inside the house. Overall, this is an outstanding achievement that will be pored over again and again.
Connections:
Children can identify differences and similarities between Lon Po Po and Little Red-Riding Hood. By doing this children can see how some cultures are different, such as calling grandmother ‘Po Po.’ By reading more traditional tales from other countries, children learn so much about cultures and various ethnicities. Diverse children will also be able to identify with many of the retellings.
Additional recommended books:
*Arrow to the Sun: A Pueblo Indian Tale by Gerald McDermott ISBN 0670133698
*Anansi the Spider: A Tale from the Ashanti by Gerald McDermott ISBN 0805003118
Young, E. (1989). Lon po po: A red-riding hood story from China. Ill. By Ed Young. New York: Philomel Books. ISBN 0399216197
Plot Summary
Three sisters, Shang Tao and Paotza, live in the country with their mother who leaves them to visit their grandmother, Po Po. At dusk, a wolf disguised as their Po Po knocks on the door, telling the children to let it in. The children are suspicious since their mother has journeyed to visit their Po Po, but the wolf coaxes the children into letting it in. Upon arrival inside of the house, the fake Po Po blows out the candle, as to not reveal its true identity. The wolf acts as if it is weak and tired and piles into bed with the three young children. While in the bed, Shang feels the bushy tail and razor-sharp claws of the wolf. The wolf explains that what Shang is feeling are hemp strings to weave baskets and an awl to make shoes with. Then Shang lights another candle and catches a glimpse of the wolf’s furred face. Shang immediately begins to enlighten the wolf about gingko nuts. Shang tells the wolf how delectable and enjoyable they are. Shang, Tao and Paotze scurry up the gingko tree to pick nuts for the fake Po Po, who waits at the bottom of the soaring tree. Shang enlightens her sisters on the wolf’s real identity. The three sisters call down to the wolf, explaining that the nuts are only good if they are picked strait from the tree, and eaten immediately. They instruct the wolf to fetch a basket, sit in it, and throw a rope up to the tree so that the wolf can be hoisted up to the mouth-watering gingko nuts. At this point, the wolf is so consumed with getting to the nuts; it will do anything to acquire them. As the three sisters heave the wolf in the basket, they drop it several times. They keep assuring the wolf that they will succeed in pulling it up if they continue to try. During the final attempt, the three children pull incredibly hard, but all release the wolf when Shang signals them with a cough. This last blow to the wolf ends its life. The three children run to their home and lock the door. The next day, their mother and real Po Po return to hear the tale of the Po Po who visited the night before.
Critical Analysis
Young’s story allows the reader to be exposed to a traditional tale set in a new environment. He depicts the wolf as deceptive in nature. The wolf comes to a home with three young girls, and attempts to trick them enough so that it can eventually delight in devouring them. The tables quickly turn as Shang discovers the wolf’s true character. Young portrays Shang as very intelligent and cunning. When she sees the wolf’s face in the candlelight, she does not scream or bolt from the bed. Instead, she chooses to prey on the wolf’s weaknesses, which in this case is food. The strong, charismatic character of Shang could be thought of as a fine role model for young girls. When the other two sisters learn about the wolf, they all come together as a team to defeat the wolf. The reader can see Shang’s persuasive skills when she says, “But Po Po, Gingko is magic only when it is plucked directly from the tree. You must come and pluck it from the tree yourself” (Young 1989). As the three girls unsuccessfully hoist the wolf up the tree repeatedly, the wolf’s character turns from deceiving to desperate, almost comical. Any outsider witnessing this event could tell that the girls were trying to con the wolf. The wolf becomes so fixated on getting the gingko nuts, masking its identity is no longer a priority. It as if the wolf has lost all focus because of his obsession with achieving something to eat. Like in most traditional tales, good triumphs over evil.
The illustrations in the book reveal the wolf’s figure and face to the reader, but not to the children. Because of this, the reader is able to see how much danger the children are actually in. The picture of the wolf in bed with the children is particularly scary. We see the younger girls, Tao and Paotza, looking longingly towards their Po Po. At this same time, we see Shang with a dubious look on her face. The pictures help tell the story. They add a sense of actuality when we see the scenarios drawn out for us.
Review Excerpts
Publishers Weekly
Like ancient Oriental paintings, the illustrations are frequently grouped in panels. When the girls meet the wolf, e.g., the left panel focuses on their wary faces peering out from the darkness, the middle enlarges the evil wolf's eye and teeth, and the third is a vivid swirl of the blue clothes in which the wolf is disguised. The juxtaposition of abstract and realistic representations, the complicated play of color and shadow, and the depth of the artist's vision all help transform this simple fairy tale into an extraordinary and powerful book.
School Library Journal
The clever animal blows out the candle before the children can see him , and is actually in bed with them when they start asking the traditional "Why, Grandma!" questions. The eldest realizes the truth and tricks the wolf into letting them go outside to pick gingko nuts , and then lures him to his doom. The text possesses that matter-of-fact veracity that characterizes the best fairy tales. The watercolor and pastel pictures are remarkable: mystically beautiful in their depiction of the Chinese countryside, menacing in the exchanges with the wolf, and positively chilling in the scenes inside the house. Overall, this is an outstanding achievement that will be pored over again and again.
Connections:
Children can identify differences and similarities between Lon Po Po and Little Red-Riding Hood. By doing this children can see how some cultures are different, such as calling grandmother ‘Po Po.’ By reading more traditional tales from other countries, children learn so much about cultures and various ethnicities. Diverse children will also be able to identify with many of the retellings.
Additional recommended books:
*Arrow to the Sun: A Pueblo Indian Tale by Gerald McDermott ISBN 0670133698
*Anansi the Spider: A Tale from the Ashanti by Gerald McDermott ISBN 0805003118
Folktale Review - Horse Hooves and Chicken Feet: Mexican Folktales By: Neil Philip
Bibliography
Philip, N. (2003). Horse hooves and chicken Feet: Mexican folktales. Ill. by Jacqueline Mair. New York: Clarion Books. ISBN 0618194630
Plot Summary
Neil Philip provides us with 14 folktales from Mexico, as well as Mexican populations in Colorado and New Mexico. The folktales portray everyday people, in unusual circumstances. The stories are about love, religion, witchcraft, magic, and of course, good triumphing over evil. In The Flea, a young boy wishes to marry the magician’s daughter. He is given the test of hiding where the magician cannot find him. Eventually, the boy hides on the brim of the magician’s sombrero, winning his daughter. The Hog provides a particularly important lesson about greed. A man is so selfish that he will not share his fattened hog with the village. The man’s friend and he devise a plan to claim that the hog was stolen. The man’s friend actually does steal the great hog from the egotistical man, and realizes that the man had no intention of even sharing with him. “So the friend got the whole hog, and the man was left with nothing – and some say he was too mean to share even that with his neighbors” (Phillip, 2003). In Horse Hooves and Chicken Feet, young boys become fixated of beautiful dancing women. Luckily, one of the boys discovers that the women all have chicken’s feet and the men have horse hooves. These dancing women were actually witches. The boy and his friends nearly escaped them. Cinder Juan was one story that had many of the same scenarios as Cinderella. The youngest brother, Juan, was forced to sleep in squalor conditions, with only a cat as a friend. Juan finds buried gold that his deceased father left for him. Juan and the cat go away to a new town where they are very generous with their riches. Juan’s older brothers come looking for him, but Juan is hiding in the priest’s home. The cat tells Juan that in order to be safe he must pay the priest to have a mass for the souls of his dead mother and father. After the masses, Juan realizes that his friend the cat is actually the soul of his father, who is now retuning to God.
Critical Analysis
There is a heavy undertone of Catholicism prevalent throughout the book. While reading Pedro the Trickster, we see Pedro speaking to the Lord, and reciting the Hail Mary prayer when he is in trouble. In Cinder Juan, everything is saved once masses have been had for the soul of Juan’s dead parents. The priest’s home is a safe haven for Juan. Being Catholic, I can relate to the message in this story. As long as one stays true to their Catholic faith, good will beat evil each time. The Blessed Virgin Mary is also written about it The Seven Oxen. The girl in the story was convinced that the Blessed Virgin gave her food for her family. The element of witchcraft and the devil is also rampant throughout the stories. Whenever a character is greedy or selfish, they devil makes an appearance in the illustrations.
Jacqueline Mair’s pictures in the book grasp the culture and traditions of the Mexican people. The illustrations resemble paintings from Mexican artists like Frida Kahlo. The bright colors and animate faces contribute to the tales being told. The religious pictures are very bold. Angels are drawn as pleasant-faced winged creatures. The devils and demons appear to be dancing around with their tongues out, and arms stretched widely, as if they will grab you and take you away. The stories and pictures open the reader’s eyes to a world and culture that they may not have known about.
Review Excerpts
School Library Journal
In an informative introduction, Philip delineates the distinctive flavor of Mexican tales, their blend of religion and humor, and the particular pointed bite of many of the stories. The sparkle he discerns in the body of work comes through clearly in his stylish and humorous retellings. Mair's primitive acrylic illustrations, based on Mexican folk art, are alive with bright color and a kinetic sensibility. They both complement and extend the spicy stories, making this a well-put-together package. Clearly superior to the Little Book of Latin American Folktales (Groundwood, 2003), this title is narrower in scope, but the excellence of the text more than compensates for it. The book concludes with detailed notes on each of the stories and an extensive bibliography. All of the stories tell aloud well, which may be the way to introduce this sound and enjoyable volume to youngsters.
Booklist
The stories are simply yet effectively retold, usually in five or six pages, with many reflecting the strong influence of the Catholic Church on Mexican culture. Adding considerably to the overall appeal of the book are Mair's exuberant illustrations, accomplished in the style of Mexican folk art. Usually, one illustration comprising several images accompanies each story, each image mirroring some action, often in a way that is original and unexpected.
Connections:
Children will enjoy reading folktales from the Mexican culture. Those children who are already familiar with the tales will be able to share more about them, even telling some of their own that they may have grown up with. While reading the stories, teachers can ask children if they have heard similar ones before. The children may be able to relate The Priest Who Had a Glimpse of Glory to Rip Van Winkle.
Additional recommended books:
*Latin American Folktales: Stories from Hispanic and Indian Traditions by John Bierhorst
ISBN 0375714391
*Fiesta Feminina: Celebrating Women In Mexican Folktale by Mary-Joan Gerson
ISBN 1841488070
Philip, N. (2003). Horse hooves and chicken Feet: Mexican folktales. Ill. by Jacqueline Mair. New York: Clarion Books. ISBN 0618194630
Plot Summary
Neil Philip provides us with 14 folktales from Mexico, as well as Mexican populations in Colorado and New Mexico. The folktales portray everyday people, in unusual circumstances. The stories are about love, religion, witchcraft, magic, and of course, good triumphing over evil. In The Flea, a young boy wishes to marry the magician’s daughter. He is given the test of hiding where the magician cannot find him. Eventually, the boy hides on the brim of the magician’s sombrero, winning his daughter. The Hog provides a particularly important lesson about greed. A man is so selfish that he will not share his fattened hog with the village. The man’s friend and he devise a plan to claim that the hog was stolen. The man’s friend actually does steal the great hog from the egotistical man, and realizes that the man had no intention of even sharing with him. “So the friend got the whole hog, and the man was left with nothing – and some say he was too mean to share even that with his neighbors” (Phillip, 2003). In Horse Hooves and Chicken Feet, young boys become fixated of beautiful dancing women. Luckily, one of the boys discovers that the women all have chicken’s feet and the men have horse hooves. These dancing women were actually witches. The boy and his friends nearly escaped them. Cinder Juan was one story that had many of the same scenarios as Cinderella. The youngest brother, Juan, was forced to sleep in squalor conditions, with only a cat as a friend. Juan finds buried gold that his deceased father left for him. Juan and the cat go away to a new town where they are very generous with their riches. Juan’s older brothers come looking for him, but Juan is hiding in the priest’s home. The cat tells Juan that in order to be safe he must pay the priest to have a mass for the souls of his dead mother and father. After the masses, Juan realizes that his friend the cat is actually the soul of his father, who is now retuning to God.
Critical Analysis
There is a heavy undertone of Catholicism prevalent throughout the book. While reading Pedro the Trickster, we see Pedro speaking to the Lord, and reciting the Hail Mary prayer when he is in trouble. In Cinder Juan, everything is saved once masses have been had for the soul of Juan’s dead parents. The priest’s home is a safe haven for Juan. Being Catholic, I can relate to the message in this story. As long as one stays true to their Catholic faith, good will beat evil each time. The Blessed Virgin Mary is also written about it The Seven Oxen. The girl in the story was convinced that the Blessed Virgin gave her food for her family. The element of witchcraft and the devil is also rampant throughout the stories. Whenever a character is greedy or selfish, they devil makes an appearance in the illustrations.
Jacqueline Mair’s pictures in the book grasp the culture and traditions of the Mexican people. The illustrations resemble paintings from Mexican artists like Frida Kahlo. The bright colors and animate faces contribute to the tales being told. The religious pictures are very bold. Angels are drawn as pleasant-faced winged creatures. The devils and demons appear to be dancing around with their tongues out, and arms stretched widely, as if they will grab you and take you away. The stories and pictures open the reader’s eyes to a world and culture that they may not have known about.
Review Excerpts
School Library Journal
In an informative introduction, Philip delineates the distinctive flavor of Mexican tales, their blend of religion and humor, and the particular pointed bite of many of the stories. The sparkle he discerns in the body of work comes through clearly in his stylish and humorous retellings. Mair's primitive acrylic illustrations, based on Mexican folk art, are alive with bright color and a kinetic sensibility. They both complement and extend the spicy stories, making this a well-put-together package. Clearly superior to the Little Book of Latin American Folktales (Groundwood, 2003), this title is narrower in scope, but the excellence of the text more than compensates for it. The book concludes with detailed notes on each of the stories and an extensive bibliography. All of the stories tell aloud well, which may be the way to introduce this sound and enjoyable volume to youngsters.
Booklist
The stories are simply yet effectively retold, usually in five or six pages, with many reflecting the strong influence of the Catholic Church on Mexican culture. Adding considerably to the overall appeal of the book are Mair's exuberant illustrations, accomplished in the style of Mexican folk art. Usually, one illustration comprising several images accompanies each story, each image mirroring some action, often in a way that is original and unexpected.
Connections:
Children will enjoy reading folktales from the Mexican culture. Those children who are already familiar with the tales will be able to share more about them, even telling some of their own that they may have grown up with. While reading the stories, teachers can ask children if they have heard similar ones before. The children may be able to relate The Priest Who Had a Glimpse of Glory to Rip Van Winkle.
Additional recommended books:
*Latin American Folktales: Stories from Hispanic and Indian Traditions by John Bierhorst
ISBN 0375714391
*Fiesta Feminina: Celebrating Women In Mexican Folktale by Mary-Joan Gerson
ISBN 1841488070
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