Bibliographic Data
Simonds, Nina, Leslie Swartz, and The Children's Museum of Boston. 2002. Moonbeams, Dumplings, & Dragon Boats: A Treasury of Chinese Holiday Tales, Activities & Recipes. New York: Harcourt, Inc.
In this compilation book, the reader is given background information on five holidays and festivals that occur in accordance with the moon cycle. Each festival and holiday includes food recipes to prepare, games to play, and decorations to make. The four festivals and holidays each have an accompanying folktale to explain why the Chinese celebrate that day. The holidays and festivals are Chinese New Year and the Lantern Festival, Qing Ming and the Cold Foods Festival, the Dragon Boat Festival, and Mid-Autumn Moon Festival. The five short tales convey information about Chinese religious beliefs, such as having a Kitchen God, a Jade Emperor, a River God, and a Goddess of the Moon. The Chinese have traditional ways to celebrate each holiday, and the tales explain how those traditions came to be. Families can read and enjoy the stories together followed by quality time and fun making the recipes and playing games.
Critical Analysis
Illustrations are provided by Meilo So. The paintings and drawings correlate with specific sections of text. They are also included with recipes, decorations and games to depict what each looks like. All of the illustrations are brightly painted with a carefree spirit, evident in the watercolor paintings.
The stories read easily and I can imagine how they well they must sound told orally. The authors took great care in researching and selecting the stories to include as well as remaining true to the cultural identity of the tales. The authors created a compilation that is welcoming for all family members to enjoy together. The inclusion of a pronunciation guide at the end of the book is helpful for pronouncing Chinese words. An additional feature is the addition of resources for adults and young readers, also located at the end of the book. With each recipe, game or decoration, the authors provide further background information to help readers understand their purpose, objective, or tradition. Every title, from story to decoration, is written in English and Chinese calligraphy, adding an authentic feel to the whole book.
Awards and Reviews
*School Library Journal: Most books for young readers about Chinese holidays stress Chinese New Year; only two others feature the full range of annual festivals. . .Moonbeams is a useful, visually appealing addition to any holiday collection.
*Booklist: This brightly illustrated, large-format book introduces Chinese New Year and the Lantern Festival, Qing Ming and the Cold Foods Festival, the Dragon Boat Festival, and the Mid-Autumn Moon Festival. . .The activities--riddles to tell and paper lanterns to make, among them--look like fun for young people. © American Library Association.
Connections
*Have craft materials on hand to make a few of the crafts described in the book.
*Choose one of the festivals to recognize at the appropriate time of year. Play the games and make the decorations associated with the festival or holiday. Host a celebration in the library one afternoon after school and enlist parent volunteers to provide snacks that are described in the book (make sure to warn of any food allergies by listing possible allergens with the different food choices and always check district policy on foods provided to students even if after school hours). Prepare an oral storytelling of the folktale associated with the holiday/festival or have students perform it in a Reader's Theatre for the audience.
Bibliographic Data
Kimmel, Eric A. 1995. The Goose Girl: A Story from the Brothers Grimm. New York: Holiday House.
Plot Summary
A young princess is betrothed to a prince in a far away kingdom. The princess’ mother sends her on horseback to the prince’s kingdom, accompanied by Margaret, the queen’s trusted servant. The princess’ horse, Falada, is no ordinary horse, but one that understands and speaks to humans. On their way to the prince’s kingdom, Margaret forces the princess to change out of her fine clothing into the servant’s attire and trade horses. Upon arriving at the prince’s kingdom, Margaret pretends to be the princess and the prince takes her to be his wife. She consequently has Falada killed so that he may not tell the truth, though his magic does not cease. Meanwhile, the princess is sent to work with Conrad, the boy who tends the geese. The king is suspicious of the true princess, as she does not look like a servant. The king eventually learns of strange events from Conrad, and spies on the servant princess. He then convinces her to confess her troubles to an iron stove and overhears the truth. The king then has Margaret put to death in the manner she described as what should happen to someone who did what she did. The princess is restored to her true self and marries the prince to live “happily ever after.”
Critical Analysis
This retelling of the Grimm Brothers’ fairy tale is quite similar to their version. While Kimmel made a few changes, such as Falada talking on the journey rather than the three drops of blood and the princess being restored after Margaret pronounced her own sentence, the rest remains close to the Brothers Grimm version. Kimmel used the characteristics of fairy tales, such as magic, threes, and repeated rhymes. He placed the story in a vague time and place, however Robert Sauber’s oil paintings depict a pastoral, lush land and possible time of the 16th or 17th century, based on the clothing. The attire, as illustrated, demonstrates the marked difference between royalty or wealth and servants of the time. Kimmel’s language is rich and reads fluidly. The repeated refrains add rhythm to the reading. Sauber’s full-page, vibrant illustrations add depth to the text that makes the story more engaging. The reader easily sees the innocence and goodness of the princess, as depicted by Sauber, as well as the king’s compassion for the princess/goose girl and anger with Margaret.
The triumph of good over evil is a recurring theme in traditional tales such as this. It is apparent in the ending when the evil Margaret meets her fate and the gentle, good-hearted princess is no longer the goose girl, but marries the prince.
Awards and Reviews
Booklist: This is one of those picture books that needs to find its way into the hands of older children and adolescents; they’ll be the audience best equipped to appreciate the artwork’s romantic appeal and the stark justice of the story.
Publisher’s Weekly: Sauber’s earthy colors and loose brush strokes combine for a painterly look that effectively portrays the romance of this fantasy land.
School Library Journal: The story is propelled by Kimmel’s perfect pacing and phrasing and by the vitality of the oil paintings . . . Most libraries will want to own this title.
Reviews courtesy of: Amazon.com. Editorial Reviews. http://www.amazon.com/gp/product/product-description/0823410749/ref=dp_proddesc_0?ie=UTF8&n=283155&s=books
Connections
*Based on the age of the audience, read the Brothers Grimm version of the story and complete a Venn Diagram to compare/contrast the two
*Gather other versions of The Goose Girl, such as the variant by Shannon Hale or The Goose Girl as edited by Gillian Cross. Compare the stories to identify similarities and differences across texts.
*For younger students, have them illustrate their favorite scene from the story.
*Depending on the age group, discuss the story's theme and justice for the wronged.
Bibliographic Data
San Souci, Robert D. 1994. Sootface: An Ojibwa Cinderella Story. New York: Bantam Doubleday Dell Publishing Group, Inc.
Plot Summary
In this Ojibwa variant of the Cinderella story, the main character is an Ojibwa girl with two mean sisters. The father goes away hunting, and the two older sisters treat the youngest one maliciously, by making her do all the work, beating her, and smearing her face with ashes, which gets her the name Sootface. Rather than a prince throwing a ball, there is a handsome, young warrior that travels invisibly. He tells his sister to announce to the village that he will marry the girl who is able to see him and describe what his bow and bowstring are made of. This announcement entices Sootface’s sisters to attempt the challenge. They fail, and upon returning to the village, treat Sootface horribly. Sootface decides to attempt seeing the hunter as well, and because she has a “kind and honest heart,” Sootface is able to see the hunter and describe his bowstring and bow. This enables her to marry the hunter, and leave her two sisters to do all the cooking and cleaning themselves.
Critical Analysis
The cover illustration depicts the forest setting, with the young warrior camouflaged in the trees and Sootface on a hill. The history of this tale is noted in the beginning of the book. It is attributed to the Ojibwa and Algonquin tribal groups of the Northeast and Great Lakes. It is also mentioned that much research was done for the illustrations in order to accurately depict the setting and clothing of mid-18th-century Ojibwa people.
Robert San Souci’s text blends dialogue and narration to move the plot forward. The setting is described in the first paragraph of text. His descriptions of the clothing worn by the women, the way of life, and housing are reflective of the culture and time. The theme of ‘beauty is only skin deep’, or ‘inner beauty can make someone beautiful inside and out,’ are evident by the fact that, though the sisters are beautiful, they lack inner beauty qualities. Sootface, on the other hand, while not seemingly beautiful on the outside, possesses an inner beauty, that when discovered, makes her beautiful in appearance.
Daniel San Souci, as the illustrator, uses vibrant watercolor illustrations to depict the setting of the Ojibwa village and the surrounding forest. He provides detail in the characters’ facial expressions to reflect the meanness of Sootface’s sisters and the rest of the village as they torment Sootface. The last page depicts the beauty and radiance of Sootface and the hunter contrasted with the dirtiness of her sisters, which is symbolic of each character’s true, inner nature.
Awards and Reviews
*School Library Journal: The retelling is lively, flows well, and brings out the harshness of the heroine's situation, and yet it is not without humorous touches. Altogether a refreshing and rewarding "Cinderella'' variant.
*Children’s Literature: One of the strongest retelling voices in America, Robert San Souci recounts Sootface: An Objibwa Cinderella Story.
(Reviews from: SOOTFACE: An Ojibwa Cinderella Story. Robert San Souci website. http://www.rsansouci.com/pages/books/sootface.htm)
Connections
*Research the Ojibwa and Algonquin tribes. Compare research findings to the depiction of the tribe in the text.
*Read other Cinderella variants of this story or with Native American roots, such as The Hidden One by Aaron Shepard, Indian Cinderella in Best-Loved Folktales of the World edited by Joanna Cole, or The Rough-Face Girl by Rafe Martin. Compare/contrast the different versions of the same origin, or the differences in the story elements based on origin.
*Students perform a Reader’s Theatre of the story.
Bibliographic Data
Cummings, Pat. Talking with Artists, Volume 3. New York: Clarion Books, 1999.
Plot Summary
If one has ever read a picture storybook or book for children, there were most likely illustrations to accompany, complement, and enhance the story being told. The illustrations in a book can add depth and detail that may be missing from the actual words in the story. Many times authors receive recognition for their books, but illustrators are just as vital to the children’s book world. In the series, Talking with Artists, Pat Cummings interviews notable illustrators. She provides students (and adults) a glimpse into the world and life of children’s book illustrators.
Critical Analysis
Cummings asks each of thirteen artists about being an illustrator. All artists respond to the same questions:
- Background information on his/her life
- Where do you get your ideas?
- What is a normal day like for you?
- Where do you work?
- Do you have any children? Any pets?
- What do you enjoy drawing the most?
- Do you ever put people you know in your pictures?
- What do you use to make your pictures?
- How did you get to do your first book?
Each artist’s 6-page spread includes a photograph of the artist as a child, a more recent photograph, a family or pet photo, a drawing from their youth, and an illustration from a book he or she illustrated.
These features provide students with the idea that anyone can become an illustrator. Each of these individuals comes from various backgrounds and beginnings, but all share a love of producing art. Cummings’ questions are likely the same kinds of questions kids would ask, which is insightful on her part to know what kids want to know.
Review Excerpts
School Library Journal: “While many readers will find the artists' tips that conclude the volume useful, all will appreciate these insightful conversations.”
Booklist: “A special treat for budding artists and wonderful for teachers.”
Source: Amazon.com Editorial Reviews, Retrieved from http://www.amazon.com/gp/product/product-description/0395891329/ref=dp_proddesc_0?ie=UTF8&n=283155&s=books
Connections
*Ask students to discuss what questions they would like to ask illustrators.
*Invite students to share a book that they enjoy for the illustrations.
Bibliographic Data
Levine, Ellen. 2007. Henry’s Freedom Box: A True Story from the Underground Railroad. Ill. by Kadir Nelson. New York: Scholastic Press. ISBN 9780439777339
Plot Summary
Henry “Box” Brown was born into slavery in the 1800s. When he was a young boy, his master was near death and gave Henry to his son to work for him. Henry had to say good-bye to his family and go work in a factory for the master’s son. Henry grew older, met a young woman named Nancy, whom he would later marry and have children with. Unfortunately, Nancy belonged to another master and was sold, along with their three children. Henry was distraught and heartbroken. It was then that he decided he wanted to be free and had himself mailed to Pennsylvania, which was a free state. Henry took great risks to attain his freedom, but he did.
Critical Analysis
This is an amazingly true story! The text is not too complicated that it is not readable by a young audience, yet it is appealing to older students due to the nature of the story. The historic background of slavery and freedom is a timeless topic. Many stories have been written about slavery and the Underground Railroad in the United States. This tale, however, differs from them all, in that the main character uses an ingenious method of escaping to freedom.
Levine’s storytelling is simple. She avoids complicated language and uses a minimal amount of dialogue. She provides insight to Henry’s thoughts, while the illustrations communicate the emotions.
The etchings and paintings by Kadir Nelson convey strong emotion. The reader gets a real sense of Henry’s pain as his family is taken away and the ensuing sorrow he endures. Henry’s determination to find freedom is evident in his expression when he burns his hand to stay home from work. His anguish and discomfort inside the box is noticeable when he is upside down. The reader gets a glimpse into Henry’s journey with illustrations that reveal Henry inside his box as he is tossed about and turned in all directions by handlers that are unaware he is inside the crate.
The implicit underlying theme of taking risks to reach goals transcends time and place. Henry went through great lengths and enormous risk to attain his freedom, or goal. This life lesson leaps off the pages and into children and adults alike.
Awards and Reviews
*Caldecott Honor Book 2008
*Publishers Weekly: “Thanks to Nelson’s penetrating portraits, readers will feel as if they can experience Henry’s thoughts and feelings as he matures through unthinkable adversity.”
*School Library Journal: “”Inspired by an actual 1830s lithograph, this beautifully crafted picture book briefly relates the story of Henry “Box” Brown’s daring escape from slavery . . . Nelson’s illustrations, always powerful and nuanced, depict the evolution of a self-possessed child into a determined and fearless young man.”
Connections
*Use this story to begin a discussion of the Underground Railroad. Have students identify facts about slavery as the story is read.
*Read aloud another story about the Underground Railroad, such as Sweet Clara and the Freedom Quilt by Deborah Hopkinson or If You Traveled on the Underground Railroad by Ellen Levine, to discuss the different ways slaves escaped to freedom.
*Show students the video “The Ballad of Henry Box Brown” from Gemini Ink Dramatic Reader’s Theater at http://www.blip.tv/file/605774 to see a dramatic rendering of Henry's tale
(from http://www.state.lib.la.us/empowerlibrary/henrys freedom box.doc)
Bibliographic Data
Pinkney, Jerry. 2009. The Lion and the Mouse. New York, NY: Little, Brown and Company. ISBN 9780316013567
Plot Summary
In this retelling of a traditional Aesop fable, Jerry Pinkney relies on expressive characters and illustrations to communicate the story through a virtually wordless picture book. The story follows Mouse as she scurries from a predatory owl. She unknowingly stops to rest on Lion’s back. Lion looks Mouse over when he grasps her in his giant paw, and appears to take pity on the tiny frightened mouse by letting her go. The reader learns that Mouse has a family when she goes to them after being released by Lion. Later in the story, Lion is walking through the African plain and is captured by some trappers’ nets. Mouse hears Lion’s loud roar and rushes to his rescue, proving that even a small creature can make a difference.
Critical Analysis
Pinkney only uses a few onomatopoeia words to relate sounds made by the animals. The rest of the story is told by the watercolor illustrations and interpreted by the reader. The plot of the story is understood through Pinkney’s detailed and articulate illustrations. Through these, the reader is able to determine the emotions and even infer what the characters might say if they spoke. For example, it is clear that Mouse is frightened when in Lion’s enormous paw. It is also evident when Mouse arrives to free Lion that Lion has his doubts about how tiny Mouse can possibly help him out of his dilemma. Additionally, the reader can see Lion’s gratefulness to Mouse once he is free.
The use of bright, rich colors enhances the setting of the African plain. Pinkney, in the Artist’s Note, identifies the setting as the African Serengeti of Tanzania or Kenya. The story theme, however, extends beyond the African Serengeti. The idea that even small people or things can make a difference is applicable to many regions and life stages. Additional themes conveyed are: kindness often begets kindness and kindness can have unintended or unforeseen outcomes.
This book is easily interpretable for a young child. Young children would be able to recognize emotions, as revealed in the animals’ expressions, even if there vocabulary does not extend beyond ‘happy’ or ‘scared.’ Adults can appreciate the luminous artwork that tells the story.
Awards and Reviews
*2010 Caldecott Medal
*Starred Review in School Library Journal: “The ambiguity that results from the lack of words in this version allows for a slower, subtle, and ultimately more satisfying read.”
Connections
*Have students write the story based on the illustrations.
*View other wordless picture books and discuss how the illustrations tell the story. Discuss how the illustrators do things differently or the same as Pinkney.*Cull other versions of this fable and compare/contrast with Pinkney’s version.
*Conduct an author/illustrator study by gathering other books written and/or illustrated by Jerry Pinkney. Compare/contrast the various books and how he either told the stories or illustrated them.
This blog has been created to fulfill requirements for course LS 5603.20: Literature for Children and Young Adults at Texas Woman's University. Here I will post my book reviews on select books from various genres.
