Inclusive Lit MOSES GOES TO A CONCERT By: Millman, Isaac

Bibliography: Millman, Isaac. 1998. MOSES GOES TO A CONCERT. Ill. Millman, Isaac. Minneapolis, MN: Tandem Library Group ISBN 0613538412

Summary

Moses and his peers, members of a class of deaf children, attend a concert. To their surprise and delight one of the percussionists is deaf as well. When the concert is over she allows this group of students onto the stage to play the instruments that the musicians had played.

Critical Analysis

MOSES GOES TO A CONCERT is a picture book written and illustrated by Isaac Millman. Millman is quoted as saying “Real life is the best inspiration for my stories.” It is apparent in this picture book about a group of deaf children enjoying a field trip to a concert that he has been inspired by such a group. Cultural markers are identified in the cartoon strips that give illustrations of some of the American Sign Language (ASL) vocabulary that is a universal language of the deaf and the one most widely used within the United States. These cartoon strip illustrations are available on most pages and give the reader a brief lesson on a few words within the language. The illustrations follow the text with the students in the contemporary clothing that would be found within the schools. Clothing includes tee shirts, shorts and tennis shoes. Within the illustrations, whether on the school bus, or at the concert the children’s hands show them vividly communicating with each other with the various signals of ASL. The thematic idea of the children’s excitement over going to the concert and the fact that Moses and a friend both have drums at homes lets the reader understand that although they cannot hear, they can feel the music through the vibrations that it makes. The illustration on the first page shows Moses playing his drum with sock feet and when the percussionist comes out the students realize that she is also in her sock feet. It was a wonderful surprise to them that she was also deaf. Mr. Samuels, the teacher, gives each of his students a balloon to hold during the concert so they too can “listen to the music” through the vibrations of the balloons. When Mr. Samuel gives the balloons to the students he smiles and signs “She is deaf too. She follows the orchestra by feeling the vibrations of the music through her stocking feet.” The reader will notice on the page where the percussionist “talks” to the students using ASL, the facial features of the percussionist. In particular, the second illustration shows how important facial expressions are in communicating with ASL. When she says “worked hard” the seriousness of the expression shows how important the hard work is. Facial expressions, at times somewhat exaggerated, are an important part in communication with the deaf. The only deference given to the group of deaf children is front row seats and this is probably so they can better feel the vibrations of the concert. An author’s note at the beginning of the book describes ASL as a “visual sign language which is composed of precise handshapes, movements, and facial expressions used to form words.” The foundation of the signing in this book is credible following the author’s many hours that deaf teachers at New York City’s J.H.S. 47 School for the Deaf spent in helping him get the sign-language diagrams in the book right. This section of the book also gives some direction on how to read the arrows and symbols shown in the illustrations so the reader can practice the language. The end of the book gives two full conversations in sign language as well as the hand alphabet which many hearing children find a challenge to learn.

Although this book is written for younger children, reviews indicated preschool through grade two; there are many older children that are interested in ASL. They would enjoy seeing how the signs are made and practicing the alphabet.

Review

Horn Book Guide: Moses and his classmates, who are all deaf, enjoy the young people's concert when their teacher gives them balloons so they can feel the vibrations of the music. Afterward they meet the percussionist, who is also deaf. The illustrations include diagrams showing readers how to sign key words and phrases of the story. A page at the back shows the hand alphabet.

School Library Journal: A group of deaf children is taken to a concert where the youngsters meet the percussionist, a friend of their teacher, and learn to their surprise that she is also deaf. She explains to Moses and his class how she became a percussionist even though she had lost her hearing and helps them understand that anything is possible with hard work and determination. She lets the children play on her instruments and feel the vibrations on balloons that their teacher has given them. Cheerful watercolor illustrations show the multiethnic children enjoying themselves at the concert, while smaller cartoon strips feature Moses’ additional comments in sign language. A page displaying the manual alphabet and a conversation in sign language in which Moses tells his parents about his day enhance the upbeat story.

References: Houghton Mifflin “Meet the Author/Illustrator Isaac Millman” http://www.eduplace.com/kids/hmr/mtai/millman.html (accessed 23 Jul 2007).

Connections:

SIGN LANGUAGE FOR KIDS: A FUN & EASY GUIDE TO AMERICAN SIGN LANGUAGE By: Heller, Lora ISBN 1402706723

AMERICAN SIGN LANGUAGE by: Deborah Kent ISBN 053112018X

Music teacher use the book to introduce instruments to students

Inclusive Lit. FROM THE NOTEBOOKS OF MELANIN SUN By: Jacqueline Woodson

Bibliography: Woodson, Jacqueline. 1995. FROM THE NOTEBOOKS OF MELANIN SUN. New York: Scholastic ISBN 0590458809

Summary

Melanin Sun is a thirteen year old boy who finds that his mother is in love with another woman. The story is told through his eyes. He fears what others will think of his mother’s relationship and is drawn apart from her as he struggles with the situation. Not only does he have to deal with the relationship his mother is involved in, but he is also beginning to discover girls and agonizes over the stirring feelings he is having about Angie. He begins to come to terms with the relationship that his mother has with the other woman, Kristen, but continues to worry about what other people will think and how he will deal with them.

Critical Analysis

This book won the Lambda Literary Award (1996) and was nominated for other awards including the Coretta Scott King Award (1996). I had not heard of the Lambda Literary Award and when googled found it is an award given by Lambda Literary Foundation which celebrates lesbian, gay, bisexual and transgender people (LGBT) literature. The book is set up with the story plot in chapters, yet additionally at intervals Melanin Sun conveys his private thoughts through his notebooks that he keeps and writes in. This makes this book somewhat unique over others. Cultural markers found within this book identify Melanin Sun as dark, darker than most. His clothing is similar to that of his contemporaries in his neighborhood. “I’m wearing a striped shirt. Short sleeves. Baggy Shorts. Black Pumas with a white stripe. No Socks. A baseball cap turned backwards. I have tiny dreads that I keep real neat – you know – keep them nice so the girls keep coming.” The type of clothing you might expect young boys to wear to be “cool”, particularly in urban areas. Kristin and Melanin Sun discussed the musical groups Arrested Development and Digable Planets. Although I didn’t know these were really groups I goolged them and found them to be hip hop groups which would be the type of music a young African American male might be interested in. Melanin Sun might be considered a “nerd” by some. His friends tease him about being a faggot because he likes to write and keep to himself and he collects stamps and worries about endangered species. From the beginning of the book the reader is aware that there will be problems that develop when he finds his mother is in love with another woman. A cultural marker as a teenager is the general worry of what other people will think of situations in your life. How people felt about Melanin Sun and their reaction to the situation was important to him. He knew that he would face a lot of nasty behavior when others found his mother was gay. “The other kind of “faggy” was the really messed up kind. That kind actually wanted to be with other guys the way I get to feeling when Angie comes around. That kind made me want to puke every time I thought about it – which wasn’t a lot.” When his mother tries to talk to Melanin Sun about gay people, he thinks she is accusing him of being a faggot. Melanin Sun definitely had the prejudiced view that so many have of gays and lesbians. When he finds out about the relationship in the car with his mother he thinks to himself that she is a dyke, a cultural marker indicating a relationship with another woman. He continues to scream at her “Please Mama. Please be anything. But don’t be a dyke.” Queer is another word that he uses to describe his mother. Melanin Sun has never had relationships with white people, other than his teachers, and he does not consider them as anything other than teachers. “I didn’t think about white people. They were a different species, living a different life in some other place.” When his mother’s friend, Kristin, comes to visit he finds “This woman wasn’t fine, or a sister. She was white. White. White.” The term sister is a cultural marker that is found within the African American community when they are talking about a woman of their color. It was interesting to find that Melanin Sun was apparently prejudiced against white people. He did not feel they belonged in his community. His community was for people of color – away from them and all their hatred and racism. In other words, he was judging this woman by the color of her skin, just as he felt the white people judged him by the color of his. This was an interesting turn of events. At one time when he was walking along the beach a group of white boys passed him and one said “Hey it sure is getting mighty dark around here.” The boys all laughed and it was later when he realized they were talking about him. These types of remarks and feelings about people of other color, unfortunately seem to be cultural markers. Before he even knew what the relationship between the two women involved he had a funny feeling in his stomach. The author allowed the reader to understand the situation before the protagonist did, yet his gut feeling was letting him know the relationship with his mother was changing. When others begin to talk about his mother’s relationship he tries to hide within the confines of his home. One of his friends reaches out to him as another turns against him. In the end Melanin Sun finds that like him Kristin has no other family. His was lost before he was born, hers was lost because of her chosen lifestyle. This is a situation that many gays and lesbians face. I hope that it is not as frequent as it once was.

Cultural markers abound in this book although many of them were not the typical markers you find in multicultural books. These markers included attitudes towards gays and lesbians, teenagers wishing to belong, hormonal changes that take place in a teenager and relationships between parents and children. This book involved so many different feelings from Melanin Sun. Feelings of changing from a boy to a man, feelings of how others would react to the relationship his mother was having with Kristin, feelings of how he felt about the relationship. Attitudes about white people were involved. The book covered so many different relationships, but drew them together in a way that made for good reading and empathy for Melanin Sun as he worked through the problems he was facing.

Review

Booklist: In a story that confronts bigotry with truth and sadness, Melanin, 13, is appalled when his mother tells him she loves a woman, and what's more the woman is white; however, Mel learns that there is room for whites in his world.

Horn Book Guide: The summer he is thirteen, Melanin Sun's mother tells him that she is in love with a white woman. Unable to sort out his feelings and confusions about sexuality, racial identity, and love, he punishes Mama by shutting her out of his life. Melanin's emotions are raw and often painful, and his response is both harsh and realistic. Woodson tells a powerful and ultimately hopeful story in this concise novel.

Connections

Other books by Jacqueline Woodson

MIRACLE’S BOYS

HUSH

LAST SUMMER WITH MAIZONMAIZON AT BLUE HILL

LOCOMOTION

Inclusive Lit. HABIBI by: Naomi Shihab Nye

Bibliography: Nye, Naomi Shihab. 1997. HABIBI. New York: Simon & Schuster ISBN 0689801491

Summary

Liyana is an Arab-American who along with her brother has been raised in the United States. When she is fourteen years old her father who is an Arab decides it is time to move the family to Israel to become acquainted with relatives and cultures of his native country. Liyana is unhappy about the move and leaving her friends and all that she is familiar with. Throughout the book Liyana begins to discover the love of her extended family and the horrors of the war torn country. She has a flirtatious affection for a young boy who it turns out is Jewish. Through this relationship and other events throughout the book she questions the reasons for the hatred between the two groups. She finally settles into her life in Israel and discovers there is not much that she actually misses from America.

Critical Analysis

Naomi Shihab Nye is an award winning poetess and novelist. She is of Palestinian and American descent and has been widely exposed to various cultures. HABIBI has won several awards including the Jane Addams Children’s Book Award (1998) and the American Library Association Notable Books for Children (1998). Ms. Nye has lived in both America and the Middle East and has first-hand knowledge of the attitudes of the various cultures within the Middle East. This experience adds to the authentic feeling of the book. Religious practices such as the muezzin giving the last call to prayer over a loudspeaker from the Mosque in the village of Sitti (grandmother) gives the reader a hint of the religious practices of this Arabic community. “They unrolled their blue prayer rugs from a shelf, then knelt, stood, and knelt again touching foreheads to the ground, saying their prayers in low voices.” This was in contrast to the informal beliefs of Liyana’s Mother and Father. Mother says they are a spiritual family, not a traditionally religious one. Liyana had not been raised within any particular formal religious group. The entire family believed in reincarnation, because it made sense to them. They did not believe in the devil, just people doing devilish things. Shortly before leaving America she had her first kiss, which at the age of fourteen, is not unusual within the states. However, when she arrived in Israel she and her father had a conversation in which he tells her “Public kissing – I mean, kissing on the mouth, like romantic kissing – is not okay here. It is simply not done.” Adjustments between the two cultures were very difficult for Liyana. There was some integration of Arabic and Jewish words such as at the Wailing Wall the Jews in yarmulkes were praying and tucking notes into the wall. Liyana’s friend Omer tells of the shiva – the time when family members remove their shoes, do not leave the house and mirrors are covered to mourn the dead, a Jewish tradition. We find the meaning of the title of the book, HABIBA, which means darling, a dearly loved person, chosen. Other words such as ana tayyib- I’m fine and ana asif, I’m sorry are sprinkled throughout the book. The names of the people in the book took on the language of the Middle East with names such as Khalad, Rafik, and Omer. Meals when they arrived in Israel included such things as olives, marinated turnips, plates of baba ghonouj and hummus and hot flat breads. At the market when her mother wanted to buy a chicken a live one was plucked from a cage and its head chopped with Liyana and her mother watching. As a result, Liyana became a vegetarian. Clothing was completely different within the Israeli community where Liyana’s shorts were totally inappropriate and the family looked strangely upon her wearing her jeans with patches in the knees. She was accepted into an Armenian school where the wearing of her ring was considered inappropriate and she had to wear the uniform of the school. The languages were foreign to Liyana, her brother and her mother. There were so many languages within a small area. Great cultural shocks had to be overcome for adjustments to the new life. When Liyana became ill following an immunization injection for Cholera her Sitta came to cure her even though her father was a medical doctor. Sitta used many pins to confine Liyana within the sheets of her bed, the pins “looked like a metallic running fence.” Following this Sitta said many prayers and flicked her fingers as if she were casting the illness aside. Soon Liyana began to feel better. Her brother, Rafik, called it a voodoo bed.

The most important significant cultural difference within this book was the differences in the feelings of the Arabs, Jews, Palestinian and other Middle Easterners. Their cultural differences brought bombings, attacks, and prison among the various groups. There were areas within the city which different groups were not accepted. A young friend Khalad was shot and Liyana’s father was imprisoned for a day because a group of soldiers thought that Khalad had been involved in the killing of a young man. Her Sitta’s home was wrecked as soldiers went through it looking for a relative and then they left as quickly as they came. This was very difficult for Liyana to understand. She met a young Jewish boy and bonded a friendship with him. One her father found unacceptable. Yet in the book it was this friendship that brought forth the sharing of feelings from both sides that at least among this small group of people peace was possible and desired.

The cover of this book illustrates the three characters who so varied in their believes are drawn together. There is Omer in his yellow checked shirt that Liyana finds him so handsome in, Liyana in her contemporary American clothing which is unacceptable to her family and Sitta, her grandmother in the traditional clothing of the Arabic community. In the background we find the old city with a part of it special to each group -- all tied together, yet so different. Will there ever be peace?

I very much enjoyed this book. I liked the setting of the book with an American immigrating to another country versus most of the books we have read which have other people coming to America. The book gives an understanding of the lives of the people that we read and hear about on the news daily. It gives the perspective of being in the countries where the turmoil is going on. These things we tend to read and forget, but the people of the Middle East cannot forget – it is their life.

Each chapter begins with a brief message to give thought to. My favorite is “When we were born we were blank pieces of paper; nothing had been written yet.”

Horn Book Guide: When Liyana Abboud is fourteen, her father decides that the time is right to move the family from St. Louis to his native Jerusalem. Inevitably, Arab-Israeli tensions enter into the story, but the message isn't preachy and remains almost secondary to the story of Liyana's search for her identity. The leisurely paced text contains poetic turns of phrase that accurately reflect Liyana's passion for words and language. Horn Rating: Superior, well above average.

Publishers Weekly: This soul-stirring novel about the Abbouds, an Arab American family, puts faces and names to the victims of violence and persecution in Jerusalem today. Believing the unstable situation in that conflict-ridden city has improved, 14-year-old Liyana's family moves from St. Louis, Mo., to her father's homeland. However, from the moment the Abbouds are stopped by Jewish customs agents at the airport, they face racial prejudice and discord. Initially, Nye (Never in a Hurry) focuses on the Abbouds' handling of conflicting cultural norms between American and Arab values as they settle into their new home (e.g., Liyana's father, Poppy, while forbidding her to wear "short" shorts, reacts in anger toward a relative who asks for Liyana's hand in marriage). Then Liyana tests her family's alleged unprejudiced beliefs when she befriends Omer, a Jewish boy. She wants to introduce him to her father (who taught her, "Does it make sense that any God would choose some people and leave the others out?... God's bigger than that!"), but finds she must first remind him of his own words. Nye expertly combines the Abbouds' gradual acceptance of Omer with a number of heart-wrenching episodes of persecution (by the different warring factions) against her friends and family to convey the extent to which the Arab-Israeli conflict infiltrates every aspect of their lives. Nye's climactic ending will leave readers pondering, long after the last page is turned, why Arabs, Jews, Greeks and Armenians can no longer live in harmony the way they once did.

Connections

Letter from Naomi Shihab Nye “To Any Would-Be Terrorists” can be found at:
http://godlas.myweb.uga.edu/shihabnye.html

http://www.pbs.org/now/classroom/poet.html This Website allows for lesson plans from Naomi Shihab Nye’s poetry. A renowned poet – many of these poems address her Palestinian/American heritage

Asian Pacific Lit A SUITCASE OF SEAWEED By: Janet Wong

Bibliography: Wong, Janet. 1996. A SUITCASE OF SEAWEED. New York: Simon & Schuster. ISBN 0689807880

Summary

This is a collection of thirty-six poems by noted author Janet Wong. The poems are broken down into three categories of twelve poems each. The first set of twelve poems is related to the author’s cultural and ethnical background of Korea. This is her Mother’s heritage. The second set of poems is from her Father’s heritage as a descendent of Chinese heritage. Finally, the third set blends both cultures together as Ms. Wong’s American heritage. These poems are memories of stories told, memories of family and friends, and nostalgic fragrances from the past.

Critical Analysis

This collection of thirty-six poems envelops the heritage of Ms. Wong from Korea to China to America. She begins each of the three sections with a brief history of the various cultures which are her heritage. The first twelve poems are from her Korean heritage. She tells of how her Mother and Father met and found love. She finds it curious how they could fall in love, not understanding each other’s language. She knew little of her Korean culture, having not been around any family for any length of time. As an adult she became more curious about her heritage. She uses some of the Korean language in the interlingual format with words such as Korean beef bone soup, kimchi. In the poem JOYCE’S BEAUTY SALON “They call my mother the perm lady, “PumAjima.” This poem also brings in the cultural marker of the straight, heavy hair of the Korean people, and like so many of any culture, they are unhappy with the way their hair looks. They leave the salon with lighter hair and carefree curls. Another poem in this section HOSPITALITY reminds the reader of the Korean culture of removing the shoes before entering the house. Ms.Wong’s visitor seems not to notice all the shoes lined up by the door and the displeasure of her Mother is shown when she doesn’t offer the visitor anything to eat. CAMPFIRE is reminiscent of the way Mother could build a fire with just rocks as a child in her homeland of Korea. Mother would enjoy the roasting of grasshoppers as a snack and when Janet comes along Mother enjoys making the campfire in the same old way, but with a more delectable snack of marshmallows. Many of her poems are comparing the old ways to the new ways. The second set of selections is taken from the Chinese side of the family which was her fathers. In the introductory selection she again uses a cultural word GongGong and explains that this is a Chinese word for Grandfather. Wong tells of her upbringing in the 1950’s Los Angeles where her Grandfather owned a restaurant called Wong’s Café. She would work an hour or two there cleaning tables or sweeping at her mother’s beauty shop a few stores down. One poem in this section titled ALBERT J. BELL tells of a favorite customer that she knew as Uncle Al. Although there was a forty year friendship between her Grandfather and Uncle Al, he never learned to use chopsticks, and Grandfather always failed to give him a fork. This is a cultural marker in the tradition of how the Chinese people eat their food. Another poem in this group titled WHEN I GROW UP shows the artistic side of Wong as she dreams of being a writer, artist, dancer or singer. Her Grandpa wants her to become a professional so she can make a good living and won’t be poor like the people in China who “eat one chicken, work all year.” Wong explains to her Grandpa that “things are different here.” A comparison of the life in China where at the time of Grandpa’s youth there was little chance of advancement to all the opportunities available in America. MONEY ORDER reminds the reader of the close ties within the Chinese community where those in America send money back to relatives in the homeland so they can have some of their desires. However, Wong questions that they used the money to buy a color TV instead of using the money for essentials. GRANDMOTHER’S ALMOND COOKIES is a favorite of mine as it brings back the way my Mother and Grandmother cooked. Ask for a recipe and what do you get? A little of this, a handful of that, a little wetter, no recipe! The final selections surround the fact that although her heritage is Korean/Chinese, she is indeed an American. She is often asked “Where are you from” and in this section she tries to answer that question. In MANNERS she compares the heritages, Chinese eat in porcelain bowls, pick up the bowl and push the rice into the mouth with chopsticks. The Koreans leave the stainless steel bowl on the table, even when the food has gone cold. When you are born in LA half and half, you use a fork and knife. IN THE NEIGHBORHOOD takes her back to the past to the house she lived in as a child. She remembers how wonderful it was when she was a child and now it is just like all the rest. The last poem in her book sums up the heritage of all Americans:

QUILT

Our family
is a quilt

of odd remnants
patched together

in a strange pattern,

threads fraying,
fabric wearing thin –

but made to keep
its warmth

even in bitter
cold.

Ms. Wong’s poetry separates and brings the three cultures together to make her who she is. They define the differences in each culture. It is interestingly noted that the few illustrations within the book are called “ decorations by the author.” The “decoration” on the first part is of one of her now favorite Korean dishes – Korean beef bone soup (kimchi) with lots of garlic. She has titled this decoration “Garlic Boat. The second section of Chinese poems illustrates the Gold Mountain Tea, a favorite of her Grandfather’s cooked in the old family teapot.

Reviews

School Library Journal: Wong was born in America of Chinese and Korean heritage, but the basic subjects she addresses in neat stanzas of free verse aim at the heart of any family, any race. The quiet, touching poems are divided into three sections, each honoring another part of her ethnicity. The Korean section deals with such diverse topics as hospitality, acupuncture, or the spicy kimchi that was a frequent dinner food. The author learned about Chinese culture from her father's parents, whose presence plays a large role in these poems of family. As an American, Wong writes poems of realization and identity. Whether the words are about customs or careers, they provide a sense of who the author has become because of her pride in her blood-lines. People may ask Asian-Americans "Where are you from?" This collection, appropriate for YAs of any culture, may make this question less relevant and important as they realize the commonalties among cultures.

Booklist: As she did in Good Luck Gold (1994), Wong writes in simple, casual free verse about herself. This time she has divided the small collection into three parts: Korean, Chinese, and American poems. At the start of each section is a page of autobiography as interesting as the poems. Her Korean mother met and married Wong's father when he was in Korea with the U.S. Army. He is Chinese but came to this country when he was 12. Wong was born here. Some of the poems are flat, but the best of them show a mix of feelings. Koreatown is growing, spreading--and "splitting." Korean women, furious with their families, come to the beauty salon to change their "stubborn, straight, heavy hair" and get themselves a perm. The poems overlap their ethnicity and subject, of course, and young people will recognize many of the situations, whether Wong is imagining her parents' "Love at First Sight" or chafing at their high expectations and their disappointment.

Connections

Students look through previously selected books of poetry to find a poem relating to their culture and heritage

Write a poem about culture/heritage

Other poetry books by this author:

GOOD LUCK GOLD AND OTHER POEMS

NIGHT GARDEN: POEMS FROM THE WORLD OF DREAMS

TWIST: YOGA POEMS

KNOCK ON WOOD: POEMS ABOUT SUPERSTITIONS

THE RAINBOW HAND: POEMS ABOUT MOTHERS AND CHILDREN

BEHIND THE WHEEL: DRIVING POEMS

Teacher Materials by Janet Wong

POETRY WORKSHOP: THE POETRY SUITCASE

YOU HAVE TO WRITE WITH JANET WONG

Asian Pacific Lit. KAMISHIBAI MAN by: Allen Say

Bibliography: Say, Allen. 2005. KAMISHIBAI MAN. New York: Houghton Mifflin. ISBN 0618479546

Summary

The kamishibai man has been retired for a number of years and goes back to the city to perform for the children. When he goes back there are many changes with buildings and traffic everywhere. There are no children interested in hearing his stories. However, a group of adults soon begin to form around him. These are the ones he told stories to when they were children. Nostalgically they enjoy hearing his stories and buying his candies again.

Critical Analysis:

A fall 2005 Parent’s Choice Gold Award winner for picture books, KAMISHIBAI MAN, is based on how the kamishibai man earned a living in the 1930’s through the 1950’s in Japan. This 32 page picture book in muted colors illustrates the timeless quality of Jiicahn’s home and then as he travels to the city the illustrations jump to the high rise buildings and looming traffic of the modern world. One illustration depicts the vast difference in the city that Jicahan remembers as he precariously rides his bicycle with a huge truck advancing upon him and blasting his horn for him to move out of the way. He finds the area where the park used to be now full of restaurants and stores. The gray hues of the illustrations versus the text of the story which tells of the beautiful trees now all chopped down to make room for the restaurants and stores. His box for his performance and the pictures that tell the stories are authentically illustrated. Although his return to the city does not attract the children as it did in years past the adults gather to hear the stories they remember from their childhoods. The illustrations of the adults show them in contemporary clothing of modern day Japan with the business women and men dressed in business suits and others in their casual clothing. Facial expressions are varied, some wearing eyeglasses and eyes shining as they go back to their childhood. The illustrations of the young children listening to the kamishibai man are shown in contemporary clothing as well. Then in the last illustration Jicahan is back at home with his wife in the traditional setting of the Japanese home, with them eating, sitting on the floor dressed in their traditional Japanese clothing. The modern television reflects changes in society, but the news story of the day by the young man carrying the camera was of the return of the kamishibai man. The names of Jicahan and Baachan mean simply Grandpa and Grandma. Although they did not have children of their own it is obvious that they have a love for children with his passion for storytelling and hers for making the candies for the children.

The foreword explains what the kamishibai means “paper theater”. The kamishibai man of Japan would ride a bicycle with a wooden box mounted on the backseat. The box had drawers full of candies and a stage on top. This is reminiscent of his childhood in Japan. The stories told by the kamishibai man were “cliff-hangers” to be continued. Each day would bring a new story, but they were actually a never-ending tale. In this book he introduces the tradition of the kamishibai man to his audience. The afterword is written by Tara McGowan, a Japanese folklore scholar. Historically the kamishibai is said to have stared in the 1930’s, but is part of a long tradition of picture storytelling in Japan. The kamishibai consisted of an easily transported wooden box which held the story pictures and candies. The performer would carry his stories from town to town. The storylines many times came from popular films. This was the poor man’s theater. They were abundant in Japan from the 1930’s to the 1950’s during the time of a great economic depression in Japan and following through until after World War II. After the advent of television the kamishibai became less desirable. People began to see it associated with poverty and backwardness. When the phase of the kamishibai passed many of the artists turned to the creation of comic books.

This is a well written book about the history of a specific type of storytelling indigenous to Japan which entertained children from the 1930’s to the 1950’s. Both the illustrations and the text give an authentic picture of the life of the kamishibai man.

Reviews

Horn Book Guide: In Say's nostalgic homage to kamishibai ("paper theater" of 1930s Japan), retired performer Jiichan essays a decades-later visit to his old haunts in a now-crowded city. Miraculously, recounting his story summons his former audience grown up, a throng of adults who greet him with affection and praise. Say's lovely paintings feature eloquent characterizations and evocative landscapes.

Booklist: In a foreword, Say explains that Kamishibai means paper theater and that years ago Kamishibai men were itinerant storytellers who traveled around Japan on bicycles with a big, wooden box mounted on the back seat. The box contained a miniature theater, and beneath it were drawers of candy that the performer sold to eke out a living. As a storyteller spun his tale, he used picture cards to illustrate dramatic points, finishing each time with a cliffhanger designed to entice the children in his audience to come back another time to hear the continuation of the story. Say's lovely new book is about an elderly Kamishibai man, long retired, who, missing his rounds, decides to pedal back to the old neighborhood for one last performance. The story-within-a-story that emerges reveals why this unique type of performance art has all but disappeared. The quietly dramatic, beautifully evocative tale contains a cliffhanger of its own, and its exquisite art, in the style of Kamishibai picture cards, will attract even the most jaded kid away from the TV to enjoy a good, good book.

Connection

Students draw illustrations and tell stories using their illustrations

KAMISHIBAI STORY THEATER: THE ART OF PICTURE TELLING Author: Dianne De las Casas ISBN 1591584043 – 25 folktales from across Asia for the classroom, Using the method of storytelling through pictures. Students could use these stories to share with each other, or other classes.

Other books by Allen Say

GRANDFATHER’S JOURNEY
TREE OF CRANES
THE BICYCLE MAN

Asian Pacific American Lit. DRAGONWINGS by: Laurence Yep

Bibliography: Yep, Laurence. 1975. DRAGONWINGS. New York: Harper & Row. ISBN 006440859

Summary

Moon Shadow, the young protagonist, arrives in San Francisco in 1903 to join his father, whom he has never seen, and leaves his mother and grandmother behind in China. The story follows the live of Moon Shadow, his father, Windrider, and other male relatives of the Tang family. The family earns a living laundering clothes for the white people whom they refer to as “demons”. His father dreams of building a flying machine which he calls Dragonwings. Eventually Moon Shadow and Windrider leave the family to live among the demons. This occasionally puts the two of them in perilous situations as their kind is not accepted within the general population. After many struggles Windrider finally accomplishes his goal of building Dragonwings, but crashes it after only a few minutes. Fortunately his injuries are non-life threatening. Windrider finally realizes that the most important thing in his life is his family and he loses his desire to build another aeroplane.

Critical Analysis

DRAGONWINGS is a 1976 Newbery Honor Book and is written by Laurence Yep, an Asian-American well known for his work in children’s literature. The cover illustration of the book represents Moon Shadow and Windrider as they fly one of his kites. The facial features of Moon Shadow show the detail of the Chinese face and with his father’s back featured, the traditional queue is noted in his hairstyle. The clothing they are wearing is the authentic clothing of the Chinese in early 20th century America. The book gives some background of the Tang people and the Chinese dynasty and how that history caused the arrival of so many Chinese to America in the late 1800’s and early 1900’s. Historically most of the men traveled to America without their families and sent money back home to their wives. The cost of the trip to bring families over, as well as the danger to the women and children kept them in China. There were stories of the Golden Mountain in America where the sun shines on the mountain and men can scoop buckets of gold, but it is the “demons” that get the gold. The title of the book is significant as the Chinese culture gives much honor to the dragon, unlike the Americans, the demons, who consider the dragon to be full of firebreathing rage. Uncle Bright Star had come to America originally and worked on the railroads as so many of the Chinese immigrants of the time did. Among the family, he was the traditional leader. Lefty, a member of the family, had cut off his right hand because he gambled so much and Black Dog had a big problem with drugs (opium). All of these problems were those that the Chinese of the time encountered in their lives in America. In Dr.Vardell’s discussion she addresses the fact that Laurence Yep chooses the names of his characters from some of the nicknames he hears in Chinatown. The Chinese Americans used colorful nicknames and he has authentically chosen nicknames that add meaning to the character. The book addresses the differences in the Chinese calendar and that of the Americans. The demon’s calendar is based on the movement of the sun with a certain number of days and months and seven day weeks. Moon Shadow then describes the calendar of his people which is based on the movement of the moon and the first day of the New Year changed each year as did many of their holidays. The Chinese week was ten days. All of this confused Moon Shadow. As Moon Shadow begins to learn the language of the demons his speech is choppy and sentences are short as is typical of those learning the English language. Please. I drink lot. Too much. You take tea. Moon Shadow also found the alphabet of the American language to be confusing as well with only twenty-six letters as the Chinese language has many different symbols. A historical event that was an important part of the history of early San Francisco was addressed in this book, the great earthquake of 1906. The reaction of the people from their can do attitude, to zombie appearance, to hysteria and greed and looting was all addressed in this book. Mrs. Whitlaw had a stained glass window that featured a dragon spewing fire and it was one of the few items that was saved from the ravages of the earthquake. Kites and flying have historically been a part of the Chinese tradition and this book takes us into the passion for this art even taking the reader into the world of the first aeroplanes. Finally; however, this book addresses families that work together, forgive each other and find that above all else family is most important. It shows the characteristic Chinese values of respecting and honoring the elders in the family.

The afterword explains that Mr. Yep considers this book to be a historical fantasy after reading about a young Chinese flyer Fung Joe Guey who flew the hills of Oakland in 1909 for twenty minutes before his plane went down. This is all the information he found about Fung Joe Guey, but it set him to thinking about all the Chinese that came to America with fears and hopes as others who came. To so many they were a dull, faceless mass, but he makes their story come to life.

Reviews

School Library Journal: Laurence Yep's Newbery Honor book (HarperCollins, 1975) offers insights into the lives of Chinese-Americans in early 20th century California. The story begins as eight-year-old Moon Shadow Lee journeys across the Pacific to join his proud and clever father at the family-owned laundry in San Francisco. The boy recounts their problems with prejudice, as well as the kindness of uncles and cousins. Father and son must leave the protection of the family to move out of Chinatown, but they find refuge with a generous and friendly landlady. Once they have successfully established a repair business, they turn their attention to making a flying machine. Though it's a modern invention, part of their motivation is the elder's belief in his own previous dragon existence. Yep draws heavily on his own heritage, but also includes figures such as Teddy Roosevelt and the Wright Brothers, and historic events such as the San Francisco Earthquake. The result is a heartwarming story set in a familiar time and place, but told from a new perspective. The quiet intensity of B. D. Wong's narration enriches the text as he creates memorable voices for a large cast of characters. Wafting, ethereal music signals the end of each side of the cassette, and the cover art is attractive. The only problem is the lightweight cardboard package, which is not sturdy enough for heavy circulation. That shouldn't deter libraries from purchasing this fine recording which will provide upper elementary and middle school listeners with lessons in history, and a gentle reminder of the value of a loving family and loyal friends.

Booklist: In this sensitive immigration novel, Moon Shadow leaves his mother in China and sails to America in 1903 to join his father, who lives in San Francisco's Chinatown, works in a laundry, and dares to dream of flying a biplane.

Connections:

Have students design a kite or bring a kite from home and have a “kite flying day”

Check your library for some of the many books about the invention of the air plane and the Wright brothers.

Other books by this Laurence Yep:

THE EARTH DRAGON AWAKES: THE SAN FRANCISCO EARTHQUAKE OF 1906

THE TRAITOR: GOLDEN MOUNTAIN CHRONICLES: 1885

DRAGON’S GATE…

And many others

Native American Literature THE GREAT BALL GAME by: Joseph Bruchac

Bibliography: Bruchac, Joseph. 1994. THE GREAT BALL GAME Ill. Roth, Susan L. New York: Dial ISBN 0803715404

Summary

The animals and the birds are in disagreement over who is the best. The animals thought they were better because they have teeth and the birds thought they were better because they have wings. They decided to have a ballgame and the one to get the first goal would be considered the best. As teams were set up, neither side wanted the bat. The birds said he could not be on their side because he was so little, so he went back to the animals and they felt sorry for him and let him be on their side. As the game progressed and night approached it seemed as if the birds would win; however, in the end the animals won with the help of the bat who could see so well at night.

Critical Analysis

This Native American folktale (a Muskogee Story) is retold by Joseph Bruchac. An author’s note explains that this story is from the Muskogee (also known as the Creek) Indian Nation in an area we now know as Georgia. Many ball games were played throughout the centuries in the Americas. Stories of games between birds and animals are found throughout not only the southeast but the northeast and plains regions as well. This version is based on a story told to the author by Louis Littlecoon Oliver, an Oklahoma Muskogee elder. The game chosen for this tale is a game similar to a lacrosse-like sport using two rackets, one in each hand. Historically playing games are documented throughout the tribes of Native Americans. Lacrosse and stickball originated in the Native Nations of North America. Mr. Bruchac is a renowned author and student of Native American history. His origin is Abenaki Indian, English and Slovak.

Native Americans are known for their storytelling and this picture books retells the story of why the birds fly south in the winter. According to this story it is because they lost the game of stick ball that they played against the animals. The collaged illustrations in vibrant reds, blacks, browns and shades of gray and white are two paged spreads. The animals and birds do have the nose and mouth; however, the most prominent facial feature is the eyes which are typical of the illustrations in Native American books. The illustrations early on show the animals and birds arguing, and then their leaders the Crane and the Bear agreeing to have a ball game. As the game is played the animals and birds are shown with the two rackets, one in each hand.

Because this is a picture book it is difficult to find cultural markers, but the story itself is indicative of the stories that the Native Americans shared to explain forces in nature and the changing of the seasons.

Reviews

Horn Book Guide: The Birds and the Animals decide to settle a disagreement with a stickball game, and the first side to score sets the losers' penalty. Bat, originally excluded from both teams, flies at dusk to help the Animals win. The Birds' penalty? They must leave for half of each year, which explains why birds fly south each winter. Artful cut- and torn-paper collages feature creatures juxtaposed against brilliantly colored or patterned backgrounds.

Booklist: In this Muskogee Indian tale, the birds argue with the beasts about which are better--those with teeth or those with wings. When the quarrel escalates to the brink of war, both sides agree to settle their disagreement on the playing field. The first side to score a point will set the other's punishment. The bat, who has wings as well as teeth, is initially spurned by both sides, then permitted to join the beasts. He scores the goal and banishes the birds for half the year. "So it is that the Birds fly south each winter. . . . And every day at dusk Bat still comes flying to see if the Animals need him to play ball." Roth's dynamic collages combine cut papers of varied textures and hues to create a series of effective illustrations. Short and well told, this appealing pourquoi tale lends itself to reading aloud.

Connections:

This book could be used with a science unit on seasons.

Other books on Native American Folktales by Joseph and James Bruchac

THE GIRL WHO HELPED THUNDER AND OTHER NATIVE AMERICAN FOLKTALES (to be published in April 2008)

WHIRLWIND IS A SPIRIT DANCING: POEMS BASED ON TRADTIONAL AMERICAN INDIAN SONGS AND STORIES

Native American Literature SEES BEHIND TREES by: Michael Dorris

Bibliography: Dorris, Michael. 1996. SEES BEHIND TREES. New York: Hyperion ISBN 0786822155

Summary

A young Indian boy, Walnut, reaches the age where he must pass the trial of accuracy in shooting to become a man and receive his new name. Walnut has very poor eyesight, so a special test is given to the boys this year. This test requires them to “see” with their eyes shut. Walnut’s mother has worked with him on this technique and when he passes, the tribe is amazed and he is given his new name Sees Behind Trees. His skill is tested when he goes with Gray Fire to find the most beautiful place in the world a place he calls Land of Water. A place that Gray Fire found as a youth, but was never able to find again. On their trek they run across strangers, the first that Sees Behind Trees has ever seen. This couple has a little baby hidden behind their camp. As they venture on Sees Behind Trees finally hears the noises of the water and Gray Fire is finally back at the place he found so beautiful. Gray Fire goes to his death and Sees Behind Trees must return to his home with only his weak eyes and sense of sounds to send him back home. He comes across the campsite of the strangers and finds it destroyed and the couple gone, but again the baby is hidden in the bushes. He gathers the baby up and is successful in sensing his way back home.

Critical Analysis

This is a well written book about the coming of age of a Native American boy. It gives a unique look at a boy who must find a way to become a man without having the ability to be accurate with a bow an arrow. It is his mother who helps him to accomplish this task. I was quite surprised that the mother was in charge of teaching the boys to hunt. Stereotypically I had envisioned the mother as taking care of the needs of the home and the father providing the game and teaching the boys to hunt. Evidently this is not the way of the tribe in the book. Mr. Dorris’ heritage includes some Native American and he is careful to represent the Native American’s in this book historically correct. Because Sees Behind Trees meets his first strangers at the age of twelve one assumes this tribe is a tribe that is not mobile, but makes their home in one place. The book has a unique twist to it as it tells the story from the point of view of the young protagonist, Sees Behind Trees. Hunting was important to his tribe and because of his poor vision; Sees Behind Trees is unable to use the bow and arrow accurately. The story evolves as Sees Behind Trees develops his unique gift of using his other senses of hearing, feeling and sense of smell to help him overcome what seems like a huge handicap in his life with his limited sight. This book was full of cultural markers beginning with the passing from boyhood to manhood by members of this Native American tribe. The boys become men in their twelfth year when they pass the test of accuracy in shooting their bows and arrows. This is a skill that is taught to the boys by their mothers. This rite of passage takes place in what the Native Americans consider the twelfth year; their years are counted by the passing of the moon. In the white man’s world it would be the thirteenth year. The weroance who is in charge of the test announces that “when a boy passes the test he is no longer a boy and no longer wears a boy’s name.” Walnut is given the name Sees Behind Trees. The new name is significant in some way to the boy’s abilities. Sees Behind Trees is gifted at knowing who is coming or what surround him by the sounds made rather then what he sees. The tribe sees this gift as “magical powers”. The children were taught to be respectful of their elders. When Gray Fire tells the story of his visit to the Land of Water, Sees Behind Trees accepts this as a gift and thanks Gray fire for the gift of the story. Gray Fire is described as “not a tall man – slightly bent with age…his black air was streaked with white, and his face was brown and round as a chestnut. Many of his teeth were missing from their places.” This descriptive passage details the look of this tribe of Native Americans. There was an almost magical event taking place as Sees Behind Trees and Gray Fire made their way to the Land of Water. Gray Fire had a distinctive limp from his injury as a child, yet when they were making their way to Land of Water his steps appeared lighter, his limp unnoticeable and his tracks in the snow almost invisible. Sees Behind Trees steps were very noticeable in the snow. Gray Fire taught him tracking skills as they went along. Even though Sees Behind Trees had poor eyesight he taught him to notice things such as the moss on the trees. These were skills that Native Americans taught their children. When they ran across the “strangers” people not from their tribe, it was the first time in Sees Behind Trees life that he had encountered others. The strangers, Gray Fire and Sees Behind Trees had to use rudimental signs for eating and names as they were unable to understand each others language. This is indicative of the many languages that the Native Americans spoke. Each tribe was unique and Native American cultures should not be grouped as one. When Sees Behind Trees and Gray Fire make it to the Land of Water, although it is not specifically stated it is indicated that this is where Gray Fire has gone to complete his life. He disappears and is not seen again. Here in the Land of Water Sees Behind Trees is also able to receive perfect sight, if only for a little while. He sees the moon and the individual leaves on the trees, something he has not been able to do before. This soon fades, but leaves the reader with the thought that this was a spiritual moment for Sees Behind Trees.

Reviews

School Library Journal: Young Walnut doesn't see very well, and can't hunt and prove to his tribe that he is ready to be an adult. By using his other senses, he earns the respect of his people and a new name: Sees Behind Trees. He sets off on a journey with Gray Fire and faces the most difficult task-to save himself and find his way home.

Horn Book Guide: I Walnut is given a new name, Sees Behind Trees, because of his finely tuned hearing. He accompanies Gray Fire, the brother of the chief and hunting expert, on a journey where they meet strangers, experience beauty, and ultimately endure loss. While the plot is not entirely convincing, this short novel creates a strong sense of place and provides a glimpse of the Powhatan Indians of Virginia.

Connections

Using the setting of the story and the life of these Native Americans brainstorm the area of North America that they might live.

Other books by this author:

MORNING GIRL ISBN 078681358
GUESTS ISBN 0786813563

Two book by Joseph Bruchac that deal with the coming of age of Native American boys and Girls:

FLYING WITH EAGLE, RACING WITH GREAT BEAR
THE GIRL WHO MARRIED THE MOON

Native American Literature INDIAN SHOES by: Cynthia Leitich Smith

Bibliography: Smith, Cynthia Leitich. 2002. INDIAN SHOES. Ill. Madsen, Jim. New York: HarperCollins ISBN 0060295317

Summary

There are six stories about a Cherokee-Seminole boy named Ray who is being raised in Chicago by his grandfather. It is a story of family, life’s lessons and community. Ray realizes that his grampa is homesick and knows that he can’t afford a bus ticket for his grampa to go back to Oklahoma to visit relatives, but has seen a pair of moccasins in a shop that reminded grampa of home so he trades his high-top shoes so grampa can have the moccasins. Although Ray and Grampa usually go to Oklahoma on Christmas this year they are unable to because the pickup broke down. They find themselves caring for the animals of neighbors gone for the holidays. After the electricity goes out they collect the menagerie and bring them to the warmth of their home. The stories all revolve around the relationship between Ray and his Grampa.

Critical Analysis

I have to admit that I was not impressed with this book. I found the sentence structure choppy and felt that there was too much information compressed into one story. In the first story which takes the title of the book “Indian Shoes” one paragraph said “meanwhile Grampa Halfmoon talked about this wild-haired mutt he’d had when he was a kid an how he’d named it Catastrophe. Grampa talked about Ray’s parents, who were killed by a tornado back when Ray was just a babe. And Grampa talked about how he used to take Ray’s daddy fishing by starlight.” When I read a book I like more detail. I would like to know the story of how the dog came to be called Catastrophe, or more about the tornado that killed Ray’s parents. When Ray came home with the moccasins how did his Grampa feel, what was his reaction? I missed the endings to the storylines, they seem incomplete. The book did draw upon the close relationship of Ray and his Grampa which is an important component in Native American cultures. It also is a book that does not focus on the Native American, but rather a contemporary urban family relationship. I realize that this is considered a “beginning chapter book” and maybe that is why I did not enjoy it. I did read in Dr. Vardell’s notes that in the language and style of Native American books much is implied, rather than stated directly, that details and descriptions may seem sparse and few and that plots may seem indirect or even boring to the naïve reader. I guess that makes me a naïve reader. Also from my notes I knew that the author of this book had won an award a Wordcraft Circle award given to Native authors and presented at their annual conference, so I felt that if her writing was worthy of recognition by a group of her contemporaries she must be on the right track with the portrayal of the Native American. I also went to http://www.oyate.org/, an organization that evaluates fiction about Native people as well as text, resource materials and conducts workshops. The book INDIAN SHOES was on the recommended list of reading.

Searching for cultural markers in the text I found it curious that Grampa Halfmoon had what I would consider to be his “Indian” name. I don’t know if this is culturally acceptable, but the other family members had names like Ray, Wilhelmina and Leonard. There did not seem to be significance to the name Halfmoon. Grampa used phrases such as don’t fret and I reckon, but Wilhelmina and Leonard did not have this dialect. Since they all came from the same area of Oklahoma I found this to be curious. The group with which the family belonged was described as Cherokee-Seminole. When visiting Oklahoma Ray wrapped himself in a Cherokee Seven Clan quilt and I assume this connects with the seven clans of the Cherokee. While fishing together early one morning Grampa tells Ray he can still feel Ray’s father there at times. This was where he and Ray’s dad fished when he was a boy and Ray replies “so can I”. This might connect to spirituality, but could also be memories. The pencil illustrations reflect the noticeable cheekbones of the Cherokee and Grampa wears his long hair pulled back into a ponytail. Other than the facial features there are no noticeable markers. They wear the typical clothing of contemporary families. When reading the text I think of Grampa as an old man maybe in his 70-80’s, but the illustrations reflect a much younger man.

Ms. Smith has written the story to focus on the storyline versus the heritage of the characters and it seems from our reading that is what those involved in the advancement of multicultural literature are looking for, contemporary fiction with characters of various ethnicities. Ms. Smith’s book has met these criteria.

Reviews

School Library Journal: Smith adds her voice to the precious few authors portraying realistic contemporary life for Indian children. Although she tells little of his background, the author uses six vignette chapters to introduce Ray, an affable mixed-blood Cherokee-Seminole boy living in Chicago with his Grampa Halfmoon. With humor, compassion, and ingenuity, Ray trades his own high-tops for some old-time Seminole moccasins for his grandfather, overcomes wardrobe trouble to serve as ring bearer in a family friend's wedding, and harbors a houseful of neighbors' pets during a winter power outage. He wins third place in a local art contest, inspires team spirit for his baseball team with a unique and colorful haircut, and enjoys the quiet splendor of a predawn fishing trip with his grandfather during a visit with relatives in Oklahoma. There are no mystical nature spirits or cathartic history lessons, only the everyday challenges common to any contemporary kid, as experienced by an Indian boy who is firmly grounded in his own family's heritage. With its unadorned portrayal of urban Indian life, Shoes is a good book for any elementary-aged reluctant reader, and a necessity for indigenous children everywhere.

Connections

Venn Diagram: Compare/Contrast Ray’s relationship with his Grampa with students’ relationships with their grandparents.

Write and illustrate a story about a fun time with a grandparent.
References: http://www.oyate.org/ (accessed June 30, 2007)
Lecture notes Dr. Sylvia Vardell, Texas Woman’s University 2002.
http://www.manataka.org/

CANTO FAMILIAR by: Gary Soto (Hispanic/Latino(a) Literature)

Bibliography: Soto, Gary. 1995. CANTO FAMILIAR. Ill. Nelson, Annika. Orlando, FL: Harcourt ISBN 0152000674

Summary

CANTO FAMILIAR is a collection of twenty-five poems by Gary Soto celebrating memories of his childhood, familiar things that bring memories of school, home and friends to all of us. Many of the poems are interlingual using the Spanish language to add color and authenticity to the poetry relating more specifically to the Mexican culture.

Critical Analysis

Gary Soto is an award winner author who shares his Mexican American heritage with his readers. As an “insider” some of the poems in this collection are interlingual with the carefully placed Spanish words interspersed throughout to give the reader an accurate account of his youthful adventures in the barrio where he was raised in California most bring back childhood memories of a child of any color or culture. They are everyday experiences of children at play, with family and friends. As a “white” American I particularly enjoyed the poem “Tortillas like Africa”. The poem so vividly represents the feelings I have had when I have attempted the homemade tortilla. Mine also come out in various shapes; it is definitely a task that takes much guidance to make the round tortilla. In this poem one line says “And laughed when we threw them on the comal”. Although I have very limited knowledge of the language, it is apparent that the comal is the pan that the tortillas are cooked in. It is words such as this that adds to the authenticity of the memories of Gary Soto. Another poem that deals with a Mexican American favorite food is the first poem in the collection “Papi’s Menudo” with “tripas wagging like tongues on the bottom when you take a spoon and taste”. Menudo is a favorite Mexican American food of my husband and son, but a taste I have never acquired. Dr. Vardell mentions in her notes that he has two cats and it is apparent that these are part of the family as he includes a couple of poems about cats in his collection. One he has titled “Pleitos” and it begins with “Pleitos, my gatto with all nine lives”. Even one with no knowledge of the Spanish word gatto would realize with the context clue of all nine lives that this was the cat. It is also apparent in the blending of English/Spanish in the poem “Que hora es? that the man and woman are asking “What time is it?”. Nelson’s illustrations take a rectangular shape with a bold black outline and vibrant colors. The illustration that accompanies “Nopales” characterizes the different skin tones within the Mexican American group. The dominant dark brown eyes are apparent in each illustration. Only one illustration truly brings to mind the Mexican American clothing, which would be the poem “Sarape” when the boys are holding the sarape and the baby is bouncing on it. The illustrations address the storyline of the poems quite well.

With this class in mind, I shared some of the poetry in this book with my fifth graders at the end of the school year. They enjoyed reading it with me and helping me with the unfamiliar Spanish words. They particularly enjoyed the poem “Spanish” with my slaughtering of Spanish words with the rolling rrr.

Reviews:

Horn Book Guide: In this companion volume to the widely acclaimed Neighborhood Odes, Soto continues his reveries in poems that illuminate the minutiae of everyday childhood experience. Some refer specifically to his own Mexican-American boyhood, while most describe moments that will spark recognition in any child. Accompanied by colorful illustrations, the poems are marked by short, point-blank phrasing and unrhymed vernacular.

Kirkus Reviews: This humorous, tender collection of 25 poems and full-color linocuts about the daily life of Mexican-American children is a companion book to Soto's Neighborhood Odes (1992). Invoking ordinary domestic and community incidents, it's a fine introduction not only to poetry but to Chicano culture. In ``Papi's Menudo,'' a father enjoys a favorite dish; the narrator of ``Music for Fun and Profit'' gets paid not to play an instrument; and ``My Teacher in the Market'' explores the amazement of a child upon seeing a teacher outside of class. The poems are generally descriptive rather than abstract, more concerned with communicating feelings than with literary style, and most are free verse, without regular cadence or rhyme scheme. Nelson debuts with scenes--homey, comfortable, bright--that make the book even more accessible.

Connections

The poem “Music for Fun and Profit” could be used to introduce musical instruments or could be used in either science or music when teaching the concept of sound.

A companion book to CANTO FAMILIAR - NEIGHBORHOOD ODES by Gary Soto ISBN 0152568794

ESPERANZA RISING by: Pam Munoz Ryan (Hispanic/Latino(a) Literature)

Bibliography: Ryan, Pam Munoz. 2000. ESPERANZA RISING. New York: Scholastic. ISBN 0439120411

Summary:

Esperanza and her mama and papa are happily ensconced on the land that has belonged to her papa’s family for generations. They are surrounded by a luxurious life that soon comes to an end as her papa’s life is taken. Her uncles force themselves into the position of authority and when Esperanza’s mama refuses to marry her uncle, the house is destroyed by fire. Her mama realizes they must escape Mexico and cross the border to escape the uncles’ demands. With the help of family friends and a family of farm workers they are able to escape from Mexico. Esperanza finds her life forever changed. Now instead of being waited upon she must work on the farm in California in order to survive. The book takes the reader through struggles with mama’s illness, threatened farm worker strikes, and ridicule from others because of her past luxurious life. Ultimately Esperanza grows through the changes that are forced upon her because of the circumstances in her life.

Critical Analysis:

The story that evolves in this book is based on the experiences of the author, Pam Munoz Ryan’s, maternal grandmother. The book was nominated for many awards in 2003 including the Texas Bluebonnet Award. It was the 2003 winner of the prestigious Pura Belpre Award. This book historically portrays the lives of the migrant workers who came North from Mexico to make a better life for themselves and their families. The hardships endured during the 1930’s included not only the hardships of the migrant life itself, but also the competition for work with families moving from Oklahoma who were victims of the Dust Bowl as well as those who had lost work because of the depression. Even within the groups of migrant workers there was tension and the landowners worked to keep the groups apart so they could not combine efforts to form strikes and stop work. The Mexican workers did not receive the amenities that those from Oklahoma received such as hot water and they would lose their jobs to those coming from other states. I found it interesting that the author gave titles to the chapters that related to the seasonal crops rather than numbered chapters. That is the way the migrant workers thought of the years, not as months, but as seasons. The chapters were titled in Spanish with the English name given below. The author used kinship words that would be familiar to the English reader such as tio, mama, abuelita and mija. There is “double talk” when abuelita speaks in the book. An example is Abuelita nodded and said thoughtfully, “No hay rosa sin espinas. There is no rose without the thorns.” There is not much dialogue in the book that includes Abuelita talking so it is not problematic within the text. Culinary words such as tortillas and frijoles were used, but I do not see this as being used just to throw in Spanish words. I am sure the migrant workers had little else to eat except for the food they would bring in from the harvest. Josefina, the child of one of the migrant workers, was described as plump with a round face and a complexion that was fairer than Esperanza’s and another child described as delicate and frail with big brown eyes, long braids and skinny legs. She looked like a young deer. These are authentic markers describing the features of the young girls. Esperanza compares the look of her mother’s beautiful black hair which she kept pinned up as the wife of the landowner in Mexico and then lets hang down long as the migrant worker she becomes. When the group arrives by train from Mexico they are met by a family member and all pile into a pickup with the younger ones traveling in the back on the way to the farm. They stop to pick up others on the road. This is authentic in the culture of the day (1930’s migrant workers). The clothing of Esperanza and her mother are also compared with the finery in their home in Mexico and the daily ill fitting clothing that is given to them upon arrival to the migrant camp.

This author uses her family history to give her account of life in the migrant camps during the 1930’s and appears to this Caucasian reviewer that her story authentically tells the life of the Mexican migrant workers of the time.

Reviews:

Horn Book Guide: In this poignant look at the realities of immigration, thirteen-year-old Esperanza, daughter of an affluent Mexican rancher, is forced to trade fancy dolls and dresses for hard work and ill-fitting hand-me-downs after her beloved father dies. Laboring in the United States, picking grapes on someone else's land for pennies an hour, Esperanza is transformed into someone who can take care of herself and others.

Booklist: Moving from a Mexican ranch to the company labor camps of California, Ryan's lyrical novel manages the contradictory: a story of migration and movement deeply rooted in the earth. When 14-year-old Esperanza's father is killed, she and her mother must emigrate to the U.S., where a family of former ranch workers has helped them find jobs in the agricultural labor camps. Coming from such privilege, Esperanza is ill prepared for the hard work and difficult conditions she now faces. She quickly learns household chores, though, and when her mother falls ill, she works packing produce until she makes enough money to bring her beloved abuelita to the U.S.. Set during the Great Depression, the story weaves cultural, economic, and political unrest into Esperanza's poignant tale of growing up: she witnesses strikes, government sweeps, and deep injustice while finding strength and love in her family and romance with a childhood friend. The symbolism is heavy-handed, as when Esperanza ominously pricks her finger on a rose thorne just before her father is killed. But Ryan writes movingly in clear, poetic language that children will sink into, and the books offers excellent opportunities for discussion and curriculum support.

Connections:

VOICES FROM THE FIELDS: CHILDREN OF MIGRANT FARMWORKERS TELL THEIR STORIES by: S. Beth Atkin ISBN 0613274326

TOMAS AND THE LIBRARY LADY by: Pat Mora ISBN 0679804013

LISTEN TO THE DESERT OYE AL DESIERTO by: Pat Mora (Hispanic/Latino(a) Literature)

Bibliography: Mora, Pat. 1994. LISTEN TO THE DESERT OYE AL DESIERTO. Ill. Mora, Francisco X. New York: Clarion ISBN 0395672929

Summary: This picture book is a bilingual description of some of the sounds found in the desert of the Southwest. The text is very simple and is written with young children in mind. The sounds of the toad, dove and snake among others are repeated twice in English and twice in Spanish.

Critical Analysis:

The author is a native of the desert area of El Paso, TX and has taken her experiences with the animals found in this desert and developed a book with simple parallel text in a bilingual format. The rhythm of this book makes one consider a poem put into the form of a book. This picture book is set up in a double page spread. Within each spread is a four line text with the text repeated twice in English and then twice in Spanish. The text is rhythmic with the owl whoo, whoo, whoo and uuu, uuu, uuu and allows for comparison of the two languages. The rhythmic verse makes it a fun read aloud for young students. The illustrations cover the two page spread with the blue sky setting the background for each spread and each introducing a different desert animal and the sound it makes. The pages have a bright blue and red geometric design across the bottom and the animals are colorfully illustrated with some taking on the natural colors of the animals (the coyote and the dove), but others less realistic in color (the green toad). As a native of West Texas the most common toad is the horned toad which blends in with the West Texas desert. The snake is depicted with the geometric designs seen in the border of each page and his “rattle” on his tail is a baby-rattle. Since this is a picture book for young children one would not expect the illustrations to be totally realistic.

Because of the format of this book analysis is limited to the authenticity of the Spanish language and knowing the background of Ms. Mora and her reputation as a noted author within children’s literature it is my opinion that the Spanish within the text is authentic.

I was excited to find as I looked through the book to find the title page was autographed by the author during her visit to our school in April 2005. It was nice to see it within the library collection.


Horn Book Guide: Appropriate for the young age of the intended audience Age: the book's design emphasizes the spaciousness and spareness of the desert." This paean to the desert exhorts the reader to listen -- to the toad and the coyote, the rain and the wind. The simple, repetitive, bilingual text invites participation, giving the sounds in both languages (the owl says whoo.

Kirkus Reviews: very simple text, with each line (``Listen to coyote call, ar-ar-aooo, ar-ar-aooo/El coyote canta, ahúúú, ahúúú, ahúúú''; ``Listen to the wind spin, zoom, zoom, zoom...'') repeated twice in English plus twice in Spanish, becomes a rhythmic, lyrical bilingual chant suggesting the onomatopoeic powers of both tongues. Owl, dove, toad, snake, fish, mice, and rain complete a roster, supplemented by spreads whose pleasingly spare designs feature handsomely stylized figures beneath a mellow sky. A brightly decorative geometric motif runs through the pages to tie it all together. An attractive book for introducing the desert- -and a second language--to young children.

Connections:

An author study of Pat Mora

Use this when studying a unit on biomes – Venn Diagram (compare/contrast) desert sounds with sounds from area students live in.

If you are in an area with students of other cultures and experiences rewrite the book using the English and their native language.

African American Literature BLUES JOURNEY by: Walter Dean Myers

Bibliography: Myers, Walter Dean. 2003. BLUES JOURNEY. Ill. Myers, Christopher. New York: Holiday House. ISBN 0823416135

Plot Summary:

This is the story of the African-American’s journey in America from the time of slavery and the hard times in their lives through this journey. The book is written in the blues format that was brought to America from Africa during the slave trade.

Critical Analysis:

When I first picked up this book to read I thought it was going to be a story of a road journey with a mule named Blue. What a surprise when I turned to the back cover and found it is a book about the American Blues Music! This is a work by father/son Walter and Christopher Myers of the journey of the “Blues” music. The book is written in the call/response music form that history has called the “Blues” which is a cultural marker in itself. The “Blues” musical style has been a part of the African American culture since slaves were brought over across the ocean. Walter Myers has used the poetic lyric tunes to tell the journey and Christopher has used his illustrations to visualize the story. The blue and brown hues holding the background of the pages connect the blues music and the dark skins of the African Americans who are telling their stories. Cultural markers are found throughout the book in the text with such words as “Blackbirds fly, the hound dogs howl and bark, yes blackbirds fly, you know hound dogs howl and bark I see my true love sitting, crying in the dark.” African Americans have often been called “blackbirds” and this verse brings visions of one fleeing from slavery with the hound dogs tracking the scent as if the one hunted were an animal. Another vivid image comes from “Strange fruit hanging, high in a big oak tree Strange fruit hanging, high in a big oak tree You can see what it did to Willie, can you see what it does to me?” This reminds the reader of lynchings that took place as recently as the 1960’s in America’s south during the Civil Right’s movement. It is very difficult to choose illustrations as examples because each page sets the clothing, facial expressions, body language so readily with the text. One of the most impressive illustrations reveals two young boys peeking through a screen window their facial expressions showing concern for what is outside. The illustrations each show the facial expression and body movement that blends the illustration to the text. For example: "Blues, blues, blues what you mean to me? Blues, blues, blues what you mean to me? Are you my pain and misery, or my sweet, sweet company" illustrates young African Americans expressing their love for the music with imagined celebratory movements. The rippled muscled arms and swinging of picks reveals the life of the African Americans as they work the land as prisoners with the guard with his rifle silhouetted in the background. The Blues Glossary at the back of the book was particularly beneficial to me as some of the language in the cultural sense was unfamiliar to me. I was not aware that Parchman’s was a harsh prison in Mississippi and that was explained in the glossary as well as other unfamiliar expressions. Before beginning the book there is a brief history of the “Blues” and this was very informative for those who are unfamiliar with the “Blues” music.

Reviews:

From School Library Journal: Blues- what you mean to me?/-Are you my pain and misery,/or my sweet, sweet company?" The opening verse of this latest father/son collaboration probes the very essence of a form-and a feeling; it asks the question that anyone who has sought solace in music can relate to. This new duet is the blues: verbally and visually, it explores the idiom while exemplifying it. A call and response accompanies each painting. The poetry is given a variety of voices by the ever-changing cast and settings: three figures in a horse-drawn cart on a lonely road; two children sitting on a curb-one crying, the other comforting; workers in a chain gang; a brother and sister sharing a bed, head to toe. The tightly controlled, yet endlessly surprising palette consists of blue (ink), white (paint), and brown (paper bags). Many of the bodies and backgrounds are literally blue, with white highlights. This chilling effect is tempered by the warm texture of the brown bags. As the journey progresses, the lyrics and art look at loss through the lenses of slavery, poverty, lynching, love spurned, fear of dying-and of living. An author's note provides a lucid description of the history, elements, and importance of the blues. Symbolism is explored in a glossary. Artist and author push the idiom-and the picture book-to new dimensions. Their song will slide through readers' ears and settle into their souls.

Booklist: The blues' deceptively simple rhyme scheme tracks the deeper feelings of lives that have been bruised. In this picture book for older readers, Myers offers blues-inspired verse that touches on the black-and-blue moments of individual lives. His son Christopher's images, which illustrate the call-and-response text, alternate between high spirited and haunting. Myers begins with a very necessary introduction to the history of the blues that includes an explanation of the rhyme scheme. Still, the level of sophistication necessary for kids to get into the book is considerable: "Strange fruit hanging, high in the big oak tree / Strange fruit hanging high in the big oak tree / You can see what it did to Willie, / and you see what it did to me." Myers' original verse is unsettling if young people know the reference from the Billie Holiday song, but unclear if they don't ("strange fruit" is defined in the glossary). The accompanying illustration, though it's one of the less inspired ones, helps clarify things--a boy walks in a crowd carrying a sign saying, "yesterday a man was lynched." But there's no cohesion between the spreads, and the next one features a blues singer at a mike: "The thrill is gone, but love is still in my heart . . . I can feel you in the music and it's tearing me apart." Much of Myers' poetry here is terrific, by turn, sweet, sharp, ironic, but it's the memorable collage artwork, executed in the bluest of blue ink and brown paper, that will draw readers first. Once inside the book, some children will immediately hear the songs the poetry sings; others will have to listen more closely.
Connections:

http://www.pbs.org/theblues/classroom/defhistory.html This PBS site has some music clips that you might want to share with your students so they can hear the soulful voices that make the blues what it is.

Music teachers might want to use this book as an introduction to the study of the blues music.

Students could write a “blues” song about a difficult time in their lives and the less timid might be willing to share it musically.

Books Related Subject:

SOPHISTICATED LADIES: THE GREAT WOMEN OF JAZZ by: Leslie Gourse ISBN 0525471987

BLACK CAT BONE: THE LIFE OF BLUES LEGEND ROBERT JOHNSON by: Patrick J. Lewis ISBN 1568461941

BESSIE SMITH AND THE NIGHT RIDERS by: Sue Stauffacher ISBN 0399242376

Review author Jacqueline Woodson HUSH African-American Literature

Bibliography: Woodson, Jacqueline. 2002. HUSH. New York: G.P. Putnam’s Sons. ISBN 0399231145

Plot Summary:

Toswiah Green becomes Evie Thomas after her family is forced to flee Colorado following testimony by her father, a black police officer, who testified against white officers in the slaying of a teenage black boy. The story takes the reader through the many adjustments that must be made by the Green family as a result of the choice of Toswiah’s father to testify. Her father becomes withdrawn and depressed and her mother finds religion. The book sends the reader back to Colorado and the family’s previous life and then back to the reality of the new found life.

Critical Analysis:

Toswiah and her family are accepted in the predominantly white neighborhood in Colorado where her father was one of the few black police officers. I have chosen to use “black” in this analysis as that is the term used in the book. This cultural marker is more often “African American”. The families are a close knit group. There is the occasional racial joke that her father ignores, but for the most part there is no discrimination. The effects of racism and legal discrimination were addressed within the contents of this book. When Mr. Green decides to give his truthful report of the events that transpired in the shooting of a black teenager, attitudes changed. He turned on the white officers and refused to accept their report that the young black boy was apparently reaching for a gun when he was shot. Although the book allows for the aspect of racial tension I believe that some of the negative results of the decision by Mr. Green to step forward would have occurred if only “white” officers were involved. The Code of Blue that we hear and read about, whether truth or fiction is not necessarily tied to ethnic groups, but rather the police officers themselves. The question arises – would the others in the department insisted on maintaining the Code of Blue if Mr. Green were white? Regardless, there are phone threats to the family and shots are fired through the windows. Another theme noted throughout this book was the loyalties and obligations that the family felt one to another. Each family member struggles with the adjustments that the family faces and finds that the struggles are almost insurmountable. The father felt so guilty about his decision to be truthful and uproot his family that in the end he attempted suicide, the mother turns to religion and becomes an avid Jehovah’s Witness. Some people might find the portrayal of this religious group as described in this book somewhat offensive. The mother is seen as somewhat of a religious zealot. Anna, the older daughter, strives for high grades for early admission to college and Evie, the younger, struggles to find her place in the family. Toswiah’s father calls his two daughters his “copper pennies”, this would identify as a cultural marker (forms of address or endearment as well as description of skin color), and has a pleasant loving tone about it. When Toswiah and her family move to their new home there are more black people, but it is difficult for Toswiah to make friends. Because the family has moved to a community that has more black people you would assume that it would be easier to make friends, but for those of us who moved often in our childhood we know that is not always true, personalities reflect as much in making friendships as skin color. There are few cultural markers noticeable in this book. It is more about changes, albeit unusual circumstances, in a young girl’s life.

Reviews:

Horn Book Guide: Twelve-year-old Toswiah relates the devastating story of how her middle-class, African-American family was forced to enter the federal witness protection program after her father testified against two fellow cops who killed an innocent boy. Woodson tells a story of people torn apart by grief who eventually find a way to leave their sorrow in the past; her poetic, low-key yet vivid writing style conveys the story's atmosphere of quiet intensity.

Voice of Youth Advocates: Toswiah is twelve when her family enters the witness protection program. Her police officer father breaks the "Blue Wall of Silence" and testifies against fellow officers accused in the death of an unarmed young African American. The threats of violence escalate until the family members go into hiding. As healing begins, there is hope that Toswiah's family will reconnect and redefine its future. This complex novel is written in a deceptively simple style. There are parallels and symbolism to generate discussion, but the bottom line is that Woodson is a graceful storyteller, skilled at expressing emotions and encouraging thought in a few, well-chosen words.

Connections:

Other books by this author:

COMING ON HOME SOON. 2004. ISBN 0399237488
LOCOMOTION (Poetry). 2003. ISBN 0399231153
MIRACLE’S BOYS. 2000. ISBN 0399231137

Poem: Poetry Break – Read this poem after finishing the book Hush and let the students consider how it relates to the “odd remnants” left of Evie’s family.

Quilt
By: Janet Wong

Our family
is a quilt

of odd remnants
patched together

in a strange
pattern,

threads fraying,
fabric wearing thin –

but made to keep
its warmth

even in bitter
cold.

[from Kingfisher Book of Family Poems (Houghton Mifflin, 2003)]

Review Book Illustrated by Jerry Pinkney GOIN' SOMEPLACE SPECIAL (African-American Literature)

Bibliography: McKissack, Patricia. 2001. Ill. Pinkney, Jerry. New York: Atheneum Books for Young Readers. ISBN 0689818858


Plot Summary:

The story tells a fictionalized version of events taken from the author’s childhood as she grew up in Nashville, Tennessee during the segregated 1950’s. ‘Tricia Ann asks her grandmother for permission to “go somewhere special” by herself. After her grandmother agrees, ‘Tricia Ann begins her adventure out of her neighborhood alone. She faces many of the obstacles of the Jim Crow era in Southern American life. She finds “her place” on the back of the bus, visits the park and finds the benches “for whites only” and after being caught in a crowd she found herself in the lobby of a grand hotel. She was quickly shooed away when the indignant crowd noticed her. Her trip finally takes her to the public library where the welcoming sign “Public Library: All Are Welcome” warmly greets her.


Critical Analysis:

Jerry Pinkney’s illustrations in pencil and watercolors won him the prestigious Corretta Scott King Award for illustrators in 2002.The illustrations along with the text of the story vividly portray the life of the African American community during the segregated times of the 1950’s. His representations are modern in that they show the African-American people with a variety of skin-tones, facial features and hairstyles that were typical of the times. His illustrations do not show any of the insulting cultural markers found in many books of earlier times. ‘Tricia Ann is softly illustrated in her colorful traditional dress typical of the young girls in the 1950’s. The text identification is specific to the culture of the times with the dialect and language patterns of the African American adults being somewhat less correct than that of ‘Tricia Ann. Mama Frances reminding her to “hold yo’ head up and act like you b’long to somebody” and Mrs. Grannell reminding her to “carry yo’self proud”. The general environment of both the text and illustrations addressed the segregated times in the urban south with segregated seats on the public bus as well as segregated seating in the movie theater with the young girl relating to her brother “Colored people can’t come in the front door. They got to go ‘round and sit up in the Buzzard’s Roost.” ‘Tricia Ann reveals the feelings of many African-Americans and others who questioned the Jim Crow laws when she says “Jim Crow makes me so mad! My grandfather was a stonemason on Peace Fountain. Why can’t I sit down and enjoy it?” and the young vendor she is visiting with points out that his brother cooks the food that is served in the restaurant, but the sign entering the restaurant reads “whites only”.

Reviews:

From Publishers Weekly: McKissack draws from her childhood in Nashville for this instructive picture book. "I don't know if I'm ready to turn you loose in the world," Mama Frances tells her granddaughter when she asks if she can go by herself to "Someplace Special" (the destination remains unidentified until the end of the story). 'Tricia Ann does obtain permission, and begins a bittersweet journey downtown, her pride battered by the indignities of Jim Crow laws. Pinkney's luminescent watercolors evoke the '50s, from fashions to finned cars, and he captures every ounce of 'Tricia Ann's eagerness, humiliation and quiet triumph at the end.



School Library Journal: Tricia Ann's first solo trip out of her neighborhood reveals the segregation of 1950s' Nashville and the pride a young African-American girl takes in her heritage and her sense of self-worth. In an eye-opening journey, McKissack takes the child through an experience based upon her own personal history and the multiple indignities of the period. Dialogue illustrates her confidence and intelligence as she bravely searches for truth in a city of Jim Crow signs. Pinkney re-creates the city in detailed pencil-and-watercolor art angled over full-page spreads, highlighting the young girl with vibrant color in each illustration.

Connections:

Poem: “AT THE LIBRARY” from IT’S RAINING LAUGHTER: Poems by Nikki Grimes ISBN 9781590780770, New York: Dial, 1997.

I flip the pages of a book and slip inside,
Where crystal seas await and pirates hide.
I find a paradise where birds can talk,
Where children fly and trees prefer to walk.
Sometimes I end up on a city street.
I recognize the brownskin girl I meet.
She’s skinny, but she’s strong, and brave, and wise.
I smile because I see me in her eyes.



The following book is a nonfiction book of the life of Ruby Bridges and her place in history as a six year old child entering a federally mandated integrated school during the Civil Rights movement of the the 1960's.

Book: THROUGH MY EYES by Ruby Bridges ISBN 0590189239

ABEL'S MOON (International Author)

Hughes, Shirley, ABEL’S MOON.1999. New York: DK Publishing. ISBN 0789446014

Summary

Abe Grable must travel with his work and when he comes home he tells his family of his travels. When he leaves home again his boys Noah and Adam use an old table in the backyard and their imaginations to make adventures of their own. When Abel returns again and shares his adventures the boys share theirs as well.

Critical Analysis

ABEL’S MOON was simultaneously published in Great Britain and the United States. There are very few cultural markers that I was able to discover. The clothing might be somewhat British with the younger boy wearing suspenders and a rather bowled haircut. I also noted that the illustrations included cups with the children’s snacks versus the glasses that we might see in the United States. This makes me consider the English tea rather than other drinks that the children might have here. Dad’s hat has somewhat of a British flair as well. Otherwise the vibrant watercolors of Ms. Hughes add depth to the text of the book. The illustrations follow the rather care-free life of the mother and children often left to their own devices since father is away much of the time with his work. The fictional characters of this family could have been those of any family whose father travels with his work. Although not ethnically cultural it is noticed that the father has some problems adjusting to the rambunctious children while he is at home. Although it is obvious that he loves the family very much it must be an adjustment each time he returns home to the boisterous family. This is shown both in the remarks from the father for a quiet time as well as the carefree, cluttered illustrations. I did not find any markings in this book that would be offensive to a cultural group.

Reviews

From Publishers Weekly: Hughes (the Alfie books) once again uses small, everyday moments to craft a powerful story. To find work, Abel Grable must journey far and wide, leaving his wife and three boisterous boys. But when each job is over, he returns to his family and regales everyone with the fantastic adventures he's had. After one such trip, Abel decides to record some of his stories, moving an old table out into the garden to find some quiet in which to write. When Abel leaves again, his boys take comfort in both the stories he's left behind and those they create themselves, using their imaginations to convert his writing table into a campsite, a boat and then a machine for flying to the moon. Hughes's direct, unadorned prose gives both substance and depth to this wisp of a story line, as do her trademark watercolor illustrations, both beautiful and comforting in their sturdy, homey detail. The loneliness and longing created by a parent's absence are never explicitly mentioned; they quietly inform text and art as well as the story's interplay between fantasy and reality. Keeping sentimentality at bay, Hughes's restraint gives the characters' emotions unusual resonance.

From School Library Journal: After Abel Grable returns from working out of the country, he tells his wife and sons all about his adventures. He describes camping out in jungles and taking supplies by riverboat to people in places with no electricity, with only the moon to guide the way. Because the boys love hearing these stories so much, Abel decides to record them. Finding it too noisy to work inside, he takes a table out in the yard, and writes for many hours. Then he goes off again. Using the table at which he wrote, Noah and Adam re-create their father's adventures or pretend that the table is a machine that can take them to the moon. That night, Adam realizes that the same moon is shining on him and on Abel, and on all people who love one another but can't be together. And, he imagines all the wonderful stories he will have to tell his father about his adventures. Hughes's deceptively plain writing style packs a subtle emotional wallop. Youngsters will appreciate the loving family, and enjoy the children's imaginative play. Hughes's humorous watercolor illustrations are at their best here. They effectively depict the luminous moonlight and the characters' changing feelings. They also make the little ordinary family treasures and clutter an important part of the narrative. The text and art fit beautifully together to create a moving story that can be appreciated on many levels.

Connections

Students could write and share an adventure story of their own.

There are many other books by this author; unfortunately my local library does not have many of her titles. One title that I enjoyed was ELLA’S BIG CHANCE: A JAZZ-AGE CINDERELLA. Although this would not be considered an “international book” since it is a version of the classic fairytale CINDERELLA it was entertaining.