Wonderstruck

Bibliography:

Selznick, Brian. 2011. Wonderstruck. New York: Scholastic. ISBN: 9780545027892.

Summary:

Two different plots unfold throughout this book and weave together at the end. Ben's story is set in 1977 and is told almost entirely in words. Rose's story occurs in 1927 and is told in pictures. Rose is deaf, and her divorced parents don't understand her. She runs away across the harbor to New York City, where she finds her kind older brother in the American Museum of Natural History, and he takes care of her. Ben, who was born deaf in one ear, loses his hearing in the other ear because of lightning through a telephone wire. His mother had recently been killed in an accident, and Ben takes off alone from Minnesota to New York City, chasing a clue that he hopes will lead him to his long-lost father. He makes a friend and hides out in the American Museum of Natural History. He learns more about his father and the connection that brought his dad to Gun Lake, Minnesota years ago. The stories continue converging until the reader discovers, along with the characters, that Rose is Ben's grandmother.

Analysis:

Selznick is a master at telling stories and showing action through pictures, and the pencil illustrations are wonderfully-drawn and are crucial to the story. Rose's story isn't told at all in words until the end, but the reader understands everything from the pictures. The facial expressions and body language convey so much emotion. The quality of the text is also very good, and readers will sympathize with Ben as he loses his hearing, sets off on a potentially dangerous journey, and tries desperately to find his father. The author creates mini-cliffhangers throughout the book as he alternates between stories, and he matches similarities between Rose's and Ben's adventures (such as showing up at the museum). It’s not difficult to alternate between the stories, and the only danger is going through the pictures too fast and not noticing the marvelous and intricate details.

In an extensive note in the back of the book, Selznick describes the research he did (including interviews) in his attempt to accurately portray Deaf culture. He includes little details like Rose's horrified reaction to the end of silent movies in 1927. Before "talkies," deaf and hearing people could watch movies in much the same way. He also shows the tendency in the 1920s to teach deaf people to speak and lip-read while forbidding sign language. Rose does eventually learn sign language, though, and Ben’s friend Jamie teaches him to sign the alphabet. Although I personally can't know for sure, I think Deaf readers would be proud to find their culture portrayed in this book.

Through the text and illustrations, but especially the illustrations, the author also conveys the culture of New York City: the subway with its graffiti, apartment buildings, the rush of crowds, theaters, homeless people, Times Square, the Panorama, and of course, lots of details about the American Museum of Natural History.

Reviews/Awards:

“A thing of wonder to behold…an emotional experience that neither the words nor the illustrations could achieve on their own.” School Library Journal starred review

“Brian Selznick proves to be that rare creator capable of following one masterpiece — The Invention of Hugo Cabret, — with another even more brilliantly executed.” Washington Post

Connections:
*Scholastic has a great companion website for the book, filled with fun information for children. Explore it! http://www.wonderstruckthebook.com/

Does My Head Look Big In This?

Bibliography:

Abdel-Fattah, Randa. 2008. Does My Head Look Big In This? New York: Scholastic. ISBN: 978-0439922333.

Summary:

In many ways, Amal is a typical 16-year-old girl. She likes shopping and watching Friends. She fights with her parents sometimes. She has a crush on Adam, a popular boy at school. But Amal Mohamed Nasrullah Abdel-Hakin is also Muslim and believes strongly in her faith. Over winter break she decides to begin wearing the hijab (a head covering worn when in the presence of men outside one's family) full-time. She agonizes over this decision because she knows the other students at her elite private school in Australia will not understand. Her Muslim friends Leila and Yasmeen are both "full-timers" already, but they attend different schools.

Her first day back at school, the principal is upset that she violated the dress code and all her classmates stare and whisper. After her parents talk to the principal, Amal is allowed to wear the hijab. Her friends Simone and Eileen support her, and eventually most of her classmates accept it. As the book progresses, Adam tries to kiss Amal, but she tells him her religion prohibits it. Simone starts dating a boy and smokes to lose weight. Leila gets in trouble with her parents and runs away from home temporarily. Amal encounters many challenges in the several-month span of the story, and she realizes that "Putting on the hijab isn't the end of the journey. It's just the beginning of it."

Analysis:

This book takes a humorous and mostly light-hearted approach to the topic of religious discrimination against Muslim women. Amal doesn't face violent or overly-cruel discrimination, but she does have to deal with the stares and occasional taunts of her classmates. Amal makes it clear that it's not the questions she dreads, it's the silent stares. Once her classmates finally begin to ask her about her faith and motivations, she is relieved. This will hopefully encourage readers that it's okay (even good) to ask someone honest questions about what makes him or her different.

The author is an Australian Muslim, just like her main character/narrator, which gives the novel authenticity. Australian words and slang phrases appear throughout the book. The hijab is the primary Muslim cultural marker in the book, but the story also talks extensively about prayer practices and other religious observances. Amal mentions some of the things the Qur'an says to do or not do.

The author attempts to authentically create the voice of a teenage girl, but goes perhaps a little too far. In trying to convey the emotions and angst of a teenager facing a difficult situation, the writing becomes repetitive and even the smallest of details is drawn out for pages. While some might feel this is authentic for a drama-queen teen, others will be dissuaded by the book's length and by its focus on trivial plot details.

Amal's friends show the reader some other challenges that Muslim women face. Laila, for example, is intelligent and independent, but her parents see only marriage and not college in her future. The book deals with discrimination, body image, smoking, crushes, relationships, parental expectations, and much more.

Reviews/Awards:

Winner of the Australian Book Industry Awards 2006 - Australian Book of the Year for Older Children

"While the novel deals with a number of serious issues, it is extremely funny and entertaining, and never preachy or forced. The details of Amal's family and social life are spot-on, and the book is wonderful at showing the diversity within Muslim communities and in explaining why so many women choose to wear the hijab." School Library Journal

"Like the author of this breakthrough debut novel, Amal is an Australian-born, Muslim Palestinian "whacked with some seriously confusing identity hyphens." At 16, she loves shopping, watches Sex and the City, and IMs her friends about her crush on a classmate. She also wants to wear the hijab, to be strong enough to show a badge of her deeply held faith, even if she confronts insults from some at her snotty prep school, and she is refused a part-time job in the food court (she is "not hygienic"). Her open-minded observant physician parents support her and so do her friends, Muslim, Jewish, Christian, secular." Booklist, starred review

Connections:
*Read other books from the perspective of a Muslim girl, such as Habibi by Naomi Shihab Nye.

In Our Mothers' House

Bibliography:

Polacco, Patricia. 2009. In Our Mothers’ House. New York: Penguin Books. ISBN: 9780399250767.

Summary:

The story is narrated by an African-American girl as she looks back and describes the childhood she, her Asian brother, and her red-haired Caucasian sister had in their house in Berkeley. With two mothers, their family was different, but the kids didn’t mind and neither did anyone else except the mean neighbor down the street. The narrator describes laughing in the kitchen, dancing through the house, listening to stories by the fireplace, and building a treehouse in the backyard. Marmee and Meema organize a block party for the entire neighborhood and dress up for a mother-daughter tea. Holidays are spent cooking in the kitchen with extended family and having loud conversations around the table. The three kids grow up, get married in the backyard of their home, and return with grandkids throughout the rest of their mothers’ lives.

Analysis:

This book deals with a controversial subject: same-sex relationships and, specifically, adoption and parenting by two mothers. Most of the characters in this diverse book accept this family, but Mrs. Lockner says, “I don’t appreciate what you two are,” and she won’t let her children play with Marmee and Meema’s kids. Meema says, “She’s afraid of what she cannot understand.” The children grow up and marry heterosexual spouses, and they return often to the family home and remember the loving, happy childhood they spent there.

The book teems with multiculturalism. The three children are all of different races, and they have an Italian grandfather who teaches them to cook gnocchi. During the block party, everyone on the street makes a different type of food that celebrates their culture: the Mardicians bring lamb, the Polos bring spanakopita, the Abdullas bring hummus, the Yamagakis bring sushi, and the Barbers bring fried clams.

The rough pencil and marker illustrations exude warmth, love, and happiness. On nearly every page, the characters have joyful expressions on their faces (perhaps even a little over-the-top joy). The book makes sure to emphasize that Marmee and Meema are intelligent professionals, that they love one another, and that they will do anything for their children. They raise their kids to be kind and respectful. Though idealized, this book is a great picture of how being different is not wrong and how a family and community can love and support one another.

Reviews/Awards:

"The energetic illustrations in pencil and marker, though perhaps not as well-rendered as in some previous works, teem with family activities and neighborhood festivity. Quieter moments radiate the love the mothers feel for their children and for each other." Booklist

"Is this an idealized vision of a how a gay couple can be accepted by their family and community? Absolutely. But the story serves as a model of inclusiveness for children who have same-sex parents, as well as for children who may have questions about a "different" family in their neighborhood. A lovely book that can help youngsters better understand their world." School Library Journal

Connections:
*Consider the list of Stonewall award winners for other books about this subject.

The Year of the Dog

Bibliography:

Lin, Grace. 2006. The Year of the Dog. New York: Little, Brown and Company. ISBN: 0316060003.

Summary:

8-year old Pacy goes by Grace, her American name, at school. She is Taiwanese-American, but also feels Chinese-American because the cultures are similar. The book begins with the Chinese New Year; it’s the Year of the Dog, which means a year in which you find friends and find yourself. Pacy wants to find out who she is in this confusing mix of cultures, as well as what she wants to do when she grows up. She becomes best friends with Melody, a new Taiwanese-student in her grade, and they enter the science fair together, have a crush on the same boy, and try out for the school musical. At home, Pacy participates in family traditions with her parents and her two sisters – Lissy and Ki-Ki. They go to a Red Egg party for their new cousin Albert and go to Chinatown in New York City. Through school projects and encouragement from others, Pacy decides she wants to be an author and illustrator when she grows up. She finds both a friend and a career, so the Year of the Dog was a success!

Analysis:

Pacy’s American name (Grace) is the same as the author’s name, and the story and notes reveal that this is largely autobiographical. Grace Lin wrote the story she wished she had when growing up: a book about a Taiwanese-American girl. She succeeds admirably in writing a story that will appeal to all kids, but especially to those who may not see their culture as often in the pages of a book. Pacy/Grace is American: she and her sisters convince their parents to cook a turkey on Thanksgiving and get a Christmas tree. She only speaks English and feels out of place when her parents take her to a camp where other children speak Chinese.

But Pacy is also Taiwanese, and the book is full of references to the food they eat at home (dumplings, rice noodles, egg drop soup, etc) and the customs and traditions they celebrate, including the Chinese New Year. In addition to showing the differences between American and Taiwanese culture, the book also points out differences between the two Taiwanese families in the book.

The author draws black and white illustrations throughout the book, usually just small ones in the margins, and this accompaniment is a highlight of the book. The book is narrated by Pacy, and these drawings are supposed to be done by her as well. They illustrate various things talked about in the text, like a family dinner or a school event or meeting a new person. Throughout the book, Pacy’s mother tells stories about when she was a young girl in Taiwan, or about after she first immigrated to America. These stories share valuable cultural and historical details and usually have a lesson for the kids, such as being kind or not being greedy.

Reviews/Awards:

2006 ALA Children’s Notable
2006 Asian Pacific American Librarian Association Honor

“Readers follow Grace, an American girl of Taiwanese heritage, through the course of one year–The Year of the Dog–as she struggles to integrate her two cultures. Throughout the story, her parents share their own experiences that parallel events in her life. These stories serve a dual purpose; they draw attention to Grace’s cultural background and allow her to make informed decisions.” School Library Journal

“When Lin was a girl, she loved the Betsy books by Carolyn Hayward, a series about a quintessentially American girl whose days centered around friends and school. But Lin, a child of Taiwanese immigrants, didn't see herself in the pages. Now she has written the book she wished she had as a child. Told in a simple, direct voice, her story follows young Grace through the Year of the Dog, one that Grace hopes will prove lucky for her. And what a year it is!” Booklist, starred review

Connections:
*Read more in this series about Pacy Lin, continuing with The Year of the Rat and Dumpling Days.

A Single Shard

Bibliography:

Park, Linda Sue. 2001. A Single Shard. New York: Houghton Mifflin. ISBN: 0395978270.

Summary:

Tree-ear is a 13-year-old orphan in 12th-century Korea. He lives with father figure Crane-man under a bridge, and they forage for food around the small village of Ch’ulp’o. But when he gets a break from looking for food, what Tree-ear likes to do best is watch the potter Min work at his wheel. Ch’ulp’o is famous for a particular kind of beautiful pottery – Koryo celadon - and Min is a master. When Tree-ear accidentally breaks a piece, he starts working for Min to pay off his debt, and then he continues working for no pay because his deepest desire is to learn the trade himself. Min is short-tempered and is burdened by a tragic past, but his wife loves Tree-ear and sees that he and Crane-man have enough food. Tree-ear goes on a long journey to the capitol city to show Min’s work, and even though robbers break the precious vases, a single shard of the fine pottery is enough to gain Min a royal commission – the lifelong dream of all potters. When Tree-ear returns, he is heartbroken to find out that Crane-man has died, but Min and his wife take him in as their son.

Analysis:

The story is set in medieval Korea, and an author’s note discusses the cultural and historical details she wove into the story and shows that she did extensive research for the book in order to make it as accurate and authentic as possible.

This is a great coming-of-age story, as Tree-ear struggles with his past and future and questions of right and wrong. He is loyal to the potter, even when Min at first refuses to ever teach him to make pottery. He is respectful and kind, and he cares for Crane-man (who is disabled) as best he can. But Tree-ear can also be impetuous and resentful, and has to learn the right way (and often the slow way) to do things.

The book is well-written, with an engaging plot and easy-flowing dialogue. Park portrays cultural details in the food (rice, fish, eating with chopsticks), customs (bowing, apprenticeship, temples), landscape (small villages, Rock of the Falling Flowers), and more. Readers will learn a lot about making pottery from start to finish.

Reviews/Awards:

2002 Newbery Award Winner

“Park convincingly conveys how a community of artists works (chopping wood for a communal kiln, cutting clay to be thrown, etc.) and effectively builds the relationships between characters through their actions… She charts Tree Ear's transformation from apprentice to artist and portrays his selflessness during a pilgrimage to Songdo.” Publisher’s Weekly

“Many of the issues transcend centuries and cultures: What is home? Can one own a creative idea? How much of an art object must be seen in order to judge its quality? This book will engage both individual readers and discussion groups.” School Library Journal

Connections:
*Study celadon pottery and the way potters made their ware in medieval Korea.

Tea with Milk

Bibliography:

Say, Allen. 1999. Tea with Milk. Boston: Houghton Mifflin Company. ISBN: 0395904951.

Summary:

Allen Say both writes and illustrates this picture book about a young Japanese-American woman who grew up near San Francisco but moved back to Japan with her parents after finishing high school. In Japan, May/Masako (American/Japanese) feels like a foreigner. She doesn’t speak the language well or understand the customs. All she wants to do is go to college and live on her own, but her parents want her to marry a good Japanese man. In frustration, Masako goes to Osaka to be in a big city again. She gets a job at a department store and lives in a boarding house. Then she meets a Japanese man who went to an English school and had English foster parents. May and Joseph have a lot in common, including a love for tea with milk. They get married and stay in Japan.

Analysis:

The end of the story reveals that the author is writing about his mother and father, and he says they always spoke both English and Japanese and had elements of both cultures in their home. The book is a wonderful portrayal of cultures coming together, and of home being where you make it. It is also a poignant story of not feeling at home in a country, even if you look like everyone else on the outside. Throughout the book, May/Masako goes by different names in different situations, but she really feels that her name is May. The interchanging of names reveals the identity problems that she faces, and so does the word “gaijin” (foreigner) that people unkindly call her.

The watercolor illustrations are mostly in subdued colors, except for a few bright dresses. Say shows facial expressions well; for more than half the book, May looks sad and stoic, but then she smiles when she gets to speak English for the first time in Japan. The illustrations are beautiful, and portray cultural details that really add to the story.

As May experiences Japan for the first time, the reader is also able to learn about the culture. The story references things such as young children learning English in school, tea ceremonies, calligraphy, matchmakers, cultural expectations for women, kimonos, and more.

Reviews/Awards:

“Say explores familiar themes of cultural connection and disconnection. He focuses on his mother Masako, or May, as she prefers to be called, who, after graduating from high school in California, unwillingly moves with her parents to their native Japan. She is homesick for her native country and misses American food…. The pages are filled with detailed drawings featuring Japanese architecture and clothing, and because of the artist's mastery at drawing figures, the people come to life as authentic and sympathetic characters. ” School Library Journal

“Declaring ‘I'd rather have a turtle than a husband,’ the independent-minded Masako heads for the city of Osaka and gets a job in a department store. With his characteristic subtlety, Say sets off his cultural metaphor from the very start, contrasting the green tea Masako has for breakfast in her home, with the ‘tea with milk and sugar’ she drinks at her friends' houses in America. Later, when she meets a young Japanese businessman who also prefers tea with milk and sugar to green tea, readers will know that she's met her match.” Publisher’s Weekly

Connections:
* Read another book about Allen Say’s family history: Grandfather’s Journey.

The Birchbark House

Bibliography:

Erdrich, Louise. 1999. The Birchbark House. New York: Hyperion. ISBN: 0786822414.

Summary:

Omakayas (Little Frog) is 7 years old in 1847, and she is a member of the Ojibwa tribe. Her family and community live on an island in Lake Superior. Omakayas fights with Pinch, her annoying little brother, but she enjoys taking care of Neewo, her adorable baby brother. She both admires and envies her older sister, Angeline, and she looks forward to seeing her cousins at large family gatherings. Omakayas listens to her grandmother Nokomis’s wisdom and treats animals with respect. She befriends two bear cubs and has a very intelligent crow for a pet. The rhythms of life in her community go on mostly as normal until a stranger brings the dreaded disease of smallpox into their midst. Omakayas’s family will never be the same, but the return of spring brings hope and renewal.

Analysis:

Erdrich is a member of an Ojibwa band, and was inspired to write the book as she researched her family history. The author does a great job of creating a story that is culturally rich and yet has universal themes. It also incorporates historical details, like the white men pushing the Indians farther west, and the horrors of smallpox. The cultural details are too numerous to discuss in detail, but include: story-telling, prayers and rituals, dreams, hunting, making clothes, preparing food, harvesting rice, and much more.

The book is divided into four sections for the four seasons of the year. It begins with the joys and chores of summer, from eating delicious berries to tanning a moose hide. In the fall, Omakayas’s father, Deydey, comes back from trading and the family prepares for winter. Winter brings story times around the fire, but it also brings sickness, death, and grief. The new buds of spring signal that the time of hunger is over, and the family can rediscover laughter and continue on. Erdrich uses many Ojibwa words in the text; some can be figured out from context, and there is a complete glossary in the back that includes pronunciation. These Native-language words lend to the feeling of authenticity in the text.

The author has black-and-white pencil illustrations throughout the book that give faces to the characters and contribute to the story.

Reviews/Awards:

National Book Award finalist
American Indian Youth Literature Award Winner 2006

“Against the backdrop of Ojibwa cultural traditions, Omakayas also conveys the universal experiences of childhood - a love of the outdoors, a reluctance to do chores, devotion to a pet - as well as her ability to cope with the seemingly unbearable losses of the winter. The author hints at Omakayas's unusual background and her calling as a healer, as well as the imminent dangers of the "chimookoman" or white people, setting the stage for future episodes.” Publisher’s Weekly

“While this title will not appeal to fans of fast-paced action, readers who enjoy a variety of deftly drawn characters, relationships that ring true, and fascinating details about the daily life of the Ojibwa will be attracted to this endearing and irrepressible girl.” School Library Journal

Connections:
*Continue reading The Birchbark House series (there are now four books)

Jingle Dancer

Bibliography:

Smith, Cynthia Leitich. 2000. Jingle Dancer. Ill by Cornelius Van Wright and Ying-Hwa Hu. New York: Morrow Junior Books. ISBN: 068816241x.

Summary:

In this picture book, Jenna is a young girl who wants to dance at the upcoming powwow. She is a contemporary member of the Muscogee (Creek) Nation, and she admires the way her grandmother jingle dances. The powwow is coming up soon, so Jenna borrows a row of jingles each from four different friends and family members, and her grandmother helps her sew them on her regalia. At the powwow, Jenna’s dress has a voice and it sings as she dances!

Analysis:

Smith is a mixed-blood member of the Muscogee (Creek) Nation, just like Jenna is portrayed in the story. Both the text and illustrations reveal a contemporary Native American community: living in modern suburban houses and neighborhoods, using technology, wearing jeans and t-shirts, and working in careers (such as a lawyer). This is a refreshing break from stereotypes. The book also highlights the community’s valuable traditions, though. Jenna eats and helps make fry bread, a traditional food. Jenna’s great-aunt tells her an old Muscogee folktale. The entire book focuses on the specific tradition of jingle dancing at the powwow. At the back of the book are a brief glossary and an author’s note with cultural information.

The number four is important in the story, and the author explains that four is a sacred number to many Native Americans. Jenna borrows four rows of jingles from four women, and she walks east, south, north, and west to visit those friends and family. She visits them at four different times of day, and the times are described in terms of what the sun and moon do (sun at midcircle, sun kissed moon, and so on). The author also successfully uses rhythm throughout the book, such as “brum, brum, brum, brum” and “tink tink tink tink,” which is important in a book about dancing and music.

The illustrations are full-page watercolor, and they are warm and beautiful. The illustrators are not of Native American heritage, but they did research and they portray diverse and authentic characters and scenes.

Reviews/Awards:

Reading is Fundamental 2011 Multicultural Books List

“Smith's language consciously evokes legend. For example, ‘As Sun caught a glimpse of the Moon’ indicates the time of day; and Jenna is careful to borrow only a limited number of jingles, ‘not wanting to take so many that [another's] dress would lose its voice.’” Publisher’s Weekly

“When the big day arrives, the girl feels proud to represent these four women and carry on their tradition. Watercolor paintings in bright, warm tones fill each page. In scenes where she is dancing, backgrounds of blurred figures effectively represent both the large audience and the many generations whose tradition the gathering honors. Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life.” School Library Journal

Connections:
* Share this book along with a video of jingle dancing (found on the Internet), and discuss the tradition.

The Girl Who Helped Thunder

Bibliography:

Bruchac, James and Joseph Bruchac. 2007. The girl who helped thunder and other Native American folktales. Ill by. Stefano Vitale. New York: Sterling. ISBN: 9781402732638.

Summary:

This picture book collects folktales from various Native American tribes. It is part of a series called Folktales of the World. Some tales explain the origin of things, such as how a crow brought corn to a young boy to plant, or how the Sun helped the people make a drum. Other tales show the importance of family, bravery, or generosity. Seven brothers go to great lengths to rescue their sister from a buffalo. The moon gave up one eye to give people the gift of darkness and rest. Still other stories demonstrate the bad things that happen when someone is selfish or proud. Owl hid food from his starving children so he could eat, and now he only comes out at night because he is ashamed.

Analysis:

The authors (or re-tellers) arrange the book according to regions of the United States, from the Northeast to the Far North. Each section has a preface that tells about the major American Indian tribes that come from that region, and introduces the stories. There are 3 or 4 stories per section, each one from a different tribe. Although the book is a compilation of stories, the authors do a good job of making it clear that the tribes and regions are all unique. The prefaces provide valuable historical and cultural information. The sources for each story are listed in the back of the book. The stories are short, easy to read in one sitting, and accessible for children. There are only a few non-English words, and they are translated in the text. For reading aloud, it would have been useful if a pronunciation guide for names had been included.

The stories are accompanied by color illustrations, which are beautiful and whimsical. The Italian illustrator has no Native American background, but is known for his folk art. The images are of a more traditional representation rather than modern, and perhaps occasionally verging on stereotypes, as in the image of a man sitting cross –legged in front of a fire and wearing a feather headband. The faces are diverse, though, and children will enjoy the various animals depicted.

Reviews/Awards:

“The individual stories are concise, spanning only a few pages, allowing them to be read in a single sitting, while the many animal personalities found within-some mischievous, some heroic-will capture the imagination of storytime audiences.” School Library Journal

Connections:
* Find other folktales from a specific tribe of interest. This website (http://www.native-languages.org/legends.htm) indexes various legends and tales by tribe.

The Wild Book

Bibliography:

Engle, Margarita. 2012. The Wild Book. New York: Harcourt. ISBN: 9780547581316.

Summary:

Josefa (Fefa) lives in Cuba in 1912 with her mother, father, and 10 brothers and sisters. The doctor says Fefa has “word-blindness” (dyslexia) and she struggles with reading and writing. Her mother gives her a blank book and tells her it is like a garden where she can sprinkle words like seeds on the pages. She practices and practices, and slowly realizes she can overcome this “blindness.” She thinks about words, breaks them down into pieces, and discovers the beauty and wildness inherent in language. When a lawless bandit demands a ransom in order to not kidnap Fefa and her siblings, it is Fefa who reads the ransom note and recognizes the handwriting. This leads to the arrest of the farm manager and makes Fefa a heroine.

Analysis:

Engle is a Cuban-American poet, and the story is based on real events in her grandmother’s life, which give an already meaningful story added significance. The novel is in free verse, written from Fefa’s point of view as she fills the blank pages in the book her mother gave her. She writes of the doctor’s diagnosis, and how words jump away from her “like slimy/bullfrogs” (5). She shares her feelings and emotions, and the reader can see her grow throughout the book, from frustration and discouragement to peace and confidence. She also writes of doing chores on her family’s farm, being teased by schoolmates and siblings, going on a vacation to the beach, and enjoying a trip to town with her cousin.

Engle makes Cuba come alive in this book, with references to animals (caimans, manatees, parrots), plants (candy tree, pensamiento flowers, jasmine petals), and customs (boys and girls going on a promenade, roasting a pig for a hunting party, and a poetry duel among the adults). She also describes the various feast days and holidays celebrated in Fefa’s town; Christmas will be familiar to all readers, but the feast day of Santiago may not be. There are also allusions to troubles in Cuba’s past, such as prison camps, and the present troubles of bandits and kidnappers. There are no illustrations except the cover, which shows a beautiful girl with brown skin and black hair who has a book in her hands and a confident expression on her face.

Spanish words are scattered throughout the poems; they are sometimes translated and sometimes can be figured out from context. Still, bilingual readers will enjoy an added dimension to the work.

Reviews/Awards:

Kirkus Reviews New and Notable Books for Children, 2012

"The idea of a wild book on which to let her words sprout is one that should speak to those with reading difficulties and to aspiring poets as well.” School Library Journal

“The author gives readers a portrait of a tumultuous period in Cuban history and skillfully integrates island flora, fauna and mythology into Fefa’s first-person tale. This canvas heightens Fefa’s determination to rise above the expectations of her siblings, peers and society.” Kirkus, starred review

Connections:
* Read Thank you, Mr. Falker by Patricia Polacco, another book about overcoming dyslexia.
* Read more of Margarita Engle’s poetry books about Cuba, such as The Surrender Tree and Firefly Letters.

Petty Crimes

Bibliography:

Soto, Gary. 1998. Petty Crimes. New York: Harcourt. ISBN: 0152016589.

Summary:

This collection of short stories focuses on Mexican American kids and teens who face a lot of challenges in their day-to-day lives. Their world includes gangs, schoolyard fights, “juvie,” poverty, and crime (as the title suggests). But it also includes (sometimes) supportive friends, loving parents, and the process of self-discovery. Alma’s mother died of cancer, and Alma goes around town collecting her mom’s clothes from the thrift shops where her dad donated them. Norma has to take care of a doll for her social studies class, and both she and the doll get beat up by a school bully. Mario delights in coming up with scams to get money from people, and then he himself is scammed. Jose does odd jobs for people to earn money, and when an elderly man hits his head on the swimming pool, Jose does the right thing and sees a clear difference between himself and his lying, cowardly cousin.

Analysis:

Most of these stories do not have happy endings, which is how life often is. A girl embarks on a spree of shoplifting and stealing, and the end of the story leaves her in a catfight with another girl over a boyfriend. Rudy wants to impress both a girl and his dad in a boxing match, but ends up bruised and defeated. Jose Luis pours love, attention, and money into a pet rooster, and the rooster dies.

Soto does well in the short story format, creating an engaging plot with sufficient character development. He also uses dialogue effectively and realistically, including slang. His settings, mostly in big-city California, appear authentically drawn. There are Spanish words interspersed throughout the text (“chola” is a frequent one), but they are not translated and there is no glossary. Although their meaning adds to the story, a reader can still understand the story without them, and can sometimes figure them out based on context.

Soto makes frequent reference to skin tone and other markers of Hispanic culture. Priscilla is half Mexican, and her peers call her La Guera because of her light skin. She sees herself like a powdered donut: “white on the outside but brown at the core” (3). Jose says he is “too dark to peel” (153). Laura thinks the bold red color of her grandparent’s living room is because they are from Mexico where things are more “vibrant, like tropical flowers” (32). These details add to the stories' authenticity.

Reviews/Awards:

Hispanic Heritage Award for Literature
PEN Center West Book Award

“Some characters (La Guera, a shoplifter, and Mario, a scam artist) are already on their way to becoming juvenile delinquents. Others have chosen a straighter path. Most, however, are caught somewhere in the middle, swimming against a current of violence…. With a rare mix of compassion and irony, Soto (Buried Onions) crystallizes moments signifying the loss of innocence.” Publisher's Weekly

“Filled with both humor and sadness, these slice-of-life narratives portray both self-reflective and self-involved teen characters who learn valuable life lessons from encounters with family, friends, and antagonists.” School Library Journal

Connections:
* For more short stories by Gary Soto, try Baseball in April, which won ALA Best Book for Young Adults.

Yum! Mmmm! Que Rico!: Americas' Sproutings

Bibliography:

Mora, Pat. 2007. Yum! Mmmm! Que Rico!. Ill by. Rafael Lopez. New York: Lee & Low Books. ISBN: 9781584302711.

Summary:

In this picture book, Pat Mora uses haiku to celebrate the various foods that are thought to be native to the Americas (South, Central, and North). The foods are listed alphabetically, beginning with blueberry, chile, and chocolate, and ending with pumpkin, tomato, and vanilla. In addition to the haiku, Mora also includes a short paragraph of informative text, pointing out that cranberries used to be called bounceberries and papayas can weigh up to twenty pounds, among many other facts.

Analysis:

This book is a celebration of food and culture, and how the two are intertwined. The faces of all the people are full of smiles, and the haiku speak of “party” and “magic” and “dance.” Children of all ages can appreciate this book. Very young children will enjoy the illustrations of yummy-looking food, young children can listen to someone read the haiku on each page, and older children can learn the facts about food. The full-page illustrations range from fanciful (children flying through the air) to realistic (a family sitting on the grass cracking pecans), but they are always very colorful and engaging.

In addition to the wonderful diversity of food, the illustrations show a diversity of ethnicity. There are a few white and African-American children, a Native American family, and many children with different shades of brown skin, who could be of Mexican heritage or from other Latin and South American countries. The food facts discuss how different cultures use (or have used) the foods. Some of the illustrations show the American Southwest or the tropics of Central America, and the landscapes look authentic, with details like a pueblo hut or a row of palm trees. Mora uses a few Spanish words throughout the text, which adds to the feeling of authenticity since many of the people in the Americas who use these foods speak Spanish.

Reviews/Awards:

Americas Award for Children’s Literature, 2008
Texas Bluebonnet Award Master List, 2008-2009
ALA Notable, 2008

“Artful compositions and brilliant complementary colors bear out the book's multicultural themes. The art conveys an infectious sense of fun, as smiling suns and moons beam down upon happy children and animals, along with a trumpet-wielding peanut-butter sandwich and a dancing pineapple.” School Library Journal

"Mora's descriptive poetry features wonderful word choices and gets it right to the essence of each food...Perfect for sharing as part of the curriculum or just for fun." Book Links

Connections:
* This book celebrates food; for a book that celebrates books and reading, try Book Fiesta! – also written by Pat Mora and illustrated in the same cheerful, colorful way by Rafael Lopez.

Goin' Someplace Special

Bibliography:

McKissack, Patricia. 2001. Goin’ Someplace Special. Ill by. Jerry Pinkney. New York: Atheneum Books. ISBN: 0689818858.

Summary:

‘Tricia Ann begs her grandmother to let her go “someplace special” by herself. Feeling grown-up and capable, she steps outside into 1950s segregated Nashville. As a young African-American girl, she faces discrimination on her journey. She must sit (or stand) in the back of the bus. She can’t sit on a park bench, or enter a grand hotel, or sit in the front rows for a music performance. She is alternately angry and discouraged by the signs and the hurtful words, but with the help of friends and her own fighting spirit, she makes it to “someplace special” – the public library.

Analysis:

The author does not reveal where “someplace special” is until the very end of the book, which is an effective narrative technique. The reader is left wondering whether it is a park or a church or a relative’s house or any number of places. In an author’s note, Patricia McKissack says that the story is based on her own childhood, and that the public library in Nashville was one of the few non-segregated places in town.

Each page has just the right amount of text for reading aloud, and the “fuzzy” watercolor illustrations are gorgeous. Full-color and full-spread, the illustrations of ‘Tricia Ann’s journey really make the book something special. He pays careful attention to skin tone and facial expressions.

The friendly people who encourage ‘Tricia Ann on her way are of both races, from a jovial African-American street vendor to a kind elderly white woman. And ‘Tricia Ann remembers her grandmother’s advice, too: “Hold ‘yo head up and act like you b’long to somebody” and “You are somebody, a human being- no better, no worse than anybody else in this world.” This is an inspirational message to all who read this book.

Reviews/Awards:

2002 Coretta Scott King Illustrator Award Winner

“An afterword explains McKissack's connection to the tale, and by putting such a personal face on segregation she makes its injustices painfully real for her audience. Pinkney's (previously paired with McKissack for Mirandy and Brother Wind) 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.” Publisher’s Weekly

“There are many books about a child's first trip alone, and many books about racism and the struggle for civil rights, but this book is about more than either: it is the story of a child facing a difficult time sustained by the support of the adults in her life. McKissack and Pinkney strike just the right balance in a picture book for young readers and listeners: informative without being preachy; hopeful without being sentimental.” Horn Book

Connections:
* Read along with an accessible biography of Rosa Parks, and talk about how ‘Tricia Ann couldn’t sit in the front of the bus, and what Rosa Parks did to change that.

Talkin' About Bessie

Bibliography:

Grimes, Nikki. 2002. Talkin’ About Bessie: The Story of Aviator Elizabeth Coleman. Ill by. E. B. Lewis. New York: Orchard Books. ISBN: 0439352436.

Summary:

Bessie Coleman was born in Texas in 1892. As an African-American, she had to deal with racism and discrimination growing up. She helped her mother cook and clean, and cared for younger siblings. She worked in the cotton fields and took in laundry. But through all of it, she worked hard at school, and she dreamed of doing something big. As a young lady she moved to Chicago, and from there she went to France to train as an aviator, because no school in the United States would accept her. When she returned as the first licensed African-American female pilot, she gradually became a hero through her daredevil flying stunts and her inspiring lectures across the country. Though her life ended early in a tragic plane crash, she was a pioneer for African-American rights.

Analysis:

Except for some biographical information in the front and back, the entire book is written in poems from the perspectives of various people in Bessie’s life. These are fictionalized, but based on facts. Bessie’s mother, father, siblings, teachers, and friends all speak of Bessie’s work, hopes, dreams, challenges, and experiences. Some poems are written by “field hand” or “laundry customer.” Bessie’s own perspective doesn’t come in until the very last poem. The author varies the voices slightly from poem to poem, making them feel more authentic.

The writing style and the long poems make this book more suited for older children. All ages will enjoy the beautiful full-page watercolor illustrations that accompany each poem. Almost every person pictured in the book is African-American, except a laundry customer and a news reporter, and the illustrator portrays various skin tones and facial expressions. Both the text and illustrations give a good sense of what life was like for African-Americans in Texas and in Chicago.

The author shows that it was not only whites who spoke negatively about African-American abilities. Bessie’s own brother is the one who says, “You Negro women ain’t never goin’ to fly.” The book also shows those who help Bessie achieve her dream, such as an African-American newspaper owner.

Reviews/Awards:

2003 Coretta Scott King Illustrator Award
2003 Coretta Scott King Author Honor Book

“Teller by teller, the story moves chronologically and builds emotionally to last entry, where Bessie speaks of the joy of flying...The verse reads aloud beautifully…” Booklist, starred review

“An introductory note puts the aviatrix in historical context, but neglects to explain some references (e.g., Jim Crow laws). The text consists of 21 poetic vignettes of Coleman delivered by "speakers" at a funeral parlor, all of whom have come to mourn the pilot who died at age 34 in a plane accident. Their reminiscences on stark white pages are illustrated with miniature portraits bordered in sepia, each one facing a full-page watercolor capturing a moment in the woman's life. Skillfully drawn and occasionally photographic in their realism, the pictures perfectly match each speaker's recollections.” School Library Journal

Connections:
* Pair with a second book about Bessie, such as Fly High by Louise Borden and Mary Kay Kroeger (for older children) or Nobody Owns the Sky by Reeve Lindbergh (for younger children).

Heaven

Bibliography:

Johnson, Angela. 1998. Heaven. New York: Simon and Schuster. ISBN: 0689822294.

Summary:

Marley is 14, and she lives in a small Ohio town named Heaven. Her Momma tells her that she saw a postcard for Heaven and knew she just had to live there. Marley likes her life in Heaven, she likes her friends, and she even likes her family. She knows that not everyone likes their family; her friend Shoogy can’t seem to stand hers. But then one stormy summer night, everything changes for Marley. A letter arrives in the mail and it prompts her parents to finally tell her that they aren’t her real parents. Her dad’s brother – known to her as Uncle Jack – is actually her father, but when her mother died in a car accident, Jack couldn’t take care of her. Marley is angry and sad and confused; she feels that she can no longer trust those she used to trust the most. It takes her some time to process this knowledge and come to terms with her life as it is. Her family and friends are supportive and loving through it all.

Analysis:

Most of the book is written in first person, like a journal entry by Marley. It’s interspersed with letters from her Uncle Jack, who drives around the country in a truck with his dog Boy.

Angela Johnson is an award-winning African-American author. The cover illustration is the first indication that the book is about an African-American girl, but the text refers within the first few pages to an “afro.” The dialogue and phrases used by the characters seem authentic for an African-American family and community. The emotions seem authentic and realistic, too, for a teenage girl who finds out that she’s adopted.

Shoogy helps Marley release anger and tension, and Bobby tells her that family is family and adoption doesn’t change that. Marley’s real father – her Uncle Jack – finally comes to see her. And Momma and Pops continue to show her the love they always have had for her.

The book also brings in current events from 1996, when the book is set. One of the plot catalysts is the burning of black churches in the South that took place in the summer of 1996; “flames that I can feel sitting a thousand miles away,” writes Marley.

Reviews/Awards:

Coretta Scott King Award Winner

“In this montage of Marley's changing perceptions, Johnson presents fragments of the whole picture a little at a time: images of people, places (the Western Union building "1637" steps away from Marley's house) and artifacts (a box filled with love letters between her birth parents) gain significance as Marley begins to make sense of the past and integrate her perceptions into her new identity.” Publisher's Weekly

“Life is Heaven in Heaven, Ohio for 14-year-old Marley until she discovers that the people she thought were her parents are actually her aunt and uncle. The man she thought was her Uncle Jack turns out to be her biological father. Angela Johnson (S&S, 1998) takes Marley on a journey of self-discovery as she must redefine who she is, and who her family is. Marley becomes an astute observer of other families and their relationships with one another.” School Library Journal

Connections:
* Read Angela Johnson’s The First Part Last, which tells the story of Bobby and Feather, Marley’s friends in Heaven. It deals with teen pregnancy and single fatherhood.

The Thief Lord

Bibliography:

Funke, Cornelia. 2002. The Thief Lord. New York: Chicken House. ISBN: 0439404371.

Summary:

Bo and Prosper are orphans, on the run from a mean aunt who only wants to adopt Bo and not his older brother. They end up in Venice, a city their mother loved, and they stumble upon a gang of kids who live in an abandoned movie theater. The leader and provider of this family group is Scipio, a mysterious young boy they call the Thief Lord. But when Bo and Prosper's aunt puts a detective on their trail, several things happen to test this family loyalty, and they also find friends in unexpected places. It turns out Scipio is actually a lonely rich kid who enjoys pretending to be a thief. Although he's never stolen anything except from his own home, he gets a commission to steal an old wooden wing that is the missing piece to a long-lost magical merry-go-round. The slightly complicated ending has most characters getting what they ultimately want.

Analysis:

The book is engaging, building up to a exciting conclusion. Most of the book has no magic or fantasy elements, but the last section introduces a merry-go-round that can turn adults into children and children into adults, and several characters actually experience this. The Thief Lord contains themes that transcend cultures: coming of age, the desire to be what you are not (either older or younger), loyalty, friendship, and more.

Cornelia Funke is a German author, and the setting for this book is in Venice, Italy. The author does a great job of drawing the reader into the setting, with just the right amount of description. Canals, boats, bridges, alleyways, churches, old buildings, pigeons, dusty souvenir shops, masks - it's all there and seems very accurate. Readers get a sense of both the present Venice and a past Venice in which rich and influential families ruled. The author avoids stereotypes of both the Italian culture as a whole and of individual characters, and she presents very balanced characters who have strengths and weaknesses. Italian words are sprinkled throughout the text, with a glossary in the back. There is a map of Venice and some ink drawings at the beginning of each chapter. Not all details are culturally accurate, though; for example, when time is mentioned in the book, it is the 12-hour system, not the 24-hour clock which is used throughout Europe. This was likely changed in translation, but it could have remained and provided an opportunity to discuss how different cultures tell time.

Reviews/Awards:

2003 winner of the Mildred Batchelder award
School Library Journal Best Book of the Year
New York Times Bestseller
ALA Notable Children's Book

"But between kindhearted Victor and his collection of fake beards, the Thief Lord in his mask and high-heeled boots, and a rascally street kid who loves to steal, Prosper's new world abounds with colorful characters. The Venetian setting is ripe for mystery and the city's alleys and canals ratchet up the suspense in the chase scenes." Publisher's Weekly

"A compelling tale, rich in ingenius twists, with a setting and cast that will linger in readers' memories." School Library Journal, starred review

Connections:
Read and talk about Tuck Everlasting by Natalie Babbit, another book that deals with something magical that will help you stay young.
Read other books by Cornelia Funke, such as Inkheart.

Ogre of Oglefort

Bibliography:

Ibbotson, Eva. 2011. The Ogre of Oglefort. New York: Penguin. ISBN: 9780525423829.

Summary:

Ivo is an orphan and his only friend is a mysterious old woman who turns out to be a hag with magical powers. Through a series of circumstances, Ivo is thrilled to be included in a rescue party along with the hag, a troll, and a wizard. They set out on a long journey to rescue a princess from the clutches of an ogre. Only, they find out the princess doesn’t want to be rescued. Plus, the ogre is not violent and is more of a whiny hypochondriac. What to do now? Ivo and the princess become friends, and find some allies in talking animals who used to be humans. Everyone works together to cheer up the ogre, clean up the castle, and then defend it against further “rescue” attempts. In the end, everyone comes pretty near their own versions of “happily ever after.”

Analysis:

This book will appeal to lovers of fractured fairy tales; it’s a story where princes, princesses, ogres, and magicians don’t behave as one would expect. Ibbotson has written an entertaining and funny book that also deals with more serious themes, such as the lack of family and not being happy with one’s life. Though an orphan, Ivo finds a family in his magical traveling companions. Though Princess Mirella has a family, she feels that they do not love or understand her and only want to marry her off. Most of the characters in the book are unhappy with their lot in life. Mirella’s entire purpose for visiting the ogre was to have him change her into a white bird so she can fly above her problems, but fortunately she learns that she should remain human and face her problems.

Ibbotson was born in Austria, but moved to England when she was a young girl. The Ogre of Oglefort is set at first in London, and then on the made-up island of Ostland (somewhere among the British Isles). British cultural markers are throughout the novel, from the Underground to the landscape descriptions. Frequent tea breaks and words like “pram” are also indicators. The magical side of the story, with its ghosts and talking animals and ogres and more, is its own unique culture.

Reviews/Awards:

On the 2012 USBBY list of Outstanding International Books

“Fans of the author, who died in 2010, will find a gratifying mix of fresh material and traditional Ibbotson goodies: plenty of humorous twists, clever dialogue, an all's well that ends well conclusion, and, of course, cameo appearances by ghosts.” Publisher’s Weekly

“Ibbotson's playful humor, pungent turns of phrase, and sturdy friendliness toward her child heroes suffuse this novel (her second-to-last book), a fantasy that has its share of dramatic conflict but at heart celebrates the value of a peaceful home in which ‘people. . . [do] not want to be changed but. . . [are] content to be themselves.’” Horn Book

Connections:
* Read more by Eva Ibbotson, such as Journey to the River Sea, Dragonfly Pool, or Star of Kazan.
* Think about other examples of books or movies with classic fairy tale characters, but an unusual plot. In the movie “Shrek,” for example, the ogre is good instead of bad, much like in The Ogre of Oglefort.

Koala Lou

Bibliography:

Fox, Mem. 1988. Koala Lou. Ill by. Pamela Lofts. San Diego: Gulliver Books. ISBN: 0152005021.

Summary:

Koala Lou is a baby koala who is loved by everyone, but especially by her mother, who thinks the world of her. All the time she tells her daughter, “Koala Lou, I DO love you!” But then brothers and sisters come along, and her mother is busy. Koala Lou feels ignored, and she’s desperate for her mother to say those words again. She decides that if she wins the gum tree climbing competition in the Bush Olympics, her mother will certainly say she loves her. Koala Lou trains hard and does her best, but she comes in second. After crying in the forest, she comes home to find her mother waiting, and her mother DOES love her still!

Analysis:

This is a charming, warm-hearted book. Children will find much to identify with, such as: trying hard but not winning, being unsure of a parent’s love, feeling ignored when younger siblings are born, and more. They will be reassured when Koala Lou’s mother expresses her continuing love at the end of the book. The colored pencil illustrations show action and expression well. Sometimes the characters seem to be looking right at the reader.

The author is Australian and the story is set in Australia. This is obvious from the beginning, since the main characters are koalas. In addition, the book mentions an emu, a platypus, and a kookaburra, and the illustrations show other Australian animals. Gum trees feature prominently in the book, and the “Bush Olympics” take place in the Australian bush. The mother uses the phrase, “How’re ya goin’, blossom?” The illustrations are colorful and evoke a strong sense of place.

Reviews/Awards:

“Lofts's colored-pencil drawings portray the Australian flora and fauna beautifully, including a few of the more exotic species.” Publisher’s Weekly

“Koala Lou is appealing and truly believable….Fox brings out the best in her characters, and also conveys an important message about competition.” School Library Journal

Connections:
* Many of the animals pictured will be unfamiliar to American children, yet only a few are named in the book. Name and provide further pictures of other Australian animals.
* Read other Mem Fox books, such as Possom Magic.

Welcome back!

All the posts after this are reviews for my LS 5653 class: Multicultural Literature for Children and YA. Thanks for reading!