Ellis, Deborah. 2000. THE BREADWINNER. Toronto, Ontario: Groundwood Books. ISBN 0888994192.
PLOT SUMMARY
A year and a half after the Taliban overtakes Kabul, Afghanistan, eleven year old Parvana and her family are living in a one room apartment in a bombed-out building. Women and girls are not allowed to leave their homes without a male escort, they can not attend school, or hold a job. After reaching adolescence, females must also wear a burqa that completely conceals their body and veils their face whenever they venture outside. After Parvana’s father is arrested for having a foreign education, the family is left in a dangerous situation. Since her mother and older sister are not allowed to work and her younger siblings are too small, the family decides to transform Parvana into a boy so she can earn money to feed the family. Parvana and another girl work together to support their families in a hostile climate that gives them few choices.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Deborah Ellis’ poignant story of life in Afghanistan under Taliban rule reflects the experiences of many children of war. Parvana’s fear, hunger, desperation, and at times, hopelessness are authentic feelings of children from similar situations. While this particular story is set in Afghanistan, the emotions Ellis evokes could be from other war-torn counties across the world, not just the Middle East. Parvana’s strength, hope for a better future, and willingness to keep fighting for her family through creative means inspires readers even as they feel compassion for her.
The author’s use of language provides a connection that helps the reader better understand the culture of the Middle East. Descriptions of clothing (shalwar kameez), furniture (toshak), food (nan), and festivals (Eid) expose children to a rich and authentic vocabulary. A glossary of terms is included at the conclusion of the story to assist readers. The author’s style also engages children. Even though the drama is tense and serious, Parvana is determined to work towards a better future and her family refuses to succumb to their oppressors. Parvana’s heritage comes to life through vivid terminology and the hopeful style of the writing in the face of overwhelming opposition.
At the beginning of the story, Parvana’s father is the one holding his family together in the midst of war, hunger, and poverty. When he disappears into the prison, Parvana’s mother emotionally and physically collapses, leaving the four children in a desperate condition. Fortunately a friend arrives and rallies the family. In a household of women and children barricaded under Taliban rule, the only choice for survival is allowing Parvana to become a boy and support the family by working in the market. The author crafts an intense and emotional tale as family members take turns encouraging and protecting each other as they struggle to simply survive. This style of characterization is quite compatible with the plot of the story and makes the experience more realistic for readers.
One of Ellis’ strengths is her ability to accurately depict the grim setting of the story. At the time of the story, the spring and summer of 1998, Kabul has suffered through twenty years of war and most of the once thriving city is reduced to rumble. Ellis frequently describes the wreckage of war, but juxtaposes these harsh images with the sight of wildflowers or a peaceful mountain in the distance. Several of the adult characters speak about the beauty of the countryside and the excitement of Kabul before the bombings began. These messages serve as sad reminders of the destruction that war can bring to a country.
Ellis’ story of family survival in a time of war is both distinctly Middle Eastern and universal in its theme. The author succeeds in creating a true sense of life in Afghanistan. Readers feel compassion for these characters and experience a greater understanding of the Afghan culture. Ellis has also written a moving story about the human race’s will to survive in the face of such hostile conditions, regardless of location.
REVIEW EXCERPTS
Publishers Weekly comments, “the topical issues introduced, coupled with this strong heroine, will make this novel of interest to many conscientious teens.”
Amazon.com writes, “The Breadwinner is essential reading for any child curious about ordinary Afghans. Like so many books and movies on the subject, it is also eerily prophetic. "Maybe someone should drop a big bomb on the country and start again," says a friend of Parvana's. "'They've tried that,' Parvana said, 'It only made things worse.'"
Reviews accessed at:
http://www.amazon.com/Breadwinner-Deborah-Ellis/dp/0888994168
CONNECTIONS
Other books by Deborah Ellis concerning the Middle East:
MUD CITY. ISBN 0888995423.
PARVANA’S JOURNEY. ISBN 0888995199.
THREE WISHES: PALESTINIAN AND ISRAELI CHILDREN SPEAK. ISBN 0888996454.
Submitted by Kim
Thursday, June 14, 2007
Review of THE SHADOWS OF GHADAMES
Stolz, Joelle. 1999. THE SHADOWS OF GHADAMES. New York: Delacorte Press. ISBN 0385731043.
PLOT SUMMARY
Eleven year old Malika lives atop the rooftops of her neighborhood in this historical fiction account of life in the Libyan city of Ghadames. At the end of the nineteenth century, Muslim traditions require men and women to live separate lives “as necessary and different as the sun and the moon” (p. 10). Men conduct business in the shaded alleyways and boys play in the crowded streets, while women and girls remain on the upper levels of the homes tending to household duties and visiting each other among the rooftops. As Malika approaches womanhood, she must come to terms with her restricted lifestyle, even as a stranger offers her a way to grow and explore the outside world through learning to read.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Joelle Stolz paints a richly detailed portrait of life in an isolated desert town at the turn of the twentieth century. Vivid descriptions of Ghadames’ Muslim community authentically portray issues important to this particular culture. Even though more than a century has past, the religious, linguistic, and social concepts still remain relevant to Muslims of today.
The author weaves a variety of cultural markers into her story that create a sense of accuracy and authenticity. Social customs are explored in detail, giving the reader an insider’s look into the restricted world of Muslim women living in Ghadames. The stark contrasts between men and women’s dress, activities, transportation, and relationships are thoroughly examined and questioned from Malika’s point of view. Her strained relationship with her brother also reflects cultural values, since she is jealous that he is allowed to attend school and accompany their father throughout the city. As she gradually accepts her position in this society, the reader also begins to intimately understand her limitations and dreams. Toward the end of the novel, Malika’s mother allows her to learn how to read and her father acknowledges that times are changing. Even though Malika must be content with a more confined lifestyle, there is hope for more opportunities on the horizon.
Stolz also uses language to help readers connect to the Muslim culture. By using the correct terms for items of clothing (burnoose), objects (oud), and rituals (Tanit), the author immerses the reader in the cultural heritage of the characters. Even the names of the surrounding cities and the haunting descriptions of the harsh desert climate give children a definite sense of place.
The characters themselves are a vital part of this cultural landscape. Stolz frequently mentions the differences in skin color among the family members to make a statement about their origins and social position. Malika’s mother is the first wife from Ghadames, a woman of “high birth,” who has never left her home since her wedding, except to visit the baths when men are not in the streets. Women from their own city have a lighter complexion due to its northern location. Her father’s second wife has darker skin since she is from a city much further south across the desert. Even though the author never explicitly states the reason the second wife seems to have more freedom and is allowed to visit the palm grove celebration when the first wife can not attend, the reader can infer her increased mobility is due to her lower status as “the wife from the journey.” Regardless of skin color, all the members of the household share equally in goods and possessions. More curious is the relationship between the two wives who seem to live peacefully under the same roof. These cultural practices form the backdrop for Malika’s coming of age story.
The author has thoroughly researched the Muslim culture in present day Ghadames and her fictional story is an authentic reflection of the gender roles and segregated lifestyle that continued well into the twentieth century. Many of her interviewees enjoyed sharing their childhood stories about their days playing on the rooftops.
REVIEW EXCERPTS
Booklist comments, “Stolz invigorates her tale with elegant prose and a deft portrayal of a girl verging on adolescence. The vivid backdrop is intoxicating, but the story's universal concerns will touch readers most: sibling jealously, confusion about adult customs, and a growing interest in a world beyond family.
School Library Journal writes, “This quiet story is notable for the intimate picture of the traditional Muslim world that it conveys.”
Reviews accessed at:
http://www.amazon.com/Shadows-Ghadames-Mildred-Batchelder-Awards/dp/0385731043
CONNECTIONS
Other fictional books for young people about the Middle East and Northern Africa:
Carmi, Daniella. SAMIR AND YONATHAN. ISBN 0439135044.
Dalokay, Vedat. SISTER SHAKO AND KOLO THE GOAT: MEMORIES OF MY CHILDHOOD IN TURKEY. ISBN 0688132715.
Nye, Naomi Shehab. HABIBI. ISBN 0689825234.
Staples, Suzanne F. SHABANU, DAUGHTER OF THE WIND. ISBN 0679810307.
Submitted by Kim
PLOT SUMMARY
Eleven year old Malika lives atop the rooftops of her neighborhood in this historical fiction account of life in the Libyan city of Ghadames. At the end of the nineteenth century, Muslim traditions require men and women to live separate lives “as necessary and different as the sun and the moon” (p. 10). Men conduct business in the shaded alleyways and boys play in the crowded streets, while women and girls remain on the upper levels of the homes tending to household duties and visiting each other among the rooftops. As Malika approaches womanhood, she must come to terms with her restricted lifestyle, even as a stranger offers her a way to grow and explore the outside world through learning to read.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Joelle Stolz paints a richly detailed portrait of life in an isolated desert town at the turn of the twentieth century. Vivid descriptions of Ghadames’ Muslim community authentically portray issues important to this particular culture. Even though more than a century has past, the religious, linguistic, and social concepts still remain relevant to Muslims of today.
The author weaves a variety of cultural markers into her story that create a sense of accuracy and authenticity. Social customs are explored in detail, giving the reader an insider’s look into the restricted world of Muslim women living in Ghadames. The stark contrasts between men and women’s dress, activities, transportation, and relationships are thoroughly examined and questioned from Malika’s point of view. Her strained relationship with her brother also reflects cultural values, since she is jealous that he is allowed to attend school and accompany their father throughout the city. As she gradually accepts her position in this society, the reader also begins to intimately understand her limitations and dreams. Toward the end of the novel, Malika’s mother allows her to learn how to read and her father acknowledges that times are changing. Even though Malika must be content with a more confined lifestyle, there is hope for more opportunities on the horizon.
Stolz also uses language to help readers connect to the Muslim culture. By using the correct terms for items of clothing (burnoose), objects (oud), and rituals (Tanit), the author immerses the reader in the cultural heritage of the characters. Even the names of the surrounding cities and the haunting descriptions of the harsh desert climate give children a definite sense of place.
The characters themselves are a vital part of this cultural landscape. Stolz frequently mentions the differences in skin color among the family members to make a statement about their origins and social position. Malika’s mother is the first wife from Ghadames, a woman of “high birth,” who has never left her home since her wedding, except to visit the baths when men are not in the streets. Women from their own city have a lighter complexion due to its northern location. Her father’s second wife has darker skin since she is from a city much further south across the desert. Even though the author never explicitly states the reason the second wife seems to have more freedom and is allowed to visit the palm grove celebration when the first wife can not attend, the reader can infer her increased mobility is due to her lower status as “the wife from the journey.” Regardless of skin color, all the members of the household share equally in goods and possessions. More curious is the relationship between the two wives who seem to live peacefully under the same roof. These cultural practices form the backdrop for Malika’s coming of age story.
The author has thoroughly researched the Muslim culture in present day Ghadames and her fictional story is an authentic reflection of the gender roles and segregated lifestyle that continued well into the twentieth century. Many of her interviewees enjoyed sharing their childhood stories about their days playing on the rooftops.
REVIEW EXCERPTS
Booklist comments, “Stolz invigorates her tale with elegant prose and a deft portrayal of a girl verging on adolescence. The vivid backdrop is intoxicating, but the story's universal concerns will touch readers most: sibling jealously, confusion about adult customs, and a growing interest in a world beyond family.
School Library Journal writes, “This quiet story is notable for the intimate picture of the traditional Muslim world that it conveys.”
Reviews accessed at:
http://www.amazon.com/Shadows-Ghadames-Mildred-Batchelder-Awards/dp/0385731043
CONNECTIONS
Other fictional books for young people about the Middle East and Northern Africa:
Carmi, Daniella. SAMIR AND YONATHAN. ISBN 0439135044.
Dalokay, Vedat. SISTER SHAKO AND KOLO THE GOAT: MEMORIES OF MY CHILDHOOD IN TURKEY. ISBN 0688132715.
Nye, Naomi Shehab. HABIBI. ISBN 0689825234.
Staples, Suzanne F. SHABANU, DAUGHTER OF THE WIND. ISBN 0679810307.
Submitted by Kim
Review of POSSUM MAGIC
Fox, Mem. 1983. POSSUM MAGIC. Illustrated by Julie Vivas. Orlando, FL: Voyager Books. ISBN 0152632247.
PLOT SUMMARY
To keep Hush safe from snakes, Grandma Poss uses her bush magic to make Hush invisible. For a while the young possum enjoys the freedom invisibility allows, but one day she asks her grandmother to make her visible again. After looking unsuccessfully through her spell books, Grandma Hush remembers that the magic has something to do with eating “people food.” So begins a journey around Australia, looking for lamington, pavlova, and vegemite sandwiches that will make Hush visible once more.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Mem Fox and Julie Vivas include many cultural markers in their enchanting picture book. Readers young and old will enjoy the literary and visual references to Australia and the bush culture. Fox consciously uses language to evoke the essence of the country. The author’s description of Grandma Poss’ bush magic, which turns “wombats blue and kookaburras pink,” refers to a practice that is distinctly Australian. Her inclusion of native Australian animals places the reader firmly in this unique territory. The possums’ search for “people food” sends them on a culinary tour of Australia and readers discover cultural treats like anzac biscuits and minties. A helpful glossary offers descriptions of the Australian foods for international audiences. Through these colorful descriptions, Fox succeeds in lending an air of authenticity to her story.
In a picture book, the illustrations complement and extent the text to create a memorable literary and visual experience. Vivas’ magical illustrations transport readers to the bush country and share an unmistakable image of Australia. The setting of a story is so important in multicultural and international literature and Vivas takes great care in representing the Australian outback and its amazing animals. Kangaroos, emus, dingoes, koalas, wombats, and kookaburras offer young viewers a glimpse of the rich animal diversity on this continent. Vivas also includes a map of Australia, labeling the towns and cities mentioned in the text during the quest for “people food.” Children will enjoy the map’s food symbols that note each stop of the possums’ journey. Readers will find her illustrations intriguing and believable.
Teachers and librarians looking for a high quality children’s picture book about Australia will be pleased with this selection. The text and illustrations accurately portray one image of this culture in a highly enjoyable fashion.
REVIEW EXCERPTS
School Library Journal raves, “Although the characters, locales, and vocabulary are thoroughly Australian, Possum Magic has universal appeal. Fox chooses her words carefully, making readers believe that certain foods just might be magical. Vivas uses a variety of techniques, including splatter painting and washes to create full- and double-page watercolor illustrations which complement the text and will entrance readers. A perfect choice for storytimes, but also useful for curriculum enrichment, thanks to a simplified map and glossary.”
Children’s Book Review Service writes, “Another treat from Mem Fox that is sure to be treasured. The whimsical illustrations are a wonderful complement.”
Reviews accessed at:
http://www.amazon.com/Possum-Magic-Voyager-Books-Mem/dp/0152632247
CONNECTIONS
Other books by Mem Fox:
HUNWICK’S EGG. Illustrated by Pamela Lofts. ISBN 0152163182.
KOALA LOU. Illustrated by Pamela Lofts. ISBN 0152000763.
TOUGH BORIS. Illustrated by Kathryn Brown. ISBN 0152018913.
WILFRID GORDON MCDONALD PARTRIDGE. Illustrated by Julie Vivas. ISBN 091629126X
WOMBAT DIVINE. Illustrated by Kerry Argent. ISBN 0152020969.
Submitted by Kim
PLOT SUMMARY
To keep Hush safe from snakes, Grandma Poss uses her bush magic to make Hush invisible. For a while the young possum enjoys the freedom invisibility allows, but one day she asks her grandmother to make her visible again. After looking unsuccessfully through her spell books, Grandma Hush remembers that the magic has something to do with eating “people food.” So begins a journey around Australia, looking for lamington, pavlova, and vegemite sandwiches that will make Hush visible once more.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Mem Fox and Julie Vivas include many cultural markers in their enchanting picture book. Readers young and old will enjoy the literary and visual references to Australia and the bush culture. Fox consciously uses language to evoke the essence of the country. The author’s description of Grandma Poss’ bush magic, which turns “wombats blue and kookaburras pink,” refers to a practice that is distinctly Australian. Her inclusion of native Australian animals places the reader firmly in this unique territory. The possums’ search for “people food” sends them on a culinary tour of Australia and readers discover cultural treats like anzac biscuits and minties. A helpful glossary offers descriptions of the Australian foods for international audiences. Through these colorful descriptions, Fox succeeds in lending an air of authenticity to her story.
In a picture book, the illustrations complement and extent the text to create a memorable literary and visual experience. Vivas’ magical illustrations transport readers to the bush country and share an unmistakable image of Australia. The setting of a story is so important in multicultural and international literature and Vivas takes great care in representing the Australian outback and its amazing animals. Kangaroos, emus, dingoes, koalas, wombats, and kookaburras offer young viewers a glimpse of the rich animal diversity on this continent. Vivas also includes a map of Australia, labeling the towns and cities mentioned in the text during the quest for “people food.” Children will enjoy the map’s food symbols that note each stop of the possums’ journey. Readers will find her illustrations intriguing and believable.
Teachers and librarians looking for a high quality children’s picture book about Australia will be pleased with this selection. The text and illustrations accurately portray one image of this culture in a highly enjoyable fashion.
REVIEW EXCERPTS
School Library Journal raves, “Although the characters, locales, and vocabulary are thoroughly Australian, Possum Magic has universal appeal. Fox chooses her words carefully, making readers believe that certain foods just might be magical. Vivas uses a variety of techniques, including splatter painting and washes to create full- and double-page watercolor illustrations which complement the text and will entrance readers. A perfect choice for storytimes, but also useful for curriculum enrichment, thanks to a simplified map and glossary.”
Children’s Book Review Service writes, “Another treat from Mem Fox that is sure to be treasured. The whimsical illustrations are a wonderful complement.”
Reviews accessed at:
http://www.amazon.com/Possum-Magic-Voyager-Books-Mem/dp/0152632247
CONNECTIONS
Other books by Mem Fox:
HUNWICK’S EGG. Illustrated by Pamela Lofts. ISBN 0152163182.
KOALA LOU. Illustrated by Pamela Lofts. ISBN 0152000763.
TOUGH BORIS. Illustrated by Kathryn Brown. ISBN 0152018913.
WILFRID GORDON MCDONALD PARTRIDGE. Illustrated by Julie Vivas. ISBN 091629126X
WOMBAT DIVINE. Illustrated by Kerry Argent. ISBN 0152020969.
Submitted by Kim
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