Mora, Pat. 2005. DONA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART. Illustrated by Raul Colon. New York: Alfred A. Knopf. ISBN 0375823379.
PLOT SUMMARY
In this original folktale, Pat Mora and Raul Colon have created an engaging story of a gentle giant that loves people, animals, and plants. In her small pueblo, Dona Flor is greatly respected for the assistance and kindness she gives her neighbors. One day, everyone’s peace is disturbed by the roar of a giant puma. Since her small neighbors are afraid to come out of their houses, Dona Flor goes off in search of the scary puma. When she doesn’t return, the villagers leave the safety of the pueblo to rescue their friend, only to discover the giant puma isn’t what they thought.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Mora and Colon have crafted an authentic folktale faithful to the style of the American Southwest. Many cultural markers lend credibility to this Pura Belpre award winning book. In fact, Colon won the award for his illustrations and Mora’s text received an honor book medal.
Pat Mora brings her own Hispanic heritage and Southwestern background to her writing. Her text richly flows with references to the distinct wildlife, plants, and landscape that characterize the American Southwest. The main character, Dona Flor, respects nature and counts pumas, coyotes, and rattlers as animal friends, not enemies. Dona Flor also uses elements of the desert environment when she creates her home out of adobe. The friendly giant even helps her small neighbors by making large tortillas to use as roofs for their houses and rafts to float across the pond.
The Spanish language is an important contributor to the style of this work. Flor is given the honorary title of Dona by the villagers out of respect for her benevolence. Many Spanish terms are used to describe structures, animals, personal endearments, and common phrases. Several examples of Mexican American food are also relevant to the storyline, such as the tortilla roofs and rafts. While some of the Spanish words and phrases will be understand by monolingual English readers, some of the interlingual terms are more complex. A few Spanish words spoken in dialogue are translated literally in the narration; however most words require the reader to use contextual clues to decipher meaning, which makes for a more fluid reading experience for bilingual students. The author does not include a glossary, so monolingual English readers might need to look up the meanings of a few words in a Spanish-English dictionary. Mora’s folktale is definitely intended to celebrate and honor Hispanic culture.
In a picture book, the illustrations complement and extent the text to create a memorable literary and visual experience. Colon’s dreamy illustrations heighten the fantasy of this story. His attention to detail provides the reader with authentic images of life in a Southwestern pueblo. The people, buildings, animals, and vegetation all accurately depict this region of the United States. The clothing and activities of the villagers reflect an earlier time, appropriate to the folktale genre. Images of Dona Flor sleeping in the clouds or plucking stars out of the sky lend a magical quality to the illustrations that perfectly matches the content of the story.
Teachers and librarians looking for high quality children’s picture books that reflect the best of Hispanic literature will be pleased with this selection. Hispanic folktales set in the United States are rare; Dona Flor represents one of the best examples of this often neglected genre. The winning combination of storyline and illustrations create a fanciful, but authentic, multicultural piece.
REVIEW EXCERPTS
School Library Journal raves, “A charming tall tale set in the American Southwest...Colón uses his signature mix of watercolor washes, etching, and litho pencils for the art. There is great texture and movement on each page in the sun-baked tones of the landscape. With Spanish words peppered throughout, this is a welcome entry to the canon that includes other heroines like Sally Ann Thunder and Thunder Rose.”
Booklist writes, “Mora strengthens her economical, poetic text with vivid, fanciful touches: the villagers use Flor's colossal homemade tortillas as roofs, for example. Colon's signature scratchboard art extends the whimsy and gentle humor in lovely scenes of the serene heroine sweet-talking the animals or plucking a star from the sky. A winning read-aloud, particularly for children who can recognize the intermittent Spanish phrases.”
Reviews accessed at:
http://www.amazon.com/Dona-Flor-Belpre-Illustrator-Awards/dp/0375823379
CONNECTIONS
Other books for children written by Pat Mora:
A BIRTHDAY BASKET FOR TIA. Illustrated by Cecily Lang. ISBN 0689813287
A LIBRARY FOR JUANA: THE WORLD OF SOR JUANA INES. Illustrated by Beatriz Vidal. ISBN 0375806431
CONFETTI: POEMS FOR CHILDREN. Illustrated by Enrique O. Sanchez. ISBN 1880000857
THE RAINBOW TULIP. Illustrated by Elizabeth Sayles. ISBN 0142500097
TOMAS AND THE LIBRARY LADY. Illustrated by Raul Colon. ISBN 0375803491
Submitted by Kim
Thursday, July 5, 2007
Review of THE AFTERLIFE
Soto, Gary. 2003. THE AFTERLIFE. New York: Harcourt, Inc. ISBN 0152047743.
PLOT SUMMARY
Chuy, a senior at East Fresno High, is brutally murdered in a nightclub restroom after making the mistake of complimenting a man on his shoes. Released from his earthly bonds, Chuy is free to roam the city as an invisible ghost and quietly observe his surroundings. During his lonely journey, Chuy says goodbye to family and friends and comes to realize how much they care for him and the impact he has on his loved ones. Chuy also accomplishes several of his life dreams on the way to “the afterlife.”
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Gary Soto draws upon his experiences growing up in Fresno, California when creating believable settings and characters for his stories. Chuy is a realistically portrayed Hispanic teenager struggling to understand his role and path in life, even after his death. The fact that Chuy is a ghost from the opening pages of the story does not detract from the authentic feel of Fresno and its populace that Soto shares with the reader.
The author’s depiction of the characters’ personalities and physical traits is especially strong. Chuy comes across as a likeable, average teenage boy trying not to get into trouble with his parents and hopefully find a girlfriend. In typical adolescent fashion, Chuy describes the importance of proper grooming and entertaining behavior when trying to impress girls, especially since he has a “papa” nose. Refreshingly, Chuy greatly values his Mexican heritage and mentions that he finds another ghost more attractive when he realizes her face is also Mexican. His family and friends each play a different, but important, role in Chuy’s life and death. Overcome with grief, Chuy’s mama tries to convince his “primo” Eddie to hunt down the man that killed her son even as she plans his funeral Mass, while his father and “carnal” Angel take a more stoic stand. Even the boy’s murderer is realistically described as a squinty-eyed coward with blood on his hands. Soto takes great care to create authentic characters that represent both the strengths and weaknesses of all people, but in particular the Hispanic culture in Fresno.
Soto’s characters often use code switching in their dialogue. Family endearments, character descriptions, food, and common phrases are often spoken in Spanish. Soto tends to include Spanish in his dialogue and use the narration for both literal and contextual translation. The result is a natural, authentic language that flows well and represents the characters’ Hispanic culture. The glossary at the end of the book is a helpful tool for monolingual English speakers, as some of the terms are unfamiliar.
Even though Chuy spends a great deal of time randomly blowing in the wind after his death, the author places him in several different locations throughout the story. Whether Chuy is in his family’s neighborhood, the killer’s rundown alley, or his friend’s prosperous vineyard, Soto describes each place in detail. Stark differences between more wealthy homes and the neglected barrio reveal the wide range of economic status, occupations, and values among the Hispanic community. The scent of food like carne asada, the sounds of domestic life, and the damp chill of October all combine to give the reader a rich view of Chuy’s Fresno environment.
The author’s use of cultural markers creates a believable and authentic story of one teenager’s tragically short life. Soto gives the reader an insider’s glimpse of one view of contemporary Hispanic culture in the United States. While Chuy’s life among his family, friends, and community is fully described, his future is less defined. As Chuy ultimately embraces the afterlife, the reader is left wondering what that really entails.
REVIEW EXCERPTS
Booklist comments, “Soto has remade Our Town into Fresno, California, and he not only paints the scenery brilliantly but also captures the pain that follows an early death. In many ways, this is as much a story about a hardscrabble place as it is about a boy who is murdered. Both pulse with life and will stay in memory.”
School Library Journal writes, “Soto's twist on the emerging subgenre of narratives in the vein of Alice Sebold's The Lovely Bones (Little, Brown, 2002) offers a compelling character in the person of 17-year-old Chuy...Soto's simple and poetic language, leavened with Mexican Spanish with such care to context that the appended glossary is scarcely needed, is clear, but Chuy's ultimate destiny isn't.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0152047743/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other picture books, novels, and poetry collections written by Gary Soto:
BASEBALL IN APRIL AND OTHER STORIES. ISBN 0152025677
BURIED ONIONS. ISBN 0152062653
CANTO FAMILIAR. ISBN 0152058850
CHATO AND THE PARTY ANIMALS. ISBN 0142400327
CHATO’S KITCHEN. ISBN 1591122082
NEIGHBORHOOD ODES. ISBN 0152053646
PETTY CRIMES. ISBN 0152054375
TAKING SIDES. ISBN 0152046941
THE OLD MAN AND HIS DOOR. ISBN 0698116542
TOO MANY TAMALES. ISBN 0590226509
Submitted by Kim
PLOT SUMMARY
Chuy, a senior at East Fresno High, is brutally murdered in a nightclub restroom after making the mistake of complimenting a man on his shoes. Released from his earthly bonds, Chuy is free to roam the city as an invisible ghost and quietly observe his surroundings. During his lonely journey, Chuy says goodbye to family and friends and comes to realize how much they care for him and the impact he has on his loved ones. Chuy also accomplishes several of his life dreams on the way to “the afterlife.”
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Gary Soto draws upon his experiences growing up in Fresno, California when creating believable settings and characters for his stories. Chuy is a realistically portrayed Hispanic teenager struggling to understand his role and path in life, even after his death. The fact that Chuy is a ghost from the opening pages of the story does not detract from the authentic feel of Fresno and its populace that Soto shares with the reader.
The author’s depiction of the characters’ personalities and physical traits is especially strong. Chuy comes across as a likeable, average teenage boy trying not to get into trouble with his parents and hopefully find a girlfriend. In typical adolescent fashion, Chuy describes the importance of proper grooming and entertaining behavior when trying to impress girls, especially since he has a “papa” nose. Refreshingly, Chuy greatly values his Mexican heritage and mentions that he finds another ghost more attractive when he realizes her face is also Mexican. His family and friends each play a different, but important, role in Chuy’s life and death. Overcome with grief, Chuy’s mama tries to convince his “primo” Eddie to hunt down the man that killed her son even as she plans his funeral Mass, while his father and “carnal” Angel take a more stoic stand. Even the boy’s murderer is realistically described as a squinty-eyed coward with blood on his hands. Soto takes great care to create authentic characters that represent both the strengths and weaknesses of all people, but in particular the Hispanic culture in Fresno.
Soto’s characters often use code switching in their dialogue. Family endearments, character descriptions, food, and common phrases are often spoken in Spanish. Soto tends to include Spanish in his dialogue and use the narration for both literal and contextual translation. The result is a natural, authentic language that flows well and represents the characters’ Hispanic culture. The glossary at the end of the book is a helpful tool for monolingual English speakers, as some of the terms are unfamiliar.
Even though Chuy spends a great deal of time randomly blowing in the wind after his death, the author places him in several different locations throughout the story. Whether Chuy is in his family’s neighborhood, the killer’s rundown alley, or his friend’s prosperous vineyard, Soto describes each place in detail. Stark differences between more wealthy homes and the neglected barrio reveal the wide range of economic status, occupations, and values among the Hispanic community. The scent of food like carne asada, the sounds of domestic life, and the damp chill of October all combine to give the reader a rich view of Chuy’s Fresno environment.
The author’s use of cultural markers creates a believable and authentic story of one teenager’s tragically short life. Soto gives the reader an insider’s glimpse of one view of contemporary Hispanic culture in the United States. While Chuy’s life among his family, friends, and community is fully described, his future is less defined. As Chuy ultimately embraces the afterlife, the reader is left wondering what that really entails.
REVIEW EXCERPTS
Booklist comments, “Soto has remade Our Town into Fresno, California, and he not only paints the scenery brilliantly but also captures the pain that follows an early death. In many ways, this is as much a story about a hardscrabble place as it is about a boy who is murdered. Both pulse with life and will stay in memory.”
School Library Journal writes, “Soto's twist on the emerging subgenre of narratives in the vein of Alice Sebold's The Lovely Bones (Little, Brown, 2002) offers a compelling character in the person of 17-year-old Chuy...Soto's simple and poetic language, leavened with Mexican Spanish with such care to context that the appended glossary is scarcely needed, is clear, but Chuy's ultimate destiny isn't.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0152047743/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other picture books, novels, and poetry collections written by Gary Soto:
BASEBALL IN APRIL AND OTHER STORIES. ISBN 0152025677
BURIED ONIONS. ISBN 0152062653
CANTO FAMILIAR. ISBN 0152058850
CHATO AND THE PARTY ANIMALS. ISBN 0142400327
CHATO’S KITCHEN. ISBN 1591122082
NEIGHBORHOOD ODES. ISBN 0152053646
PETTY CRIMES. ISBN 0152054375
TAKING SIDES. ISBN 0152046941
THE OLD MAN AND HIS DOOR. ISBN 0698116542
TOO MANY TAMALES. ISBN 0590226509
Submitted by Kim
Review of BECOMING NAOMI LEON
Ryan, Pam Munoz. 2004. BECOMING NAOMI LEON. New York: Scholastic Press. ISBN 0439269695.
PLOT SUMMARY
Naomi Soledad Leon Outlaw and her little brother Owen were abandoned by their single mother to be raised by their great grandmother. Naomi, Owen, and Gram have built a tight knit family in their little trailer at Avocado Acres Trailer Park in Lemon Tree, California. One day, seven years later, their mother suddenly appears to reconnect with her children. It soon becomes apparent that Skyla wants Naomi to live with her, as a babysitter for her boyfriend’s daughter and as an excuse for collecting money from the state for the care of a dependent. To save Naomi from a likely abusive situation, Gram, the children, and a pair of helpful neighbors leave California on a road trip to Oaxaca, Mexico to find their father, who can help settle the custody dispute.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Pam Munoz Ryan has a reputation for writing excellent books depicting Hispanic life in the United States and Mexico. She draws upon her own Mexican and Oklahoman heritages to create authentic characters, settings, and stories that give readers an insider’s view of this rich culture.
One of Ryan’s main strengths is her gift for characterization. Both the physical descriptions and personality traits of her characters seem believable and authentic. The juxtaposition of Naomi’s dark hair, skin, and eyes with Owen’s fair, blond countenance symbolically represents the children’s mixed heritage. However, while outsiders may view them as different, Naomi and Owen easily move between their two cultures and respect the strengths they receive from each. Naomi’s talent for soap carving is an acknowledged trait inherited from her father’s family. It is also worth noting that while neither child speaks much Spanish, both are warmly welcomed by their Hispanic relatives and encouraged to learn more about their Mexican heritage and customs.
Since the children and Gram, their primary caregiver, do not speak Spanish fluently, Ryan does not incorporate a great deal of Spanish in her novel. Most of the interlingual Spanish consists of familiar terms, common phrases, and family endearments that most monolingual English speakers already know. When more difficult phrases are used, the Spanish speaking character usually repeats the message in English, presumably for the benefit of Naomi and Owen. Since Ryan does not include a glossary, the literal translations also help monolingual English readers, although this makes for repetitive reading for bilingual students.
The author’s description of the different locations and cultures also help give readers an authentic look at contemporary life for Hispanics in Mexico and the United States. The first part of the story is set in California and mostly centers around the children’s Caucasian heritage from Gram, although a wide variety of other cultures are present in their neighborhood and at school. Once the family flees to Mexico in their travel trailer, Naomi and Owen not only notice the obvious differences in landscape and language between the orchards in California and the deserts of Oaxaca, they also learn more about their Hispanic heritage. Several religious and social customs are described as Naomi and Owen participate in Las Posadas and La Noche de los Rabanos. The beauty and excitement of these celebrations are enhanced with descriptions of food, clothing, and objects unique to this particular Hispanic experience.
Ryan has created an authentic story of a girl’s journey of self discovery. As Naomi searches for her father, she learns more about of her Hispanic heritage. Her experience in Oaxaca allows Naomi to embrace her father’s culture and discover her own voice. Ultimately, this awakening gives Naomi the power to shape her destiny and escape her mother’s selfish intentions. While set in the Hispanic community, this family’s struggle to stay together will be appreciated by all children.
REVIEW EXCERPTS
Booklist comments, “In true mythic tradition, Ryan, the author of the award-winning Esperanza Rising (2000), makes Naomi's search for her dad a search for identity, and both are exciting. Mom is demonized, but the other characters are more complex, and the quest is heartbreaking. The dense factual detail about the festival sometimes slows the story, but it's an effective tool for dramatizing Naomi's discovery of her Mexican roots and the artist inside herself.”
School Library Journal writes, “Ryan has written a moving book about family dynamics. While she explores the youngsters' Mexican heritage and gives a vivid picture of life in and the art of Oaxaca, her story is universal, showing the strong bonds and love that make up an extended family. All of the characters are well drawn, and readers will share Naomi's fear until the judge makes the final decision about her future.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0439269695/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other recent Pura Belpre award winners and honor books:
Bernier-Grand, Carmen T. CESAR: ISI, SE PUEDE! YES, WE CAN! Illustrated by David Diaz. ISBN 0761451722
Brown, Monica. MY NAME IS CELIA/ME LLAMO CELIA: THE LIFE OF CELIA CRUZ/LA VIDA DE CELIA CRUZ. Illustrated by Rafael Lopez. ISBN 087358872X
Canales, Viola. THE TEQUILA WORM. ISBN 0375840893
Delacre, Lulu. ARRORRO, MI NINO: LATINO LULLABIES AND GENTLE GAMES. ISBN 1584301597
Mora, Pat. DONA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART. Illustrated by Raul Colon. ISBN 0375823379
Submitted by Kim
PLOT SUMMARY
Naomi Soledad Leon Outlaw and her little brother Owen were abandoned by their single mother to be raised by their great grandmother. Naomi, Owen, and Gram have built a tight knit family in their little trailer at Avocado Acres Trailer Park in Lemon Tree, California. One day, seven years later, their mother suddenly appears to reconnect with her children. It soon becomes apparent that Skyla wants Naomi to live with her, as a babysitter for her boyfriend’s daughter and as an excuse for collecting money from the state for the care of a dependent. To save Naomi from a likely abusive situation, Gram, the children, and a pair of helpful neighbors leave California on a road trip to Oaxaca, Mexico to find their father, who can help settle the custody dispute.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Pam Munoz Ryan has a reputation for writing excellent books depicting Hispanic life in the United States and Mexico. She draws upon her own Mexican and Oklahoman heritages to create authentic characters, settings, and stories that give readers an insider’s view of this rich culture.
One of Ryan’s main strengths is her gift for characterization. Both the physical descriptions and personality traits of her characters seem believable and authentic. The juxtaposition of Naomi’s dark hair, skin, and eyes with Owen’s fair, blond countenance symbolically represents the children’s mixed heritage. However, while outsiders may view them as different, Naomi and Owen easily move between their two cultures and respect the strengths they receive from each. Naomi’s talent for soap carving is an acknowledged trait inherited from her father’s family. It is also worth noting that while neither child speaks much Spanish, both are warmly welcomed by their Hispanic relatives and encouraged to learn more about their Mexican heritage and customs.
Since the children and Gram, their primary caregiver, do not speak Spanish fluently, Ryan does not incorporate a great deal of Spanish in her novel. Most of the interlingual Spanish consists of familiar terms, common phrases, and family endearments that most monolingual English speakers already know. When more difficult phrases are used, the Spanish speaking character usually repeats the message in English, presumably for the benefit of Naomi and Owen. Since Ryan does not include a glossary, the literal translations also help monolingual English readers, although this makes for repetitive reading for bilingual students.
The author’s description of the different locations and cultures also help give readers an authentic look at contemporary life for Hispanics in Mexico and the United States. The first part of the story is set in California and mostly centers around the children’s Caucasian heritage from Gram, although a wide variety of other cultures are present in their neighborhood and at school. Once the family flees to Mexico in their travel trailer, Naomi and Owen not only notice the obvious differences in landscape and language between the orchards in California and the deserts of Oaxaca, they also learn more about their Hispanic heritage. Several religious and social customs are described as Naomi and Owen participate in Las Posadas and La Noche de los Rabanos. The beauty and excitement of these celebrations are enhanced with descriptions of food, clothing, and objects unique to this particular Hispanic experience.
Ryan has created an authentic story of a girl’s journey of self discovery. As Naomi searches for her father, she learns more about of her Hispanic heritage. Her experience in Oaxaca allows Naomi to embrace her father’s culture and discover her own voice. Ultimately, this awakening gives Naomi the power to shape her destiny and escape her mother’s selfish intentions. While set in the Hispanic community, this family’s struggle to stay together will be appreciated by all children.
REVIEW EXCERPTS
Booklist comments, “In true mythic tradition, Ryan, the author of the award-winning Esperanza Rising (2000), makes Naomi's search for her dad a search for identity, and both are exciting. Mom is demonized, but the other characters are more complex, and the quest is heartbreaking. The dense factual detail about the festival sometimes slows the story, but it's an effective tool for dramatizing Naomi's discovery of her Mexican roots and the artist inside herself.”
School Library Journal writes, “Ryan has written a moving book about family dynamics. While she explores the youngsters' Mexican heritage and gives a vivid picture of life in and the art of Oaxaca, her story is universal, showing the strong bonds and love that make up an extended family. All of the characters are well drawn, and readers will share Naomi's fear until the judge makes the final decision about her future.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0439269695/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other recent Pura Belpre award winners and honor books:
Bernier-Grand, Carmen T. CESAR: ISI, SE PUEDE! YES, WE CAN! Illustrated by David Diaz. ISBN 0761451722
Brown, Monica. MY NAME IS CELIA/ME LLAMO CELIA: THE LIFE OF CELIA CRUZ/LA VIDA DE CELIA CRUZ. Illustrated by Rafael Lopez. ISBN 087358872X
Canales, Viola. THE TEQUILA WORM. ISBN 0375840893
Delacre, Lulu. ARRORRO, MI NINO: LATINO LULLABIES AND GENTLE GAMES. ISBN 1584301597
Mora, Pat. DONA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART. Illustrated by Raul Colon. ISBN 0375823379
Submitted by Kim
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