Yep, Laurence. 1999. THE AMAH. New York: G. P. Putnam’s Sons. ISBN 0399230408.
PLOT SUMMARY
Ever since her father died, life has been difficult for Amy’s family. In order to make more money, her mother has decided to quit her nighttime cleaning job and take a position as an amah, a Chinese nanny. While her mother is taking care of Miss Stephanie, twelve year old Amy is now responsible for getting her four younger siblings off to school and making sure they finish their homework, eat dinner, and get ready for bed every evening. In addition to struggling with these pressures, Amy also frequently misses her ballet lessons when her mother needs to stay late with Miss Stephanie. Not surprisingly, Amy greatly resents the situation. However, with the help of some understanding friends, she learns to make changes, not only for herself, but also to help others.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Laurence Yep has earned a reputation for creating accurate and authentic stories depicting experiences of Asian Pacific Americans. In this book, he explores the interwoven relationships of amahs, their families, and their charges. Intrigued by family stories of his grandmother’s days as an amah and how it impacted her own children, Yep began researching this practice. Conducting interviews with amahs, the children left at home, and the children raised by amahs, Yep shows dedication as he strives to realistically capture this part of Asian Pacific American life.
Yep’s story rings true on many points, but the characters’ internal struggles are most relevant. Amy, the protagonist, is understandably upset as her mother’s new job causes her to miss her beloved ballet lessons. Forced to baby-sit her rambunctious siblings, Amy’s resentments begin to build. While the reader naturally sides with Amy, Yep does an outstanding job of explaining her mother’s point of view as well. Even though Amy believes she doesn’t care about her feelings or interests, her mother is actually more supportive and caring than her own mother was to her. By sacrificing time with her own children to take care of her charge, Amy’s mother can afford to continue the expensive ballet lessons. Yep’s description of the cultural strife between an American daughter and a Chinese mother is both poignant and eye-opening for the reader.
Even though Amy’s family members are shown to be individuals, each with their own interests, Yep does not spend a great deal of time describing their physical attributes. The reader is aware that Amy is slender and has a dancer’s build, but Yep does not elaborate much on her features. Physical descriptions focus more on body type, such as the fact that her younger brother needs to eat less pizza because he is a little overweight. It is interesting to note that her mother wishes Amy would eat more, because when she was a child, thinness was a sign of poverty in China.
Since the family has been in the United States for awhile, the children are thoroughly American in their language, names, dress, and hobbies. The younger siblings enjoy American comic books and video games. Amy only speaks a little Chinese and she never code-switches. Several of the characters who lived in Hong Kong speak with a British accent. Instead of using Chinese language and terms, Yep reveals the culture of his characters through certain artifacts, rituals, and food. For instance, Amy’s mother has a cherished family heirloom, a teapot, she only uses for special occasions. At the beginning of the story, Amy’s mother uses a personal connection to win her amah position, due to her insider status in the Asian Pacific American community. All the family members enjoy shopping and eating in Chinatown.
Yep has created an authentic story of a young girl torn between her Chinese and American cultures. Her mother expects her to be the dutiful daughter, but Amy stands up to her when she feels her ballet lessons are being sacrificed. Through a difficult financial situation, both Amy and her mother learn how to bridge their cultural differences and communicate better. Yep succeeds in portraying a generation gap common in the Asian Pacific American community.
REVIEW EXCERPTS
School Library Journal writes, “Readers will enjoy the ballet references as they explore the universal feelings of jealousy and relationships. A realistic story of a contemporary Chinese-American family with flaws and strengths.”
Booklist comments, “The strained relationship between Amy and her "old world" mother is one of the strongest elements in this story, which clearly delineates the sort of struggle that can occur between generations in an immigrant family as well as what it feels like to be an outsider, even in your own home. A solid read.”
Reviews accessed at: http://www.amazon.com/Amah-Laurence-Yep/dp/0698118782
CONNECTIONS
Other books portraying the Asian Pacific American experience by Laurence Yep:
DRAGON’S GATE. ISBN 0064404897
DREAM SOUL. ISBN 0064407888
THE MAGIC PAINTBRUSH. ISBN 0064408523
THE STAR FISHER. ISBN 0140360034
WHEN THE CIRCUS CAME TO TOWN. ISBN 0064409651
Submitted by Kim
Thursday, July 26, 2007
Saturday, July 14, 2007
Review of RAIN IS NOT MY INDIAN NAME
Smith, Cynthia Leitich. 2001. RAIN IS NOT MY INDIAN NAME. New York: HarperCollins Publishers. ISBN 006029504X.
PLOT SUMMARY
After her best friend dies on her 14th birthday, Rain secludes herself from the outside world. For six months Rain avoids dealing with any reminder of Galen and pushes away other friends until her aunt invites her to a Native American youth program. As one of only three Native American teens in her small town, Rain is pulled into the political drama surrounding the multicultural summer camp. Throughout the course of the funding debate, Rain decides to reenter society and begins to overcome her grief to move forward with her life.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Cynthia Leitich Smith draws upon her own experiences as a mixed blood Muscogee Creek member in this poignant book. She includes many cultural markers to enhance Rain’s story and lend an air of authenticity to her work. One of Smith’s main strengths is her gift for characterization. She is able to authentically describe the various Native American characters in her story. Each of the characters is unique. Physical attributes vary from Rain’s wheat colored hair and hazel eyes, to her older brother’s darker complexion. Descriptions of the characters’ clothing are especially refreshing since no one appears in traditional attire. Rain dresses like a typical American teenager wearing jeans and T-shirts. Fynn, her older brother, is often depicted as “corporate,” wearing a Jerry Garcia ties. This contemporary view of Native Americans offers readers a much more accurate image of this cultural group.
The author also makes a point to mention characters’ specific tribal affiliations. On her mother’s side of the family, Rain is a Muscogee Creek-Cherokee. During the political struggle over funding the Native American camp, Rain frequently remembers trips to Oklahoma and the joy of participating in tribal customs. Rain is a member of the Ojibway nation on her father’s side, however she does not know much about their culture. After talking to a fellow camper with Ojibway blood, she wishes she could discover more about that part of her heritage. Through the campers’ discussions, the author allows the reader to glimpse the amazing diversity among the different tribes in our country. A single, “pan-Indian” culture is revealed as inappropriate and inaccurate.
In several instances, Rain is surprised by the local newspaper reporter’s lack of understanding. “The Flash” asks personal questions about spiritual ceremonies for his articles covering the Native American youth program. Rain is shocked by his prodding into “insiders’” private matters. Indirectly, Smith reminds readers that some stories are better left alone. Sacred ceremonies and practices are not meant to be shared with outsiders. Privacy and respect is a part of Native American culture.
Very little Native American language is used, partially due to the contemporary setting. However, Rain’s future niece will be named Aiyana, after her late grandmother. The family feels “forever flowering” is a name that will honor their heritage.
Throughout the story, Rain occasionally comments that she gets tired of people saying she doesn’t look like an Indian or asking if Rain is her Indian name. However, she explains that her mixed heritage is also a blessing. She feels that she is more tolerant of other people’s cultures due to the insensitive comments she has suffered. In this subtle manner, the author shares a message of acceptance.
REVIEW EXCERPTS
School Library Journal writes, “There is a surprising amount of humor in this tender novel. It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. As feelings about the public funding of Indian Camp heat up, the emotions and values of the characters remain crystal clear and completely in focus. It's Rain's story and she cannot be reduced to simple labels. A wonderful novel of a present-day teen and her "patchwork tribe."
Publishers Weekly comments, “Some of Smith's devices such as opening each chapter with a snippet from Rain's journal add depth and clarify Rain's relationships for readers, although other elements (the detailing of song lyrics playing in the background, for instance) seem stilted. Even so, readers will feel the affection of Rain's loose-knit family and admire the way that they, like the author with the audience, allow Rain to draw her own conclusions about who she is and what her heritage means to her.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0688173977/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other books portraying contemporary Native American children:
Bruchac, Joseph. THE HEART OF A CHIEF. ISBN 014131236X
Keeshig-Tobias, Lenore. BIRD TALK. Illustrated by Irving Toddy. ISBN 0153021462
Lacapa, Kathleen. LESS THAN HALF, MORE THAN WHOLE. Illustrated by Michael Lacapa. ISBN 0873587340
Sanderson, Esther. TWO PAIRS OF SHOES. Illustrated by David Beyer. ISBN 0921827156
Smith, Cynthia Leitich. INDIAN SHOES. Illustrated by Jim Madsen. ISBN 0060295317
Submitted by Kim
PLOT SUMMARY
After her best friend dies on her 14th birthday, Rain secludes herself from the outside world. For six months Rain avoids dealing with any reminder of Galen and pushes away other friends until her aunt invites her to a Native American youth program. As one of only three Native American teens in her small town, Rain is pulled into the political drama surrounding the multicultural summer camp. Throughout the course of the funding debate, Rain decides to reenter society and begins to overcome her grief to move forward with her life.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Cynthia Leitich Smith draws upon her own experiences as a mixed blood Muscogee Creek member in this poignant book. She includes many cultural markers to enhance Rain’s story and lend an air of authenticity to her work. One of Smith’s main strengths is her gift for characterization. She is able to authentically describe the various Native American characters in her story. Each of the characters is unique. Physical attributes vary from Rain’s wheat colored hair and hazel eyes, to her older brother’s darker complexion. Descriptions of the characters’ clothing are especially refreshing since no one appears in traditional attire. Rain dresses like a typical American teenager wearing jeans and T-shirts. Fynn, her older brother, is often depicted as “corporate,” wearing a Jerry Garcia ties. This contemporary view of Native Americans offers readers a much more accurate image of this cultural group.
The author also makes a point to mention characters’ specific tribal affiliations. On her mother’s side of the family, Rain is a Muscogee Creek-Cherokee. During the political struggle over funding the Native American camp, Rain frequently remembers trips to Oklahoma and the joy of participating in tribal customs. Rain is a member of the Ojibway nation on her father’s side, however she does not know much about their culture. After talking to a fellow camper with Ojibway blood, she wishes she could discover more about that part of her heritage. Through the campers’ discussions, the author allows the reader to glimpse the amazing diversity among the different tribes in our country. A single, “pan-Indian” culture is revealed as inappropriate and inaccurate.
In several instances, Rain is surprised by the local newspaper reporter’s lack of understanding. “The Flash” asks personal questions about spiritual ceremonies for his articles covering the Native American youth program. Rain is shocked by his prodding into “insiders’” private matters. Indirectly, Smith reminds readers that some stories are better left alone. Sacred ceremonies and practices are not meant to be shared with outsiders. Privacy and respect is a part of Native American culture.
Very little Native American language is used, partially due to the contemporary setting. However, Rain’s future niece will be named Aiyana, after her late grandmother. The family feels “forever flowering” is a name that will honor their heritage.
Throughout the story, Rain occasionally comments that she gets tired of people saying she doesn’t look like an Indian or asking if Rain is her Indian name. However, she explains that her mixed heritage is also a blessing. She feels that she is more tolerant of other people’s cultures due to the insensitive comments she has suffered. In this subtle manner, the author shares a message of acceptance.
REVIEW EXCERPTS
School Library Journal writes, “There is a surprising amount of humor in this tender novel. It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. As feelings about the public funding of Indian Camp heat up, the emotions and values of the characters remain crystal clear and completely in focus. It's Rain's story and she cannot be reduced to simple labels. A wonderful novel of a present-day teen and her "patchwork tribe."
Publishers Weekly comments, “Some of Smith's devices such as opening each chapter with a snippet from Rain's journal add depth and clarify Rain's relationships for readers, although other elements (the detailing of song lyrics playing in the background, for instance) seem stilted. Even so, readers will feel the affection of Rain's loose-knit family and admire the way that they, like the author with the audience, allow Rain to draw her own conclusions about who she is and what her heritage means to her.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0688173977/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other books portraying contemporary Native American children:
Bruchac, Joseph. THE HEART OF A CHIEF. ISBN 014131236X
Keeshig-Tobias, Lenore. BIRD TALK. Illustrated by Irving Toddy. ISBN 0153021462
Lacapa, Kathleen. LESS THAN HALF, MORE THAN WHOLE. Illustrated by Michael Lacapa. ISBN 0873587340
Sanderson, Esther. TWO PAIRS OF SHOES. Illustrated by David Beyer. ISBN 0921827156
Smith, Cynthia Leitich. INDIAN SHOES. Illustrated by Jim Madsen. ISBN 0060295317
Submitted by Kim
Review of FIRST STRAWBERRIES
Bruchac, Joseph. 1993. THE FIRST STRAWBERRIES: A CHEROKEE STORY. Illustrated by Anna Vojtech. New York: Dial Books for Young Readers. ISBN 0803713320.
PLOT SUMMARY
In the beginning of the world, the Creator made a man and woman to live together. The husband and wife live happily for many years, until one day the man returns home to find his wife picking flowers instead of preparing his meal. Angry, the man speaks sternly to his wife, who decides to leave. Immediately the husband regrets his harsh words and tries to catch his wife, but she is running too fast. The sun takes pity on the man and decides to grow several tempting fruits to stop the woman. Finally, red, ripe strawberries entice the woman to stop running. After eating some sweet strawberries, the wife picks more for her husband. When he catches up to her, the two forgive each other and enjoy the berries. Strawberries still remind the Cherokee people to always be kind to one another.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Bruchac and Vojtech have created a beautiful retelling of this traditional Cherokee folktale. Both artists employ a variety of cultural markers to authenticate their picture book. This tale of how strawberries came into the world offers a glimpse into the culture of this particular Native American tribe.
Bruchac originally heard this story from a Cherokee elder and appreciated its respectful lesson. As a member of the Abenaki tribe, Bruchac has written many Native American stories for children and young adults. His publishing company in Greenfield, New York specializes in authentic Native American literature. In his author’s note, Bruchac mentions consulting several Cherokee friends to ensure the accuracy of the story and help him “understand the story well enough to tell it.”
Although Bruchac does not use any Cherokee language in the text of the story, there are a few cultural clues that help the reader identify this story as Native American. The author mentions the couple living off the land, but the direct assistance of the sun lets children know that this is a creation folktale. The sun grows four types of fruit, which is a Native American motif. At the conclusion of the tale, the author also states that the Cherokee people of today still remember to be kind when they eat strawberries.
In a picture book, the illustrations play an equal, if not larger, role in storytelling. Vojtech’s vivid watercolor and color pencil illustrations complement and extent the text to create a memorable literary and visual experience. Through the pictures, children can identify this story as a Native American folktale. The husband and wife have authentic facial features and skin tone. Their clothing is an accurate representation of traditional Cherokee attire. Both the man and woman wear their hair long, with the wife’s braided. Even their home, cooking utensils, and surrounding vegetation are well researched. This is not Vojtech’s first experience illustrating a Native American picture book and several consultants were advised during the process.
Teachers and librarians looking for an authentic Cherokee folktale for their collection will be pleased with this choice. Joseph Bruchac is a respected Native American author with an impressive body of work. Readers can be confident that his books are accurate and culturally sensitive.
REVIEW EXCERPTS
Publishers Weekly writes, “Spare text, an uncomplicated story line and gentle illustrations keep this quiet but resonant tale accessible to even the youngest child.”
Kirkus Reviews raves, “Quietly luminous watercolors capture details of dress, dwelling, implements, flora, and fauna against an open landscape of rolling hills. Small touches dramatize the story's moods: a bouquet of brown-eyed Susans flung to the ground in anger; an empty nest in a pine tree as the woman disappears behind the western hills; the glimmer of a single firefly as man and wife are reconciled. Complete harmony of text and pictures: altogether lovely.”
Reviews accessed at:
http://www.amazon.com/First-Strawberries-Picture-Puffin/dp/0140564098
CONNECTIONS
Other books for children written by Joseph Bruchac:
BETWEEN EARTH & SKY: LEGENDS OF NATIVE AMERICAN SACRED PLACES. Illustrated by Thomas Locker. ISBN 0152020624
HOW CHIPMUNK GOT HIS STRIPES. Illustrated by Jose Aruego and Ariane Dewey. ISBN 0142500216
SACAJAWEA. ISBN 0439280680
THE ARROW OVER THE DOOR. Illustrated by James Watling. ISBN 0141305711
THIRTEEN MOONS ON TURTLE’S BACK. Illustrated by Thomas Locker. ISBN 0698115848
Submitted by Kim
PLOT SUMMARY
In the beginning of the world, the Creator made a man and woman to live together. The husband and wife live happily for many years, until one day the man returns home to find his wife picking flowers instead of preparing his meal. Angry, the man speaks sternly to his wife, who decides to leave. Immediately the husband regrets his harsh words and tries to catch his wife, but she is running too fast. The sun takes pity on the man and decides to grow several tempting fruits to stop the woman. Finally, red, ripe strawberries entice the woman to stop running. After eating some sweet strawberries, the wife picks more for her husband. When he catches up to her, the two forgive each other and enjoy the berries. Strawberries still remind the Cherokee people to always be kind to one another.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Bruchac and Vojtech have created a beautiful retelling of this traditional Cherokee folktale. Both artists employ a variety of cultural markers to authenticate their picture book. This tale of how strawberries came into the world offers a glimpse into the culture of this particular Native American tribe.
Bruchac originally heard this story from a Cherokee elder and appreciated its respectful lesson. As a member of the Abenaki tribe, Bruchac has written many Native American stories for children and young adults. His publishing company in Greenfield, New York specializes in authentic Native American literature. In his author’s note, Bruchac mentions consulting several Cherokee friends to ensure the accuracy of the story and help him “understand the story well enough to tell it.”
Although Bruchac does not use any Cherokee language in the text of the story, there are a few cultural clues that help the reader identify this story as Native American. The author mentions the couple living off the land, but the direct assistance of the sun lets children know that this is a creation folktale. The sun grows four types of fruit, which is a Native American motif. At the conclusion of the tale, the author also states that the Cherokee people of today still remember to be kind when they eat strawberries.
In a picture book, the illustrations play an equal, if not larger, role in storytelling. Vojtech’s vivid watercolor and color pencil illustrations complement and extent the text to create a memorable literary and visual experience. Through the pictures, children can identify this story as a Native American folktale. The husband and wife have authentic facial features and skin tone. Their clothing is an accurate representation of traditional Cherokee attire. Both the man and woman wear their hair long, with the wife’s braided. Even their home, cooking utensils, and surrounding vegetation are well researched. This is not Vojtech’s first experience illustrating a Native American picture book and several consultants were advised during the process.
Teachers and librarians looking for an authentic Cherokee folktale for their collection will be pleased with this choice. Joseph Bruchac is a respected Native American author with an impressive body of work. Readers can be confident that his books are accurate and culturally sensitive.
REVIEW EXCERPTS
Publishers Weekly writes, “Spare text, an uncomplicated story line and gentle illustrations keep this quiet but resonant tale accessible to even the youngest child.”
Kirkus Reviews raves, “Quietly luminous watercolors capture details of dress, dwelling, implements, flora, and fauna against an open landscape of rolling hills. Small touches dramatize the story's moods: a bouquet of brown-eyed Susans flung to the ground in anger; an empty nest in a pine tree as the woman disappears behind the western hills; the glimmer of a single firefly as man and wife are reconciled. Complete harmony of text and pictures: altogether lovely.”
Reviews accessed at:
http://www.amazon.com/First-Strawberries-Picture-Puffin/dp/0140564098
CONNECTIONS
Other books for children written by Joseph Bruchac:
BETWEEN EARTH & SKY: LEGENDS OF NATIVE AMERICAN SACRED PLACES. Illustrated by Thomas Locker. ISBN 0152020624
HOW CHIPMUNK GOT HIS STRIPES. Illustrated by Jose Aruego and Ariane Dewey. ISBN 0142500216
SACAJAWEA. ISBN 0439280680
THE ARROW OVER THE DOOR. Illustrated by James Watling. ISBN 0141305711
THIRTEEN MOONS ON TURTLE’S BACK. Illustrated by Thomas Locker. ISBN 0698115848
Submitted by Kim
Review of MAGIC OF SPIDER WOMAN
Duncan, Lois. 1996. THE MAGIC OF SPIDER WOMAN. Illustrated by Shonto Begay. New York: Scholastic Inc. ISBN 0590461559.
PLOT SUMMARY
In this retelling of a traditional Navajo folktale, Lois Duncan and Shonto Begay share the story of Weaving Woman. Once a young shepherd named Wandering Girl asks the Spirit Being to help her stay warm during the winter. Spider Woman takes pity on her and teaches the girl how to weave warm blankets, renaming her Weaving Woman. However, this gift comes with a warning. Weaving Woman must never weave blankets for too long, or something terrible with happen to her. All is well until spring arrives and Weaving Woman wants to create blankets with all the colors of nature. Obsessed with her weaving, her spirit becomes trapped in the blanket. Only Spider Woman can set her free.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Duncan and Begay have crafted a hauntingly beautiful picture book that celebrates the Navajo culture. This retelling captures the essence of the traditional tale of maintaining boundaries in one’s life.
Lois Duncan lives in New Mexico and surrounds herself with Native American culture. She spends a great deal of time researching her stories to maintain their authenticity, including this tale of Spider Woman and the importance of achieving balance in life. The text of this book refers to the elders and their storytelling style.
To immerse readers in the Navajo culture, Duncan uses language to its best advantage. The characters’ names reflect traditional Navajo styles, including how names can change after important events. Boy With a Dream becomes Man Who Is Happy when he marries Weaving Woman. Duncan also refers to the Navajo by the name they call themselves: Dineh, meaning The People. Several characters are named by their position in the tribe. When Weaving Woman becomes ill, a Hand Trembler and Shaman perform healing ceremonies.
The spiritual realm is another prominent cultural marker in Duncan’s story. At the beginning of the folktale, the author mentions how the animals came up from the Third World and asked the Spirit Being to create people to live with them in the Fourth World. Spider Woman is the being that saves Wandering Girl and teaches her to weave for The People. After Weaving Woman’s spirit is trapped in the blanket, she begs Spider Woman to save her. Spider Woman once again takes pity on her and by pulling a thread creates a spirit pathway to release the woman. As the tale ends, Weaving Woman is teaching all the weavers to make spirit trails in their blankets so that pride does not overcome them. Even today, Navajo weavers create pathways in their blankets “so the spirit of the weaver will not be imprisoned by its beauty.”
Shonto Begay is an accomplished and award winning Navajo artist and author. His children’s books are known for being authentic representations of Navajo life. Drawing upon his experiences as the son of a Navajo medicine man and weaver, this picture book’s vivid illustrations accurately depict traditional dress, hair styles, and blanket patterns. Each of the characters has a unique look, but appropriate skin tone and facial features. The landscape, homes, and artifacts of this rural society are also realistically portrayed, giving readers a glimpse of an earlier culture.
Begay’s talented illustrations bring the spiritual world to life in this picture book. The intriguing pictures of the Shaman performing a healing ceremony for Weaving Woman share this mysterious practice with readers. Begay manages to give children information without dishonoring his own culture. Allowing part of each illustration to escape its border also alludes to the end of the story when Spider Woman frees Weaving Woman by pulling a thread out of her blanket to create a spirit pathway, an act still practiced today.
Teachers and librarians looking for high quality children’s picture books that accurately and authentically reflect Native American cultures should consider this work for their collection. Books written and illustrated by “insiders” are rare, especially honored artists like Shonto Begay. The dramatic blend of Navajo folktale and illustrations creates an interesting picture book worthy to share with all children.
REVIEW EXCERPTS
Publishers Weekly writes, “As in Begay's Ma'ii and Cousin Horned Toad, the graceful figures of the characters appear on dappled backgrounds, brightly colored against pastoral Western landscapes during happy times, darker and often spooky as Weaving Woman traps herself. Duncan's tale carries a thoughtful message, grounded in well-chosen details and adeptly relayed through her personable storytelling.”
School Library Journal comments, “The details Duncan adds from the Dineh creation story, as well as the happy ending, make it distinctively Navajo, as do Begay's light-spangled paintings. Significantly, in almost every one, the perfect rectangle of the illustration is broken by an element of the design extending beyond it: a visual reminder of the story's moral. The impact of the heroine's decision to use dyes is somewhat lessened by the brightly patterned clothing she wears throughout. Nevertheless, Begay's dramatic shifts of perspective, his innate sensitivity to the land and people depicted, and the text's powerful message about pride's deadly effects combine in an appealing and meaningful way.”
Reviews accessed at:
http://www.amazon.com/Magic-Spider-Woman-Lois-Duncan/dp/0590461559
CONNECTIONS
Other books for children written or illustrated by Shonto Begay:
Begay, Shonto. MA’II AND COUSIN HORNED TOAD. ISBN 0590612344
Begay, Shonto. NAVAJO: VISIONS AND VOICES ACROSS THE MESA. ISBN 0590461532
Cohen, Caron Lee. THE MUD PONY. Illustrated by Shonto Begay. ISBN 0590415263
Maher, Ramona. ALICE YAZZIE’S YEAR. Illustrated by Shonto Begay. ISBN 1582460809
White Deer of Autumn. THE NATIVE AMERICAN BOOK OF LIFE. Illustrated by Shonto Begay. ISBN 0941831434
Submitted by Kim
PLOT SUMMARY
In this retelling of a traditional Navajo folktale, Lois Duncan and Shonto Begay share the story of Weaving Woman. Once a young shepherd named Wandering Girl asks the Spirit Being to help her stay warm during the winter. Spider Woman takes pity on her and teaches the girl how to weave warm blankets, renaming her Weaving Woman. However, this gift comes with a warning. Weaving Woman must never weave blankets for too long, or something terrible with happen to her. All is well until spring arrives and Weaving Woman wants to create blankets with all the colors of nature. Obsessed with her weaving, her spirit becomes trapped in the blanket. Only Spider Woman can set her free.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Duncan and Begay have crafted a hauntingly beautiful picture book that celebrates the Navajo culture. This retelling captures the essence of the traditional tale of maintaining boundaries in one’s life.
Lois Duncan lives in New Mexico and surrounds herself with Native American culture. She spends a great deal of time researching her stories to maintain their authenticity, including this tale of Spider Woman and the importance of achieving balance in life. The text of this book refers to the elders and their storytelling style.
To immerse readers in the Navajo culture, Duncan uses language to its best advantage. The characters’ names reflect traditional Navajo styles, including how names can change after important events. Boy With a Dream becomes Man Who Is Happy when he marries Weaving Woman. Duncan also refers to the Navajo by the name they call themselves: Dineh, meaning The People. Several characters are named by their position in the tribe. When Weaving Woman becomes ill, a Hand Trembler and Shaman perform healing ceremonies.
The spiritual realm is another prominent cultural marker in Duncan’s story. At the beginning of the folktale, the author mentions how the animals came up from the Third World and asked the Spirit Being to create people to live with them in the Fourth World. Spider Woman is the being that saves Wandering Girl and teaches her to weave for The People. After Weaving Woman’s spirit is trapped in the blanket, she begs Spider Woman to save her. Spider Woman once again takes pity on her and by pulling a thread creates a spirit pathway to release the woman. As the tale ends, Weaving Woman is teaching all the weavers to make spirit trails in their blankets so that pride does not overcome them. Even today, Navajo weavers create pathways in their blankets “so the spirit of the weaver will not be imprisoned by its beauty.”
Shonto Begay is an accomplished and award winning Navajo artist and author. His children’s books are known for being authentic representations of Navajo life. Drawing upon his experiences as the son of a Navajo medicine man and weaver, this picture book’s vivid illustrations accurately depict traditional dress, hair styles, and blanket patterns. Each of the characters has a unique look, but appropriate skin tone and facial features. The landscape, homes, and artifacts of this rural society are also realistically portrayed, giving readers a glimpse of an earlier culture.
Begay’s talented illustrations bring the spiritual world to life in this picture book. The intriguing pictures of the Shaman performing a healing ceremony for Weaving Woman share this mysterious practice with readers. Begay manages to give children information without dishonoring his own culture. Allowing part of each illustration to escape its border also alludes to the end of the story when Spider Woman frees Weaving Woman by pulling a thread out of her blanket to create a spirit pathway, an act still practiced today.
Teachers and librarians looking for high quality children’s picture books that accurately and authentically reflect Native American cultures should consider this work for their collection. Books written and illustrated by “insiders” are rare, especially honored artists like Shonto Begay. The dramatic blend of Navajo folktale and illustrations creates an interesting picture book worthy to share with all children.
REVIEW EXCERPTS
Publishers Weekly writes, “As in Begay's Ma'ii and Cousin Horned Toad, the graceful figures of the characters appear on dappled backgrounds, brightly colored against pastoral Western landscapes during happy times, darker and often spooky as Weaving Woman traps herself. Duncan's tale carries a thoughtful message, grounded in well-chosen details and adeptly relayed through her personable storytelling.”
School Library Journal comments, “The details Duncan adds from the Dineh creation story, as well as the happy ending, make it distinctively Navajo, as do Begay's light-spangled paintings. Significantly, in almost every one, the perfect rectangle of the illustration is broken by an element of the design extending beyond it: a visual reminder of the story's moral. The impact of the heroine's decision to use dyes is somewhat lessened by the brightly patterned clothing she wears throughout. Nevertheless, Begay's dramatic shifts of perspective, his innate sensitivity to the land and people depicted, and the text's powerful message about pride's deadly effects combine in an appealing and meaningful way.”
Reviews accessed at:
http://www.amazon.com/Magic-Spider-Woman-Lois-Duncan/dp/0590461559
CONNECTIONS
Other books for children written or illustrated by Shonto Begay:
Begay, Shonto. MA’II AND COUSIN HORNED TOAD. ISBN 0590612344
Begay, Shonto. NAVAJO: VISIONS AND VOICES ACROSS THE MESA. ISBN 0590461532
Cohen, Caron Lee. THE MUD PONY. Illustrated by Shonto Begay. ISBN 0590415263
Maher, Ramona. ALICE YAZZIE’S YEAR. Illustrated by Shonto Begay. ISBN 1582460809
White Deer of Autumn. THE NATIVE AMERICAN BOOK OF LIFE. Illustrated by Shonto Begay. ISBN 0941831434
Submitted by Kim
Thursday, July 5, 2007
Review of DONA FLOR
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
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
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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