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
Saturday, July 14, 2007
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
Saturday, June 23, 2007
Review of IF YOU COME SOFTLY
Woodson, Jacqueline. 1998. IF YOU COME SOFTLY. New York: G.P. Putnam’s Sons. ISBN 0399231129.
PLOT SUMMARY
Two fifteen year olds, Jeremiah and Ellie, meet at school and immediately feel an attraction between them. Jeremiah, an African American, is the son of a famous movie director and author. Ellie is the daughter of a white, Jewish doctor. Drawn together through shared pain, Jeremiah’s parents are divorced and Ellie’s mother has abandoned her in the past, they recognize a kindred spirit in each other. Even as Jeremiah and Ellie enjoy their developing relationship, the two must face the opposition they feel from family, friends, and outsiders.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Jacqueline Woodson draws from her own hardships in an interracial relationship with a Jewish woman to bring this story of new love to life. Both romantic and tragic, Jeremiah and Ellie’s relationship must stand up to the accusing looks and harsh words of strangers as they try to share the ordinarily commonplace teenage experience of dating. Woodson’s personal background lends an air of authenticity to this tale.
The author depicts the often unstated social rules that still govern much of American society. The teenagers’ relationship challenges many people’s ideas about so-called minority cultures. Woodson’s African American boy and white girl draw a lot of negative attention. Two elderly white ladies ask if Ellie is OK, just because she is walking with an African American boy. Later, a group of white boys shout racial slurs at the couple. Ellie’s reluctance to tell her parents about Jeremiah after her sister’s shocked reaction is an all too common occurrence for interracial couples.
Even though the young couple hides the relationship from Ellie’s parents, they are quite open with their affection in public. Their friends at school do not openly criticize, however many seem to turn around and pretend not to notice. Only Carlton, Jeremiah’s “home boy,” endorses the relationship and speaks kindly to the couple, presumably since he is a product of a biracial marriage. While Jeremiah and Ellie bravely struggle with hurtful comments when they are walking through the city, they soon discover a haven at Jeremiah’s mother’s house. Inside her beautiful and accepting home, the teenagers are free to enjoy each other’s company without prejudice. Woodson’s own experiences are shown in these scenes. The descriptions of African American culture and family are warm and moving.
Woodson offers accurate physical descriptions of her characters. Both Jeremiah and Ellie are realistically portrayed. In fact, Jeremiah’s “locks” and “smooth dark face” are some of the features that first attract Ellie to him. He, in turn, is mesmerized by her blue-gray eyes and smooth hair. Both teenagers enjoy looking at their interlocked white and brown fingers as they hold hands under the shady trees in Central Park. New York City is also depicted in detail, as the backdrop of Jeremiah and Ellie’s relationship. Descriptions of the various landmarks and boroughs further add to the richness of the story.
Language plays a part in the story, as well. The differences between Jeremiah’s casual language in Brooklyn and with his teammates and the more formal conversations in Ellie’s house subtly point to their conflicting cultures. When Carlton first meets Ellie, he uses a more formal register than when taunting Jeremiah into a basketball game, illustrating how some African Americans speak differently with the dominant culture than when at home.
The author’s use of cultural markers creates a believable and authentic love story. Jeremiah and Ellie are determined to withstand society’s prejudice and cruelty in order to be together. Even though Jeremiah and Ellie’s relationship has a tragic ending, Woodson’s young couple represents the hope that the future might be a more fair and accepting place where all cultures can live peacefully.
REVIEW EXCERPTS
Publishers Weekly comments, “Once again, Woodson (I Hadn't Meant to Tell You This) handles delicate, even explosive subject matter with exceptional clarity, surety and depth…Both voices convincingly describe the couple's love-at-first-sight meeting and the gradual building of their trust. The intensity of their emotions will make hearts flutter, then ache as evidence mounts that Ellie's and Jeremiah's "perfect" love exists in a deeply flawed society. Even as Woodson's lyrical prose draws the audience into the tenderness of young love, her perceptive comments about race and racism will strike a chord with black readers and open the eyes of white readers.”
School Library Journal writes, “This fine author once again shows her gift for penning a novel that will ring true with young adults as it makes subtle comments on social situations.”
Reviews accessed at: http://www.amazon.com/You-Come-Softly-Jacqueline-Woodson/dp/0698118626
CONNECTIONS
Other books written by Jacqueline Woodson:
COMING ON HOME SOON. ISBN 0399237488
FROM THE NOTEBOOKS OF MELANIN SUN. ISBN 0590458817
I HADN’T MEANT TO TELL YOU THIS. ISBN 0142405558
LOCOMOTION. ISBN 0142401498
MIRACLE’S BOYS. ISBN 0142406023
SHOW WAY. ISBN 0399237496
Submitted by Kim
PLOT SUMMARY
Two fifteen year olds, Jeremiah and Ellie, meet at school and immediately feel an attraction between them. Jeremiah, an African American, is the son of a famous movie director and author. Ellie is the daughter of a white, Jewish doctor. Drawn together through shared pain, Jeremiah’s parents are divorced and Ellie’s mother has abandoned her in the past, they recognize a kindred spirit in each other. Even as Jeremiah and Ellie enjoy their developing relationship, the two must face the opposition they feel from family, friends, and outsiders.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Jacqueline Woodson draws from her own hardships in an interracial relationship with a Jewish woman to bring this story of new love to life. Both romantic and tragic, Jeremiah and Ellie’s relationship must stand up to the accusing looks and harsh words of strangers as they try to share the ordinarily commonplace teenage experience of dating. Woodson’s personal background lends an air of authenticity to this tale.
The author depicts the often unstated social rules that still govern much of American society. The teenagers’ relationship challenges many people’s ideas about so-called minority cultures. Woodson’s African American boy and white girl draw a lot of negative attention. Two elderly white ladies ask if Ellie is OK, just because she is walking with an African American boy. Later, a group of white boys shout racial slurs at the couple. Ellie’s reluctance to tell her parents about Jeremiah after her sister’s shocked reaction is an all too common occurrence for interracial couples.
Even though the young couple hides the relationship from Ellie’s parents, they are quite open with their affection in public. Their friends at school do not openly criticize, however many seem to turn around and pretend not to notice. Only Carlton, Jeremiah’s “home boy,” endorses the relationship and speaks kindly to the couple, presumably since he is a product of a biracial marriage. While Jeremiah and Ellie bravely struggle with hurtful comments when they are walking through the city, they soon discover a haven at Jeremiah’s mother’s house. Inside her beautiful and accepting home, the teenagers are free to enjoy each other’s company without prejudice. Woodson’s own experiences are shown in these scenes. The descriptions of African American culture and family are warm and moving.
Woodson offers accurate physical descriptions of her characters. Both Jeremiah and Ellie are realistically portrayed. In fact, Jeremiah’s “locks” and “smooth dark face” are some of the features that first attract Ellie to him. He, in turn, is mesmerized by her blue-gray eyes and smooth hair. Both teenagers enjoy looking at their interlocked white and brown fingers as they hold hands under the shady trees in Central Park. New York City is also depicted in detail, as the backdrop of Jeremiah and Ellie’s relationship. Descriptions of the various landmarks and boroughs further add to the richness of the story.
Language plays a part in the story, as well. The differences between Jeremiah’s casual language in Brooklyn and with his teammates and the more formal conversations in Ellie’s house subtly point to their conflicting cultures. When Carlton first meets Ellie, he uses a more formal register than when taunting Jeremiah into a basketball game, illustrating how some African Americans speak differently with the dominant culture than when at home.
The author’s use of cultural markers creates a believable and authentic love story. Jeremiah and Ellie are determined to withstand society’s prejudice and cruelty in order to be together. Even though Jeremiah and Ellie’s relationship has a tragic ending, Woodson’s young couple represents the hope that the future might be a more fair and accepting place where all cultures can live peacefully.
REVIEW EXCERPTS
Publishers Weekly comments, “Once again, Woodson (I Hadn't Meant to Tell You This) handles delicate, even explosive subject matter with exceptional clarity, surety and depth…Both voices convincingly describe the couple's love-at-first-sight meeting and the gradual building of their trust. The intensity of their emotions will make hearts flutter, then ache as evidence mounts that Ellie's and Jeremiah's "perfect" love exists in a deeply flawed society. Even as Woodson's lyrical prose draws the audience into the tenderness of young love, her perceptive comments about race and racism will strike a chord with black readers and open the eyes of white readers.”
School Library Journal writes, “This fine author once again shows her gift for penning a novel that will ring true with young adults as it makes subtle comments on social situations.”
Reviews accessed at: http://www.amazon.com/You-Come-Softly-Jacqueline-Woodson/dp/0698118626
CONNECTIONS
Other books written by Jacqueline Woodson:
COMING ON HOME SOON. ISBN 0399237488
FROM THE NOTEBOOKS OF MELANIN SUN. ISBN 0590458817
I HADN’T MEANT TO TELL YOU THIS. ISBN 0142405558
LOCOMOTION. ISBN 0142401498
MIRACLE’S BOYS. ISBN 0142406023
SHOW WAY. ISBN 0399237496
Submitted by Kim
Review of HARLEM
Myers, Walter Dean. 1997. HARLEM. Illustrated by Christopher Myers. New York: Scholastic Press. ISBN 0590543407.
PLOT SUMMARY
Walter Dean Myers takes readers on a poetic journey through Harlem, the center of the African American Renaissance in New York City. Accompanied by his son’s vivid collages, Christopher Myers, the essence of Harlem is boldly portrayed throughout this picture book presentation. Music, language, dress, religion, food, art, entertainment, culture, sorrow, and celebration all combine to show the unique experience of being African American in the United States.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Cultural markers take center stage in this emotional book blending poetry and art. Both artists rejoice in what it means to be an African American. Poetic descriptions of “bright yellow shirts on burnt umber bodies demanding to be heard, seen” are accompanied by visually stunning and culturally accurate illustrations. The voice and style of the artists clearly express their passion for Harlem and its people. This Caldecott Honor book authentically portrays this unique setting and describes how our society has impacted this cultural group.
The flowing poetry scales a range of emotions, from bitterness to joy. Woven throughout the images, the reader is given an insight into the lives of children “waiting to sing their own sweet songs.” Universal themes of religion, entertainment, and food are seen through the African American perspective. The author mentions many Harlem landmarks and institutions by name, such as Abyssinian Baptist, the Cotton Club, and the Apollo. Myers also makes references to several key figures from African American history and the Civil Rights Movement. Langston, Du Bois, and Malcolm X all are featured in the haunting poetry.
Christopher Myers’ bold collages give vibrant life to the poetry. The interaction between poetry and illustrations is so well balanced, the reader can appreciate how this book won a Caldecott Honor award. Myers’ illustrations succeed on many levels. He definitely portrays the Harlem African American experience, while creating individuals as well, using varying skin tones, hair styles, and clothing in the collages.
Myers’s pictures depict both sorrow and hope in an older woman’s eyes as she listens to radio accounts of African American heroes like Sugar Ray trying to succeed in the dominant culture. On the facing page, Myers shows jubilant children dancing in the water from a broken fire hydrant. Throughout the illustrations, a complex and authentic range of images and emotions share the struggles and triumphs of African Americans with the reader.
Both artists have created an emotionally moving representation of Harlem and what it means to be an African American. This book would be a welcome addition in libraries and classroom. The only concern is the intended audience. African American children would recognize more of the references than other cultures, so background information would need to be given before reading.
REVIEW EXCERPTS
Kirkus Reviews writes, “the text is rich with allusion. The imagery springs to life at once: ``Ring-a-levio warriors/Stickball heroes''; ``a full lipped, full hipped/Saint washing collard greens . . . Backing up Lady Day on the radio.'' A strong series of images of ink and gouache capture the beauty of faces, from the very old to very young, from golden to blue- black. Christopher Myers sets his scenes to match the streets, fire escapes, jazz clubs, and kitchens of Harlem, and makes them by turns starkly stylized as an Egyptian mask or sweet as a stained glass window.”
Booklist raves, “The two Myerses--author and artist, father and son--celebrate Harlem, which they perceive both as a city and a "promise of a better life," in quite different but wonderfully complementary ways… In a text that is as much song as poem, the author offers his impressionistic appreciation for a culture that is predominantly music-based, with its roots in "calls and songs and shouts" "first heard in the villages of Ghana/Mali/Senegal." In his hotly vibrant ink, gouache, and collage images, the artist shows us the textures of the city streets, the colors of "sun yellow shirts on burnt umber bodies," and even, it seems, the sounds the words themselves evoke. The very look of metaphorical moments is well served by the text, but it is Harlem as a visual experience that YAs will return to again and again, to admire and wonder at what is realized with truly extraordinary grace and power by this young artist of such wonderful promise.”
Reviews accessed at:
http://www.amazon.com/Harlem-Picture-Books-Walter-Myers/dp/0590543415
CONNECTIONS
Other books written and illustrated by Walter Dean Myers and Christopher Myers:
AUTOBIOGRAPHY OF MY DEAD BROTHER. ISBN 0060582936
BLUES JOURNEY. ISBN 0823420795
JAZZ. ISBN 0823415457
SHADOW OF THE RED MOON. ISBN 0590458957
TIME TO LOVE: STORIES FROM THE OLD TESTAMENT. ISBN 0439220009
Submitted by Kim
PLOT SUMMARY
Walter Dean Myers takes readers on a poetic journey through Harlem, the center of the African American Renaissance in New York City. Accompanied by his son’s vivid collages, Christopher Myers, the essence of Harlem is boldly portrayed throughout this picture book presentation. Music, language, dress, religion, food, art, entertainment, culture, sorrow, and celebration all combine to show the unique experience of being African American in the United States.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Cultural markers take center stage in this emotional book blending poetry and art. Both artists rejoice in what it means to be an African American. Poetic descriptions of “bright yellow shirts on burnt umber bodies demanding to be heard, seen” are accompanied by visually stunning and culturally accurate illustrations. The voice and style of the artists clearly express their passion for Harlem and its people. This Caldecott Honor book authentically portrays this unique setting and describes how our society has impacted this cultural group.
The flowing poetry scales a range of emotions, from bitterness to joy. Woven throughout the images, the reader is given an insight into the lives of children “waiting to sing their own sweet songs.” Universal themes of religion, entertainment, and food are seen through the African American perspective. The author mentions many Harlem landmarks and institutions by name, such as Abyssinian Baptist, the Cotton Club, and the Apollo. Myers also makes references to several key figures from African American history and the Civil Rights Movement. Langston, Du Bois, and Malcolm X all are featured in the haunting poetry.
Christopher Myers’ bold collages give vibrant life to the poetry. The interaction between poetry and illustrations is so well balanced, the reader can appreciate how this book won a Caldecott Honor award. Myers’ illustrations succeed on many levels. He definitely portrays the Harlem African American experience, while creating individuals as well, using varying skin tones, hair styles, and clothing in the collages.
Myers’s pictures depict both sorrow and hope in an older woman’s eyes as she listens to radio accounts of African American heroes like Sugar Ray trying to succeed in the dominant culture. On the facing page, Myers shows jubilant children dancing in the water from a broken fire hydrant. Throughout the illustrations, a complex and authentic range of images and emotions share the struggles and triumphs of African Americans with the reader.
Both artists have created an emotionally moving representation of Harlem and what it means to be an African American. This book would be a welcome addition in libraries and classroom. The only concern is the intended audience. African American children would recognize more of the references than other cultures, so background information would need to be given before reading.
REVIEW EXCERPTS
Kirkus Reviews writes, “the text is rich with allusion. The imagery springs to life at once: ``Ring-a-levio warriors/Stickball heroes''; ``a full lipped, full hipped/Saint washing collard greens . . . Backing up Lady Day on the radio.'' A strong series of images of ink and gouache capture the beauty of faces, from the very old to very young, from golden to blue- black. Christopher Myers sets his scenes to match the streets, fire escapes, jazz clubs, and kitchens of Harlem, and makes them by turns starkly stylized as an Egyptian mask or sweet as a stained glass window.”
Booklist raves, “The two Myerses--author and artist, father and son--celebrate Harlem, which they perceive both as a city and a "promise of a better life," in quite different but wonderfully complementary ways… In a text that is as much song as poem, the author offers his impressionistic appreciation for a culture that is predominantly music-based, with its roots in "calls and songs and shouts" "first heard in the villages of Ghana/Mali/Senegal." In his hotly vibrant ink, gouache, and collage images, the artist shows us the textures of the city streets, the colors of "sun yellow shirts on burnt umber bodies," and even, it seems, the sounds the words themselves evoke. The very look of metaphorical moments is well served by the text, but it is Harlem as a visual experience that YAs will return to again and again, to admire and wonder at what is realized with truly extraordinary grace and power by this young artist of such wonderful promise.”
Reviews accessed at:
http://www.amazon.com/Harlem-Picture-Books-Walter-Myers/dp/0590543415
CONNECTIONS
Other books written and illustrated by Walter Dean Myers and Christopher Myers:
AUTOBIOGRAPHY OF MY DEAD BROTHER. ISBN 0060582936
BLUES JOURNEY. ISBN 0823420795
JAZZ. ISBN 0823415457
SHADOW OF THE RED MOON. ISBN 0590458957
TIME TO LOVE: STORIES FROM THE OLD TESTAMENT. ISBN 0439220009
Submitted by Kim
Review of MINTY
Schroeder, Alan. 1996. MINTY: A STORY OF YOUNG HARRIET TUBMAN. Illustrated by Jerry Pinkney. New York: Dial Books for Young Readers. ISBN 0803718888.
PLOT SUMMARY
Young Harriet Tubman, known as Minty to her family, struggles against the bonds of slavery in Maryland during the early nineteenth century. She frequently rebels and refuses to obey her master’s orders. After a severe beating, with the threat of being “sold South” hanging over Minty, her father begins teaching her the road to freedom. Minty learns how to follow the North Star to Philadelphia and survive in the forest. Although this story ends before Harriet reaches adulthood, the reader is left feeling hopeful that Minty will eventually be brave enough to attempt her escape.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Alan Schroeder and Jerry Pinkney include many cultural markers in their dramatic picture book. Since not much is known of Harriet Tubman’s childhood as a slave beyond the most basic facts, some of the scenes in the book and the dialogue are fictional. However, the author and illustrator’s preface and note at the end of the story describe the research undertaken to ensure that this picture book is as true to the spirit of Minty as possible. The descriptions of life on the plantation, for both Minty’s family and the master’s, present stark contrasts and do not attempt to downplay the hardships of the enslaved people.
The author takes great care to accurately portray the language and dialect of the characters. Both Minty and the master’s wife sound authentic to the place and time, with phrases like, “whip her good,” immersing readers in the drama of the story. Schroeder takes care to describe some food, clothing, and chores on the plantation, but he fails to discuss physical traits like hair and skin color. He may have purposely left out these references, allowing the culturally accurate illustrations to speak for themselves.
With all picture books, the strength of the story depends as much on the illustrations as the text. Pinkney excels with his pencil and watercolor depictions of life on an 1820s Maryland plantation. The vivid illustrations accurately capture this setting, allowing readers to visualize the hardships endured by African Americans during a time when they were not even counted as full human beings. Even as he portrays the backbreaking labor of a field slave and the countless tasks required, Pinkney also shows Minty’s spirit longing with the universal desire to be free. She is poignantly reaching for the sky to fly away up North.
Teachers and librarians looking for a book about Harriet Tubman’s early life to complement a study of her life and achievements will be pleased with this Coretta Scott King award winning offering. Schroeder and Pinkney’s talents combine beautifully in a dramatic retelling of this heroine’s inspirational story. The note at the conclusion of the story is especially helpful for readers who may be unaware of Minty’s adult accomplishments.
REVIEW EXCERPTS
Publishers Weekly states, “Schroeder's (Ragtime Tumpie; Carolina Shout!) choice of lively vignettes rather than a more traditional biography is a wise one. With color and feeling he humanizes a historic figure, coaxing readers to imagine or research the rest of the story. Pinkney's (John Henry) full-bodied watercolors evoke a strong sense of time and place. Laudably, Pinkney's scenes consistently depict young Minty's point of view, giving the harshness of her reality more resonance for readers. A formal author's note follows the text and both Schroeder and Pinkney have included personal messages about the history of the book project. A firm stepping stone toward discussions of slavery and U.S. history.”
School Library Journal writes, “Pinkney's illustrations are outstanding, even when compared to his other fine work. His paintings, done in pencil, colored-pencils, and watercolor, use light and shadow to great effect, and his depictions of Minty are particularly powerful and expressive. This is a dramatic story that will hold listeners' interest and may lead them to biographical material such as David A. Adler's A Picture Book of Harriet Tubman (Holiday, 1992) and Ann McGovern's Wanted Dead or Alive (Scholastic, 1991).”
Reviews accessed at:
http://www.amazon.com/Minty-Harriet-Tubman-Picture-Puffin/dp/014056196X
CONNECTIONS
Other books about Harriet Tubman:
Adler, David A. A PICTURE BOOK OF HARRIET TUBMAN. Illustrated by Samuel Byrd. ISBN 082341065X
McGovern, Ann. WANTED DEAD OR ALIVE: THE TRUE STORY OF HARRIET TUBMAN. ISBN 0590442120
Petry, Ann. HARRIET TUBMAN: CONDUCTOR ON THE UNDERGROUND RAILROAD. ISBN 0064461815
Sterling, Dorothy. FREEDOM TRAIN: THE STORY OF HARRIET TUBMAN. ISBN 0590436287
Weatherford, Carole Boston . MOSES: WHEN HARRIET TUBMAN LED HER PEOPLE TO FREEDOM. Illustrated by Kadir Nelson. ISBN 0786851759
Submitted by Kim
PLOT SUMMARY
Young Harriet Tubman, known as Minty to her family, struggles against the bonds of slavery in Maryland during the early nineteenth century. She frequently rebels and refuses to obey her master’s orders. After a severe beating, with the threat of being “sold South” hanging over Minty, her father begins teaching her the road to freedom. Minty learns how to follow the North Star to Philadelphia and survive in the forest. Although this story ends before Harriet reaches adulthood, the reader is left feeling hopeful that Minty will eventually be brave enough to attempt her escape.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Alan Schroeder and Jerry Pinkney include many cultural markers in their dramatic picture book. Since not much is known of Harriet Tubman’s childhood as a slave beyond the most basic facts, some of the scenes in the book and the dialogue are fictional. However, the author and illustrator’s preface and note at the end of the story describe the research undertaken to ensure that this picture book is as true to the spirit of Minty as possible. The descriptions of life on the plantation, for both Minty’s family and the master’s, present stark contrasts and do not attempt to downplay the hardships of the enslaved people.
The author takes great care to accurately portray the language and dialect of the characters. Both Minty and the master’s wife sound authentic to the place and time, with phrases like, “whip her good,” immersing readers in the drama of the story. Schroeder takes care to describe some food, clothing, and chores on the plantation, but he fails to discuss physical traits like hair and skin color. He may have purposely left out these references, allowing the culturally accurate illustrations to speak for themselves.
With all picture books, the strength of the story depends as much on the illustrations as the text. Pinkney excels with his pencil and watercolor depictions of life on an 1820s Maryland plantation. The vivid illustrations accurately capture this setting, allowing readers to visualize the hardships endured by African Americans during a time when they were not even counted as full human beings. Even as he portrays the backbreaking labor of a field slave and the countless tasks required, Pinkney also shows Minty’s spirit longing with the universal desire to be free. She is poignantly reaching for the sky to fly away up North.
Teachers and librarians looking for a book about Harriet Tubman’s early life to complement a study of her life and achievements will be pleased with this Coretta Scott King award winning offering. Schroeder and Pinkney’s talents combine beautifully in a dramatic retelling of this heroine’s inspirational story. The note at the conclusion of the story is especially helpful for readers who may be unaware of Minty’s adult accomplishments.
REVIEW EXCERPTS
Publishers Weekly states, “Schroeder's (Ragtime Tumpie; Carolina Shout!) choice of lively vignettes rather than a more traditional biography is a wise one. With color and feeling he humanizes a historic figure, coaxing readers to imagine or research the rest of the story. Pinkney's (John Henry) full-bodied watercolors evoke a strong sense of time and place. Laudably, Pinkney's scenes consistently depict young Minty's point of view, giving the harshness of her reality more resonance for readers. A formal author's note follows the text and both Schroeder and Pinkney have included personal messages about the history of the book project. A firm stepping stone toward discussions of slavery and U.S. history.”
School Library Journal writes, “Pinkney's illustrations are outstanding, even when compared to his other fine work. His paintings, done in pencil, colored-pencils, and watercolor, use light and shadow to great effect, and his depictions of Minty are particularly powerful and expressive. This is a dramatic story that will hold listeners' interest and may lead them to biographical material such as David A. Adler's A Picture Book of Harriet Tubman (Holiday, 1992) and Ann McGovern's Wanted Dead or Alive (Scholastic, 1991).”
Reviews accessed at:
http://www.amazon.com/Minty-Harriet-Tubman-Picture-Puffin/dp/014056196X
CONNECTIONS
Other books about Harriet Tubman:
Adler, David A. A PICTURE BOOK OF HARRIET TUBMAN. Illustrated by Samuel Byrd. ISBN 082341065X
McGovern, Ann. WANTED DEAD OR ALIVE: THE TRUE STORY OF HARRIET TUBMAN. ISBN 0590442120
Petry, Ann. HARRIET TUBMAN: CONDUCTOR ON THE UNDERGROUND RAILROAD. ISBN 0064461815
Sterling, Dorothy. FREEDOM TRAIN: THE STORY OF HARRIET TUBMAN. ISBN 0590436287
Weatherford, Carole Boston . MOSES: WHEN HARRIET TUBMAN LED HER PEOPLE TO FREEDOM. Illustrated by Kadir Nelson. ISBN 0786851759
Submitted by Kim
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