Nye, Naomi Shihab. 1997. HABIBI. New York: Simon & Schuster Books for Young Readers. ISBN 0689801491.
PLOT SUMMARY
On the day after Liyana’s first kiss, her parents announce that the family is leaving St. Louis to live in her father’s homeland. Fourteen year old Liyana is reluctant to leave her friends and a country she understands to move to Jerusalem and learn how to live in a new culture. Although initially hesitant, Liyana eventually embraces her father’s family and creates her own story in Jerusalem.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Naomi Shihab Nye draws from her own teenage experience as an Arab-American moving to Jerusalem in her award winning novel. Nye richly describes the characters, setting, culture, and tensions found in this ancient city. Her thoughtful commentary on the tense relations between Arabs and Jews allows readers to construct a more complete picture of this conflict.
Nye utilizes many cultural markers to ensure the authenticity of her story, but her detailed characterization is perhaps the strongest element in the story. Her characters are well rounded and complex. Physical descriptions are both varied and accurate. The author takes care to examine the facial features of the characters. Liyana describes herself as the half-half American girl with Arab eyes. Both Liyana and her brother Rafik look more like their Palestinian father than their American mother. Liyana’s relatives living in the West Bank village wear more traditional clothing and hair styles, while Liyana’s immediate family and friends in the city tend to look more contemporary. The setting of these two locations could not be more different. Liyana’s grandmother lives simply in her rural village without a lot of modern appliances, while her granddaughter’s house near the city is similar to most Western homes.
Physical descriptions are just the beginning of Nye’s rich characterization. Emotions range from peaceful acceptance to outspoken anger at the inequities found in Jerusalem. Sitti, Liyana’s grandmother, embodies peace and leads her family to accept her granddaughter’s Jewish friend. Liyana’s father is less optimistic, but still actively strives to open the lines of communication and urges both Jewish and Palestinian people to work towards peace. Even though the cycle of violence between these two cultures is constantly in the background of the story, Nye’s descriptions of her characters’ feelings represents the desires of many people caught in this conflict. Children can gain a better understanding of the sufferings inflicted on both Palestinians and Jews and their shared wish for peace.
Nye chooses to reveal most of the plot development through Liyana’s discussions, both internal and external. Liyana’s tendency to engage in deep reflection is best demonstrated through her poetic journal entries. She has the unique talent of looking at ordinary situations from a different perspective. As she marvels at the ability of her grandmother to share peace across her dinner table, Liyana ponders, “Maybe peace was the size of a teacup.”
Liyana’s journal entries also serve to illuminate the conflict seething around her, by describing the violence from the Palestinian side. Many American readers may not automatically sympathize with Middle Easterners after the strained relations of the past several years, but Nye allows children to enter this world through the eyes of an American girl, someone quite similar to themselves. As Liyana learns about her new culture and begins to find her place in Jerusalem, as an Arab-American seeking peace, the reader also learns more about the cultures found in this city. Through it all, Liyana’s growing romance with a Jewish boy symbolizes the hope for a peaceful future between Palestinians and Jews. Nye is able to strip away old prejudices and share the heart of a people quite different from most Americans.
Nye also uses language to help immerse the reader in the Arab culture. Liyana is frequently experimenting with Arabic as she learns the language. Arabic words for greetings, traditional artifacts, clothing, and food are sprinkled throughout the story. Religious ceremonies are also a significant part of the book. Different characters express their devotion in various ways. For instance, Liyana’s Sitti talks about making a pilgrimage to Mecca. The characters also freely borrow musical styles and food choices from other cultures within the city.
Naomi Shihab Nye has succeeded in sharing this unique, but troubled, city with her readers. Her rich insider perspective of the various cultures of Jerusalem allows children to better understand the tensions prevalent today. Through this story of an Arab American girl, readers may be able to look beyond prejudices and learn to accept differences in others.
REVIEW EXCERPTS
School Library Journal writes, “Nye introduces readers to unforgettable characters. The setting is both sensory and tangible: from the grandmother's village to a Bedouin camp. Above all, there is Jerusalem itself, where ancient tensions seep out of cracks and Liyana explores the streets practicing her Arabic vocabulary. Though the story begins at a leisurely pace, readers will be engaged by the characters, the romance, and the foreshadowed danger. Poetically imaged and leavened with humor, the story renders layered and complex history understandable through character and incident. Habibi succeeds in making the hope for peace compellingly personal and concrete...as long as individual citizens like Liyana's grandmother Sitti can say, "I never lost my peace inside."
Kirkus Reviews comments, “In her first novel, Nye (with Paul Janeczko, I Feel a Little Jumpy Around You, 1996, etc.) shows all of the charms and flaws of the old city through unique, short-story-like chapters and poetic language. The sights, sounds, and smells of Jerusalem drift through the pages and readers glean a sense of current Palestinian-Israeli relations and the region's troubled history. In the process, some of the passages become quite ponderous while the human story- -Liyana's emotional adjustments in the later chapters and her American mother's reactions overall--fall away from the plot. However, Liyana's romance with an Israeli boy develops warmly, and readers are left with hope for change and peace as Liyana makes the city her very own.”
Reviews accessed at:
http://www.amazon.com/Habibi-Naomi-Shihab-Nye/dp/0689825234
CONNECTIONS
Other books about the Middle East written by Naomi Shihab Nye:
19 VARIETIES OF GAZELLE: POEMS OF THE MIDDLE EAST. ISBN 0060504048
SITTI’S SECRETS. Illustrated by Nancy Carpenter. ISBN 0689817061
THE FLAG OF CHILDHOOD: POEMS FROM THE MIDDLE EAST. ISBN 0689851723
THE SPACE BETWEEN OUR FOOTSTEPS. ISBN 0689812337
THE WORDS UNDER THE WORDS: SELECTED POEMS. ISBN 0933377290
Submitted by Kim
Saturday, August 4, 2007
Thursday, July 26, 2007
Review of TREE OF CRANES
Say, Allen. 1991. TREE OF CRANES. Boston: Houghton Mifflin Company. ISBN 039552024X.
PLOT SUMMARY
A young Japanese boy arrives home from a morning spent exploring the pond to find his mother folding cranes. She gives him a warm bath and lunch before sending him to bed early, both as a punishment for visiting the pond against her wishes and for fear he has a cold. As the boy lies in bed, he wonders what his mother is doing when he hears her digging in the snow covered garden. Finally, Mama comes back into his room and decorates a small pine tree with the paper cranes and candles. She tells her son about her childhood in California and introduces him to his first Christmas celebration.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
In this beautiful picture book, Allen Say writes and illustrates a unique tale of an American born mother teaching her Japanese son about the peace and love of Christmas. The author draws upon his own family’s experiences of immigrating to America and then eventually returning to Japan. The mother in the story enjoys sharing her Asian Pacific American heritage with her young son.
As in most picture books, the illustrations carry the essence of the story. Say’s muted pictures authentically capture the rural environment of this boy’s home. Both the architecture of the house and the furnishings are uniquely Japanese. The sliding doors and large, wooden bath tub with a lid are sure to interest children. Detailed pictures of the pond, garden, and surrounding area share this country’s landscape with readers.
Say realistically illustrates the clothing and hairstyles of the family. It is interesting to note that while the mother wears traditional Japanese dress and hairstyle, the father returns home from work in a Western suit and tie with a modern haircut. The mix of traditional and modern clothing accurately portrays some people’s clothing choices in Japan.
Thankfully, Say takes great care to accurately portray the physical attributes of his characters. No matter which style of clothing or hairstyle they wear, the boy and his parents’ facial features are realistic. Both skin tone and eye shape are correctly illustrated to dispel negative stereotypes.
Say also shares Japanese culture through the text quite well. References to origami cranes, tea cakes, rice gruel, and a samurai kite give readers insights into traditional foods and activities. A few rituals are included in the story, as well. The mother explains that she is folding a lot of cranes, perhaps two thousand, to make a big wish come true. The pine tree Mama digs up to bring in the house as a Christmas tree was planted on the day the boy was born, so he “would live a long life like the tree.” Understandably, the boy is concerned about his tree, but his mother reassures him that she will replant it in the morning.
Teachers and librarians looking for a high quality Asian Pacific American picture book will be pleased with this selection. Even though the story is set in Japan, the boy’s mother is Asian Pacific American, and her unique explanation of Christmas will enrich any multicultural collection.
REVIEW EXCERPTS
Publishers Weekly writes, “The story is a poignant one, illuminated with finely drawn illustrations reflecting the serenity of a Japanese home and the quiet love between mother and son. Say ( The Bicycle Man ; El Chino ), who came to this country from Japan when he was a teenager, again exhibits a laudable sensitivity to Eastern and Western cultures--and to both the differences and the similarities between them.”
Horn Book raves, “A gift from artist to child that indicates a ripe maturity in both its illustrative and textual elements. Serving as a bridge between American and Japanese cultures, . . . understated and pristine, Tree of Cranes is the achievement of a master in his prime, one of the best picture books of this or any other year.”
Reviews accessed at:
http://www.amazon.com/Tree-Cranes-Allen-Say/dp/039552024X
CONNECTIONS
Other books for children written and illustrated by Allen Say:
EMMA’S RUG. ISBN 0618335234
GRANDFATHER’S JOURNEY. ISBN 0395570352
KAMISHIBAI MAN. ISBN 0618479546
TEA WITH MILK. ISBN 0395904951
THE BICYCLE MAN. ISBN 0395506522
Submitted by Kim
PLOT SUMMARY
A young Japanese boy arrives home from a morning spent exploring the pond to find his mother folding cranes. She gives him a warm bath and lunch before sending him to bed early, both as a punishment for visiting the pond against her wishes and for fear he has a cold. As the boy lies in bed, he wonders what his mother is doing when he hears her digging in the snow covered garden. Finally, Mama comes back into his room and decorates a small pine tree with the paper cranes and candles. She tells her son about her childhood in California and introduces him to his first Christmas celebration.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
In this beautiful picture book, Allen Say writes and illustrates a unique tale of an American born mother teaching her Japanese son about the peace and love of Christmas. The author draws upon his own family’s experiences of immigrating to America and then eventually returning to Japan. The mother in the story enjoys sharing her Asian Pacific American heritage with her young son.
As in most picture books, the illustrations carry the essence of the story. Say’s muted pictures authentically capture the rural environment of this boy’s home. Both the architecture of the house and the furnishings are uniquely Japanese. The sliding doors and large, wooden bath tub with a lid are sure to interest children. Detailed pictures of the pond, garden, and surrounding area share this country’s landscape with readers.
Say realistically illustrates the clothing and hairstyles of the family. It is interesting to note that while the mother wears traditional Japanese dress and hairstyle, the father returns home from work in a Western suit and tie with a modern haircut. The mix of traditional and modern clothing accurately portrays some people’s clothing choices in Japan.
Thankfully, Say takes great care to accurately portray the physical attributes of his characters. No matter which style of clothing or hairstyle they wear, the boy and his parents’ facial features are realistic. Both skin tone and eye shape are correctly illustrated to dispel negative stereotypes.
Say also shares Japanese culture through the text quite well. References to origami cranes, tea cakes, rice gruel, and a samurai kite give readers insights into traditional foods and activities. A few rituals are included in the story, as well. The mother explains that she is folding a lot of cranes, perhaps two thousand, to make a big wish come true. The pine tree Mama digs up to bring in the house as a Christmas tree was planted on the day the boy was born, so he “would live a long life like the tree.” Understandably, the boy is concerned about his tree, but his mother reassures him that she will replant it in the morning.
Teachers and librarians looking for a high quality Asian Pacific American picture book will be pleased with this selection. Even though the story is set in Japan, the boy’s mother is Asian Pacific American, and her unique explanation of Christmas will enrich any multicultural collection.
REVIEW EXCERPTS
Publishers Weekly writes, “The story is a poignant one, illuminated with finely drawn illustrations reflecting the serenity of a Japanese home and the quiet love between mother and son. Say ( The Bicycle Man ; El Chino ), who came to this country from Japan when he was a teenager, again exhibits a laudable sensitivity to Eastern and Western cultures--and to both the differences and the similarities between them.”
Horn Book raves, “A gift from artist to child that indicates a ripe maturity in both its illustrative and textual elements. Serving as a bridge between American and Japanese cultures, . . . understated and pristine, Tree of Cranes is the achievement of a master in his prime, one of the best picture books of this or any other year.”
Reviews accessed at:
http://www.amazon.com/Tree-Cranes-Allen-Say/dp/039552024X
CONNECTIONS
Other books for children written and illustrated by Allen Say:
EMMA’S RUG. ISBN 0618335234
GRANDFATHER’S JOURNEY. ISBN 0395570352
KAMISHIBAI MAN. ISBN 0618479546
TEA WITH MILK. ISBN 0395904951
THE BICYCLE MAN. ISBN 0395506522
Submitted by Kim
Review of YANG THE YOUNGEST AND HIS TERRIBLE EAR
Namioka, Lensey. 1992. YANG THE YOUNGEST AND HIS TERRIBLE EAR. Illustrated by Kees de Kiefte. New York: Little, Brown and Company. ISBN 0316597015.
PLOT SUMMARY
Yingtao, also called Fourth Brother by his Chinese family, is the youngest child in his musical family. His older brother and sisters are all accomplished musicians, but Yingtao is tone deaf. No matter how hard he practices, Yingtao will never become a good violinist. As a recent immigrant, his father is trying to recruit more string students by hosting a recital. The finale will be the four Yang children playing in a string quartet, only Yingtao’s terrible pitch is ruining the ensemble. With the help of his best friend and sister, Yingtao concocts a plan to save the performance and possibly show his parents his own true gift in not music.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Lensey Namioka has drawn upon her own childhood memories of living in a musical family. Like Yingtao, Namioka also has a terrible ear. She switched to the oboe to avoid pitch problems. Namioka successfully uses her own Asian Pacific American background to create an accurate and authentic story of adjusting to a new culture and finding one’s gift.
One of Namioka’s primary strengths is her characterization. All of the members of Yingtao’s family are individuals, struggling with their own unique problems as they learn how to be Americans while maintaining their Chinese culture. Particularly touching is the mother, a celebrating pianist in China, who now searches for cost-cutting deals to feed her family while waiting for a piano position to open. Second Sister is also depressed about the move. She was considered popular and beautiful in China, but has trouble connecting to her peers in Seattle. On the other hand, Third Sister easily adjusts to her new American lifestyle. She is the only one to give herself an American name, Mary, and eagerly embraces trendy clothing. Mary also wears an American hairstyle, while her older sister keeps her traditional braids. Even though there are only a few black and white illustrations in this story, de Kiefte is careful to make the members of the Yang family distinct and true to their character descriptions. None of the children appear to be identical, although Yingtao’s features are the most realistic.
Even though the Yang family is learning how to speak English, Namioka does not use any kind of code-switching. The only Chinese words are the characters’ names. When Yingtao encounters an English word or phrase he doesn’t know, he either uses a dictionary to look up its meaning or asks his friends to explain the definition. Most of the difficulties arise from confusing terms like “laid off” or “baby sitting.” Third Sister’s lists of interesting English words help Yingtao learn new phrases, as well. It appears that the family has gained a conversational level of English through immersion, and they do not refer to their surroundings, furnishings, food, or clothing with Chinese names.
The author’s description of cultural values plays a more prominent role in this story. Yingtao frequently explains to his new American friend how important it is to his family that he continues violin lessons, even though he dislikes practicing music. Other children in his class assume he must be a musical genius, presumable since he is Chinese and his parents are musicians. At the conclusion of the story when it becomes apparent that Yingtao will never be a good musician, his family feels sorry for him and gentle breaks the painfully obvious news to him. Yingtao goes along with this act, which allows him time to pursue baseball, an area where he naturally excels. Since his Chinese school was more advanced in mathematics, Yingtao also appears to be a math prodigy, fulfilling another common stereotype. Namioka explains the reason behind Yingtao’s supposed superiority and allows readers to understand that positive stereotypes can also be damaging and just as incorrect.
Namioka has created an authentic view of an immigrant Chinese family adjusting to life in America. Even though Chinese language and terms for food and objects are lacking, the strength of the story lies in the cultural values portrayed by the characters. By contrasting Yingtao’s family with the family of his best friend, Matthew, the author allows readers to understand the differences and the reasons behind them. Ultimately, children realize Asian Pacific Americans are not so different after all.
REVIEW EXCERPTS
School Library Journal writes, “Namioka uses their growing friendship to explore cultural differences and the problems of adjustment to a new society with a light but sure touch. Warm, humorous black-and-white sketches illuminate each character with casual, but astute, perception. Simpler and less incisive than Bette Bao Lord's In the Year of the Boar and Jackie Robinson (HarperCollins, 1984), which is set in an earlier era, this multicultural music and sports story will have a broad appeal for young readers.”
Publishers Weekly comments, “Peppered with wry commentary on the often baffling experience of adapting to a new country and a new language, Beijing-born Namioka's fresh and funny novel serves up a slice of modern, multicultural American life. Her comic timing and deadpan delivery are reminiscent of Betsy Byars, and her book will leave readers begging for more.”
Reviews accessed at: http://www.amazon.com/Yang-Youngest-his-Terrible-Ear/dp/0440409179/ref=pd_bbs_2/102-1567234-0148948?ie=UTF8&s=books&qid=1185499920&sr=8-2
CONNECTIONS
Other books by Lensey Namioka portraying members of the Yang family:
YANG THE ELDEST AND HIS ODD JOBS. Illustrated by Kees de Kiefte. ISBN 0316590118
YANG THE SECOND AND HER SECRET ADMIRERS. Illustrated by Kees de Kiefte. ISBN 0316597317
YANG THE THIRD AND HER IMPOSSIBLE FAMILY. Illustrated by Kees de Kiefte. ISBN 0440412315
Submitted by Kim
PLOT SUMMARY
Yingtao, also called Fourth Brother by his Chinese family, is the youngest child in his musical family. His older brother and sisters are all accomplished musicians, but Yingtao is tone deaf. No matter how hard he practices, Yingtao will never become a good violinist. As a recent immigrant, his father is trying to recruit more string students by hosting a recital. The finale will be the four Yang children playing in a string quartet, only Yingtao’s terrible pitch is ruining the ensemble. With the help of his best friend and sister, Yingtao concocts a plan to save the performance and possibly show his parents his own true gift in not music.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Lensey Namioka has drawn upon her own childhood memories of living in a musical family. Like Yingtao, Namioka also has a terrible ear. She switched to the oboe to avoid pitch problems. Namioka successfully uses her own Asian Pacific American background to create an accurate and authentic story of adjusting to a new culture and finding one’s gift.
One of Namioka’s primary strengths is her characterization. All of the members of Yingtao’s family are individuals, struggling with their own unique problems as they learn how to be Americans while maintaining their Chinese culture. Particularly touching is the mother, a celebrating pianist in China, who now searches for cost-cutting deals to feed her family while waiting for a piano position to open. Second Sister is also depressed about the move. She was considered popular and beautiful in China, but has trouble connecting to her peers in Seattle. On the other hand, Third Sister easily adjusts to her new American lifestyle. She is the only one to give herself an American name, Mary, and eagerly embraces trendy clothing. Mary also wears an American hairstyle, while her older sister keeps her traditional braids. Even though there are only a few black and white illustrations in this story, de Kiefte is careful to make the members of the Yang family distinct and true to their character descriptions. None of the children appear to be identical, although Yingtao’s features are the most realistic.
Even though the Yang family is learning how to speak English, Namioka does not use any kind of code-switching. The only Chinese words are the characters’ names. When Yingtao encounters an English word or phrase he doesn’t know, he either uses a dictionary to look up its meaning or asks his friends to explain the definition. Most of the difficulties arise from confusing terms like “laid off” or “baby sitting.” Third Sister’s lists of interesting English words help Yingtao learn new phrases, as well. It appears that the family has gained a conversational level of English through immersion, and they do not refer to their surroundings, furnishings, food, or clothing with Chinese names.
The author’s description of cultural values plays a more prominent role in this story. Yingtao frequently explains to his new American friend how important it is to his family that he continues violin lessons, even though he dislikes practicing music. Other children in his class assume he must be a musical genius, presumable since he is Chinese and his parents are musicians. At the conclusion of the story when it becomes apparent that Yingtao will never be a good musician, his family feels sorry for him and gentle breaks the painfully obvious news to him. Yingtao goes along with this act, which allows him time to pursue baseball, an area where he naturally excels. Since his Chinese school was more advanced in mathematics, Yingtao also appears to be a math prodigy, fulfilling another common stereotype. Namioka explains the reason behind Yingtao’s supposed superiority and allows readers to understand that positive stereotypes can also be damaging and just as incorrect.
Namioka has created an authentic view of an immigrant Chinese family adjusting to life in America. Even though Chinese language and terms for food and objects are lacking, the strength of the story lies in the cultural values portrayed by the characters. By contrasting Yingtao’s family with the family of his best friend, Matthew, the author allows readers to understand the differences and the reasons behind them. Ultimately, children realize Asian Pacific Americans are not so different after all.
REVIEW EXCERPTS
School Library Journal writes, “Namioka uses their growing friendship to explore cultural differences and the problems of adjustment to a new society with a light but sure touch. Warm, humorous black-and-white sketches illuminate each character with casual, but astute, perception. Simpler and less incisive than Bette Bao Lord's In the Year of the Boar and Jackie Robinson (HarperCollins, 1984), which is set in an earlier era, this multicultural music and sports story will have a broad appeal for young readers.”
Publishers Weekly comments, “Peppered with wry commentary on the often baffling experience of adapting to a new country and a new language, Beijing-born Namioka's fresh and funny novel serves up a slice of modern, multicultural American life. Her comic timing and deadpan delivery are reminiscent of Betsy Byars, and her book will leave readers begging for more.”
Reviews accessed at: http://www.amazon.com/Yang-Youngest-his-Terrible-Ear/dp/0440409179/ref=pd_bbs_2/102-1567234-0148948?ie=UTF8&s=books&qid=1185499920&sr=8-2
CONNECTIONS
Other books by Lensey Namioka portraying members of the Yang family:
YANG THE ELDEST AND HIS ODD JOBS. Illustrated by Kees de Kiefte. ISBN 0316590118
YANG THE SECOND AND HER SECRET ADMIRERS. Illustrated by Kees de Kiefte. ISBN 0316597317
YANG THE THIRD AND HER IMPOSSIBLE FAMILY. Illustrated by Kees de Kiefte. ISBN 0440412315
Submitted by Kim
Review of THE AMAH
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
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
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
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