FOLD ME A POEM

1. BIBLIOGRAPHY:

George, Kristine O’Connell 2005. FOLD ME A POEM. Ill. by Lauren Stringer. San Diego: Harcourt, Inc. ISBN 0-15202501-4

2. PLOT SUMMARY:

This book of poems provides an introduction to origami, the art of paper folding. Origami was first developed by the Chinese, but was later adopted by the Japanese. In this book, a young boy uses his active imagination to create an incredible group of “living creatures” such as roosters, camels, robins, cheetahs and lions. All of these creatures come to life in a variety of shapes and sizes made of colorful pieces of paper. It is beautifully illustrated by Lauren Stringer.

3. CRITICAL ANALYSIS:

Fold Me a Poem is a delightful book blending 32 clever poems and related one- and two-page illustrations about origami creatures. The cover is cleverly done to show a beautiful and colorful zoo menagerie of folded paper animals. You can almost see the lively, vivid imagination of the boy. It is entertaining to try to figure out what the animals are and how they were folded. Lauren Stringer’s bright, colorful, expressive acrylic illustrations illuminate the pages. The poems are sequenced by time of day when the boy is playing. Most of the poems are unrhymed verses. Some of the poems use the 5- 7- 5 pattern.

The illustrator provides notes and a listing of 9 books on how to make origami animals. Also included are two websites, www.KristineGeorge.com and www.LaurenStringer.com, where one can learn more about fun paper-folding activities.

Kristine George has received the following awards for her books and poetry: Lee Bennett Hopkins Poetry Award, International Reading Association / Lee Bennett Hopkins Promising Poet Award, the Golden Kite, Myra Cohn Livingston Poetry Awards, Claudia Lewis Poetry Award, ALA notables, NCTE notables, School Library Journal Best Books, Hornbook Fanfare, Oppenheim Toy Portfolio Gold Award, and IRA-CBC Children's Choice.

4. EXCERPTS

BOOKLIST Review: “Gr. 1-3. From morning until night, a boy spends his day folding squares of colored paper into animals. The opening poem, "Origami," follows the five-seven-five-syllable haiku form while defining the magic of the paper-folding art: "Square sheet of paper-- / folded, suddenly wakes up. / Good morning, Rooster." While many of the other poems have the terseness of haiku, they follow their own syllabic patterns. Each appears on a single page or a double-page spread along with a large-scale painting of the boy making his animals, playing with them, observing them, or, in one case, repairing them after a cat attack. In "Hungry" he comes to a realization: "All afternoon / the paper cows / have been eyeing / the green paper. Oh. / Grass!" Warm in colors and often large in scale, Stringer's acrylic paintings capture the world of the boy's imaginative play as well as the intricately folded paper figures that inspire and inhabit it. Unusual, handsome, and good for reading aloud.” Carolyn Phelan

PUBLISHERS WEEKLY review: “"A dazzling celebration of imagination...Each turn of the page brings a clever new perspective or insight-even humor."


5. CONNECTIONS

For additional information on origami, see Kristine George’s website (listed above.) This website also includes information on how to use George’s books in your lesson plans.

Other publications by George include THE GREAT FROG RACE AND OTHER POEMS and HUMMINGBIRD’S NEST AND OTHER POEMS.

BEAST FEAST

1. BIBLIOGRAPHY:
Florian, Douglas. 1994. BEAST FEAST. San Diego: Harcourt Brace, Inc. ISBN 015295178-4

2. PLOT SUMMARY
BEAST FEAST is a collection of twenty-one (21) pairs of poems and paintings about animals, insects, and birds. The following animals are included: anteater, ants, armadillo, barracuda, bat, boa, camel, caterpillar, chameleon, firefly, grasshopper, kangaroo, kiwi, lobster, mole, pigeon, rhea, sloth, toad, walrus, and whale. The poems are “silly”, humorous, and quirky. The pictures match the rhymes and they often leave room for further explanation by the reader. The illustrations are as funny as the poems; Florian did an excellent job with both the poems and illustrations.

3. CRITICAL ANALYSIS
The book is one of the 1996-97 Texas Bluebonnet Award nominees. There seems to be no rhyme or reason for the order of text. And, obviously one poem is not directly (or indirectly) connected to the next. One could begin and end the reading at any point without losing any of the meaning. Although he book may be informative, it seems to be written for the enjoyment of reader and listener. It is most fun when read aloud.
There are full-page illustrations that are similar to a picture book. A table of contents helps the reader locate specific “beasts”.
BEAST FEAST is the winner of the 1995 Lee Bennett Hopkins Poetry Award and is an ALA Notable Children’s Book.

4. REVIEW EXCERPT(S)

SCHOOL LIBRARY JOURNAL review: “Grade 1-4-A colorful and clever assemblage of 21 animals, from the walrus ("The pounding spatter/Of salty sea/ makes the walrus/Walrusty.") to the kiwi ("Wings so small./No tail at all./ Very rare./Feathers like hair./Quiet and shy./Cannot fly./They call you a bird,/But I don't know why."). Each brief poem employs an Ogden Nashian twist of language, a small surprise, or a happy insight into the familiar. The book's design is as appealing as the verses themselves, pairing each selection with a full-page, splashy, bordered watercolor. Large type, surrounded by plenty of white space, will appeal to younger readers. This collection is an uncluttered, short presentation by an author/illustrator who knows what children will find funny-add to that the bonus of factual information tucked into each poem, and the result is a winner. It's easy to imagine readers becoming inspired to write and illustrate their own poems after spending time with Florian. Clearly a wonderful book.Lee Bock, Brown County Public Libraries, Green Bay, WI”

BOOKLIST review: Ages 4-8. Twenty-one animals are each the subject of both a watercolor painting and a poem. Brief and largely humorous, the poems often make rhymes or puns with the animals' names. Read aloud, they reveal skilled alliteration--"The anteater's long and tacky tongue is snaking from its snout." The humor, in words and pictures, will win young children: "The caterpillar's not a cat. / It's very small / And short and fat." The accompanying picture, located on the facing page, shows a caterpillar that has eaten a cat-shaped piece from a large green leaf. Mary Harris Veeder

5. CONNECTIONS

This is another excellent Read-Aloud book, especially for students in kindergarten and Grade 1. Because the collection of “animals” exclude (I am sure by design) some common “pets”, each student could be asked to choose an animal and to write a short poem (with a simple illustration) about that animal. The teacher could screen the poem to make sure that an assortment of pets is chosen. This collection could then be read aloud by each student and collected to make a class collection of beasts.

ALEUTIAN SPARROW

1. BIBLIOGRAPHY:

Hesse, Karen. 2003. ALEUTIAN SPARROW. Ill. Evon Zerbetz. New York: Simon and Schuster. ISBN 0-689-86189-3

2. PLOT SUMMARY:

In June, 1942 during World War II, Japanese forces attacked the Aleutian Islands. In order to “protect the people”, the U.S. military moved the Aleuts to internment camps in the southwest section of Alaska. As a result of the deplorable conditions and much suffering, many of the Aleuts died during this three-year internment. Hesse tells this moving story through the eyes and voice of Vera, a half Aleutian girl. The story describes the community’s struggle to keep their heritage intact.

3. CRITICAL ANALYSIS

ALEUTIAN SPARROW, a historical fiction novel written for ages 10-14, is a Junior Library Guild selection. It is a 160-page novel of unrhymed verse by Newbery Award winner, Karen Hesse. Told through the eyes of Vera, an Aleut girl, the reader begins to live the life of a people in an internment camp. The verses are short, unrhymed, and divided into four major time-dated sections based on location: (1) Kashega, May-June 1942, (2) Wrangell, July 1942, (3) Ward Lake, August1942-April 1945; (4) the Aleutians, April 1945. In this fast moving novel, each page has a heading which helps to keep the reader on track with the main focus of the page. Though in no way a “pity-party”, the reader will feel the suffering of the Aleuts during this difficult period in the history of that culture and our country. Evon Zerbetz’s black and white linocut illustrations support Hesse’s words and contribute to the recognition that these were not good times for the Aleuts.

The novel concludes with an author’s note. An excerpt from that note reads: “This book is a work of fiction based on true events. The Aleut characters described here are not intended to depict specific individuals, but rather to represent the experience shared by many during the three-year relocation.” A very short Aleutian glossary is included.
Hesse does a good job of tackling a little known and difficult story.

4. REVIEW EXCERPT(S)

SCHOOL LIBRARY JOURNAL Review: “The novel begins at a happy time for Vera, in May, 1942, and ends with her return home in April, 1945. During the course of the story, readers see all that the Aleut people endure during these years-bewilderment, prejudice, despair, illness, death, and everyday living that does include moments of humor and even a budding romance for Vera. Hesse's verses are short and flow seamlessly, one into another. Her use of similes is a powerful tool in describing people, scenes, events, and emotions. Ending on a hopeful note, Aleutian Sparrow brings to light an important time in American history, and in the process introduces readers to Aleut culture.Mary N. Oluonye, Shaker Heights Public Library, OH”

KIRKUS Review: “with a whisper-soft touch, Hesse’s clear resonant verses and delicate imagery will break hearts.”

5. CONNECTIONS:

This book will make an excellent springboard for a thematic unit or webquest on the Aleuts and Aleutian culture.

At the site posted below, there is an extensive annotated bibliography and resource list for rare photographs, declassified government documents, congressional records that tell the Aleut Story. There is also a print bibliography and a list of online sources.

Unit inclusion suggestions: evacuation and internment of Aleut American, Aleut history and culture, the World War II battle for the Aleutians, and Alaska Naïve history.

http://www.aleutstory.tv/rsrcs_main.html
http://www.asdk12.org/schools/west/pages/Aleut_webquest/aleutwebquest.htm

AND THE GREEN GRASS GREW ALL AROUND

1. BIBLIOGRAPHY:

Schwartz, Alvin. 1992. AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FROM EVERYONE. Ill by Sue Truesdell. U.S.A.: Harper Collins Publishers.
ISBN: 0060227575.

2. STORY PLOT:
This book is a wonderful collection of 250 folk poems, chants, street rhymes and folk songs. The contents is divided into sections that relates to a particular topic: people, food, school, teases and taunts, wishes and warnings, love and marriage, work, stories, nonsense, riddles, fun and games, rain and shine, a tree, animals and insects and other things. The title song or chant appears in chapter13: and the green, grass grows all around and around. There are notes on folk poets, street rhymes, nurseries rhymes, parodies, autograph rhymes, nonsense verse and other subjects. A sources section explains where the poems come from and other information about them.

3. CRITICAL ANALYSIS:
This is a collection of poetry, street rhymes, and folk songs that is truly entertaining. The collection reflects a cross section of American life as seen through children’s sayings. The text is often silly and would be humorous to the typical elementary school child. The pattern is predictable. Each chapter begins with a sentence of two that tell what the contents of the chapter are. For example, chapter 1, People, reads: the poems in this chapter are about you and me: how we look, how behave, how silly and sweet we can be. Chapter 11, Fun and Games: the rhymes in this chapter will help you do all sorts of things: choose who is IT, jump rope, bounce a ball and march and cheer. The riddles are solvable. There are familiar sayings: “one for the money, two for the show, three to get ready, and four to go.”

Any adult reading this text would find some familiar sayings. Most of the poems were not familiar to me, but the tunes were: Farmer in the Dell, Alouette, John Brown’s Body and Battle Hymn of the Republic, Hark, the Herald Angels Sing. I did not see any stories that had a multicultural theme, although there were pictures of light and dark people, people with different hair texture, big, small, slim and fat people.

The collection is well-researched and documented with notes, sources, index of first lines and bibliography. Sue Truesdell’s illustrations are all in black and white. The cover is very colorful and would attract the interest of children of all ages. The illustrations are professional, cartoon like. This book would make an excellent addition to a teacher’s library

4. EXCERPTS:

SCHOOL LIBRARY JOURNAL: “Grade 3 Up-- A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children's folk poetry heard on schoolgrounds and wherever else kids are having fun. Adults who stew over the appropriateness of Roald Dahl's books or Shel Silverstein's poetry may have concerns here, but kids will love having all their underground playground rhymes in one volume. Scores are included for ``On Top of Spaghetti,'' ``Mine Eyes Have Seen the Glory/ Of the Closing of the School,'' and other songs. It's hard to imagine illustrations better suited to the book's silly, energized tone than Truesdell's big-eyed, animated, and humorous characters. Given plenty of white space, they tumble, goof, and guffaw across the pages, in ideal tandem with the poetry. These drawings may be in black and white, but readers will never pick up a more colorful book. Of additional interest to many people, adults in particular, are the ``Notes'' in the back on folk poets and poetry; ``Sources'' that trace the selections' origins are also helpful. Read this outrageous volume before it is shelved; once the kids discover it, it will always be checked out. --Lee Bock, Brown County Pub . Lib . , Green Bay, WICopyright 1992 Reed Business Information, Inc.

KIRBUS REVIEW: “Not since Carl Withers's A Rocket in My Pocket (1948) has there been such a grand compilation of familiar (and unfamiliar) rhymes and chants from the children's own tradition: riddles, games, wishes and taunts; poems about love, food, school, or animals; parodies, nonsense, and stories. Schwartz organizes them by topic and/or form and provides all kinds of fascinating supporting material: an engagingly conversational introduction; general explanatory notes plus full item-by-item sources, many of which are intriguing in themselves (``Avik Roy, age 13, Detroit...1986''; ``Editor's recollection, Ten Mile River Boy Scout Camp...1940''), or which give alternate versions; even an occasional tune. In b&w pen and watercolor, Truesdell's marvelous characters dance across the generously broad pages, peering inquisitively at the hilarious goings-on or gleefully joining in the shenanigans. It's hard to imagine a child who wouldn't greet this treasure trove with enthusiasm. Extensive bibliography (items ``of interest to young people'' are starred); index. (Folklore. 4+) -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.


5. CONNECTIONS:

I recommend this book for read alouds for very young listeners. The young kids enjoy listening to and repeating rhyming verses.

This collection could also be adapted for children’s theatre and sing-alongs. It is also “interesting” to read poems written by young children. Parents can be invited to read the poetry; most of all let the children have fun with the poetry.

For more information on Alvin Schwartz, see the following post on Dr. Vardell’s blog, http://poetryforchildren.blogspot.com/2007/04/celebrating-folk-poetry-and-alvin.html

THE ROUGH-FACE GIRL

1. BIBLIOGRAPHY:
Martin, Rafe. 1992. THE ROUGH-FACE GIRL. Ill. by David Shannon. New York: G. P. Putnam’s Sons. ISBN 0698116267

2. PLOT SUMMARY
In an Algonquin village by the shores of Lake Ontario, three sisters lived in a teepee with their father. The two older stepsisters and father were mean to the younger sister. Over the years, because of being forced to sit by and tend the fire, the younger sister became scarred on her face, arms and hands; she became known as the rough-face girl. All the girls in the village, including the two mean stepsisters, sought the affections of the Invisible Being who lived on the other side of the lake. The Invisible Being would marry the young woman who could see him. After all the women in the village were rebuffed by the Invisible Being, the rough-face girl saw the Invisible Being because of her inner beauty and ability to see beautiful people and things around her. The Invisible Being married the rough-face girl, and they lived happily ever after.

3. CRITICAL ANALYSIS
THE ROUGH-FACE GIRL is a variant of the Cinderella story that most children are introduced to in early childhood. This is the Native (American) Indian variant of the story. Like any good folklore, the plot is repetitive. Each of the girls seeks to win the favor of the Invisible One, each is asked the same questions, and each is rebuffed; that is, except for the rough-face girl. The rough-face girl won the hand of the Invisible One. In contrast to the Disney or American version, there is no prince; there is an Invisible One. There is no ball or wicked stepmother. The Invisible One is not a person but is the earth or nature. The natural environment is worshipped by American Indians in their religious and everyday living.

As is typical of good traditional literature, a strong moral is presented: there is beauty in the earth if we look for it. One can not disguise the strength that can lie within a beautiful, kind heart. Good is rewarded, and evil is punished. Rafe Martin points out that THE ROUGH-FACE GIRL is “actually a part of a longer and more complex traditional story.

This is a well written and illustrated, folklore picture book. Illustrations are full pages, earth-toned, and reminiscent of the Southwest and Indian motif. Because of the drawing and colors in the pictures, I found them to be mysterious, haunting, and sad.

4. REVIEW EXCERPTS
From School Library JournalGrade 3 Up-- Simply, in the words of an oral storyteller, Martin retells an Algonquin folktale. The youngest of three sisters is forced by the other two to sit by the fire and feed the flames, which results in the burning and scarring of her hair and skin. Desirous of marriage to an Invisible Being who lives in a huge wigwam across the village, these cruel siblings must prove to his sister that they have seen him, but they fail. The Rough-Face Girl, however, sees the Invisible Being everywhere and can answer his sister's questions correctly. Comparable in presentation to Caroline Cunningham's ``The Little Scarred One'' from The Talking Stone (Knopf, 1939; o.p.; reprinted in Castles and Dragons, Crowell, 1958; o.p.), but different in detail, this is a splendid read-aloud. It is the only single illustrated version available. Shannon's finely crafted full- and double-page acrylic paintings in the rich hues of the earth embody the full flavor of the story. His stunning cover portrait shows at one glance both the girl's beauty and her frightful scars. Another in the recent succession of Cinderella stories, The Rough-Face Girl begs for comparison with Princess Furball (Greenwillow, 1989), Tattercoats (Putnam, 1989), Mufaro's Beautiful Daughters (Lothrop, 1987), Moss Gown (Clarion, 1987), etc., and will provide both entertainment and a cultural lesson. - Susan Scheps, Shaker Heights Public Library, OH

BOOKLIST: Ages 6-9. This variant of the Cinderella tale takes place by the shores of Lake Ontario. Every girl in the Algonquin village wishes to marry the Invisible Being, who lives in a beautiful wigwam with his sister, but only a girl who can see the Invisible Being and answer his sister's questions can marry him. When the Rough-Face Girl (whose face and arms are scarred because her wicked sisters have forced her to tend the fire) goes to his wigwam, she alone knows that his bow is made of the rainbow's curve and his sled runner is formed from the Milky Way because she alone has seen him in the natural world around her. Shannon's dramatic, full-color paintings are striking and often rich in atmosphere, though some of the character portrayals seem glamorized or European. Martin introduces the story as an Algonquin Indian tale taken from a longer work, though he doesn't name its source. Given the beauty of the story, the strength of many of the illustrations, and the current interest in comparing variants of folktales from different cultures, libraries will find this a well-used picture book. (Reviewed Apr. 15, 1992) Carolyn Phelan.

5. CONNECTIONS:
As a variant of Cinderella, it comes natural to compare THE ROUGH-FACE GIRL to the original story of Cinderella, or other variants such as MIUFARO’S BEAUTIFUL DAUGHTERS, MOSS GOWN, and/or PRINCESS FURBALL. One effective way to make the comparison is by use of a Venn Diagram, where similarities and distinctions can be noted. An essay could be written concerning either of the three cell of the diagram.

This book could also be used in a unit on the Algonquin Indians in particular and the North American Indians in general. A study of art and music would expand this unit.

For an interesting interpretation of the origin of this version of the Cinderella story, see
http://www.kstrom.net/isk/books/children/ch57.html

THE LOST HORSE

1. BIBLIOGRAPHY:

Young, E. 2004. The LOST HORSE. New York: Voyager Books ISBN-10: 015205023X.


2. PLOT SUMMARY:

Sai, a wise Chinese farmer, had the misfortune of having his horse run away. His friends and neighbors tried to console him; but, the old man said to them that this event could be a blessing. The horse returned and brought a stallion with him. Everyone congratulated the old man; but the old man asked if this is a blessing or a disaster. One day the son was riding the new horse, feel and broke his hip. Again, everyone tried to console the father; the father said not to worry because the broken leg could be a blessing. A year later the nomads came and all able-bodied men would have to go to fight a war. Although the Chinese lost 90 percent of their warriors, the son did not have to go because he had a broken leg. So the moral of the story is that blessings can turn to disasters and disasters can turn to blessings. Life continues to change.


3. CRITICAL ANALYSIS

This story takes place on a northern China farm, many, many years ago. The main characters, the father, the son and the neighbors are consistent thought the story. The plot following in logical sequence. An incident happens such as the “disaster” of a run-away horse, and then the next thing that happens reverses the outcome. Although likely a translation, the story would be very effective in a “Read Aloud”. The story is written in manner that makes the reader want to know what will happen next. The story has minimal humor, much anticipation and a “happy-ever-after” ending. The moral of the story is clear. Ed Young’s illustrations are beautiful, subdued watercolors with a distinct oriental feel and appearance.


4. REVIEW EXCERPTS:

BOOKLIST: “Ages 5-8. With delicate and dramatic collage illustrations in pastel and watercolor, Young retells an old Chinese folktale that has echoes in many cultures. The words are spare. Sai has few possessions, but he owns a horse that is both strong and fast. When the horse runs away in a thunderstorm, the people come to comfort Sai. "You know it may not be such a bad thing," he tells them. When the horse returns with a mare, the people congratulate Sai on his good fortune. "Perhaps it is not such a good thing," he says. Then the mare throws Sai's son, who breaks his leg, and the injury saves him from going to war. . . . The pictures are wonderfully theatrical: the spacious double-page overviews of the rural community suddenly give way to sharp close-ups of a rearing horse in a lightning storm or of hostile invaders streaming across the page. Packaged with the book are some beautiful puppets, which libraries will have to keep separately and perhaps use for storytelling; however, the puppets are just an extra. It is the story that will lead children beyond the book to discover the unexpected turnabouts in the sad and happy events of their own lives. As my Jewish grandmother would say: "Maybe things happen for the best." Hazel Rochman

SCHOOL LIBRARY JOURNAL: “Kindergarten-Grade 3 "A wonderful elaboration on an ancient Chinese proverb and story dating from the Han Dynasty. The proverb, which can be translated, "A loss may turn out to be a gain," as well as the original story (though it appears here without the moral), are printed in Chinese characters at the beginning of the book. When a man's horse runs away, he refuses to see the event as a tragedy, just as he refuses to celebrate its return with a mare. Similarly, when his son is thrown from the mare's back and breaks his leg, the father does not consider this mishap as necessarily bad. His trust in the fortunes of life is rewarded when the son's injury prevents him from going to war, and thus saves him from possible death. Pastel and watercolor collages appear on two-page spreads and depict characters wearing attire authentic to their time and place. The tents and the predominantly brown scenery provide realistic glimpses into the stark landscape of the northern frontier. Striking close-up views show the son tumbling from his horse and families mourning their dead after battle. This story is an excellent springboard for a discussion of the changing nature of life. An added bonus is the three articulated puppets that will encourage storytellers to extend the story. Marianne Saccardi, Norwalk .”


5. CONNECTIONS

This book would be excellent for Read Alouds. Announce to the students the name of the book, its author, and the award winning illustrator. Although Young did not win an award for this book, he has won numerous awards for his illustrations, including the Caldecott Medal in 1990 and Caldecott Honors in 1993 and 1989. Then read the book aloud to your students, showing the illustrations as you read. Show the illustrations again. Ask students to state their opinions about how the art adds to the enjoyment of the story.

This book would also make an excellent addition to a unit on the study of China. The unit could include China’s map, flag, national symbols, animals, plants, habitat, stories, songs and poems, national anthem, simple language expressions, food, games, crafts, costumes, and dances.

TALKING WITH ARTISTS, VOLUME 1

1. BIBLIOGRAPHY
Cummings, Pat, ed. 1992 TALKING WITH ARTISTS: Vol 1. New York: Bradbury Press, 1992. ISBN 0027242455.

2. PLOT SUMMARY
Pat Cummings selected a group of fourteen children’s book illustrators (Victoria Chess, Pat Cummings, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwatz, Lane Smith, Chris Van Allsburg and David Wiesner) and interviewed each of them using the same eight questions concerning their lives and careers as illustrators for children’s books. Questions range from “Where do you get your ideas?” to “What is a normal day like for you” to “Do you ever put people you know in your pictures?” and “What do you use to make your pictures?” The questions were compiled from the most common questions asked when Pat Cummings visits schools and lectures on books and art. Artwork created by each illustrator as a child and as a published illustrator is included. A section of the book is devoted to a glossary of art and general terms such as gouache, cross-hatching and art director. The final section gives a list of each author’s five favorite books that they have illustrated.

3. CRITICAL ANALYSIS
Each of the fourteen illustrators in Volume 1, including the editor, Pat Cumming was allow to tell how they became an illustrator for children’s books and artist using their own words. The use of their own voice made it possible for the reader to see some of the real personalities expressed by the illustration.

The discussions of typical workdays and work places helped to show the individual places that were used as stimulations and motivations for each artist. I was struck by the fact that most of the illustrators had a love for drawing but took very different routes to feeling secure enough to try the life of an artist as an occupation and livelihood. I was also struck by the fact that each of these artists was entrepreneurial, competitive, and driven. I had the impression, as several stated, that although they were “required” to do other things to make a living, their lives would still be dominated by art.

As expected, the art in the book reflected the many styles of the artists and was magnificent. A variety of mediums were presented, sometimes reflecting the backgrounds of the artists and the fortunate encounters with other artists and supporters who helped them develop their styles.

A consistent book layout and format makes it possible to compare one artist to another. The simple glossary will increase the understanding of the “art-novice” reader, and the list of books by each author will allow the teacher or student to select other books, materials and art by the illustrator.

4. REVIEW EXCERPT (S)

SCHOOL LIBRARY JOURNAL: “Grade 3-8-- Conversations with Victoria Chess, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner form the content of this book. All say that ``practice, practice, practice'' is the key to success. The illustrators that Cummings interviewed and her own comments are primarily aimed at young people who love to draw. They tell about how they got started, and where they get their ideas and techniques. There are chatty bits of information about the artists themselves, examples of their childhood drawings, and beautifully reproduced samples of current work. The same questions are asked of each contributor, but the answers range from serious commentary to lighthearted humor. The cumulative result is a short course in how to succeed in the book business, and general agreement that illustration is a tremendously satisfying and enjoyable occupation. Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum.” --Shirley Wilton, Ocean County College, Toms River, NJCopyright 1992 Reed Business Information, Inc.

THE HORN BOOK: “An inspired concept, executed with class


5. CONNECTIONS
For students wanting to do more about illustrators of children’s books, see the following:

Preller, James, THE BIG BOOK OF PICTURE BOOK AUTHORS AND ILLUSTRATORS. ISBN: 0439201543

Kovacs, Deborah. MEET THE AUTHORS AND ILLUSTRATORS. ISBN: 0590490974

BIG JABE

1. BIBLIOGRAPHY:
Nolan, Jerdine, 2003. BIG JABE. Ill. by Kadir Nelson. New York: Amistad/Harpercollins. ISBN 006054061-3.

2. PLOT SUMMARY
BIG JABE is the story told from the point of view of a young slave named Addy. Addy, an avid and successful fisherman, found a young boy, Jade floating in a basket in the river. Jabe was a “special” child in most ways. He grew to be a man in six month and had the strength of 50 men. He had the “powers” to bring on storms, turn an old horse into a young one, and to protect slaves from impending harm. Although others in the “Quarters” could not explain how things were happening, Addy knew that Jabe was the reason why. There are many similarities in this story and the story of Moses.

3. CRITICAL ANALYSIS
This picture book is a tall tale about slavery in the United States. Its setting is the imaginary Plenty Plantation. Told through the eyes of Addy as imagined in the mind of Momma Mary, this story is fictionalized--possibly to make some of the suffering bearable to both the Momma Mary and Addy. Although fictionalized, the setting, history and horrors reflect some of what life may have been like during slavery.

The story matches perfectly with Kadir Nelson's colorful, detailed striking artwork. The illustrations are such that they invite the reader to spend time looking at the specifics in the drawings and imagining what is going on behind the scenes. Both Jerdine Nolen (author) and Kadir Nelson (illustrator) show the reader how cruel and difficult the lives of slaves were during this era. These full-page illustrations (painting) tell more about the activities than could easily be expressed in the space allowed. In fact, a story could be told if each of Nelson’s illustrations.

I enjoyed reading this book very much. I immediately recognized the similarity of BIG JABE to the story of Moses and the child in the basket, but I didn’t have any idea where the author was trying to take the reader. I studied each of the pictures and was impressed by the quality of the artwork and story that was imbedded within. This book will be an excellent addition to my personal and classroom library.

4. REVIEW EXCERPT
School Library Journal: “Gr 2-5-This original tall tale tells of an unusual African American who frees the slaves on Plenty Plantation. The story is framed by a contemporary boy hearing about the past from Momma Mary. She tells of the young slave, Addy, who finds a boy in a basket while she is fishing. The child can do miraculous things, like call the fish out of the water when they're not biting, or harvest the cotton fields in a night and a day when he grows older. Jabe makes sure that the slaves get their fair share of everything, too, but the overseer doesn't appreciate him, and takes out his frustrations on the other slaves. When they mysteriously disappear in the night, only Addy seems to know that Jabe is responsible, and, when she is put in chains and about to be sold, he rescues her, too. Nolen's writing draws readers into the narrative and presents the magical aspects matter-of-factly. The author uses traditional folklore motifs to good effect in creating this larger-than-life hero. Nelson's watercolor-and-gouache paintings bring the characters fully to life and provide a realistic and historically accurate setting for the fantastic events. The illustrations, particularly the cover of Jabe striding tall above the trees and the scenes around the plantation, highlight the fantasy even as they make the story real.-Ellen A. Greever, University of New Orleans, LA”

5. CONNECTIONS
This picture book could be used with students during units on slavery or African American history. It could also be used during units on tall tales. Recommended for children in grades 2-6, many, if not most, children will recognize this as a tall tale, similar in feeling and theme to others such as stories of Paul Bunyan or John Henry.

Other suggestions: After studying the harsh conditions of slavery, have kids think of ways in which Jabe could ease the pain for the slaves. Discuss the role that church, songs, dance and storytelling plays in the lives of the slaves.

THE HELLO, GOODBYE WINDOW

1. BIBLIOGRAPHY

Juster, Norton. 2005. THE HELLO, GOODBYE WINDOW. Ill. by Chris Raschka. New York. Michael Di Capua Books. ISBN 978-0786809141

2. PLOT SUMMARY

THE HELLO, GOODBYE WINDOW is a fun, picture book about a little girl who comes to visit her grandparents, Nanny and Poppy, while her parents are away or at work. In the front of the grandparents home is a large picture window that that allows the little girl (and her grandparents) to look inside the window and to see outside on the world, use their imaginations and create fantasies. This is the window that everyone can see when walking up to the house, but the she can see more than most. Most of the story is lived in the kitchen near the hello goodbye window where lessons about naps, poisons in the cupboard, crossing the streets and the stars are taught.

3. CRITICAL ANALYSIS

This picture book is written from the first-person perspective of a young girl. Although no description is given of the girl, she is likely a pre-schooler whose imagination is larger than life.

The story is a realistic portrayal of what could happen in the happy memories of any young child who spends time with loving grandparents. Both Nanny and Poppy have very specific roles. Each of their conversations is fun for the little girl and provides valuable life lessons.

Chris Raschka’s bright, watercolor-looking illustrations are childlike and clear enough to enhance the story. These illustrations are also vague enough so that a young child reading the story could add interesting thoughts of their own. The drawings show a multi-racial family, although this facet of the story is not mentioned in the text. The pages are unnumbered, but the story is such length that it could easily be read in one setting and hold the attention of the 3-6 year old.

The story was told with the pictures, supplemented by the words. There are an average of about 6 short lines on a 10 by 14-inch page, allowing the reader an opportunity to explore the story further by studying the pages of pictures. The pictures compliment and enhance the written words.

HELLO, GOODBYE, WINDOW demonstrates how learning can take place during playtime for children. There is much in the story that will help a child discuss his own family and extended family situation. Each child will find something that he can relate to in the story. This is the kind of book that a child will enjoy reading more than once.

With scaffolding, a seven-year old first grader read the story with little difficulty. I noticed that some “text” was added by the child that was not printed on the page because he was studying and reading the illustrations.

4. REVIEW EXCERPT(S)

Starred Review in School Library Journal: “The first-person text is both simple and sophisticated, conjuring a perfectly child-centered world. Sentences such as "When I get tired I come in and take my nap and nothing happens until I get up" typify the girl's happy, imaginative world. While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family”

Starred Review in Booklist: “Raschka's swirling lines, swaths, and dabs of fruity colors seem especially vibrant...capture both the tender moments between members of the interracial family and the exuberance

5. CONNECTIONS

Scholastic.com recommends the following related resources:

Ardagh, Philip, A HOUSE CALLED AWFUL END. ISBN 0-8050-6828-7

Hamilton, Virginia, COUSINS. ISBN: 0590454366

During the introduction to the story, students can be asked by the teacher to tell they who they think the pictures are on the cover. Children can be asked if they have special nicknames for their grandparents and to discuss some good fun that they have had with them. In addition, a brief discussion can be had about different kinds of loving families.