1. BIBLIOGRAPHY
Taback, Simms. 1999. JOSEPH HAD A LITTLE OVERCOAT. New York: Penguin Group. ISBN 0-670-87855-3
2. PLOT SUMMARY
Spanning seasons and presumably years, Taback's boldly colorful tale takes the reader along an upbeat journey of one man and his coat. Based upon a classic folktale/folksong, Joseph Had A Little Overcoat depicts a Polish man of Jewish faith who has a treasured overcoat which wears with time and is crafted into various other items. When it becomes to tattered to serve as a coat the garment becomes a jacket, then a vest, a scarf, a necktie, a handkerchief, and finally, a button. When the button is lost, Joseph, never deterred, creates a story about his overcoat to share with others. This short tale is upbeat and charming portraying through illustrations the Jewish culture of family, hard work, and frugality.
3. CRITICAL ANALYSIS
Taback produced Joseph Had A Little Overcoat as a labor of love. This story is based upon a favorite song of his childhood which he treats to a beautiful illustration and book conversion. Using a darker palette of bold colors, he takes the reader from a countryside farm surrounded by animals to a choir meeting, to a city, and into the main character's home for glimpses into Joseph's daily life.
This story is infused with humor and a lighthearted spirit. Using strewn about newspapers or quotes on the wall of the home, Taback communicates with the reader Joseph lives in Poland and is of Jewish heritage. Papers written in Hebrew are one indication of culture and religion in the book. Taback also illustrates people in the book in traditional Jewish dress and of traditional Jewish appearance, and on a table in the home, a menorah is seen. Lively photos on the walls of Joseph's home give the reader other ideas about his life. Family is communicated as important throughout the piece indicated by these framed photos, cards he recieves, and trips he takes.
While a younger reader will enjoy the story, adults will find things uniquely included for them with the book. Taback, using the newspapers and wall adornments, provides anecdotes and draws in familiar references to works of Jewish literature which are very familiar to readers. For example, one newspaper on the floor of Joseph's home proclaims the Fiddler falls off the roof. Another depicts a Rabbi being dunked in the ocean so he can explain why it is salty. These subtle items will likely escape some but are almost a game for an older reader to find.
Another ingenious element of Taback's work is his use of die-cut holes. As the pages are turned they are tied together through small cut-outs allowing for glimpses of other pages. This feature provides continuity and connection throughout the story. It is almost as if the story is playing peek-a-boo with the reader. This feature will gain younger readers attention as they attempt to identify what will come next.
Joseph Had A Little Overcoat reflects a positive outlook on life and happiness from beginning to end. Animal characters, drawn in a whimsied style, surround Joseph and provide him with companionship all through the tale. Readers see seasons change through bright illustrations of vegetables and foliage. At every turn Joseph takes what he is given and presses forward. He does not bemoan his coat wearing out; he makes something useful out of it and does it with a smile. His resilient spirit is encouraged and echoed by cards and letters the reader observes from friends in his home. Readers will be bolstered by this sweet and simple tale of family, thrift, and joy.
4. REVIEW EXCERPTS
Amazon- "filled with rhythms and arresting colors that will delight every reader"
Publishers Weekly (1999)- "Taback works into his folk art a menagerie of wide-eyed animals witnessing the overcoat's transformation, miniature photographs superimposed on paintings and some clever asides reproduced in small print"
5. CONNECTIONS
*tell the story with a brown bag of items (a menorah, stuffed farm animal, yarmulke, coat, scarf, button, etc.)
*challenge students to find the "hidden" elements of the book (the cards, letters, newspapers, etc.)
*pair the students to identify the meanings behind the Jewish references in the story
*have the students conclude where Joseph was from and then find three facts about that country to share with the class
*read a version of Joseph and the Coat of Many Colors to the class and discuss similarities and differences of the two stories
Monday, September 27, 2010
Sunday, September 26, 2010
Book Review for THE STORY OF LIGHTNING & THUNDER by Bryan
1. BIBLIOGRAPHY
Bryan, Ashley. 1993. THE STORY OF LIGHTNING & THUNDER. New York: Aladdin Paperbacks. ISBN 0-689-31836-7
2. PLOT SUMMARY
Set a long, long time ago on the coast of Alkebu-lan (today's Africa), Bryan tells the myth of origins of thunder and of lightning. Once the most honored inhabitants of their kingdom, Ma Sheep Thunder and her Son Ram Lightning live on Earth among the villagers. Ma Sheep loves to visit and talk with the people while Son Ram tends to get into mischief. When the villagers need their help during times of drought, the mother and son respond by calling their friend Rain. Like many young people though Son Ram wanted to grow up a little fast and not listen to the wise advice and guidance of his mother. After Son Ram stampeded in the village, the King sent mother and son to live on the outskirts of the village. Failing to heed his mother's caution again, Son Ram destroyed a marketplace shop leading the King to send them even further from the village. Finally, after causing a large and damaging fire in his impetuousness, Son Ram and Ma Sheep Thunder are told it is no longer safe for them to live on Earth among the people. The King sent them to the sky. And now Thunder and Lightning reside there signaling the coming of Rain, helping the village from afar. On occasion Lightning gets far ahead of his mother and touches the Earth, still causing mischief.
3. CRITICAL ANALYSIS
This classic tale explains how elements of storms came to be. With sharp illustrations of bold colors, Bryan retells a long standing oral tale of West Africa. A wide variety of colors are included in the palette of this book and reflect those associated with the African culture. This tale provides a rich fabric of African culture through reflections of art, musical instruments, period homes, and dress.
The illustrations of the lead characters convey unique emotions of the duo. Ma Sheep has a maternal appearance and is portrayed as enjoying social interactions with humans. She pursues her son to lend correction and appears frustrated with him at appropriate points in the story. Son Ram's illustrations convey whimsy and mischievous intentions. Even when he attempts to do helpful acts, Ram is not clear and thoughtful in his actions. His portrait is of a young boy trying to grow into his own person. Bryan vividly describes in word and depiction a mother and son chasing across the mountains and skies.
As with many examples of traditional children's literature, The Story of Lightning & Thunder carries strong messages for the reader. The timeless lessons of growing up and heeding a parent's words and instruction are clearly the primary theme. Yet, a more subtle message that can be taken from the tale is the potential consequence of trying to be something you aren't or something you aren't prepared to be. Ma enjoyed being with people but that was not her place. Son Ram like playing with children but physically shocked them because of his power. Without intent they caused trials for the villagers.
Ashley Bryan crafts another tale of celebration of African heritage with this story. His cultural presentation in art carries the story forward and fits perfectly with the age-old myth. The reader is drawn in with the subtle rhythm of the storytelling. Any student will enjoy this ride of color and magic.
4. REVIEW EXCERPTS
Kirkus Reviews (1993)- "a delightful adaptation of a Nigerian folktale"
Publishers Weekly (1999) - "joyful in both word and palette"
5. CONNECTIONS
*have students conduct a web search of African folklore and traditional literature to find other stories like The Story of Lightning & Thunder
*have students create a photo collage of African art and other traditional African elements of culture
*read other works of Ashley Bryan, like Beautiful Blackbird, and compare the cultural messages in his works
*read works reflective of other cultures, like those from a Hispanic heritage, and have students identify differences in presentation and portrayals
Bryan, Ashley. 1993. THE STORY OF LIGHTNING & THUNDER. New York: Aladdin Paperbacks. ISBN 0-689-31836-7
2. PLOT SUMMARY
Set a long, long time ago on the coast of Alkebu-lan (today's Africa), Bryan tells the myth of origins of thunder and of lightning. Once the most honored inhabitants of their kingdom, Ma Sheep Thunder and her Son Ram Lightning live on Earth among the villagers. Ma Sheep loves to visit and talk with the people while Son Ram tends to get into mischief. When the villagers need their help during times of drought, the mother and son respond by calling their friend Rain. Like many young people though Son Ram wanted to grow up a little fast and not listen to the wise advice and guidance of his mother. After Son Ram stampeded in the village, the King sent mother and son to live on the outskirts of the village. Failing to heed his mother's caution again, Son Ram destroyed a marketplace shop leading the King to send them even further from the village. Finally, after causing a large and damaging fire in his impetuousness, Son Ram and Ma Sheep Thunder are told it is no longer safe for them to live on Earth among the people. The King sent them to the sky. And now Thunder and Lightning reside there signaling the coming of Rain, helping the village from afar. On occasion Lightning gets far ahead of his mother and touches the Earth, still causing mischief.
3. CRITICAL ANALYSIS
This classic tale explains how elements of storms came to be. With sharp illustrations of bold colors, Bryan retells a long standing oral tale of West Africa. A wide variety of colors are included in the palette of this book and reflect those associated with the African culture. This tale provides a rich fabric of African culture through reflections of art, musical instruments, period homes, and dress.
The illustrations of the lead characters convey unique emotions of the duo. Ma Sheep has a maternal appearance and is portrayed as enjoying social interactions with humans. She pursues her son to lend correction and appears frustrated with him at appropriate points in the story. Son Ram's illustrations convey whimsy and mischievous intentions. Even when he attempts to do helpful acts, Ram is not clear and thoughtful in his actions. His portrait is of a young boy trying to grow into his own person. Bryan vividly describes in word and depiction a mother and son chasing across the mountains and skies.
As with many examples of traditional children's literature, The Story of Lightning & Thunder carries strong messages for the reader. The timeless lessons of growing up and heeding a parent's words and instruction are clearly the primary theme. Yet, a more subtle message that can be taken from the tale is the potential consequence of trying to be something you aren't or something you aren't prepared to be. Ma enjoyed being with people but that was not her place. Son Ram like playing with children but physically shocked them because of his power. Without intent they caused trials for the villagers.
Ashley Bryan crafts another tale of celebration of African heritage with this story. His cultural presentation in art carries the story forward and fits perfectly with the age-old myth. The reader is drawn in with the subtle rhythm of the storytelling. Any student will enjoy this ride of color and magic.
4. REVIEW EXCERPTS
Kirkus Reviews (1993)- "a delightful adaptation of a Nigerian folktale"
Publishers Weekly (1999) - "joyful in both word and palette"
5. CONNECTIONS
*have students conduct a web search of African folklore and traditional literature to find other stories like The Story of Lightning & Thunder
*have students create a photo collage of African art and other traditional African elements of culture
*read other works of Ashley Bryan, like Beautiful Blackbird, and compare the cultural messages in his works
*read works reflective of other cultures, like those from a Hispanic heritage, and have students identify differences in presentation and portrayals
Book Review for Wiesner's THE THREE PIGS
1. BIBLIOGRAPHY
Wiesner, David. 2001. THE THREE PIGS. New York: Clarion Books. ISBN 0-618-00701-6
2. PLOT SUMMARY
The beloved and often told story of the The Three Little Pigs is given an update and a unique twist in this Wiesner telling. Wiesner takes the traditional folktale for a joyous ride as the main characters exit the pages of their pastoral world and venture into the unknown and into other tales. Along the way they thwart the wolf (as always), pick up the cat and the fiddle, and rescue a dragon taking the reader along with them. In the end, the pigs and their new friends settle into a well-built abode safe from the "huff and puff" of the outside.
3. CRITICAL ANALYSIS
This modern telling of the Three Little Pigs conveys messages of teamwork, friendship, inclusion, and how to deal with bullies. It also guides readers to think outside of the normal boundaries as the characters (the pigs as well as the friends they pick up during their adventures) burst from the confines of their story panels.
Wiesner uses soft colors with realistic depictions of the pigs as the story begins on a rolling hillside. He quickly changes the reader's perspective of a normal adventure by pulling the pigs off of story panels and into the white of blank pages. As they "fold" their story (and the wolf) into an airplane for their trip, Wiesner beautifully uses depth to communicate their travel and stark pages of white to show distance and openness. The use of white and empty space allows the reader to imagine the trip the characters are taking beyond what they have previously known.
Illustrations convey much of the story in this book. The detailed expressions of the pigs as they journey are of joy and wonder. No fear or real concern are apparent as they seem to be thrilled with this new turn. They travel into the radically different illustration style of the cow that jumped over the moon and the cat and the fiddle. Wiesner changes colors and graphic style to guide the reader to this different setting with even the pigs themselves changing illustrative style. They change yet again as the main characters move into a medieval tale of knights and dragons. Here Wiesner uses black and white sketch work as the pigs rescue the dragon. Ultimately, the pigs along with their new friends, the cat and the fiddle and the dragon, return to their "home" story and to the wolf. The illustrations return to the original style including having the new characters take on that artistic depiction. True to the original, the pigs defeat the wolf to live happily ever after.
In a last twist Wiesner has the very words and letters of the original story disrupted by the new characters only to catch them and use them in the end. This subtle reminder for the reader shows that although the story may have been beyond the ordinary, all things ended well and as they should.
4. REVIEW EXCERPTS
School Library Media Activities Monthly (2004)- "wildly creative version of a much beloved traditional tale" (Carolyn S. Brodie)
School Library Journal (2001)- "The Three Pigs, breaks new ground for himself and for picture books in general" (Anita Silvey)
Amazon- "Once upon a time three pigs built three houses, out of straw, sticks, and bricks. Along came a wolf, who huffed and puffed... So, you think you know the rest? Think again."
5. CONNECTIONS
*have students review other telling of Three Little Pigs looking for the contrasting approaches of the stories
*read and compare traditional folktales with their "fractured" partners
*read Little Red Riding Hood and watch the movie Hoodwinked; have the students pair up and take a character of the story to discuss and identify similarities and differences
*have students take a traditional story and create alternate versions for themselves
Wiesner, David. 2001. THE THREE PIGS. New York: Clarion Books. ISBN 0-618-00701-6
2. PLOT SUMMARY
The beloved and often told story of the The Three Little Pigs is given an update and a unique twist in this Wiesner telling. Wiesner takes the traditional folktale for a joyous ride as the main characters exit the pages of their pastoral world and venture into the unknown and into other tales. Along the way they thwart the wolf (as always), pick up the cat and the fiddle, and rescue a dragon taking the reader along with them. In the end, the pigs and their new friends settle into a well-built abode safe from the "huff and puff" of the outside.
3. CRITICAL ANALYSIS
This modern telling of the Three Little Pigs conveys messages of teamwork, friendship, inclusion, and how to deal with bullies. It also guides readers to think outside of the normal boundaries as the characters (the pigs as well as the friends they pick up during their adventures) burst from the confines of their story panels.
Wiesner uses soft colors with realistic depictions of the pigs as the story begins on a rolling hillside. He quickly changes the reader's perspective of a normal adventure by pulling the pigs off of story panels and into the white of blank pages. As they "fold" their story (and the wolf) into an airplane for their trip, Wiesner beautifully uses depth to communicate their travel and stark pages of white to show distance and openness. The use of white and empty space allows the reader to imagine the trip the characters are taking beyond what they have previously known.
Illustrations convey much of the story in this book. The detailed expressions of the pigs as they journey are of joy and wonder. No fear or real concern are apparent as they seem to be thrilled with this new turn. They travel into the radically different illustration style of the cow that jumped over the moon and the cat and the fiddle. Wiesner changes colors and graphic style to guide the reader to this different setting with even the pigs themselves changing illustrative style. They change yet again as the main characters move into a medieval tale of knights and dragons. Here Wiesner uses black and white sketch work as the pigs rescue the dragon. Ultimately, the pigs along with their new friends, the cat and the fiddle and the dragon, return to their "home" story and to the wolf. The illustrations return to the original style including having the new characters take on that artistic depiction. True to the original, the pigs defeat the wolf to live happily ever after.
In a last twist Wiesner has the very words and letters of the original story disrupted by the new characters only to catch them and use them in the end. This subtle reminder for the reader shows that although the story may have been beyond the ordinary, all things ended well and as they should.
4. REVIEW EXCERPTS
School Library Media Activities Monthly (2004)- "wildly creative version of a much beloved traditional tale" (Carolyn S. Brodie)
School Library Journal (2001)- "The Three Pigs, breaks new ground for himself and for picture books in general" (Anita Silvey)
Amazon- "Once upon a time three pigs built three houses, out of straw, sticks, and bricks. Along came a wolf, who huffed and puffed... So, you think you know the rest? Think again."
5. CONNECTIONS
*have students review other telling of Three Little Pigs looking for the contrasting approaches of the stories
*read and compare traditional folktales with their "fractured" partners
*read Little Red Riding Hood and watch the movie Hoodwinked; have the students pair up and take a character of the story to discuss and identify similarities and differences
*have students take a traditional story and create alternate versions for themselves
Sunday, September 12, 2010
Book Review of THE TALE OF PETER RABBIT by Beatrix Potter
1. BIBLIOGRAPHY
Potter, Beatrix. 1986. THE TALE OF PETER RABBIT. Ill. by David McPhail. New York:Scholastic. ISBN: 0590411012.
2. PLOT SUMMARY
The classic work of Beatrix Potter, The Tale of Peter Rabbit, takes the reader on a day’s adventures and mishaps of a little disobedient rabbit. Peter is the only son of Mrs. Rabbit and on the day of the story, he takes a path different from his sisters. The girls choose to follow their mother’s directions as she leaves the children alone for a short time; upon his mother’s leaving, Peter promptly goes to Mr. McGregor’s garden. The same garden the little rabbits were specifically told not to go near. A chase ensues once the farmer discovers Peter’s presence and theft of many of his vegetables.
After reaching his lowest point lost and alone, Peter begins to show maturity rather than disobedience and to act on good advice he has been given rather than making poor decisions simply because he thinks he can. Peter does manage to escape the garden and the retribution of Mr. McGregor leaving only his clothes behind. He returns home exhausted and grateful.
He takes his medicine and goes to bed without the pleasant dinner enjoyed by his mother and sisters. This book has stood the test of time and will continue to appeal to readers of all ages for its simple story and corresponding illustrations.
3. CRITICAL ANALYSIS
In another retelling of one of the greatest selling children's books of all time, McPhail’s illustrations for this edition of the story stay true to the original work of Potter herself. They are done in pastel watercolors and guide the reader throughout the story. The entire setting of the story is created by the illustrations. The original work was done at the turn of the 20th century with the dialogue reflecting that time period. The art follows suit. The style and fashion of the day are reflected here. When taken together the reader is moved back to a simpler time. Taken separately this task would not have been accomplished as effectively.
As Peter’s adventure begins, McPhail takes the reader into the garden to observe Peter’s excessive eating. Eating to the points of clear illness reflected on his face. McPhail also vividly displays Peter’s discovery by Mr. McGregor, and the work is culminated in the illustration of a de-clothed, wet Peter looking simply lost and alone. This picture graphically shows the turning point of Peter’s day and guides the reader to a different phase of the story. The simple story is greatly enhanced by the illustrations and the illustrator skillfully transitions the story throughout.
With realistic character illustrations of Peter, his family, and all other characters, the edition of The Tale of Peter Rabbit is accessible to readers of all ages and carries familiar messages of trusting authority and of obeying one’s parents. It also provided another message: don’t try to be something you are not. Peter’s human clothes almost led to his capture, but as a rabbit he escaped. Peter was a little “boy” who needed to be guided by his mother not a mature one who could make the best of decisions.
4. AWARDS WON AND REVIEW EXCERPTS
Review on Amazon.com: “The quintessential cautionary tale, Peter Rabbit warns naughty children about the grave consequences of misbehaving.”
Review on Barnes and Noble.com: “generations have continued to enjoy this lively tale of naughtiness” (by Stephanie Farrow from Children’s Literature)
5. CONNECTIONS
*provide the children with felt and other supplies to create puppets of Peter and his family for a show
*have children pair up to read other Potter books to share stories out loud
*have a brown bag talk
*Collect and highlight: The Tale of Benjamin Bunny; The Tailor of Gloucester; The Tale of Tom Kitten; The Tale of Squirrel Nutkin
Potter, Beatrix. 1986. THE TALE OF PETER RABBIT. Ill. by David McPhail. New York:Scholastic. ISBN: 0590411012.
2. PLOT SUMMARY
The classic work of Beatrix Potter, The Tale of Peter Rabbit, takes the reader on a day’s adventures and mishaps of a little disobedient rabbit. Peter is the only son of Mrs. Rabbit and on the day of the story, he takes a path different from his sisters. The girls choose to follow their mother’s directions as she leaves the children alone for a short time; upon his mother’s leaving, Peter promptly goes to Mr. McGregor’s garden. The same garden the little rabbits were specifically told not to go near. A chase ensues once the farmer discovers Peter’s presence and theft of many of his vegetables.
After reaching his lowest point lost and alone, Peter begins to show maturity rather than disobedience and to act on good advice he has been given rather than making poor decisions simply because he thinks he can. Peter does manage to escape the garden and the retribution of Mr. McGregor leaving only his clothes behind. He returns home exhausted and grateful.
He takes his medicine and goes to bed without the pleasant dinner enjoyed by his mother and sisters. This book has stood the test of time and will continue to appeal to readers of all ages for its simple story and corresponding illustrations.
3. CRITICAL ANALYSIS
In another retelling of one of the greatest selling children's books of all time, McPhail’s illustrations for this edition of the story stay true to the original work of Potter herself. They are done in pastel watercolors and guide the reader throughout the story. The entire setting of the story is created by the illustrations. The original work was done at the turn of the 20th century with the dialogue reflecting that time period. The art follows suit. The style and fashion of the day are reflected here. When taken together the reader is moved back to a simpler time. Taken separately this task would not have been accomplished as effectively.
As Peter’s adventure begins, McPhail takes the reader into the garden to observe Peter’s excessive eating. Eating to the points of clear illness reflected on his face. McPhail also vividly displays Peter’s discovery by Mr. McGregor, and the work is culminated in the illustration of a de-clothed, wet Peter looking simply lost and alone. This picture graphically shows the turning point of Peter’s day and guides the reader to a different phase of the story. The simple story is greatly enhanced by the illustrations and the illustrator skillfully transitions the story throughout.
With realistic character illustrations of Peter, his family, and all other characters, the edition of The Tale of Peter Rabbit is accessible to readers of all ages and carries familiar messages of trusting authority and of obeying one’s parents. It also provided another message: don’t try to be something you are not. Peter’s human clothes almost led to his capture, but as a rabbit he escaped. Peter was a little “boy” who needed to be guided by his mother not a mature one who could make the best of decisions.
4. AWARDS WON AND REVIEW EXCERPTS
Review on Amazon.com: “The quintessential cautionary tale, Peter Rabbit warns naughty children about the grave consequences of misbehaving.”
Review on Barnes and Noble.com: “generations have continued to enjoy this lively tale of naughtiness” (by Stephanie Farrow from Children’s Literature)
5. CONNECTIONS
*provide the children with felt and other supplies to create puppets of Peter and his family for a show
*have children pair up to read other Potter books to share stories out loud
*have a brown bag talk
*Collect and highlight: The Tale of Benjamin Bunny; The Tailor of Gloucester; The Tale of Tom Kitten; The Tale of Squirrel Nutkin
Book Review of TOMAS AND THE LIBRARY LADY by Pat Mora
1. BIBLIOGRAPHY
Mora, Pat. 1997. TOMAS AND THE LIBRARY LADY. Ill. by Raul Colon. New York: Alfred A. Knopf. ISBN: 0679804013.
2. PLOT SUMMARY
Tomas is tired and thirsty. In Tomas and the Library Lady, the main character’s family is travelling from Texas to Iowa for summer work as his mother and father are migrant farmers. Tomas cares for his younger brother while his parents work and serves water to the workers. He listens to stories at his grandfather’s knee; he is a boy who loves and honors his family. That love is clearly returned when “Papa Grande” recognizes that Tomas has learned all of the stories he has and directs him to the library to find stories to bring home. After hesitating outside, Tomas is greeted by the Library Lady who invites him in for a glass of water. Tomas and the Library Lady begin a summer of friendship and sharing.
While the Library Lady feeds Tomas’ inquisitive nature with books that draw him into the story, she first cares for his physical needs…each day she provides him with a glass of water. Tomas wishes he had a glass of water to quench his thirst early in the book, but as this engrossing story evolves, the older reader will understand his thirst is for much more than a drink. Each visit to the library allows him to take great adventures through books that he then shares with his family. He even teaches the Library Lady some Spanish over the summer.
When his family returns to Texas at the end of the summer, Tomas leaves a simple gift of food for the Library Lady while she sends him with a brand new book. Throughout the story the reader sees characters sharing culture with respect, and they are able to see the impact of books on a simple son of struggling parents. Tomas is shown as the story begins as tired and thirsty; as he leaves us he has found a renewed spirit and a way to quench some of his needs.
3. CRITICAL ANALYSIS
Through softened lines and muted, earthy colors Colon illustrates Mora’s story reflecting the clear respect of Tomas’ family for one another and of their love. The subtle looks of the mother over her shoulder even as she is picking corn to see her boys playing is accurately portrayed and conveys her love in her eyes. Tomas and Enrique, his brother, sitting at the feet of their grandfather to hear him tell stories is a beautifully picture brought to life by the illustration paired with the words.
The lovely artwork of the book allows the reader to feel the enthusiasm Tomas has for the books he is discovering. We see him placing himself in the stories and having great adventures as the book come alive to him. We also are taken into the reality of his day as a member of a struggling family. The images of the family combing through a junkyard to find scraps to sell counters those of the imagined adventures he has during his reading. The illustration of him selecting books from the junk heap to use is countered as he receives a brand new book as he leaves Iowa.
Perhaps the most lasting picture in the book is that of Tomas hugging his new book and the paired line about him preparing for a “bumpy road ” (last page). His life was not magically transformed by his time with the Library Lady, but he found a new way to handle it and to strive for greater things.
4. AWARDS WON AND REVIEW EXCERPTS
Americas Award for Children’s and Young Adult Literature, the Tomas Rivera Mexican American Children’s Book Award, and the International Reading Association Teachers’ Choices Award (www.patmora.com)
From Smithsonian: "powerful story"
From About.com: “Raul Colón's illustrations beautifully portray not only the warmth of summer and family love, but also the great leaps of imagination that Tomás enjoys when he is reading the library books.” (by Elizabeth Kennedy)
From Amazon.com: “wonderfully illustrated tale of Tomás Rivera and the kind librarian who helped him learn to love books”.
5. CONNECTIONS
*collect and share other Mora books
*use great resources on www.patmora.com
*use the book in connection with El dia de los ninos/El dia de los libros (held each year in April)
*bake pan dulce for the children to share
*learn key words from the book in Spanish (Iowa, Texas, water, farmer, library, brother, mother, father, grandfather, lady, etc.)
Mora, Pat. 1997. TOMAS AND THE LIBRARY LADY. Ill. by Raul Colon. New York: Alfred A. Knopf. ISBN: 0679804013.
2. PLOT SUMMARY
Tomas is tired and thirsty. In Tomas and the Library Lady, the main character’s family is travelling from Texas to Iowa for summer work as his mother and father are migrant farmers. Tomas cares for his younger brother while his parents work and serves water to the workers. He listens to stories at his grandfather’s knee; he is a boy who loves and honors his family. That love is clearly returned when “Papa Grande” recognizes that Tomas has learned all of the stories he has and directs him to the library to find stories to bring home. After hesitating outside, Tomas is greeted by the Library Lady who invites him in for a glass of water. Tomas and the Library Lady begin a summer of friendship and sharing.
While the Library Lady feeds Tomas’ inquisitive nature with books that draw him into the story, she first cares for his physical needs…each day she provides him with a glass of water. Tomas wishes he had a glass of water to quench his thirst early in the book, but as this engrossing story evolves, the older reader will understand his thirst is for much more than a drink. Each visit to the library allows him to take great adventures through books that he then shares with his family. He even teaches the Library Lady some Spanish over the summer.
When his family returns to Texas at the end of the summer, Tomas leaves a simple gift of food for the Library Lady while she sends him with a brand new book. Throughout the story the reader sees characters sharing culture with respect, and they are able to see the impact of books on a simple son of struggling parents. Tomas is shown as the story begins as tired and thirsty; as he leaves us he has found a renewed spirit and a way to quench some of his needs.
3. CRITICAL ANALYSIS
Through softened lines and muted, earthy colors Colon illustrates Mora’s story reflecting the clear respect of Tomas’ family for one another and of their love. The subtle looks of the mother over her shoulder even as she is picking corn to see her boys playing is accurately portrayed and conveys her love in her eyes. Tomas and Enrique, his brother, sitting at the feet of their grandfather to hear him tell stories is a beautifully picture brought to life by the illustration paired with the words.
The lovely artwork of the book allows the reader to feel the enthusiasm Tomas has for the books he is discovering. We see him placing himself in the stories and having great adventures as the book come alive to him. We also are taken into the reality of his day as a member of a struggling family. The images of the family combing through a junkyard to find scraps to sell counters those of the imagined adventures he has during his reading. The illustration of him selecting books from the junk heap to use is countered as he receives a brand new book as he leaves Iowa.
Perhaps the most lasting picture in the book is that of Tomas hugging his new book and the paired line about him preparing for a “bumpy road ” (last page). His life was not magically transformed by his time with the Library Lady, but he found a new way to handle it and to strive for greater things.
4. AWARDS WON AND REVIEW EXCERPTS
Americas Award for Children’s and Young Adult Literature, the Tomas Rivera Mexican American Children’s Book Award, and the International Reading Association Teachers’ Choices Award (www.patmora.com)
From Smithsonian: "powerful story"
From About.com: “Raul Colón's illustrations beautifully portray not only the warmth of summer and family love, but also the great leaps of imagination that Tomás enjoys when he is reading the library books.” (by Elizabeth Kennedy)
From Amazon.com: “wonderfully illustrated tale of Tomás Rivera and the kind librarian who helped him learn to love books”.
5. CONNECTIONS
*collect and share other Mora books
*use great resources on www.patmora.com
*use the book in connection with El dia de los ninos/El dia de los libros (held each year in April)
*bake pan dulce for the children to share
*learn key words from the book in Spanish (Iowa, Texas, water, farmer, library, brother, mother, father, grandfather, lady, etc.)
Book Review for FLOTSAM by David Wiesner
1. BIBLIOGRAPHY
Wiesner, David. 2006. FLOTSAM. New York: Clarion Books. ISBN: 9780618194575
2. PLOT SUMMARY
Flotsam follows a day at the beach for one young boy. One day that yields more discoveries than the young aspiring scientist could imagine. Expecting a day of close examination of sea creatures, our protagonist finds an old-fashioned camera deposited on the beach by the waves. The boy displays a continued sense of right, which is first seen in his conscientious care for the animals he is studying, with the camera he has found. Although it is encrusted with barnacles showing extended time in the sea, he attempts to find the camera’s owner. Eventually he retrieves the film left in the camera to be developed and finds the photographs yielded hold their own mysteries. Across cultures, generations, and an unknown world beneath the waters, the camera has recorded truths for our main character.
Truths of the connected nature of animals and humans, of land and sea, and of people wherever they reside. The boy lends his own likeness to the history of the camera and sends it back to the sea where we see it travel miles to begin the next lesson for a little girl on a distant beach.
3. CRITICAL ANALYSIS
This picture book is wordless allowing the illustrations to convey all the author intends. The palette is light pastel and comforting. It evokes a sense of a lazy day at the seaside. The colors are those associated with typical coastal scenes. Photographs from the camera have colors, or lack thereof in the case of the oldest black and white photos, that reflect the changing time periods.
Size plays an important part to this story as well. The author depicts the boy as large in the first frames as he is studying the animals. The scale suggests he is dominant and powerful. As the story progresses he becomes smaller in relation to the sea emphasizing the theme of connectivity and relationships. Size is also seen in the snapshots of cities on the backs of turtles and beach areas on the backs of starfish. All things are seen as a part of a continuum and perspective matters.
With inviting illustrations of soft lines and color, Wiesner draws the reader onto the beach from early on with realistic scenes, and they allow the reader to feel the wonder of the boy trying to understand the photographs he finds. Young readers will enjoy the illustrations and creatures of the work, while older readers including adults will understand and appreciate the larger message of the book which challenges all to look closer at the world around us and to be surprised by what we find.
4. AWARDS AND REVIEW EXCERPTS
Winner of Caldecott Medal 2007
From Horn Book (83.1 January/February 2007): “involving and convincing”
From One Minute Book Reviews by Word Press: “an eloquent, wordless picture book that encourages children to find the magic in everyday life” (by Janice Harayda)
From Common Sense Media: “beautiful book with captivating illustrations” (by Patricia Tauzer)
5. CONNECTIONS
*bring in items from the story for study (microscope, magnifying glass, hermit crab, camera, etc.)
*take pictures of the students to share, perhaps even create a time capsule to leave for posterity
*teach the students about flotsam and how it comes to be; this can tie to an ecological lesson
*have the students read and share ideas about other Wiesner books like The Three Pigs or Tuesday or Sector 7. How are they similar? How are they different?
Wiesner, David. 2006. FLOTSAM. New York: Clarion Books. ISBN: 9780618194575
2. PLOT SUMMARY
Flotsam follows a day at the beach for one young boy. One day that yields more discoveries than the young aspiring scientist could imagine. Expecting a day of close examination of sea creatures, our protagonist finds an old-fashioned camera deposited on the beach by the waves. The boy displays a continued sense of right, which is first seen in his conscientious care for the animals he is studying, with the camera he has found. Although it is encrusted with barnacles showing extended time in the sea, he attempts to find the camera’s owner. Eventually he retrieves the film left in the camera to be developed and finds the photographs yielded hold their own mysteries. Across cultures, generations, and an unknown world beneath the waters, the camera has recorded truths for our main character.
Truths of the connected nature of animals and humans, of land and sea, and of people wherever they reside. The boy lends his own likeness to the history of the camera and sends it back to the sea where we see it travel miles to begin the next lesson for a little girl on a distant beach.
3. CRITICAL ANALYSIS
This picture book is wordless allowing the illustrations to convey all the author intends. The palette is light pastel and comforting. It evokes a sense of a lazy day at the seaside. The colors are those associated with typical coastal scenes. Photographs from the camera have colors, or lack thereof in the case of the oldest black and white photos, that reflect the changing time periods.
Size plays an important part to this story as well. The author depicts the boy as large in the first frames as he is studying the animals. The scale suggests he is dominant and powerful. As the story progresses he becomes smaller in relation to the sea emphasizing the theme of connectivity and relationships. Size is also seen in the snapshots of cities on the backs of turtles and beach areas on the backs of starfish. All things are seen as a part of a continuum and perspective matters.
With inviting illustrations of soft lines and color, Wiesner draws the reader onto the beach from early on with realistic scenes, and they allow the reader to feel the wonder of the boy trying to understand the photographs he finds. Young readers will enjoy the illustrations and creatures of the work, while older readers including adults will understand and appreciate the larger message of the book which challenges all to look closer at the world around us and to be surprised by what we find.
4. AWARDS AND REVIEW EXCERPTS
Winner of Caldecott Medal 2007
From Horn Book (83.1 January/February 2007): “involving and convincing”
From One Minute Book Reviews by Word Press: “an eloquent, wordless picture book that encourages children to find the magic in everyday life” (by Janice Harayda)
From Common Sense Media: “beautiful book with captivating illustrations” (by Patricia Tauzer)
5. CONNECTIONS
*bring in items from the story for study (microscope, magnifying glass, hermit crab, camera, etc.)
*take pictures of the students to share, perhaps even create a time capsule to leave for posterity
*teach the students about flotsam and how it comes to be; this can tie to an ecological lesson
*have the students read and share ideas about other Wiesner books like The Three Pigs or Tuesday or Sector 7. How are they similar? How are they different?
Thursday, September 2, 2010
Welcome!
As a course requirement for a graduate Library and Information Science literature course, the "Lobolibraries" blog will feature book reviews from selected books in Children's and Young Adult Literature. Reviews will start soon and over the next few months will feature various book genres including books for young children (picture books) through novels for young people in upper grades of school. I hope it is helpful to you!
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