BIBLIOGRAPHY:
Montgomery, Sy. 2006. QUEST FOR THE TREE KANGAROO: AN EXPEDITION TO THE CLOUD FOREST OF NEW GUINEA. Photographs by Nic Bishop. Boston: Houghton Mifflin. ISBN: 978-0618-49641-9
PLOT SUMMARY:
Sy Montgomery starts this amazing journey with the reader by introducing the main characters: Lisa, the scientist/leader, and the Matschie's tree kangaroo. She then proceeds to take the reader along a three-week expedition into the cloud forest of New Guinea allowing him or her to feel a part of the scientific team.
The research team is introduced to the reader while we are given a glimpse into the monumental planning that is undertaken for such a trip. No running to the market for food or other supplies in the cloud forest! Everything that the scientists need they must take with them and then carry on a nine-hour hike in the mountains. With photographs inside the plane and of the team, the reader is given the sense of participation. Upon arrival in the village of Yawan, we are introduced to the native people's and some of their culture.
After a long hike to the camp, the team begins the process of finding, tracking, and capturing tree kangaroos for study. The team will hold the animals for a brief time in order to tag them and then release them back to the forest. The detailed writings of the entire process of tracking and marking and general care for the kangaroos are a true window into a scientific expedition allowing the reader a much greater understanding. Upon release the kangaroos are tracked and studied through transmissions of the monitors they were equipped with while in captivity; again, the specificity of the writing (while not being inaccessible to students) gives the reader a sense of the science behind animal research in the natural habitat.
The author ends the work with a positive discussion of conservation and the application of their expedition. In a brilliant closing, she records the story of a young child and her grandmother on a trip to the zoo as they discover the tree kangaroos for the first time. The reader is left with a sense of wisdom and intelligence, knowing more than others after having been along for the scientists work.
CRITICAL ANALYSIS:
Beginning with a globe view of the island of New Guinea and then zooming in to the cloud forest area where the expedition takes place, Montgomery shows a true expertise at guiding the reader on a scientific journey. Her writing is accessible for students as young as 4th or 5th grade while providing such rich depth that an older student could use her work for research. Beautiful and brilliant photos by Bishop enhance the feeling of the reader being taken along for the journey with the team.
The conversational tone of the book allows the reader to learn much without feeling as if they've been reading a textbook. Mmanageable chapter lengths assist with this belief, also. Not only does the reader learn about the cloud forest and the tree kangaroo, a rich look at the natives of the Yawan village is given. This cultural aspect of the work is valuable to students in America.
The detailed scientific monitoring and information is amazing in Quest. A student is given a much greater knowledge of what a scientist does and how precise they must be...and why. For a young person studying science of any form, this information is incredibly relevant and helpful. This importance of this accuracy cannot by overstated.
Overall, the book is well documented and accurate with an easy to follow organization. In regard to access materials, Montgomery provides a clever (and brief) Tok Pisin dictionary for a unique look at the native language of the villagers we meet, a wonderful list of resources for readers to use in follow-up research, and tips on conservation given by the lead scientist. Each of these resources provides an excellent path to further study by a class or by an individual reader.
REVIEW(S)/AWARD(S):
*School Library Journal (starred review): "Bishop's photographs capture the expedition in detail. Stunning close-ups of plants, insects, and birds vie for attention with panoramas of moss-draped trees in the eerie, ancient forest. Montgomery describes both the hardships and exhilaration of the enterprise." (Kathy Piehl)
*Booklist (starred review): "Montgomery gives a chronological, sometimes moment-by-moment account of the challenging climb into the remote cloud forest, the conditions in camp (rice-and-fern dinners, icy waterfall showers), and the awe-inspiring encounters with barely studied animals." (Gillian Engberg)
*Sibert Honor book
CONNECTIONS:
*have the students check out the "Tree Kangaroos Near You" to see where these amazing animals live in the U.S.
*assign small groups of students to each take one of the "To learn more" recommendations given by the author and then present back to the entire class
*have the students create small sayings using the Tok Pisin dictionary
*have students research in groups more about cloud forests
*have students research and identify other endangered and rare animals
*read Saving the Ghost of the Mountain, another book by Montgomery and Bishop, as a class
Tuesday, October 26, 2010
Sunday, October 24, 2010
Book Review for WE ARE THE SHIP: THE STORY OF NEGRO LEAGUE BASEBALL
BIBLIOGRAPHY:
Nelson, Kadir. 2008. WE ARE THE SHIP: THE STORY OF NEGRO LEAGUE BASEBALL. New York: Jump at the Sun/Hyperion Books for Children. ISBN: 978-0-7868-0832-8
PLOT SUMMARY:
From the moment the reader opens this book, he or she is swept into the past. The spectacular paintings and colloquial writing/"speaking" style guide the reader through the story of passion for sport contrasted with the ugliness of segregation. A foreword by the incomparable Hank Aaron sets the tone for the work. His words lend legitimacy and a sense of reverence to the book as the reader begins.
We Are The Ship:The Story of Negro League Baseball is laid out in "innings" rather than in chapters and has a game's worth included (9 innings plus extra material in "Extra Innings"). The information is presented in a story form via a nameless narrator who seemingly knew all of the players and was himself a Negro Leaguer. There is a feel to the book of a grandfather sitting surrounded by his family sharing stories of days gone by and a sense of the telling being more than just a story but a moral tale.
The reader learns about the beginnings of baseball among African Americans and is taken along with the narrator on the long journey toward the major leagues. Fascinating stories are told of the origins of the Negro Leagues, the tumult of traveling across a segregated nation, the effects of World War II on baseball, and finally to the excitement of integrated play which ultimately killed the Negro Leagues. The story approach allows the reader to imagine how difficult the long travel on smelly old buses must have been. Vivid descriptions of teams not believing they can play to their fullest potential for fear of offending white opponents and worries about the simple act of finding food to eat or facilities to use because of the color of their skin are powerful.
The glory days of the Negro Leagues is heralded while the clear contrast and comparison with the peers in the major leagues is given throughout the book. The hope of the negro players was to play in the major leagues and to gain that fame and acclaim, yet the pride of their independent league comes through in this book. The narrator makes it clear repeatedly that he believes their players were better than their white counterparts. When times finally began to change and the integration of baseball began, both celebration and sadness came into the Negro Leagues. Joy over breaking into the majors was clear yet this break-through spelled the end of the Negro League.
CRITICAL ANALYSIS:
The beauty of the illustrations in We The Ship cannot be overstated. Detailed, close-up depictions of players capture the passion of the men as well as the oppression they felt at times reflected in fierce eyes. Perhaps the best adjective for these amazing paintings is pride. Pride in themselves as men and as baseball players. The illustrations are art and truly are the capturing feature in the book despite the engaging stories.
Nelson provides a comprehensive bibliography for his research in the form of End Notes along with an excellent resource for this type of work, a name index. These items along with a clear vision of the author for the book provided in the Author's Note are significant access features. Readers can easily follow-up with more study using the author's provided sources.
REVIEW(S)/AWARDS:
*Sibert Award winner
*Coretta Scott King Award winner
*School Library Journal (starred review): "A lost piece of American history comes to life in Kadir Nelson's elegant and eloquent history (Hyperion/Jump at the Sun, 2008) of the Negro Leagues and its gifted baseball players. The history of the Leagues echoes the social and political struggles of black America during the first half of the 20th century." (Tricia Melgaard)
*Booklist (starred review): "If the story is the pitch, though, it’s the artwork that blasts the book into the stands." (Ian Chipman)
CONNECTIONS:
*have students go to Kadir Nelson's website (www.kadirnelson.com) to learn more about the author and see more of his paintings
*have students look up some of the books in Nelson's bibliography, particularly Baseball: An Illustrated History by Ward and Burns
*show portions of the PBS special Baseball: A Film by Ken Burns which inspired Nelson
*read other selected works regarding segregation in the U.S.
Nelson, Kadir. 2008. WE ARE THE SHIP: THE STORY OF NEGRO LEAGUE BASEBALL. New York: Jump at the Sun/Hyperion Books for Children. ISBN: 978-0-7868-0832-8
PLOT SUMMARY:
From the moment the reader opens this book, he or she is swept into the past. The spectacular paintings and colloquial writing/"speaking" style guide the reader through the story of passion for sport contrasted with the ugliness of segregation. A foreword by the incomparable Hank Aaron sets the tone for the work. His words lend legitimacy and a sense of reverence to the book as the reader begins.
We Are The Ship:The Story of Negro League Baseball is laid out in "innings" rather than in chapters and has a game's worth included (9 innings plus extra material in "Extra Innings"). The information is presented in a story form via a nameless narrator who seemingly knew all of the players and was himself a Negro Leaguer. There is a feel to the book of a grandfather sitting surrounded by his family sharing stories of days gone by and a sense of the telling being more than just a story but a moral tale.
The reader learns about the beginnings of baseball among African Americans and is taken along with the narrator on the long journey toward the major leagues. Fascinating stories are told of the origins of the Negro Leagues, the tumult of traveling across a segregated nation, the effects of World War II on baseball, and finally to the excitement of integrated play which ultimately killed the Negro Leagues. The story approach allows the reader to imagine how difficult the long travel on smelly old buses must have been. Vivid descriptions of teams not believing they can play to their fullest potential for fear of offending white opponents and worries about the simple act of finding food to eat or facilities to use because of the color of their skin are powerful.
The glory days of the Negro Leagues is heralded while the clear contrast and comparison with the peers in the major leagues is given throughout the book. The hope of the negro players was to play in the major leagues and to gain that fame and acclaim, yet the pride of their independent league comes through in this book. The narrator makes it clear repeatedly that he believes their players were better than their white counterparts. When times finally began to change and the integration of baseball began, both celebration and sadness came into the Negro Leagues. Joy over breaking into the majors was clear yet this break-through spelled the end of the Negro League.
CRITICAL ANALYSIS:
The beauty of the illustrations in We The Ship cannot be overstated. Detailed, close-up depictions of players capture the passion of the men as well as the oppression they felt at times reflected in fierce eyes. Perhaps the best adjective for these amazing paintings is pride. Pride in themselves as men and as baseball players. The illustrations are art and truly are the capturing feature in the book despite the engaging stories.
Nelson provides a comprehensive bibliography for his research in the form of End Notes along with an excellent resource for this type of work, a name index. These items along with a clear vision of the author for the book provided in the Author's Note are significant access features. Readers can easily follow-up with more study using the author's provided sources.
REVIEW(S)/AWARDS:
*Sibert Award winner
*Coretta Scott King Award winner
*School Library Journal (starred review): "A lost piece of American history comes to life in Kadir Nelson's elegant and eloquent history (Hyperion/Jump at the Sun, 2008) of the Negro Leagues and its gifted baseball players. The history of the Leagues echoes the social and political struggles of black America during the first half of the 20th century." (Tricia Melgaard)
*Booklist (starred review): "If the story is the pitch, though, it’s the artwork that blasts the book into the stands." (Ian Chipman)
CONNECTIONS:
*have students go to Kadir Nelson's website (www.kadirnelson.com) to learn more about the author and see more of his paintings
*have students look up some of the books in Nelson's bibliography, particularly Baseball: An Illustrated History by Ward and Burns
*show portions of the PBS special Baseball: A Film by Ken Burns which inspired Nelson
*read other selected works regarding segregation in the U.S.
Book Review for WALT WHITMAN: WORDS FOR AMERICA
BIBLIOGRAPHY:
Kerley, Barbara. 2004. WALT WHITMAN: WORDS FOR AMERICA. Illus. by Brian Selznick. New York: Scholastic Press. ISBN: 0-439-35791-8
PLOT SUMMARY:
Kerley takes readers on a lively path walking along with one of America's greatest poets, Walt Whitman. In her work Walt Whitman: Words For America, Kerley shares a biography of Whitman in a story form beginning with his apprenticeship to a printer at age 12. Whitman's love of words is nurtured in this role, and he quickly grows into an entrepreneur by age 19 owning his own newspaper. Whitman's love of words is only matched by his love of his country, and it is the merging of these two loves that dominate the remainder of the book.
After traveling the young nation seeking to meet her people, Whitman longs to become a voice for America and to express the "true spirit of the nation" (p. 5) which he finds in her ordinary citizens. Although his consummate work, Leaves of Grass, is not a huge success upon publication Whitman continues to pursue his love of poetry. Beyond inspiring his words and work, Walt's adventures across the country foster a deep concern in him about the ills of slavery and the potential for conflict in America because of it.
The bulk of Kerley's work describes the efforts of Whitman during the Civil War. Whitman begins a war-long calling to work, to minister, and to serve injured soldiers after his own beloved brother is wounded. He reads to soldiers, he feeds them, and he spends every possible moment with the soldiers he believes represent the best of our country. Walt takes menial work in Washington, D.C. in order to stay close to the army hospital; during his days in the capital he often crosses paths with President Lincoln. These meetings are mere passings in the street but are profound to Whitman. He comes to love and appreciate the President and worry about the weight of the War born by this man. After the Civil War ends, Walt's joy is turned quickly to grief as the President is assassinated which inspires his classic "O Captain! My Captain!".
Ultimately, Walt found recognition later in his life after the word of his great and sacrificial work during the Civil War spread. "The Good Gray Poet" became the thing he desired most...the voice of his beloved nation.
CRITICAL ANALYSIS:
Kerley's work is presented in a logical and chronological order, and she provides a wealth of resources for readers at the conclusion of the book. Sources used in the creation of the book are broad and well-respected lending a strong trust in the accuracy of the piece. The accuracy of this non-fiction production permeates even the illustrations. Selznick spent time traveling to places from the story and reviewing the original sources. This effort inspired his illustrations and that commitment to detail is apparent in his vivid and sometimes bold paintings.
The illustrations begin their impact on the title page of the book. The title page is opposed by a page which appears to be a typesetting. Whitman's work as a printer is how his biography begins, and this illustration captures the reader's attention. Whitman's own words are included in several of the drawings as elements of his poems are included. His words of "O Captain! My Captain!" and a depiction of his penning of this work is starkly represented by Selznick through black pages of illustrations.
Kerley includes excellent access features at the end of her book. A discussion of Whitman's life post-Civil War and a look at his interaction/connection to President Lincoln is included providing an excellent springboard to further study. Personal notes from both author and illustrator are contained in the resource area as are the complete texts of some of Whitman's poetry.
REVIEWS/AWARDS:
*Sibert Honor Book
*Horn Book: "splendid"
*School Library Journal (starred review): "Delightfully old-fashioned in design, its oversized pages are replete with graceful illustrations and snippets of poetry. The brilliantly inventive paintings add vibrant testimonial to the nuanced text." (Marilyn Taniguchi)
*Booklist: "Like his collaborator's narrative...Selznick's contributions reflect a keen passion for research, right down to the subtle references to early editions of Leaves of Grass in the book's typeface and design." (Jennifer Mattson)
CONNECTIONS:
*ask students what things represent America to them; students could follow up with poems or illustrations of their own
*have a selection of others books about the Civil War ready for group readings or for individual circulation
*have students look at maps of late 1800 America to see where Whitman traveled on his journeys
*read aloud portions of Leaves of Grass
*read biographies of President Abraham Lincoln
*have students make their own notebooks as Whitman did; students could keep them with them for a week and jot down observations of the world around them leading to a poem writing time at the end of the week
Kerley, Barbara. 2004. WALT WHITMAN: WORDS FOR AMERICA. Illus. by Brian Selznick. New York: Scholastic Press. ISBN: 0-439-35791-8
PLOT SUMMARY:
Kerley takes readers on a lively path walking along with one of America's greatest poets, Walt Whitman. In her work Walt Whitman: Words For America, Kerley shares a biography of Whitman in a story form beginning with his apprenticeship to a printer at age 12. Whitman's love of words is nurtured in this role, and he quickly grows into an entrepreneur by age 19 owning his own newspaper. Whitman's love of words is only matched by his love of his country, and it is the merging of these two loves that dominate the remainder of the book.
After traveling the young nation seeking to meet her people, Whitman longs to become a voice for America and to express the "true spirit of the nation" (p. 5) which he finds in her ordinary citizens. Although his consummate work, Leaves of Grass, is not a huge success upon publication Whitman continues to pursue his love of poetry. Beyond inspiring his words and work, Walt's adventures across the country foster a deep concern in him about the ills of slavery and the potential for conflict in America because of it.
The bulk of Kerley's work describes the efforts of Whitman during the Civil War. Whitman begins a war-long calling to work, to minister, and to serve injured soldiers after his own beloved brother is wounded. He reads to soldiers, he feeds them, and he spends every possible moment with the soldiers he believes represent the best of our country. Walt takes menial work in Washington, D.C. in order to stay close to the army hospital; during his days in the capital he often crosses paths with President Lincoln. These meetings are mere passings in the street but are profound to Whitman. He comes to love and appreciate the President and worry about the weight of the War born by this man. After the Civil War ends, Walt's joy is turned quickly to grief as the President is assassinated which inspires his classic "O Captain! My Captain!".
Ultimately, Walt found recognition later in his life after the word of his great and sacrificial work during the Civil War spread. "The Good Gray Poet" became the thing he desired most...the voice of his beloved nation.
CRITICAL ANALYSIS:
Kerley's work is presented in a logical and chronological order, and she provides a wealth of resources for readers at the conclusion of the book. Sources used in the creation of the book are broad and well-respected lending a strong trust in the accuracy of the piece. The accuracy of this non-fiction production permeates even the illustrations. Selznick spent time traveling to places from the story and reviewing the original sources. This effort inspired his illustrations and that commitment to detail is apparent in his vivid and sometimes bold paintings.
The illustrations begin their impact on the title page of the book. The title page is opposed by a page which appears to be a typesetting. Whitman's work as a printer is how his biography begins, and this illustration captures the reader's attention. Whitman's own words are included in several of the drawings as elements of his poems are included. His words of "O Captain! My Captain!" and a depiction of his penning of this work is starkly represented by Selznick through black pages of illustrations.
Kerley includes excellent access features at the end of her book. A discussion of Whitman's life post-Civil War and a look at his interaction/connection to President Lincoln is included providing an excellent springboard to further study. Personal notes from both author and illustrator are contained in the resource area as are the complete texts of some of Whitman's poetry.
REVIEWS/AWARDS:
*Sibert Honor Book
*Horn Book: "splendid"
*School Library Journal (starred review): "Delightfully old-fashioned in design, its oversized pages are replete with graceful illustrations and snippets of poetry. The brilliantly inventive paintings add vibrant testimonial to the nuanced text." (Marilyn Taniguchi)
*Booklist: "Like his collaborator's narrative...Selznick's contributions reflect a keen passion for research, right down to the subtle references to early editions of Leaves of Grass in the book's typeface and design." (Jennifer Mattson)
CONNECTIONS:
*ask students what things represent America to them; students could follow up with poems or illustrations of their own
*have a selection of others books about the Civil War ready for group readings or for individual circulation
*have students look at maps of late 1800 America to see where Whitman traveled on his journeys
*read aloud portions of Leaves of Grass
*read biographies of President Abraham Lincoln
*have students make their own notebooks as Whitman did; students could keep them with them for a week and jot down observations of the world around them leading to a poem writing time at the end of the week
Tuesday, October 12, 2010
Book Review for DIAMOND WILLOW by Helen Frost
BIBLIOGRAPHY:
Frost, Helen. 2008. DIAMOND WILLOW. New York: Frances Foster Books. ISBN: 978-0-374-31776-8
REVIEW/CRITICAL ANALYSIS:
Blending a coming of age tale with Native American spirituality and tradition, Frost has created a journey for the reader to Alaska and into the life of a young girl. Diamond Willow is a verse novel without illustrations save the unique design of the paragraphs which reflect the pattern of gems. Frost relies on the power of her words and language patterns (literal and figurative) to pull the reader through the story. In each page, she provides the reader with a special message through bold words. This message delivers a powerful take on the character's true thoughts.
Willow is a young middle school girl in Alaska struggling for a place both at home and at school. She is "In/ the/ middle/ of my family/ in the middle of / a middle-size town/ in the middle of Alaska,/ you will find middle-size,/ middle-kid, me (p. 6)." Named after a unique tree found near her home which, when the bark is smoothed away, displays diamonds inside, Willow is struggling to find her own voice and her own uniqueness. With few friends and feeling stifled at home, Willow pours her love and affection into her family's sled dogs. Her father's favorite dog, Roxy, is Willow's closest companion.
Willow attempts to assert her independence by visiting (after receiving permission) her grandparents alone mushing there with a small team of dogs. Willow finds comfort and is encouraged on her trip: "Then she gives me the mittens she just finished, beaded/ flowers on her home-tanned moose skin, beaver fur/around the cuffs. She could sell them for a lot/ of money, and she's giving them to me/ when it's not even my birthday./ I put them on, put my/ hands on her face./ We both/ smile (p. 23)." After filling up on her grandparents' love and attention, she races home only to suffer an accident which severely injures Roxy.
When her parents are faced with the difficult decision of euthanizing Roxy after she is found to be blind, they do not discuss the situation with Willow out of love believing it will be easier for her to not be involved. Yet, this decision for silence is interpreted by Willow as demonstration of their blame and lack of confidence in her. In order to save Roxy, Willow solicits her only real friend from school, Kaylie, to spirit the dog away and to safety at her grandparents. Without the sure guidance of Roxy in the lead, Willow and Kaylie get lost and find themselves forced to take shelter in a snowstorm. Unbeknownst to the girls (and to Willow on her first journey) animals inhabited by the spirits of past loved ones watch over them and aid in keeping them safe. Ultimately all survive the trip, and the trauma of the events leads to the revealing of a shocking family secret.
Students, particularly those in middle school, will connect to the themes of this book about growing up and attempting to redefine/understand one's place in a family. Readers of all ages will be swept away to the snow covered fields of Alaska and find the observations of the spirit guide animals unique and enjoyable. At times the commentary of the animals is humorous and provide levity to the work; an example is from "Isaac, Willow's great-grandfather (Mouse)" who lives in Willow's home: "No one shrieks, A mouse! A mouse! and jumps up on a chair. (Why do they do that, anyway? They're so big and we're so small.) (p. 37)." Frost's presentation in the novel form will draw in many who may believe they do not enjoy poetry. However, the art of Frost's writing strikes a deep cord in readers as does more traditional forms of great poetry.
Blending the literary formats (novel and prose) creating signature illustrative images (in paragraph forms) along with the infusion of cultural lessons and timeless themes has created a special work by Frost. Deeper themes of family scars and secrets as well as looking inside of people for true beauty are soundly rooted in this work and will provide much material for contemplation for the reader. The diamond willow tree has jewels inside underneath the scars where branches lie; young Diamond Willow is a special girl in a special family when one looks underneath. Diamond Willow is a book to be treasured and shared with young people.
AWARDS/REVIEW EXCERPTS:
School Library Journal: "Her poems offer pensive imagery and glimpses of character, and strong emotion. This complex and elegant novel will resonate with readers who savor powerful drama and multifaceted characters." (Marilyn Taniguchi)
Booklist: "easy-to-read verse blends exciting survival adventure with a contemporary girl’s discovery of family roots and secrets." (Hazel Rochman)
CONNECTIONS:
*read other books containing the culture of Native Americans like The Give Away: A Christmas Story in The Native American Tradition by Ray Buckley
*have students conduct research about sled dogs and related themes
*use one of McClure's "poetry talk" questions (Vardell, 2008, p. 133) to prompt discussions in older elementary middle school students; "Did the things in the poem ever happen to you? Tell about it?" is an appropriate fit although students may not recognize the connections they may have to the character initially
Vardell, Sylvia M. 2008. Children's Literature in Action: A Librarian's Guide. Westport, CT: Libraries Unlimited.
Frost, Helen. 2008. DIAMOND WILLOW. New York: Frances Foster Books. ISBN: 978-0-374-31776-8
REVIEW/CRITICAL ANALYSIS:
Blending a coming of age tale with Native American spirituality and tradition, Frost has created a journey for the reader to Alaska and into the life of a young girl. Diamond Willow is a verse novel without illustrations save the unique design of the paragraphs which reflect the pattern of gems. Frost relies on the power of her words and language patterns (literal and figurative) to pull the reader through the story. In each page, she provides the reader with a special message through bold words. This message delivers a powerful take on the character's true thoughts.
Willow is a young middle school girl in Alaska struggling for a place both at home and at school. She is "In/ the/ middle/ of my family/ in the middle of / a middle-size town/ in the middle of Alaska,/ you will find middle-size,/ middle-kid, me (p. 6)." Named after a unique tree found near her home which, when the bark is smoothed away, displays diamonds inside, Willow is struggling to find her own voice and her own uniqueness. With few friends and feeling stifled at home, Willow pours her love and affection into her family's sled dogs. Her father's favorite dog, Roxy, is Willow's closest companion.
Willow attempts to assert her independence by visiting (after receiving permission) her grandparents alone mushing there with a small team of dogs. Willow finds comfort and is encouraged on her trip: "Then she gives me the mittens she just finished, beaded/ flowers on her home-tanned moose skin, beaver fur/around the cuffs. She could sell them for a lot/ of money, and she's giving them to me/ when it's not even my birthday./ I put them on, put my/ hands on her face./ We both/ smile (p. 23)." After filling up on her grandparents' love and attention, she races home only to suffer an accident which severely injures Roxy.
When her parents are faced with the difficult decision of euthanizing Roxy after she is found to be blind, they do not discuss the situation with Willow out of love believing it will be easier for her to not be involved. Yet, this decision for silence is interpreted by Willow as demonstration of their blame and lack of confidence in her. In order to save Roxy, Willow solicits her only real friend from school, Kaylie, to spirit the dog away and to safety at her grandparents. Without the sure guidance of Roxy in the lead, Willow and Kaylie get lost and find themselves forced to take shelter in a snowstorm. Unbeknownst to the girls (and to Willow on her first journey) animals inhabited by the spirits of past loved ones watch over them and aid in keeping them safe. Ultimately all survive the trip, and the trauma of the events leads to the revealing of a shocking family secret.
Students, particularly those in middle school, will connect to the themes of this book about growing up and attempting to redefine/understand one's place in a family. Readers of all ages will be swept away to the snow covered fields of Alaska and find the observations of the spirit guide animals unique and enjoyable. At times the commentary of the animals is humorous and provide levity to the work; an example is from "Isaac, Willow's great-grandfather (Mouse)" who lives in Willow's home: "No one shrieks, A mouse! A mouse! and jumps up on a chair. (Why do they do that, anyway? They're so big and we're so small.) (p. 37)." Frost's presentation in the novel form will draw in many who may believe they do not enjoy poetry. However, the art of Frost's writing strikes a deep cord in readers as does more traditional forms of great poetry.
Blending the literary formats (novel and prose) creating signature illustrative images (in paragraph forms) along with the infusion of cultural lessons and timeless themes has created a special work by Frost. Deeper themes of family scars and secrets as well as looking inside of people for true beauty are soundly rooted in this work and will provide much material for contemplation for the reader. The diamond willow tree has jewels inside underneath the scars where branches lie; young Diamond Willow is a special girl in a special family when one looks underneath. Diamond Willow is a book to be treasured and shared with young people.
AWARDS/REVIEW EXCERPTS:
School Library Journal: "Her poems offer pensive imagery and glimpses of character, and strong emotion. This complex and elegant novel will resonate with readers who savor powerful drama and multifaceted characters." (Marilyn Taniguchi)
Booklist: "easy-to-read verse blends exciting survival adventure with a contemporary girl’s discovery of family roots and secrets." (Hazel Rochman)
CONNECTIONS:
*read other books containing the culture of Native Americans like The Give Away: A Christmas Story in The Native American Tradition by Ray Buckley
*have students conduct research about sled dogs and related themes
*use one of McClure's "poetry talk" questions (Vardell, 2008, p. 133) to prompt discussions in older elementary middle school students; "Did the things in the poem ever happen to you? Tell about it?" is an appropriate fit although students may not recognize the connections they may have to the character initially
Vardell, Sylvia M. 2008. Children's Literature in Action: A Librarian's Guide. Westport, CT: Libraries Unlimited.
Sunday, October 10, 2010
Book Review of TURTLE IN JULY by Marilyn Singer
BIBLIOGRAPHY:
Singer, Marilyn. 1989. TURTLE IN JULY. Illus. by Jerry Pinkney. New York: Macmillan Publishing Company. ISBN: 0-02-782881-6
REVIEW/CRITICAL ANALYSIS:
Although there is no initial guide for readers to hint at the set-up of this book, the reader quickly understands the author's theme and strategy. Singer takes the reader on a seasonal journey through the eyes of animals. A small but relatively broad sample of animals is included in this work which is marked by the repeated appearance of the bullhead fish introducing the seasons. The book takes the reader on a journey with the characters she provides.
Each animal speaks in the first person giving the reader glimpses into their lives and struggles. Singer uses words to create a vivid picture for the reader while Pinkney's watercolor illustrations lead the eye further into the animal's world. Individual animals convey their personalities in their dialogue, and the drawings further scaffold those. For example, in "april a dog's dream" the puppy's playfulness comes through against a background of green grass symbolizing the season. "we're going to the park/ to chase and change and chew/ and i will make you see/ what spring is all about"; the reader can feel the enthusiasm of the dog, and the excitement for a trip to the park. Other favorite examples of the imagery capturing the animals personalities include, the confused bear waking from hibernation in "March Bear" ("Who I?/ Where I?/ When I now?/ No matter/ Need water/ Few berries/ Fresh ants") and the bragging of the deer going through the snow in "January Deer" ("While others around me/ sleep in silent caves,/ I run/ through the white world/ with wide-open eyes.").
The language used by Singer varies by each animal as does the rhythm and rhyme pattern. Some poems rhyme at the end of the lines as in "Turtle in July" ("Thick sticky/ Icky/ but I lie/ Nose high/ Cool pool/ No fool/ A turtle in July") while others repeat words thereby tying lines together as in "Canada Goose" ("Going home/ We're going home/ Are you coming?/ Yes, you're coming/ Going home/ We're going home"). The rhythm is impactful in Singer's works and reflect the animals as the simple illustrations do. Several examples display the author's talent in setting the rhythmic stage for the animals. In "Beavers in November" the spacing of words set up the rhythm the author wants for the reader: "This stick here/ That stick there/ Mud, more mud, add mud, good mud/ That stick here/ This stick there". The reader is given an image of the beaver carefully selecting the placement of sticks for his winter home. Without the unique rhythm chosen by Singer this element would have been lost. Another masterfully crafted pattern was found with "Timber Rattlesnake" as the language draws the reader's internal ear to the hissing of the snake: "Summer it still is/ Yes/ September stones/ Warm bones/ Warm blood/ Strike I still can/ Yes". The repeated use of "yes" and of the repeated "s" sound causes the reader to feel the hissing and the desired rhythm of the poem.
The closing of the Turtle In July anthology by Singer is a surprise. After painting a picture of animals in nature and their challenges, she ends with a plump, content house cat. "Cat" depicts the opposite of the struggles of the other animals: "I prefer/ warm fur,/ a perfect fire/ to lie beside,/ a cozy lap/ where I nap". The author's love of animals, all animals, comes through in this work and blends sincere images with humorous elements. This work is appropriate for children of all ages, for independent readers grades 3 and up while younger children will enjoy the illustrations and poems read aloud to them.
AWARDS/REVIEW EXCERPTS:
School Library Journal (11/1989): "a beautifully illustrated picture book for children to enjoy on their own and for reading aloud in primary grades." (Marilyn Iarusso)
Publishers Weekly: "Pinkney illustrates these works with his splendid watercolors and a unique flair for patterns"
CONNECTIONS:
*have children select one animal included in the anthology and find out about its habitat and movements during the time of year described
*have children dress as one of the animals and conduct a reader's theatre for other classes/grades
*tie this work with science lessons about the animals included
*have the children pick an animal not included in this work and try their hand at writing a poem about them
Singer, Marilyn. 1989. TURTLE IN JULY. Illus. by Jerry Pinkney. New York: Macmillan Publishing Company. ISBN: 0-02-782881-6
REVIEW/CRITICAL ANALYSIS:
Although there is no initial guide for readers to hint at the set-up of this book, the reader quickly understands the author's theme and strategy. Singer takes the reader on a seasonal journey through the eyes of animals. A small but relatively broad sample of animals is included in this work which is marked by the repeated appearance of the bullhead fish introducing the seasons. The book takes the reader on a journey with the characters she provides.
Each animal speaks in the first person giving the reader glimpses into their lives and struggles. Singer uses words to create a vivid picture for the reader while Pinkney's watercolor illustrations lead the eye further into the animal's world. Individual animals convey their personalities in their dialogue, and the drawings further scaffold those. For example, in "april a dog's dream" the puppy's playfulness comes through against a background of green grass symbolizing the season. "we're going to the park/ to chase and change and chew/ and i will make you see/ what spring is all about"; the reader can feel the enthusiasm of the dog, and the excitement for a trip to the park. Other favorite examples of the imagery capturing the animals personalities include, the confused bear waking from hibernation in "March Bear" ("Who I?/ Where I?/ When I now?/ No matter/ Need water/ Few berries/ Fresh ants") and the bragging of the deer going through the snow in "January Deer" ("While others around me/ sleep in silent caves,/ I run/ through the white world/ with wide-open eyes.").
The language used by Singer varies by each animal as does the rhythm and rhyme pattern. Some poems rhyme at the end of the lines as in "Turtle in July" ("Thick sticky/ Icky/ but I lie/ Nose high/ Cool pool/ No fool/ A turtle in July") while others repeat words thereby tying lines together as in "Canada Goose" ("Going home/ We're going home/ Are you coming?/ Yes, you're coming/ Going home/ We're going home"). The rhythm is impactful in Singer's works and reflect the animals as the simple illustrations do. Several examples display the author's talent in setting the rhythmic stage for the animals. In "Beavers in November" the spacing of words set up the rhythm the author wants for the reader: "This stick here/ That stick there/ Mud, more mud, add mud, good mud/ That stick here/ This stick there". The reader is given an image of the beaver carefully selecting the placement of sticks for his winter home. Without the unique rhythm chosen by Singer this element would have been lost. Another masterfully crafted pattern was found with "Timber Rattlesnake" as the language draws the reader's internal ear to the hissing of the snake: "Summer it still is/ Yes/ September stones/ Warm bones/ Warm blood/ Strike I still can/ Yes". The repeated use of "yes" and of the repeated "s" sound causes the reader to feel the hissing and the desired rhythm of the poem.
The closing of the Turtle In July anthology by Singer is a surprise. After painting a picture of animals in nature and their challenges, she ends with a plump, content house cat. "Cat" depicts the opposite of the struggles of the other animals: "I prefer/ warm fur,/ a perfect fire/ to lie beside,/ a cozy lap/ where I nap". The author's love of animals, all animals, comes through in this work and blends sincere images with humorous elements. This work is appropriate for children of all ages, for independent readers grades 3 and up while younger children will enjoy the illustrations and poems read aloud to them.
AWARDS/REVIEW EXCERPTS:
School Library Journal (11/1989): "a beautifully illustrated picture book for children to enjoy on their own and for reading aloud in primary grades." (Marilyn Iarusso)
Publishers Weekly: "Pinkney illustrates these works with his splendid watercolors and a unique flair for patterns"
CONNECTIONS:
*have children select one animal included in the anthology and find out about its habitat and movements during the time of year described
*have children dress as one of the animals and conduct a reader's theatre for other classes/grades
*tie this work with science lessons about the animals included
*have the children pick an animal not included in this work and try their hand at writing a poem about them
Saturday, October 9, 2010
Book review for THIS IS JUST TO SAY by Joyce Sidman
BIBLIOGRAPHY:
Sidman, Joyce. 2007. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS. Illus. by Pamela Zagarenski. Boston: Houghton Mifflin. ISBN 0-618-61680-2
REVIEW/CRITICAL ANALYSIS:
Inspired by the poem This Is Just To Say by William Carlos Williams, a class of sixth graders penned their own writings of apology. Poems range from lighthearted expressions of remorse over dodgeball games ("Kyle, I'm sorry/ for hitting you so hard in dodge ball./ I just really get carried away") to a heartfelt plea to a father ("Please, please come back./ Don't leave me spinning alone,/ like a slow, sad tornado./ I'm sorry, Daddy./ Next time I'll be perfect.").
After these poems were written, one of the students wondered what the reactions and responses were of those receiving the various apologies. In a perfect counterpoint, written responses from the recipients are recorded as a second half of the book. This provides a sense of completion and balance to the emotion of the students. The responses are as varied and engaging as the original works. Reacting to a sincere apology from a sister, one responder provided this simple verse: "Roses are red,/ violets are blue,/ I'm still really/ pissed off at you." One father responded to his son's concern over a past broken window by sharing details of his own educational journey and pride over his son's accomplishments while telling him to forget the window. When those receiving apologies would not reply, others did so for them. In a particularly emotional poem, a peer responded to a poem which revealed a student's pain over losing a competition and the apparent disapproval by his mother. The classmate reached out with these words: "Parents say:/ only the best get ahead./ I say:/ everyone's good at something."
Starting with a guide to the organization of the book, Sidman's anthology of young people's poems is balanced and of appropriate length. However, one must wonder why the decision was made to not to display the poems of apology and response side-by-side. For some poems it was difficult to remember just what was said in the apology and why the response was written as it was. This one issue is not enough to sully the work, but forces the reader to go back and forth in the book to clarify certain points.
The reader is pulled into the book beginning with the endearing note from the student editor. Illustrations are childlike and simple which direct the reader through the poems themselves. The drawings are innocent like the words they reflect. Both the words and the pictures are simple yet honest perceptions of a child. In "What Was I Thinking?", the descriptions and corresponding illustration of a principal as seen through the eyes of a scared child are classic ("she is bigger than I thought...The principal's eyes are like hot sparks./ My parents will be so angry."). The drawing depicts a disproportionately small child slinking in the office with a huge adult. Colors used in the work are soothing with elements of a collage work. Periodically words/images from a dictionary or newspaper are seen on the pages lending a feel of a children's school project. These are works of children, and the illustrations are true to that origin and are reflective of that.
The rhythm of the poems vary, but all are basic and reflect the youth of the authors. The other poetic elements vary with each writer. Poems in the work do not have forced rhyming but are most often more free verse stories, and the language is true to the age of the authors. Each of the poems contain vivid imagery. Descriptions of "jagged holes" in "Balance" to "the pan gaped/ like an accusing eye" in "Brownies- Oops!"to the daughter's plea in "Next Time" not to be left "spinning alone,/ like a slow, sad tornado." The emotion of each author is felt through their descriptions and are enhanced by the parallel illustrations.
This Is Just To Say is a powerful anthology testifying both to the lighthearted approach of some and to the depth of emotions felt by students. While most appropriate for older elementary and middle school students, parents and teachers will be greatly affected by the writings included within the pages. The book is easy to read and carries the reader from laughter to tears as they journey with these children. Many readers may find themselves wanting to know where these children are now and how these relationships have fared since the writing. Their hearts and words leave an imprint on the reader, a true mark of good poetry and a quality anthology.
AWARDS/REVIEWS:
Texas Bluebonnet nominee
School Library Journal, starred review: "what emerges is a surprising array of emotions, poetic forms, and subjects" (Lee Bock)
Publishers Weekly: "often humorous and touching anthology"
CONNECTIONS:
*have children journal about a time when they could have written a "This Is Just To Say" (or apology) poem
*have children select one writing from This Is Just To Say, either apology or response, and respond to it
*have students read other works by children by providing students with other anthologies written by children, like "Shots & Sugar, Sugar & Shots" which is an anthology by children with diabetes collected by the Children's Diabetes Program at Vanderbilt Medical Center
Sidman, Joyce. 2007. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS. Illus. by Pamela Zagarenski. Boston: Houghton Mifflin. ISBN 0-618-61680-2
REVIEW/CRITICAL ANALYSIS:
Inspired by the poem This Is Just To Say by William Carlos Williams, a class of sixth graders penned their own writings of apology. Poems range from lighthearted expressions of remorse over dodgeball games ("Kyle, I'm sorry/ for hitting you so hard in dodge ball./ I just really get carried away") to a heartfelt plea to a father ("Please, please come back./ Don't leave me spinning alone,/ like a slow, sad tornado./ I'm sorry, Daddy./ Next time I'll be perfect.").
After these poems were written, one of the students wondered what the reactions and responses were of those receiving the various apologies. In a perfect counterpoint, written responses from the recipients are recorded as a second half of the book. This provides a sense of completion and balance to the emotion of the students. The responses are as varied and engaging as the original works. Reacting to a sincere apology from a sister, one responder provided this simple verse: "Roses are red,/ violets are blue,/ I'm still really/ pissed off at you." One father responded to his son's concern over a past broken window by sharing details of his own educational journey and pride over his son's accomplishments while telling him to forget the window. When those receiving apologies would not reply, others did so for them. In a particularly emotional poem, a peer responded to a poem which revealed a student's pain over losing a competition and the apparent disapproval by his mother. The classmate reached out with these words: "Parents say:/ only the best get ahead./ I say:/ everyone's good at something."
Starting with a guide to the organization of the book, Sidman's anthology of young people's poems is balanced and of appropriate length. However, one must wonder why the decision was made to not to display the poems of apology and response side-by-side. For some poems it was difficult to remember just what was said in the apology and why the response was written as it was. This one issue is not enough to sully the work, but forces the reader to go back and forth in the book to clarify certain points.
The reader is pulled into the book beginning with the endearing note from the student editor. Illustrations are childlike and simple which direct the reader through the poems themselves. The drawings are innocent like the words they reflect. Both the words and the pictures are simple yet honest perceptions of a child. In "What Was I Thinking?", the descriptions and corresponding illustration of a principal as seen through the eyes of a scared child are classic ("she is bigger than I thought...The principal's eyes are like hot sparks./ My parents will be so angry."). The drawing depicts a disproportionately small child slinking in the office with a huge adult. Colors used in the work are soothing with elements of a collage work. Periodically words/images from a dictionary or newspaper are seen on the pages lending a feel of a children's school project. These are works of children, and the illustrations are true to that origin and are reflective of that.
The rhythm of the poems vary, but all are basic and reflect the youth of the authors. The other poetic elements vary with each writer. Poems in the work do not have forced rhyming but are most often more free verse stories, and the language is true to the age of the authors. Each of the poems contain vivid imagery. Descriptions of "jagged holes" in "Balance" to "the pan gaped/ like an accusing eye" in "Brownies- Oops!"to the daughter's plea in "Next Time" not to be left "spinning alone,/ like a slow, sad tornado." The emotion of each author is felt through their descriptions and are enhanced by the parallel illustrations.
This Is Just To Say is a powerful anthology testifying both to the lighthearted approach of some and to the depth of emotions felt by students. While most appropriate for older elementary and middle school students, parents and teachers will be greatly affected by the writings included within the pages. The book is easy to read and carries the reader from laughter to tears as they journey with these children. Many readers may find themselves wanting to know where these children are now and how these relationships have fared since the writing. Their hearts and words leave an imprint on the reader, a true mark of good poetry and a quality anthology.
AWARDS/REVIEWS:
Texas Bluebonnet nominee
School Library Journal, starred review: "what emerges is a surprising array of emotions, poetic forms, and subjects" (Lee Bock)
Publishers Weekly: "often humorous and touching anthology"
CONNECTIONS:
*have children journal about a time when they could have written a "This Is Just To Say" (or apology) poem
*have children select one writing from This Is Just To Say, either apology or response, and respond to it
*have students read other works by children by providing students with other anthologies written by children, like "Shots & Sugar, Sugar & Shots" which is an anthology by children with diabetes collected by the Children's Diabetes Program at Vanderbilt Medical Center
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