BIBLIOGRAPHY
Goble, Paul. 1990. DREAM WOLF. New York, NY: Bradbury Press. ISBN 0-02-736585-9
PLOT SUMMARY
DREAM WOLF is the retelling of the story of the KINDLY WOLF. The story is about two Plains Indian siblings, Tiblo, and Tanksi, and what happens to them as they get lost in the mountains. The two siblings are supposed to be picking berries when they go off on their own to explore some hills. Before long they realize that they are lost and that day has turned to night. They find a cave to sleep in and during the night the boy, Tiblo, has a dream about a wolf. In the dream the wolf sleeps with them in the cave and keeps them warm. In the morning they wake up and try to find their way back home, but find they are completely lost. As they try to find their way back home Tiblo spots the wolf from his dream and asks him for help. The wolf leads them down the mountain and back to their home. As the children recant their story for their people the people react by honoring the wolf. For many years the wolves and the people lived happily, but as hunters came they killed and drove the wolves away, and until people like the children in the story return, the wolves will stay away.
CRITICAL ANALYSIS
This story has beautiful and rich text that tells the story of the two young siblings. The rich colors used in the illustrations help to give the book an “earthy” feel, as if one is transported back to a time when the land did not belong to any one people, but was shared with all creatures. The illustrations of the night scenes are very dark and sharp, and give the feeling of how scary it must be to be alone in the mountains when it turns to night. The pictures also showcase how the people and the animals can all live together. Blended into the colorful scenery are the wild animals. Some of the animals are very obvious, and others are barely noticeable. The plot is easy for children to follow and understand. The book is written as if a person was talking and telling this story aloud. One can also see and feel the emotions of the main characters through the text. Tiblo realizes he is the one who has gotten his sister and himself into this mess, and he feels responsible for her. He does his best to take care of her. The little sister, Tanksi, begins to cry, and Tiblo “speaking of happy things” goes on to find a cave for them. Later he takes her by the hand as they go down the mountain. Though as in most folktales they do not dwell on emotions. It appears to be a spiritual journey that they are on. The resolution is for the most part a happy one, with the children being found, but it does end on a rather sad note with the morale message that at one time the wolf was a friend to people, but that has changed due to human’s mistreatment of the wolf. This folktale is told almost in a poetic way. Children and adults will appreciate the simple style and beautiful illustrations of this story.
REVIEW EXCERPTS
From Publishers Weekly: “Dream Wolf is filled with glowing imagery—the illustrations showing nightfall, the children’s search for shelter and the wolf’s first, dreamlike appearance are particularly riveting . Once again, Goble has captured the lives and legends of this tribe in a magnificent picture book.”
From Booklist: “This revised edition of (the) 1972 picture book, The Friendly Wolf, looks and reads better than the original”.
CONNECTIONS
The class could read other stories about “good” wolves.
The class could read a variety of folktales about Native Americans.
The class could read other books by the same author Paul Goble that are also Native American folktales: THE GIRL WHO LOVED HORSES
BUFFALO WOMAN
STAR BOY
HER SEVEN BROTHERS
Sunday, September 23, 2007
Genre 2 Book Review of AND THE GREEN GRASS GREW ALL AROUND
BIBLIOGRAPHY
Schwartz, Alvin. 1992. AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FROM EVERYONE. Ill. By Sue Truesdell. New York: HarperTrophy. ISBN 0060227575
PLOT SUMMARY
AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FROM EVERYONE is a collection of folk poems. The book is divided into fifteen chapters. These chapters are arranged by topics such as People, Food, School and Work. In each of these chapters there are poems, riddles, rhymes, chants and sometimes songs.
CRITICAL ANALYSIS
This wonderful collection of folk poetry is very entertaining. The poems and chants that he has put into his collection are very well known to anyone who has played jump rope on a playground. His collection is very fun and most of the poems have a certain rhythm about them. Many of the poems are chants that are learned while children are jumping rope or playing rhythmic hand games. This is a very humorous collection. My opinion of some of the poems and chants is that it doesn’t have to make sense, it just has to rhyme!
The illustrations are well done in black and white. The drawings are cartoonish in nature and add to the humor of the poems. The faces of most of the characters have exaggerated expressions that add to the silly nature of the book.
The notes at the end of the book are also very interesting. His definition of folk poetry is very good: “There are great differences between folk poetry and literary poetry. A literary poem is intended to be read silently, to be shared with a reader in the privacy of a printed page. A folk poem is intended to be spoken or sung or performed in some other way. It needs a performer as well as a poet to give it its special quality.” His notes also explain much of the history associated with folk poetry in a clear and easy to understand manner, adding to the special quality of the book. This lively collection of humorous folk poems can be enjoyed by the old and young alike.
REVIEW EXCERPTS
From School Library Journal: “A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children’s folk poetry heard on schoolgrounds and wherever else kids are having fun.”
From Kirkus Reviews: “Not since Carl Withers’s A Rocket in My Pocket (1984) has there been such a grand compilation of familiar (and unfamiliar) rhymes and chants from the children’s own tradition: riddles, games, wishes and taunts; poems about love, food, school, or animals; parodies, nonsense, and stories.”
CONNECTIONS
Many of these poems can be acted out with the class.
An outdoor activity could have the children jumping rope to the poems.
Older students can make up new words to the poems and create there own folk poetry.
Schwartz, Alvin. 1992. AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FROM EVERYONE. Ill. By Sue Truesdell. New York: HarperTrophy. ISBN 0060227575
PLOT SUMMARY
AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FROM EVERYONE is a collection of folk poems. The book is divided into fifteen chapters. These chapters are arranged by topics such as People, Food, School and Work. In each of these chapters there are poems, riddles, rhymes, chants and sometimes songs.
CRITICAL ANALYSIS
This wonderful collection of folk poetry is very entertaining. The poems and chants that he has put into his collection are very well known to anyone who has played jump rope on a playground. His collection is very fun and most of the poems have a certain rhythm about them. Many of the poems are chants that are learned while children are jumping rope or playing rhythmic hand games. This is a very humorous collection. My opinion of some of the poems and chants is that it doesn’t have to make sense, it just has to rhyme!
The illustrations are well done in black and white. The drawings are cartoonish in nature and add to the humor of the poems. The faces of most of the characters have exaggerated expressions that add to the silly nature of the book.
The notes at the end of the book are also very interesting. His definition of folk poetry is very good: “There are great differences between folk poetry and literary poetry. A literary poem is intended to be read silently, to be shared with a reader in the privacy of a printed page. A folk poem is intended to be spoken or sung or performed in some other way. It needs a performer as well as a poet to give it its special quality.” His notes also explain much of the history associated with folk poetry in a clear and easy to understand manner, adding to the special quality of the book. This lively collection of humorous folk poems can be enjoyed by the old and young alike.
REVIEW EXCERPTS
From School Library Journal: “A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children’s folk poetry heard on schoolgrounds and wherever else kids are having fun.”
From Kirkus Reviews: “Not since Carl Withers’s A Rocket in My Pocket (1984) has there been such a grand compilation of familiar (and unfamiliar) rhymes and chants from the children’s own tradition: riddles, games, wishes and taunts; poems about love, food, school, or animals; parodies, nonsense, and stories.”
CONNECTIONS
Many of these poems can be acted out with the class.
An outdoor activity could have the children jumping rope to the poems.
Older students can make up new words to the poems and create there own folk poetry.
Genre 2 Book Review of BUBBA THE COWBOY PRINCE
BIBLIOGRAPHY
Ketteman, Helen. 1997. BUBBA THE COWBOY PRINCE: A FRACTURED TEXAS TALE. Ill. By James Warhola. New York, NY: Scholastic Press. ISBN 0590255061
PLOT SUMMARY
This is a retelling of the Cinderella story Texas style. The main character is a boy named Bubba and he is being raised on a ranch by his mean stepdad. He also has two unkind stepbrothers. Bubba is forced to work day and night on the ranch, but he never complains about the work because he loves being a cowboy. The ball in this story is given by a rich young woman looking for a “feller”. Bubba helps the family get ready for the ball, and gets all the chores on the ranch done, only to find out there isn’t any time left for him to get himself ready for the ball. Bubba is left behind. Luckily Bubba has a fairy godcow. She transforms him into a clean and handsome young cowboy. Bubba is then able to go to the ball and dance with the beautiful Lurleen. Time ran out while he was at the ball and when the clock struck midnight he turned back into plain old Bubba. He ran away as fast as he could, and left one boot behind. Lurleen searched all the ranches looking for her cowboy that matched the boot. At the very end she found Bubba was a perfect fit for her boot and her heart.
CRITICAL ANALYSIS
This outrageously funny story is the perfect retelling of the Cinderella story. The Texas spin on the Cinderella story is pure magic. The text is written in such a way that even if one is reading this book silently they can still here the Texas “twang”. Having the main character named Bubba is brilliant. The clever way that the story is set on a ranch works perfectly for this retelling. The author gets in all the typical stereotypes of Texans. With text that sounds like what you would expect to here in the Texas countryside. The story is written with a Texas drawl built into it with phrases such as “Milton and Dwayne spent all day getting gussied up in their finest duds. Bubba about ran hisself ragged waiting on them.” Having a male Cinderella is a unique way to retell the story. The good verses evil them is still present as in typical fairy and folktales with the good characters of Lurleen and Bubba living happily ever after.
The illustrations are absolutely gorgeous and capture the fun spirit of the book. The bright and colorful pictures compliment the story perfectly. The over exaggerated character’s features really emphasize the emotions that are happening in the story. One can clearly see in the pictures the different emotions: sadness of not going to the ball, jealousy of the stepbrothers at the ball, and the anger of the boys at the end. The scenery is gorgeous throughout the story. The attention to details is also apparent. Ms. Lurleen’s house is Texas from top to bottom with a Texas shaped clock and a cactus hat rack. The illustrations definitely add to the dramatic quality of this story.
REVIEW EXCERPTS
From Kirkus Reviews”A Cinderella parody features the off-the-wall, whang-dang Texas hyperbole of Ketteman (The Year of No More Corn, 1993, etc.) and the insouciance of Warhola, who proves himself only too capable of creating a fairy godcow; that she's so appealingly whimsical makes it easy to accept the classic tale's inversions.”
Children's Literature Review: ‘The premise isn't original, but the execution and artwork certainly are.”
CONNECTIONS
Have the class act out this story as a play
Compare this story to the original Cinderella story
Read a varied selection of Cinderella versions
Ketteman, Helen. 1997. BUBBA THE COWBOY PRINCE: A FRACTURED TEXAS TALE. Ill. By James Warhola. New York, NY: Scholastic Press. ISBN 0590255061
PLOT SUMMARY
This is a retelling of the Cinderella story Texas style. The main character is a boy named Bubba and he is being raised on a ranch by his mean stepdad. He also has two unkind stepbrothers. Bubba is forced to work day and night on the ranch, but he never complains about the work because he loves being a cowboy. The ball in this story is given by a rich young woman looking for a “feller”. Bubba helps the family get ready for the ball, and gets all the chores on the ranch done, only to find out there isn’t any time left for him to get himself ready for the ball. Bubba is left behind. Luckily Bubba has a fairy godcow. She transforms him into a clean and handsome young cowboy. Bubba is then able to go to the ball and dance with the beautiful Lurleen. Time ran out while he was at the ball and when the clock struck midnight he turned back into plain old Bubba. He ran away as fast as he could, and left one boot behind. Lurleen searched all the ranches looking for her cowboy that matched the boot. At the very end she found Bubba was a perfect fit for her boot and her heart.
CRITICAL ANALYSIS
This outrageously funny story is the perfect retelling of the Cinderella story. The Texas spin on the Cinderella story is pure magic. The text is written in such a way that even if one is reading this book silently they can still here the Texas “twang”. Having the main character named Bubba is brilliant. The clever way that the story is set on a ranch works perfectly for this retelling. The author gets in all the typical stereotypes of Texans. With text that sounds like what you would expect to here in the Texas countryside. The story is written with a Texas drawl built into it with phrases such as “Milton and Dwayne spent all day getting gussied up in their finest duds. Bubba about ran hisself ragged waiting on them.” Having a male Cinderella is a unique way to retell the story. The good verses evil them is still present as in typical fairy and folktales with the good characters of Lurleen and Bubba living happily ever after.
The illustrations are absolutely gorgeous and capture the fun spirit of the book. The bright and colorful pictures compliment the story perfectly. The over exaggerated character’s features really emphasize the emotions that are happening in the story. One can clearly see in the pictures the different emotions: sadness of not going to the ball, jealousy of the stepbrothers at the ball, and the anger of the boys at the end. The scenery is gorgeous throughout the story. The attention to details is also apparent. Ms. Lurleen’s house is Texas from top to bottom with a Texas shaped clock and a cactus hat rack. The illustrations definitely add to the dramatic quality of this story.
REVIEW EXCERPTS
From Kirkus Reviews”A Cinderella parody features the off-the-wall, whang-dang Texas hyperbole of Ketteman (The Year of No More Corn, 1993, etc.) and the insouciance of Warhola, who proves himself only too capable of creating a fairy godcow; that she's so appealingly whimsical makes it easy to accept the classic tale's inversions.”
Children's Literature Review: ‘The premise isn't original, but the execution and artwork certainly are.”
CONNECTIONS
Have the class act out this story as a play
Compare this story to the original Cinderella story
Read a varied selection of Cinderella versions
Sunday, September 9, 2007
Book Review: KITTEN'S FIRST FULL MOON
Caldecott Award Medal Book Review
Bibliography
Henkes, Kevin. 2004. KITTEN’S FIRST FULL MOON. Greenwillow Books. ISBN: 0-06-058828-4
Plot Summary
This story is about a kitten who sees her first full moon, but does not realize what it is. The reader knows that it is a full moon, but the curious little kitten is just sure that it is one of her very favorite things, a bowl of milk! This story tells of the adventure that the kitten goes on in search of the bowl of milk in the sky.
Critical Analysis
This story is a very unique children’s book in that it does not try to grab the reader with bells and whistles and colorful illustrations. It simply pulls the young reader in with its simple story and plot and easy to follow illustrations. The mood is set by the black and off-white pictures and text. The pictures are drawn in charcoal black, and give us a good feel of the night time setting. The language is playful and easy to understand. Through the author/illustrator’s creative use of language and interesting illustrations the reader is drawn into the story. As the reader sees the determination in the young kitten they start rooting for him to get that milk!
Review Excerpts
School Library Journal: “The rhythmic text and delightful artwork ensure storytime success. Kids will surely applaud this cat’s irrepressible spirit.”
Booklist: “Henkes creates another winner in this simple, charming story about a naïve little kitten who mistakes a round, shining moon for a bowl of milk.”
Connections
Students can draw pictures of a similar story using a favorite animal and sending them on an adventure, and can dictate their stories to the teacher.
Teachers can read other books by the same author – Kevin Henkes
Bibliography
Henkes, Kevin. 2004. KITTEN’S FIRST FULL MOON. Greenwillow Books. ISBN: 0-06-058828-4
Plot Summary
This story is about a kitten who sees her first full moon, but does not realize what it is. The reader knows that it is a full moon, but the curious little kitten is just sure that it is one of her very favorite things, a bowl of milk! This story tells of the adventure that the kitten goes on in search of the bowl of milk in the sky.
Critical Analysis
This story is a very unique children’s book in that it does not try to grab the reader with bells and whistles and colorful illustrations. It simply pulls the young reader in with its simple story and plot and easy to follow illustrations. The mood is set by the black and off-white pictures and text. The pictures are drawn in charcoal black, and give us a good feel of the night time setting. The language is playful and easy to understand. Through the author/illustrator’s creative use of language and interesting illustrations the reader is drawn into the story. As the reader sees the determination in the young kitten they start rooting for him to get that milk!
Review Excerpts
School Library Journal: “The rhythmic text and delightful artwork ensure storytime success. Kids will surely applaud this cat’s irrepressible spirit.”
Booklist: “Henkes creates another winner in this simple, charming story about a naïve little kitten who mistakes a round, shining moon for a bowl of milk.”
Connections
Students can draw pictures of a similar story using a favorite animal and sending them on an adventure, and can dictate their stories to the teacher.
Teachers can read other books by the same author – Kevin Henkes
Saturday, September 8, 2007
Picture Book Review
Picture Book Review
Bibliography
Willems, Mo. 2003. DON’T LET THE PIGEON DRIVE THE BUS! New York, NY: Hyperion Books for Children. ISBN 0-7868-1988-X
Plot Summary
In this picture book by Mo Willems we meet the main character Pigeon, who is quit a persistent fellow, in the very beginning of our story. We follow Pigeon throughout the story as he tries to convince us that he should be allowed to drive the bus. He tries various ways to convince us that he is capable of driving the bus. He goes from sweet pigeon with endearing words of “please let me drive the bus”, to the maniacal child melt down. This interesting tale is written from the perspective as if the reader is the keeper of the bus. The readers are the ones entrusted to saying “no” to Pigeon so that he does not get to drive the bus.
Critical Analysis
Willems writes as if she knows the exact steps taken by a child trying to get something he/she wants. Children and adults everywhere can relate to this character. The story is written on an endearing level that is easy for children to understand. The pictures are what truly tell the story. The illustrations are a major driving force in this story; they are simplistic and reminiscent of a past era when life was less chaotic. The simple dialog and classic illustrations make it an enjoyable story for the old and young alike.
Review Excerpts
School Library Journal: “A brilliantly simple book that is absolutely true to life, as anyone who interacts with an obdurate three-year-old can attest.”
Booklist: “Willems is a professional animator, and each page has the feel of a perfectly frozen frame of cartoon footage—action, remarkable expression, and wild humor captured with just a few lines.”
Connections
Read other stories written by the same author, Mo Willems:
THE PIGEON FINDS A HOT DOG!
THE PIGEON HAS FEELINGS, TOO!
THE PIGEON LOVES THINGS THAT GO!
Have students act out the story.
Bibliography
Willems, Mo. 2003. DON’T LET THE PIGEON DRIVE THE BUS! New York, NY: Hyperion Books for Children. ISBN 0-7868-1988-X
Plot Summary
In this picture book by Mo Willems we meet the main character Pigeon, who is quit a persistent fellow, in the very beginning of our story. We follow Pigeon throughout the story as he tries to convince us that he should be allowed to drive the bus. He tries various ways to convince us that he is capable of driving the bus. He goes from sweet pigeon with endearing words of “please let me drive the bus”, to the maniacal child melt down. This interesting tale is written from the perspective as if the reader is the keeper of the bus. The readers are the ones entrusted to saying “no” to Pigeon so that he does not get to drive the bus.
Critical Analysis
Willems writes as if she knows the exact steps taken by a child trying to get something he/she wants. Children and adults everywhere can relate to this character. The story is written on an endearing level that is easy for children to understand. The pictures are what truly tell the story. The illustrations are a major driving force in this story; they are simplistic and reminiscent of a past era when life was less chaotic. The simple dialog and classic illustrations make it an enjoyable story for the old and young alike.
Review Excerpts
School Library Journal: “A brilliantly simple book that is absolutely true to life, as anyone who interacts with an obdurate three-year-old can attest.”
Booklist: “Willems is a professional animator, and each page has the feel of a perfectly frozen frame of cartoon footage—action, remarkable expression, and wild humor captured with just a few lines.”
Connections
Read other stories written by the same author, Mo Willems:
THE PIGEON FINDS A HOT DOG!
THE PIGEON HAS FEELINGS, TOO!
THE PIGEON LOVES THINGS THAT GO!
Have students act out the story.
Book Review of TALKING WITH ARTISTS
Bibliography
Cummings, Pat. 1992. TALKING WITH ARTISTS. New York, NY: Bradbury Press. ISBN 0-02-724245-5
Plot Summary
In this book Pat Cummings sits down with fourteen famous Children’s book illustrators to find out some answers to her questions about becoming an artist and book illustrator. She thoughtfully asks the illustrators the same set of questions and receives a variety of responses to her questions. She compiles the stories that she receives into an interesting book that is very appealing and easy to read. The book is geared towards children, and the questions that children often ask an artist when they meet one in person. Children are often interested not only in the artistic ability of the individual, but are interested in the life of the person, and Pat Cummings gears her book towards those questions that are most meaningful to children.
Critical Analysis
Pat Cummings puts together a book that is very kid-friendly. It is written for children in a format that is interesting and inviting. She interviews fourteen different famous illustrators and devotes a chapter to each one. Each illustrator is asked a series of questions about how and why they became illustrators. The stories are written as if one is talking to a child and answering their questions. Each story includes two pictures of the artist. One is a picture of the artist as a child and one is a current picture. This helps the reader connect with the artist and his/her life’s experiences.
One of the questions that is asked of the artist is “Do you have any children or pets?” This is a definitely a question that a child would be interested in. Children can relate to these questions in a personal way and can become connected to the various artists by seeing them as actual normal people and not just as an artist/illustrator. The book gives children the opportunity to peek into the lives of the artists and see that they are just regular people who followed a dream, and that it is possible to become artists and illustrators themselves.
The language that is used if very simple and basic, yet is not condescending. The pictures of the artists are a clever way of connecting the reader to the book, and making it real and meaningful. Cummings also includes early works and current works of art done by the artist. The stories, photographs and pictures make the book interesting and enjoyable.
Review Excerpts
School Library Journal review: “The cumulative result is a short course in how to succeed in the book business and general agreement that illustration is a tremendously satisfying and enjoyable occupation. Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children’s literature has become central to the curriculum.”
Publishers Weekly review: “Unfortunately the often poignant reminiscences and outstanding talent on display cannot overcome the book’s unimaginative layout and distractingly pragmatic text.”
Connections
-Display a variety of books by the various artists that were interviewed in the book “Talking With Artists” by Pat Cummings.
-Invite an illustrator into the classroom as a guest speaker.
-Plan an activity involving the students doing their own illustrations to a story they have written.
Cummings, Pat. 1992. TALKING WITH ARTISTS. New York, NY: Bradbury Press. ISBN 0-02-724245-5
Plot Summary
In this book Pat Cummings sits down with fourteen famous Children’s book illustrators to find out some answers to her questions about becoming an artist and book illustrator. She thoughtfully asks the illustrators the same set of questions and receives a variety of responses to her questions. She compiles the stories that she receives into an interesting book that is very appealing and easy to read. The book is geared towards children, and the questions that children often ask an artist when they meet one in person. Children are often interested not only in the artistic ability of the individual, but are interested in the life of the person, and Pat Cummings gears her book towards those questions that are most meaningful to children.
Critical Analysis
Pat Cummings puts together a book that is very kid-friendly. It is written for children in a format that is interesting and inviting. She interviews fourteen different famous illustrators and devotes a chapter to each one. Each illustrator is asked a series of questions about how and why they became illustrators. The stories are written as if one is talking to a child and answering their questions. Each story includes two pictures of the artist. One is a picture of the artist as a child and one is a current picture. This helps the reader connect with the artist and his/her life’s experiences.
One of the questions that is asked of the artist is “Do you have any children or pets?” This is a definitely a question that a child would be interested in. Children can relate to these questions in a personal way and can become connected to the various artists by seeing them as actual normal people and not just as an artist/illustrator. The book gives children the opportunity to peek into the lives of the artists and see that they are just regular people who followed a dream, and that it is possible to become artists and illustrators themselves.
The language that is used if very simple and basic, yet is not condescending. The pictures of the artists are a clever way of connecting the reader to the book, and making it real and meaningful. Cummings also includes early works and current works of art done by the artist. The stories, photographs and pictures make the book interesting and enjoyable.
Review Excerpts
School Library Journal review: “The cumulative result is a short course in how to succeed in the book business and general agreement that illustration is a tremendously satisfying and enjoyable occupation. Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children’s literature has become central to the curriculum.”
Publishers Weekly review: “Unfortunately the often poignant reminiscences and outstanding talent on display cannot overcome the book’s unimaginative layout and distractingly pragmatic text.”
Connections
-Display a variety of books by the various artists that were interviewed in the book “Talking With Artists” by Pat Cummings.
-Invite an illustrator into the classroom as a guest speaker.
-Plan an activity involving the students doing their own illustrations to a story they have written.
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