1. BIBLIOGRAPHY
Sones, Sonya. 1999. STOP PRETENDING: What happened when my big sister went crazy. New York: Harper Collins Publishers. ISBN 0-06-028386-6
2. PLOT SUMMARY:
This spellbinding recount of a young girl’s experiences when her older sister was stricken with a mental illness is based on true events from the author’s life. One horrifying Christmas Eve, 13 year-old Sonya's life came to a halt when her 19-year-old big sister, best-friend, and steadfast confidante, suffers a nervous breakdown. In her verse novel, Sones relates through heartrending poems how deeply she admired her sister and what a loss it was when her sister lost herself.
This novel delves into the emotions of anxiousness (going crazy herself), guilt (feeling ashamed of her sister for going crazy), bewilderment (the parents she knew by heart turn dramatically different toward her and each other), confusion (what caused her sister to go crazy?, “or maybe it was something/ I did”), longing (she remembers the months leading up to the “snap", loss of control (she demands her sister stop pretending she’s crazy), anger (as the fear of her friends finding out what really happened THAT night and turn their backs on her, came true), longing (for the sister she could count on), and finally hope (when her sister shows signs of healing along with the rest of the family). Sones draws the reader in to experience these emotions using flashbacks from the past and heartbreaking narrative verses in the present.
3. CRITICAL ANALYSYS
This autobiographical prose novel is a page turner and should definitely hold appeal for teen readers (and ‘old’ readers alike). Sonya Sones wrote from the perspective of a young teenager; and because her first “draft” came from her own writing she kept from that dark period of her adolescent life, her heartfelt poems ring with emotion and truth. Sones chose her words so carefully; anyone who has endured watching a loved one disappear in front of their own eyes could fall into the poetry and find a kindred spirit. Some of the poems written in free verse recounting Sones compelling experiences and emotions could stand alone, however, brought together tell a story of torment, resilience and hope.
The language in Sones' poems are filled with imagery. Her opening verse describes her entire family cuddled together in a hammock on a “moondappled” beach, as they “swayed together as one.” Her second verse “My Sister’s Christmas Eve Breakdown” describes her sister’s fall from reality and the aftermath of that day: That day/I sank into/ the wall, wondering what/these three people were doing in/my house. When a new boy comes to school the description of their first date begs the readers to remember their own: Our eyes/are glued to the/screen/but our thoughts are glued/to the spot where our elbows are/touching"
The rhythm of the poems range from short, emotion-charged and snappy, to longer and more thought provoking. Each one is so well crafted the reader ends the book feeling as though he or she knows each member of the protagonist’s family and the torment, fear and feeling of helplessness that comes with a loved one gone insane. Near the end of the book the poems become more hopeful down to the last one that recounts the family playing a game of Scrabble where the rules are tossed away and words like “SPIDOSAL” become acceptable. Sones last word played, BETTER, offers the reader the hope that the worst of times are over and life is looking up.
The audience for this book is apt to relate to the author’s feelings and find a connection with the emotions and personal experience described so expressively. It is an opportunity for students to experience a story written in narrative form using poetry. Even readers who have not felt the devastation mental illness brings to a family are likely to feel empathy for families who live through the horror and loss of a loved one no longer recognizable.
Sones includes an author’s note to explain her personal connection to her writing. She tells about the hundreds of journals she has kept throughout her life and her reluctance, at first, to share her sister’s story. Her sister was extremely supportive of her efforts because “she hopes the book will be used to open up discussions about mental illness.” Sones also includes names of organizations and numbers that can be called to receive help if the reader is concerned about the mental health of themselves or a loved one
4. REVIEWS AND EXCERPT(S)
Children’s Literature - This is one of the most beautiful and most disturbing books aimed at young people that I have ever read. Beautiful not just in its use of free verse, but in the use of language and images that brings even mundane subjects to life…For anyone who has actually had this experience, the book can only be read in short doses; for anyone who hasn't, it's a fantastic view of a world we would probably not want to be a part of.
Klaitt - The poetry is compelling. It is so heartfelt: the pain and confusion of a young teenager when her family life dissolves into chaos because of mental illness.
Kirkus – (The poems) take on life and movement, the individual frames of a movie that in the unspooling become animated, telling a compelling tale and presenting a painful passage through young adolescence. The form, a story-in-poems, fits the story remarkably well.
School Library Journal: An unpretentious, accessible book that could provide entry points for a discussion about mental illness-its stigma, its realities, and its affect on family members.
Christopher Award for Best Children's Book
Claudia Lewis Award for Poetry
Myra Cohn Livingston Poetry Award
Gradiva Award for Best Poetry Book Berliner Kinder Prize in Germany
Chosen an American Library Association 2000 Top Ten Quick Pick for Reluctant Young Adult Readers
Chosen an American Library Association 2000 Best Book for Young Adults
5. CONNECTIONS
To a budding genre that includes Karen Hesse's Out of the Dust (1997) and Virginia Euwer Wolff's Make Lemonade (1993), this book is a welcome addition (Kirkus Reviews). Another book that would pair nicely with this book is AL CAPONE DOES MY SHIRTS, by Gennifer Sholdenko. It is the account of a young teen named Moose who cared for his sister, Natalie. She had autism at a time when medical professionals did not understand the disorder.
This would be an excellent book to spark discussion about mental illnesses and help students understand what Sones' sister desires, [that people would have] “a better understanding of this disease, so they would treat its victims with more compassion.”
Modeling a poem written in free verse for the students and giving them opportunities to do the same may turn the most reluctant writers into famous poets.
Sonya Sones has an excellent website at http://sonyasones.com/. Here she includes links to her bio, frequently asked questions, writers only, and great books.
Tuesday, June 29, 2010
Sunday, June 27, 2010
TOASTING MARSHMALLOWS: CAMPING POEMS
1. BIBLIOGRAPHY
George, Kristine O’Connell. 2001. TOASTING MARSHMALLOWS: CAMPING POEMS. Ill. by Kate Kiesler. New York: Houghton Mifflin Harcourt. ISBN 061804597X
2. PLOT SUMMARY
Award winning author and poet, Kristine O’Connell George, centers this memorizing compilation of her poems around the joy of camping and the magical mystique of the outdoors. The poems are focused through the eyes of a young girl. George’s first poem is tent-shaped and it is about, of course, setting up a tent. From here the world opens up to the animals: a timid doe with ears of velvet, a chipmunk “in a flash of furry,” a “mosqueeeeeeeeeeeeeo,” an unmindful moose “with a bit too much of everything,” an owl “pleating the night,” and finally a spider spinning “looping silky lines.”
The camping experience does not stop here. Sprinkled in between the descriptions of the animals are warm campfires, marshmallows toasting slowly to perfection, night noises, and an eavesdropping moon. There is fishing at dawn, rowing with mom, stepping silently across the forest floor, and, too soon, hiding special rocks to look for upon their return after “pulling up stakes.” Home once again; our young camper hides her soft flannel shirt, smelling of pine and campfire and forest moss in her bottom drawer, where scents hold special memories, until her next cherished camping trip.
3. CRITICAL ANALYSIS
I have gone camping in my youth, and this poem brought back poignant memories of campfires and s’mores. But, even if I had never experienced hammering stakes into the ground to set up a tent at the lake, I could imagine what it would be like through George’s poems. Some poems have rhythm, others have rhyme, and some are narrative. But all encompass language that brings to life the quiet thrill of a family camping trip. Each one has perfect lines of text, carefully placed on the page, determined by the tone and mood desired by the author. Getting dressed in a sleeping bag is fun and funny. “By Myself ,” with its repetitive text coaxes the reader to reflect, the illustration of the child, her back against a tree, “silent as stone.” The poem from which this book of poems is titled, TOASTING MARSHMALLOWS, rhymes and begs to be read out loud; but not as loudly as “Two Voices in a Tent at Night;” a poem written for choral reading.
The acrylic illustrations are realistic, yet somehow dreamlike, drawing the reader’s eyes to every detail: the glow of a campfire shining on sleepy faces, a crooked path through a field of heavy grass, choppy waves flopping ashore as the campers run for cover, and a rowing boat, “pulling an island across a lake.” Each painting is unique to its poem. Each poem unique to its illustration.
4. REVIEW EXCERPT(S)
Kirkus Reviews - Altogether, an engaging trip.
Horn Book Review - The pleasure and surprise of going camping are conveyed in …brief poems. . . .Richly colored paintings enhance the verses.
Children's Literature - One can almost see the starlit night, taste the marshmallows, and hear the buzzing insects as words and illustrations combine in this unique collaboration.
School Library Journal - Starred Review - Whether playful or profound, the exquisitely crafted poems reverberate with eloquent yet effortless language, while the radiant acrylic artwork hints at the awe-inspiring mysteries of nature. A child-focused sense of wonder...the poems are varied and inventive, replete with marvelous images and universal truths...…A terrific idyll for summertime sharing, even for confirmed couch potatoes.
Booklist Starred Review - Infused with the wonder and thrill of living outdoors, these are direct, satisfying poems that will engage kids at school, across the curriculum, or at home…The painterly art is a pleasure to look at. It’s almost photographic reality gives children the feeling of being right in the picture. A good introduction for children who have never been camping and a nice remembrance for those who have.
Publisher's Weekly Starred Review, "...This volume by George and Kiesler is as delicious as a roasted marshmallow treat. George's poems shine, the images clear and startling. A "panther cloud crosses the sky"; after a storm, "confetti of birds"...dance another rain shower." A concrete poem in the shape of a waning moon is exquisite: "Tipping/ a slender/ silver ear,/ Moon tries/ to pretend/ she isn't listening/ to our/ secrets." Readers definitely want S-mores."
Awards
2002 – Myra Cohn Livingston Poetry Award CLCSC for Excellence in Children's Poetry
NCTE Notable Children’s Book in Language Arts
Book Links: A Lasting Connection
2002 School Library Journal Best Book of the Year
Capitol Choices: Noteworthy Books for Children
Nominated for the Texas Bluebonnet Master List, Kentucky Blue Grass award, and the Indiana's Young Hoosier's award.
2002 Children’s Literature Choice
5. CONNECTIONS
Most children love being outdoors. Teachers can find books similar to TOASTING MARSHMALLOWS: CAMPING POEMS, and take them there in a book. Kristine O’Connell George has a teacher friendly award winning website that offers companion books from her selection such as HUMMINGBIRD NEST, with additional support such as:
Read more about her award winning poem book,
Learn More About Hummingbirds, Read a poem from HUMMINGBIRD’S NEST,
A Teacher’s Guide to Hummingbird Nest: A Journal of poems,
A review of the book
The Table of Contents.
An additional book from Georges’ collection that would make an excellent companion book is THE OLD ELM TREE SPEAKS: TREE POEMS. This portion of her website offers all of the above including a link to celebrating Arbor Day (ideas, more links, and resources).
Another paired selection to read along with TOASTING MARSHMALLOWS; CAMPING POEMS might include WHEN WE GO CAMPING, by Margriet Ruurs and illustrated by Andrew Kiss. In addition, S IS FOR S'MORES, by Helen Foster James, illustrated by Lita Judge, is a delightful companion text that tells, "where to go (camping) and what to do when you get there."
There is nothing more inspiring than to just walk the children (of any age) outdoors and let them experience for themselves the wonder of nature and the beauty of the Earth in the simplest of places. Encourage them to use all their senses: listen for birds and bees and the sounds of nature, watch the grass lean sideways in a field, touch the bark of a tree, smell the scent of wildflowers, and make paths of their own in silence.
George, Kristine O’Connell. 2001. TOASTING MARSHMALLOWS: CAMPING POEMS. Ill. by Kate Kiesler. New York: Houghton Mifflin Harcourt. ISBN 061804597X
2. PLOT SUMMARY
Award winning author and poet, Kristine O’Connell George, centers this memorizing compilation of her poems around the joy of camping and the magical mystique of the outdoors. The poems are focused through the eyes of a young girl. George’s first poem is tent-shaped and it is about, of course, setting up a tent. From here the world opens up to the animals: a timid doe with ears of velvet, a chipmunk “in a flash of furry,” a “mosqueeeeeeeeeeeeeo,” an unmindful moose “with a bit too much of everything,” an owl “pleating the night,” and finally a spider spinning “looping silky lines.”
The camping experience does not stop here. Sprinkled in between the descriptions of the animals are warm campfires, marshmallows toasting slowly to perfection, night noises, and an eavesdropping moon. There is fishing at dawn, rowing with mom, stepping silently across the forest floor, and, too soon, hiding special rocks to look for upon their return after “pulling up stakes.” Home once again; our young camper hides her soft flannel shirt, smelling of pine and campfire and forest moss in her bottom drawer, where scents hold special memories, until her next cherished camping trip.
3. CRITICAL ANALYSIS
I have gone camping in my youth, and this poem brought back poignant memories of campfires and s’mores. But, even if I had never experienced hammering stakes into the ground to set up a tent at the lake, I could imagine what it would be like through George’s poems. Some poems have rhythm, others have rhyme, and some are narrative. But all encompass language that brings to life the quiet thrill of a family camping trip. Each one has perfect lines of text, carefully placed on the page, determined by the tone and mood desired by the author. Getting dressed in a sleeping bag is fun and funny. “By Myself ,” with its repetitive text coaxes the reader to reflect, the illustration of the child, her back against a tree, “silent as stone.” The poem from which this book of poems is titled, TOASTING MARSHMALLOWS, rhymes and begs to be read out loud; but not as loudly as “Two Voices in a Tent at Night;” a poem written for choral reading.
The acrylic illustrations are realistic, yet somehow dreamlike, drawing the reader’s eyes to every detail: the glow of a campfire shining on sleepy faces, a crooked path through a field of heavy grass, choppy waves flopping ashore as the campers run for cover, and a rowing boat, “pulling an island across a lake.” Each painting is unique to its poem. Each poem unique to its illustration.
4. REVIEW EXCERPT(S)
Kirkus Reviews - Altogether, an engaging trip.
Horn Book Review - The pleasure and surprise of going camping are conveyed in …brief poems. . . .Richly colored paintings enhance the verses.
Children's Literature - One can almost see the starlit night, taste the marshmallows, and hear the buzzing insects as words and illustrations combine in this unique collaboration.
School Library Journal - Starred Review - Whether playful or profound, the exquisitely crafted poems reverberate with eloquent yet effortless language, while the radiant acrylic artwork hints at the awe-inspiring mysteries of nature. A child-focused sense of wonder...the poems are varied and inventive, replete with marvelous images and universal truths...…A terrific idyll for summertime sharing, even for confirmed couch potatoes.
Booklist Starred Review - Infused with the wonder and thrill of living outdoors, these are direct, satisfying poems that will engage kids at school, across the curriculum, or at home…The painterly art is a pleasure to look at. It’s almost photographic reality gives children the feeling of being right in the picture. A good introduction for children who have never been camping and a nice remembrance for those who have.
Publisher's Weekly Starred Review, "...This volume by George and Kiesler is as delicious as a roasted marshmallow treat. George's poems shine, the images clear and startling. A "panther cloud crosses the sky"; after a storm, "confetti of birds"...dance another rain shower." A concrete poem in the shape of a waning moon is exquisite: "Tipping/ a slender/ silver ear,/ Moon tries/ to pretend/ she isn't listening/ to our/ secrets." Readers definitely want S-mores."
Awards
2002 – Myra Cohn Livingston Poetry Award CLCSC for Excellence in Children's Poetry
NCTE Notable Children’s Book in Language Arts
Book Links: A Lasting Connection
2002 School Library Journal Best Book of the Year
Capitol Choices: Noteworthy Books for Children
Nominated for the Texas Bluebonnet Master List, Kentucky Blue Grass award, and the Indiana's Young Hoosier's award.
2002 Children’s Literature Choice
5. CONNECTIONS
Most children love being outdoors. Teachers can find books similar to TOASTING MARSHMALLOWS: CAMPING POEMS, and take them there in a book. Kristine O’Connell George has a teacher friendly award winning website that offers companion books from her selection such as HUMMINGBIRD NEST, with additional support such as:
Read more about her award winning poem book,
Learn More About Hummingbirds, Read a poem from HUMMINGBIRD’S NEST,
A Teacher’s Guide to Hummingbird Nest: A Journal of poems,
A review of the book
The Table of Contents.
An additional book from Georges’ collection that would make an excellent companion book is THE OLD ELM TREE SPEAKS: TREE POEMS. This portion of her website offers all of the above including a link to celebrating Arbor Day (ideas, more links, and resources).
Another paired selection to read along with TOASTING MARSHMALLOWS; CAMPING POEMS might include WHEN WE GO CAMPING, by Margriet Ruurs and illustrated by Andrew Kiss. In addition, S IS FOR S'MORES, by Helen Foster James, illustrated by Lita Judge, is a delightful companion text that tells, "where to go (camping) and what to do when you get there."
There is nothing more inspiring than to just walk the children (of any age) outdoors and let them experience for themselves the wonder of nature and the beauty of the Earth in the simplest of places. Encourage them to use all their senses: listen for birds and bees and the sounds of nature, watch the grass lean sideways in a field, touch the bark of a tree, smell the scent of wildflowers, and make paths of their own in silence.
Monday, June 21, 2010
SCHOOLYARD RHYMES: KIDS OWN RHYMES FOR ROPE JUMPING, HAND CLAPPING, BALL BOUNCING, AND JUST PLAIN FUN.
1. BIBLIOGRAPHY
Selected by Judy Sierra. 2005. SCHOOLYARD RHYMES: KIDS OWN RHYMES FOR ROPE JUMPING, HAND CLAPPING, BALL BOUNCING, AND JUST PLAIN FUN. Ill by Melissa Sweet. New York: Alfred A. Knopf. Books for Young Readers. ISBN 0-375-92516-3
2. PLOT SUMMARY
This book is filled with more than 50 rhymes from my childhood. I thought we invented them as children. Imagine my dismay when I read a book filled with my beloved poems. Most of them I remembered reciting as a young girl. Some of the verses are different than the ones I chanted, showing how these variations change from area to area. These chants are perfect for jump roping and hand clapping, as I experienced them eons ago. Some of them are a bit naughty, making them even more beloved to children. Of COURSE “Men go to Jupiter to get more stupider,” and the classic:
I’m rubber, and you’re glue.
Everything you say about me
Bounces off me and sticks to you...
will be recited by children as long as authors like Judy Sierra put them in print and pass them down. Children love to insult each other with rhymes; and this is the perfect book to teach them about rhythm and rhyme while they have permission. Sierra is right; this book is meant to be read out loud.
3. CRITICAL ANALYSIS
The rhythm of the poems is catchy and just plain fun. Sierra includes an introduction to her book that explains that some of the poems in her book have been around for 150 years. Poems an adult reader hasn’t thought of in years come back to memory as if they were recited yesterday. The reader will probably learn new verses he or she didn’t know existed. The placement of the print on the pages is as fun as the rhymes themselves.
Melissa Sweet does an amazing job on her illustrations. Who wouldn’t have fun illustrating,
Did you ever, ever, ever in your bow-legged life
Meet a bow-legged sailor and his bow-legged wife?
Sweet has fun with her illustrations when she rewrites them in the shape of jump ropes, clotheslines, tree trunks, frame borders, apple sticks, and flower stems trailing through the pages. Readers turn the pages up and over to read her text as it loops around. Her characters are childlike and she uses bright colors for the clothing, background, borders and the characters themselves. This book is just delightful and so much fun for adults to read with the younger generation.
4. REVIEW EXCERPT(S)
Publishers Weekly - Schoolyard Rhymes: Kids' Own Rhymes for Rope Skipping, Hand Clapping, Ball Bouncing, and Just Plain Fun by Judy Sierra contains 50 rhymes perfect for recess or after-school play, such as the familiar "Miss Mary Mack."
School Library Journal - Sierra has selected some of the funniest and most memorable schoolyard rhymes available in this appealing collection…Kids will also howl over other offerings that may be new to this generation: The rhythms and nonsense rhymes are irresistible, compelling memorization and participation in the fun. Tried-and- true wordplays will tickle young readers…Sweet's animated watercolor-and-collage illustrations fill the pages with expressive faces, thin lines of verse shaped into jump ropes and borders, and hilarious interpretive scenes from the rhymes. This is a definite winner, as it will be enormously popular with children.
School library Journal Starred Review - Sierra’s text has a wacky verve and enough lever asides and allusions to familiar characters to satisfy bibliophiles of all ages…Browns cheerful, full-color illustrations…are rich in pattern, texture, and nuance –
bibliophiles = collector of books
Booklist Review - Sierra has selected 50 traditional playground chants and rhymes for inclusion in this illustrated collection…Sweet's comical, mixed-media art adds to the wackiness of the rhymes, with jump ropes commanding a prominent position, whether used by children or pickles or bears. Text is frequently incorporated into the pictures; verses are printed on ropes and on the stripes of flags.
Horn Book Review - This picture book rejoices in the rhymes of childhood -- not the adult-approved Mother Goose nursery rhymes but the sometimes spiteful, always zesty rhymes chanted by children themselves. Many of the verses have a strong beat because of their use as jump-rope rhymes or clapping games… (The rhymes) mingle together, loosely grouped on the pages by topics such as bubble gum or underwear. Those who know childhood humor will not be shocked that many of the poems do feature underwear and insults. Melissa Sweet goes for a comic style with her watercolor and pencil art, which suits the rhymes well...Kids will enjoy this celebration of naughtiness and childhood fun.
Kirkus Review - Drawing on her Ph.D. in folklore, Sierra has compiled an upbeat selection of dozens of schoolyard rhymes and funny poems, complemented by Sweet's charming illustrations in watercolor and fabric collage. The collection includes many old clapping games and jump rope rhymes that have been around for generations, as well as familiar short chants and funny verses. The illustrations bring a fresh focus to the collection with a sophisticated design …There are many available collections of children's traditional rhymes, but this one uses bright colors, great illustrations and pleasing design elements to reach out to contemporary children.
Booklist, Starred Review - Sierra’s handy way with a rhyming text… (is) full of images that will amuse children…There are tons of things to look at, all in sunny colors.
5. CONNECTIONS
This book screams to make connections. Children can and will build fluency by reading these poems over and over again. A teacher should take the students out to the playground and jump rope, clap hands, and bounce balls to the rhythm of these poems. Schoolyard Rhymes begs children to write their own verses to the poems in the book.
To add to this collection a teacher might also search for:
ANNA BANANA: 101 JUMP ROPE RHYMES, by Joanna Cole ISBN 10-06897114/13:978-0688971145
MISS MARY MACK: AND OTHER CHILDREN’S STREET RHYMES, by Joanna Cole and Stephanie Calmenson, ISBN 13-978-0874831566
DOUBLE DUTCH; A CALEBRATION OF JUMP ROPE, RHYME, AND SISTRHOOD, by Veronica Chambers. Hyperion Books for Children. October 2002. ISBN 0-786-80512-9
Article – Jump Rope Rhymes…in the Classroom? Journal Article by Rita Buchoff; Childhood Education, Vol. 71, 1995
Selected by Judy Sierra. 2005. SCHOOLYARD RHYMES: KIDS OWN RHYMES FOR ROPE JUMPING, HAND CLAPPING, BALL BOUNCING, AND JUST PLAIN FUN. Ill by Melissa Sweet. New York: Alfred A. Knopf. Books for Young Readers. ISBN 0-375-92516-3
2. PLOT SUMMARY
This book is filled with more than 50 rhymes from my childhood. I thought we invented them as children. Imagine my dismay when I read a book filled with my beloved poems. Most of them I remembered reciting as a young girl. Some of the verses are different than the ones I chanted, showing how these variations change from area to area. These chants are perfect for jump roping and hand clapping, as I experienced them eons ago. Some of them are a bit naughty, making them even more beloved to children. Of COURSE “Men go to Jupiter to get more stupider,” and the classic:
I’m rubber, and you’re glue.
Everything you say about me
Bounces off me and sticks to you...
will be recited by children as long as authors like Judy Sierra put them in print and pass them down. Children love to insult each other with rhymes; and this is the perfect book to teach them about rhythm and rhyme while they have permission. Sierra is right; this book is meant to be read out loud.
3. CRITICAL ANALYSIS
The rhythm of the poems is catchy and just plain fun. Sierra includes an introduction to her book that explains that some of the poems in her book have been around for 150 years. Poems an adult reader hasn’t thought of in years come back to memory as if they were recited yesterday. The reader will probably learn new verses he or she didn’t know existed. The placement of the print on the pages is as fun as the rhymes themselves.
Melissa Sweet does an amazing job on her illustrations. Who wouldn’t have fun illustrating,
Did you ever, ever, ever in your bow-legged life
Meet a bow-legged sailor and his bow-legged wife?
Sweet has fun with her illustrations when she rewrites them in the shape of jump ropes, clotheslines, tree trunks, frame borders, apple sticks, and flower stems trailing through the pages. Readers turn the pages up and over to read her text as it loops around. Her characters are childlike and she uses bright colors for the clothing, background, borders and the characters themselves. This book is just delightful and so much fun for adults to read with the younger generation.
4. REVIEW EXCERPT(S)
Publishers Weekly - Schoolyard Rhymes: Kids' Own Rhymes for Rope Skipping, Hand Clapping, Ball Bouncing, and Just Plain Fun by Judy Sierra contains 50 rhymes perfect for recess or after-school play, such as the familiar "Miss Mary Mack."
School Library Journal - Sierra has selected some of the funniest and most memorable schoolyard rhymes available in this appealing collection…Kids will also howl over other offerings that may be new to this generation: The rhythms and nonsense rhymes are irresistible, compelling memorization and participation in the fun. Tried-and- true wordplays will tickle young readers…Sweet's animated watercolor-and-collage illustrations fill the pages with expressive faces, thin lines of verse shaped into jump ropes and borders, and hilarious interpretive scenes from the rhymes. This is a definite winner, as it will be enormously popular with children.
School library Journal Starred Review - Sierra’s text has a wacky verve and enough lever asides and allusions to familiar characters to satisfy bibliophiles of all ages…Browns cheerful, full-color illustrations…are rich in pattern, texture, and nuance –
bibliophiles = collector of books
Booklist Review - Sierra has selected 50 traditional playground chants and rhymes for inclusion in this illustrated collection…Sweet's comical, mixed-media art adds to the wackiness of the rhymes, with jump ropes commanding a prominent position, whether used by children or pickles or bears. Text is frequently incorporated into the pictures; verses are printed on ropes and on the stripes of flags.
Horn Book Review - This picture book rejoices in the rhymes of childhood -- not the adult-approved Mother Goose nursery rhymes but the sometimes spiteful, always zesty rhymes chanted by children themselves. Many of the verses have a strong beat because of their use as jump-rope rhymes or clapping games… (The rhymes) mingle together, loosely grouped on the pages by topics such as bubble gum or underwear. Those who know childhood humor will not be shocked that many of the poems do feature underwear and insults. Melissa Sweet goes for a comic style with her watercolor and pencil art, which suits the rhymes well...Kids will enjoy this celebration of naughtiness and childhood fun.
Kirkus Review - Drawing on her Ph.D. in folklore, Sierra has compiled an upbeat selection of dozens of schoolyard rhymes and funny poems, complemented by Sweet's charming illustrations in watercolor and fabric collage. The collection includes many old clapping games and jump rope rhymes that have been around for generations, as well as familiar short chants and funny verses. The illustrations bring a fresh focus to the collection with a sophisticated design …There are many available collections of children's traditional rhymes, but this one uses bright colors, great illustrations and pleasing design elements to reach out to contemporary children.
Booklist, Starred Review - Sierra’s handy way with a rhyming text… (is) full of images that will amuse children…There are tons of things to look at, all in sunny colors.
5. CONNECTIONS
This book screams to make connections. Children can and will build fluency by reading these poems over and over again. A teacher should take the students out to the playground and jump rope, clap hands, and bounce balls to the rhythm of these poems. Schoolyard Rhymes begs children to write their own verses to the poems in the book.
To add to this collection a teacher might also search for:
ANNA BANANA: 101 JUMP ROPE RHYMES, by Joanna Cole ISBN 10-06897114/13:978-0688971145
MISS MARY MACK: AND OTHER CHILDREN’S STREET RHYMES, by Joanna Cole and Stephanie Calmenson, ISBN 13-978-0874831566
DOUBLE DUTCH; A CALEBRATION OF JUMP ROPE, RHYME, AND SISTRHOOD, by Veronica Chambers. Hyperion Books for Children. October 2002. ISBN 0-786-80512-9
Article – Jump Rope Rhymes…in the Classroom? Journal Article by Rita Buchoff; Childhood Education, Vol. 71, 1995
In the Moonlight Mist: A Korean Tale
Traditional Tale
1. BIBLIOGRAPHY
San Souci, Daniel. 1999. IN THE MOONLIGHT MIST: A KOREAN TALE. Ill. by Eujin Kim Neilan. Honesdale. PA: Boyds Mill Press, Inc. ISBN 1-56397-754-0
2. PLOT
Award winning author, Daniel Souci, chose to retell an ancient Korean tale for this picture book. In this story a poor but kind and thoughtful woodcutter is rewarded for saving a hunted deer, a friend of the Mountain Spirit. The woodcutter was granted a wish for his bravery and kind nature. He would find a bride and have the children he always wanted. There was one restriction. Since his wife was a heavenly maiden, he must wait until his second child was born before he returned the garments that he retrieved at the bewitching lake where he met his wife. They had a lovely life together and were blessed with a baby girl. Soon after the baby was born, the “sad-eyed” wife was homesick for heaven and desired only to touch her heavenly clothes once more. Her husband felt so sad seeing her grieve; he brought out the garments the deer warned him about. His wife put on the clothing and “spellbound” floated up to heaven with their baby in her arms. Heartbroken, the woodcutter met the grateful deer in the forest and the deer explained to him how he could join his family in heaven. Lovingly, he sent his ailing, feeble mother to join his beloved family instead of himself. He is again rewarded for his self-sacrifice when the heavenly king saw his unselfishness and sent a dragon horse to fly him to heaven to join his loved ones.
3. CRITICAL ANALYSIS
This ancient tale was new to me but quickly grew to be one of my favorites as I turned each page. Daniel San Souci tells the reader on the cover flap that this tale is a Korean favorite. The language and description in his book is enchanting. For example, “When the first trace of morning light swept across the lake, the blissful maidens swam back to shore.” This is a radiant example of “show, don’t tell.” He paints the perfect picture of a tender and inspiring, hard working and devoted main character in the woodcutter. He sacrifices his own happiness for the happiness of others. A wonderful message is retold by the author as many traditional tales do. The story also reminded the reader about respecting and protecting others weaker than ourselves This enthralling story kept me predicting and wondering what would happen next all the way to the last page. Even though the story has magical events, the book itself is magical.
The illustrations in this book, painted with acrylic paints by Eujin Kim Neilan, are a perfect match to the words chosen by San Souci. Souci’s text is spellbinding, yet simple. He uses lovely language, but does not go into long details. He doesn’t have to, because the illustrations tell the rest of the story. The brush strokes on the pages draw your eyes to the artwork. Here you see the beauty, tenderness, tone, and mood of the story on each page. The expressions on the characters ARE worth a thousand words. The hand gestures of the characters are particularly moving. The last page, showing the characters reunited along with the sentence, “Their joy gave the moon and stars a luster that caused no end to the wonder on the earth below,” offered a fulfilling “and they lived happily ever after” feeling.
4. REVIEW EXCERPT(S)
Booklist - "An evocative tale with a dulcet message."
School Library Journal –“Neilan’s paintings are wonderfully expressive and amplify the deep emotion of the situation. Her palette of yellows and browns shows people who are swathed in moonlight yet avoids the dimness that night scenes sometimes have.”
dulcet = pleasing to the ear; melodious.
Kirkus – “San Souci's retelling is captivating, but Neilan's vibrant use of line and emotional expressions furnish the enchantment.”
Publishers Weekly – “Neilan's images--of the enchanted woodland, the maiden's ascent to the heavens with her babe in arms and of the woodcutter astride a magnificent winged dragon en route to join them--evince a power readers will long remember.”
Horn Book - “The acrylic paintings extend the well-told text and add cultural details."
Daniel San Souci retells one of Korea's most beloved stories in shimmering prose that conjures new magic from this ancient tale. Eujin Kim Neilan, who researched the tale in Korea, sets the story at the time of the Chosun Dynasty. She captures that long-ago world in breathtaking illustrations. Together they have created a storybook treasure
1999 Parent Choice Award winner
5. CONNECTIONS
My six and seven year old grandchildren loved IN THE MOONLIGHT MIST: A KOREAN TALE. This story is perfect for children young and old. Bryn, our little artist, could not take her eyes off the brush strokes in the illustrations. She wants to write Neilan and ask how she “painted those beautiful pictures.” One reading was not enough. They wanted to hear the story a second time, and then a third before bedtime. Their mother, my daughter, is in heaven, and I asked them why they thought the woodcutter received a ride to heaven to be with his family. Jadyn answered, “Because the woodcutter was kind and thoughtful like Mommy.” Children make connections, too.
The theme of this story would be a good subject for a reading response. The children could brainstorm a time that someone sacrificed for them or they sacrificed for someone. They could discuss their feelings and how thoughtfulness and selflessness has its rewards.
Our textbook suggests as teachers we pre-teach a little about a country’s culture before reading a traditional tale from that setting. I think it would be interesting to tell them a little about the culture of Korea and the Chosun Dynasty. I admit I would learn new information about that part of the world and their history. One book reviewer suggested comparing this story to the famous tale told in China and Japan, THE COWHERD AND THE WEAVING MAID.
1. BIBLIOGRAPHY
San Souci, Daniel. 1999. IN THE MOONLIGHT MIST: A KOREAN TALE. Ill. by Eujin Kim Neilan. Honesdale. PA: Boyds Mill Press, Inc. ISBN 1-56397-754-0
2. PLOT
Award winning author, Daniel Souci, chose to retell an ancient Korean tale for this picture book. In this story a poor but kind and thoughtful woodcutter is rewarded for saving a hunted deer, a friend of the Mountain Spirit. The woodcutter was granted a wish for his bravery and kind nature. He would find a bride and have the children he always wanted. There was one restriction. Since his wife was a heavenly maiden, he must wait until his second child was born before he returned the garments that he retrieved at the bewitching lake where he met his wife. They had a lovely life together and were blessed with a baby girl. Soon after the baby was born, the “sad-eyed” wife was homesick for heaven and desired only to touch her heavenly clothes once more. Her husband felt so sad seeing her grieve; he brought out the garments the deer warned him about. His wife put on the clothing and “spellbound” floated up to heaven with their baby in her arms. Heartbroken, the woodcutter met the grateful deer in the forest and the deer explained to him how he could join his family in heaven. Lovingly, he sent his ailing, feeble mother to join his beloved family instead of himself. He is again rewarded for his self-sacrifice when the heavenly king saw his unselfishness and sent a dragon horse to fly him to heaven to join his loved ones.
3. CRITICAL ANALYSIS
This ancient tale was new to me but quickly grew to be one of my favorites as I turned each page. Daniel San Souci tells the reader on the cover flap that this tale is a Korean favorite. The language and description in his book is enchanting. For example, “When the first trace of morning light swept across the lake, the blissful maidens swam back to shore.” This is a radiant example of “show, don’t tell.” He paints the perfect picture of a tender and inspiring, hard working and devoted main character in the woodcutter. He sacrifices his own happiness for the happiness of others. A wonderful message is retold by the author as many traditional tales do. The story also reminded the reader about respecting and protecting others weaker than ourselves This enthralling story kept me predicting and wondering what would happen next all the way to the last page. Even though the story has magical events, the book itself is magical.
The illustrations in this book, painted with acrylic paints by Eujin Kim Neilan, are a perfect match to the words chosen by San Souci. Souci’s text is spellbinding, yet simple. He uses lovely language, but does not go into long details. He doesn’t have to, because the illustrations tell the rest of the story. The brush strokes on the pages draw your eyes to the artwork. Here you see the beauty, tenderness, tone, and mood of the story on each page. The expressions on the characters ARE worth a thousand words. The hand gestures of the characters are particularly moving. The last page, showing the characters reunited along with the sentence, “Their joy gave the moon and stars a luster that caused no end to the wonder on the earth below,” offered a fulfilling “and they lived happily ever after” feeling.
4. REVIEW EXCERPT(S)
Booklist - "An evocative tale with a dulcet message."
School Library Journal –“Neilan’s paintings are wonderfully expressive and amplify the deep emotion of the situation. Her palette of yellows and browns shows people who are swathed in moonlight yet avoids the dimness that night scenes sometimes have.”
dulcet = pleasing to the ear; melodious.
Kirkus – “San Souci's retelling is captivating, but Neilan's vibrant use of line and emotional expressions furnish the enchantment.”
Publishers Weekly – “Neilan's images--of the enchanted woodland, the maiden's ascent to the heavens with her babe in arms and of the woodcutter astride a magnificent winged dragon en route to join them--evince a power readers will long remember.”
Horn Book - “The acrylic paintings extend the well-told text and add cultural details."
Daniel San Souci retells one of Korea's most beloved stories in shimmering prose that conjures new magic from this ancient tale. Eujin Kim Neilan, who researched the tale in Korea, sets the story at the time of the Chosun Dynasty. She captures that long-ago world in breathtaking illustrations. Together they have created a storybook treasure
1999 Parent Choice Award winner
5. CONNECTIONS
My six and seven year old grandchildren loved IN THE MOONLIGHT MIST: A KOREAN TALE. This story is perfect for children young and old. Bryn, our little artist, could not take her eyes off the brush strokes in the illustrations. She wants to write Neilan and ask how she “painted those beautiful pictures.” One reading was not enough. They wanted to hear the story a second time, and then a third before bedtime. Their mother, my daughter, is in heaven, and I asked them why they thought the woodcutter received a ride to heaven to be with his family. Jadyn answered, “Because the woodcutter was kind and thoughtful like Mommy.” Children make connections, too.
The theme of this story would be a good subject for a reading response. The children could brainstorm a time that someone sacrificed for them or they sacrificed for someone. They could discuss their feelings and how thoughtfulness and selflessness has its rewards.
Our textbook suggests as teachers we pre-teach a little about a country’s culture before reading a traditional tale from that setting. I think it would be interesting to tell them a little about the culture of Korea and the Chosun Dynasty. I admit I would learn new information about that part of the world and their history. One book reviewer suggested comparing this story to the famous tale told in China and Japan, THE COWHERD AND THE WEAVING MAID.
Friday, June 18, 2010
Cendrillon: A Caribbean Cinderella
Picture Book
1. BIBLIOGRAPHY
San Souci, Robert D. 1998. CENDRILLON: A CARIBBEAN CINDERELLA. Ill. by Brian Pinkney. New York: Simon & Schuster. ISBN 0689848889
2. PLOT SUMMARY
To begin this timeless tale, Nannin’, Cendrillon’s godmother, was given a magic wand of mahogany when her mother died; a wand to be used to help someone she loved. Years later our heroine, Cendrillon, found herself treated like a slave by her step-mother and step-sister in her own home. Tearfully, when Cendrillion and Nannin' were washing clothes side-by-side at the river, she told her godmother about Paul, the handsome son of a wealthy man. His father was hosting a ball in honor of Paul's birthday. Cendrillon desired more than anything to attend, but alas, she could not, because “Mamma” claimed she was lazy. Nannin’ lovingly used the magic wand to enable Cendrillon to attend the ball, where she and Paul fell in love. As the clock neared midnight, she had to leave quickly before the “magic” disappeared. In her haste she lost one pink slipper, which Paul used to search the town for the owner and reclaim his lost love. The slipper fit Cendrillon perfectly. She and Paul were married and Nannin’ was overjoyed to tell Cendrillon and Paul's story of love.
3. CRITICAL ANLAYSIS
Robert Souci realistically retells the classic tale of Cinderella in CENDRILLON: A CARIBBEAN CINDERELLA, with a West Indian cultural flare. The voice of the story comes from a poor washerwoman, who has known the main character, Cendrillon, since the day she was born. This loving relationship is an interesting twist to this adaption of Cinderella. The Creole retelling of the classic tale is authentically flavored with French Creole vocabulary. Although San Souci provides the reader with a glossary at the back of the book with definitions and pronunciations of the French Creole vocabulary used in the tale, many unfamiliar words can be understood by the reader from the context of the story.
There are thousands of versions of the Cinderella story. The fairy-tale protagonist suffers at the hands of an unkind or evil stepfamily, but luckily has a magical guardian that assists her (him) in triumph over evil. Research shows the turning point of these stories has to do with an article of clothing. In the case of the Caribbean Cinderella, a pink slipper leads him to her true love.
San Souci stays true to this famous structure, but adds a deeper meaning to the story when Cendrillon failed to let her godmother turn her rags into a beautiful gown when Paul discovered her at the home of her “cold, puffed-up proud" step-mother, Madame Prospèrine. Paul loved her for herself (dressed in rags) not the lovely stepdaughter dressed in finery.
Caldecott Honor winner, (Jerry) Brian Pinkney’s scratchboard, luma dyes, gouahe, and oil paints make dazzling illustrations and give life to the beautiful Carribean. His illustrations are waves and swirls of vivid color. Pinkney once noted he chooses stories to illustrate which he feels a personal connection. "I like illustrating stories about African-American subject matter because I learn about my culture and heritage."
Scratchboard—a technique similar to engraving, wherein the artist uses small tools to scrape and scratch away the surface of a prepared board's black coating to reveal the white clay underneath
Gouahe—a method of painting with watercolors mixed with a preparation of
gum that turns opaque as opposed to transparent watercolors.
4. REVIEW EXCERPT(S)
Horn Book Review: "Pinkney's signature multimedia art . . . glows with the richly
saturated colors of the Caribbean."
Publishers Weekly starred review: “… the story's charm lies not in the well-matched Caribbean bride and groom or in the (rather predictable) happy ending, but in the authentic voice of the godmother. Her affection for the kind Cendrillon inspires her bold and selfless acts to ensure the happiness of another. Through this colorful and deeply human godmother, readers witness the enduring power of love.”
Booklist starred review: …This (Cinderella) version, set on the island of Martinique, is particularly vibrant, both in its melodious language and its spirited art… The story follows the traditional lines, but always includes its own piquant touches…Pinkney's artwork, executed in his signature style, is softened here by pinks, greens, and blues evoking the warm breezes of the islands. Flowers border some of the pictures and swirls of color add texture to the backgrounds. Even the pace of the story seems slowed by the setting.”
School Library Journal starred review: “An outstanding Cinderella variant for any
collection."
5. CONNECTIONS
My grandchildren, ages seven and eight, loved this Carribean version of Cinderella. They are very familiar with the typical American adaptation and watch every one available on video. They were enchanted with the vibrant illustrations and loved the border details Pinkney added to some pages. They began doing the same to their own drawings
I would love to create a series of staff developments based on a study of several culturally unique tales from settings around the world. The website http://people.ucalgary.ca/~dkBrown/cinderella.html offers additional internet resources, reference books, picture books, full-length versions, as well as versions of Cinderella in collections.
1. BIBLIOGRAPHY
San Souci, Robert D. 1998. CENDRILLON: A CARIBBEAN CINDERELLA. Ill. by Brian Pinkney. New York: Simon & Schuster. ISBN 0689848889
2. PLOT SUMMARY
To begin this timeless tale, Nannin’, Cendrillon’s godmother, was given a magic wand of mahogany when her mother died; a wand to be used to help someone she loved. Years later our heroine, Cendrillon, found herself treated like a slave by her step-mother and step-sister in her own home. Tearfully, when Cendrillion and Nannin' were washing clothes side-by-side at the river, she told her godmother about Paul, the handsome son of a wealthy man. His father was hosting a ball in honor of Paul's birthday. Cendrillon desired more than anything to attend, but alas, she could not, because “Mamma” claimed she was lazy. Nannin’ lovingly used the magic wand to enable Cendrillon to attend the ball, where she and Paul fell in love. As the clock neared midnight, she had to leave quickly before the “magic” disappeared. In her haste she lost one pink slipper, which Paul used to search the town for the owner and reclaim his lost love. The slipper fit Cendrillon perfectly. She and Paul were married and Nannin’ was overjoyed to tell Cendrillon and Paul's story of love.
3. CRITICAL ANLAYSIS
Robert Souci realistically retells the classic tale of Cinderella in CENDRILLON: A CARIBBEAN CINDERELLA, with a West Indian cultural flare. The voice of the story comes from a poor washerwoman, who has known the main character, Cendrillon, since the day she was born. This loving relationship is an interesting twist to this adaption of Cinderella. The Creole retelling of the classic tale is authentically flavored with French Creole vocabulary. Although San Souci provides the reader with a glossary at the back of the book with definitions and pronunciations of the French Creole vocabulary used in the tale, many unfamiliar words can be understood by the reader from the context of the story.
There are thousands of versions of the Cinderella story. The fairy-tale protagonist suffers at the hands of an unkind or evil stepfamily, but luckily has a magical guardian that assists her (him) in triumph over evil. Research shows the turning point of these stories has to do with an article of clothing. In the case of the Caribbean Cinderella, a pink slipper leads him to her true love.
San Souci stays true to this famous structure, but adds a deeper meaning to the story when Cendrillon failed to let her godmother turn her rags into a beautiful gown when Paul discovered her at the home of her “cold, puffed-up proud" step-mother, Madame Prospèrine. Paul loved her for herself (dressed in rags) not the lovely stepdaughter dressed in finery.
Caldecott Honor winner, (Jerry) Brian Pinkney’s scratchboard, luma dyes, gouahe, and oil paints make dazzling illustrations and give life to the beautiful Carribean. His illustrations are waves and swirls of vivid color. Pinkney once noted he chooses stories to illustrate which he feels a personal connection. "I like illustrating stories about African-American subject matter because I learn about my culture and heritage."
Scratchboard—a technique similar to engraving, wherein the artist uses small tools to scrape and scratch away the surface of a prepared board's black coating to reveal the white clay underneath
Gouahe—a method of painting with watercolors mixed with a preparation of
gum that turns opaque as opposed to transparent watercolors.
4. REVIEW EXCERPT(S)
Horn Book Review: "Pinkney's signature multimedia art . . . glows with the richly
saturated colors of the Caribbean."
Publishers Weekly starred review: “… the story's charm lies not in the well-matched Caribbean bride and groom or in the (rather predictable) happy ending, but in the authentic voice of the godmother. Her affection for the kind Cendrillon inspires her bold and selfless acts to ensure the happiness of another. Through this colorful and deeply human godmother, readers witness the enduring power of love.”
Booklist starred review: …This (Cinderella) version, set on the island of Martinique, is particularly vibrant, both in its melodious language and its spirited art… The story follows the traditional lines, but always includes its own piquant touches…Pinkney's artwork, executed in his signature style, is softened here by pinks, greens, and blues evoking the warm breezes of the islands. Flowers border some of the pictures and swirls of color add texture to the backgrounds. Even the pace of the story seems slowed by the setting.”
School Library Journal starred review: “An outstanding Cinderella variant for any
collection."
5. CONNECTIONS
My grandchildren, ages seven and eight, loved this Carribean version of Cinderella. They are very familiar with the typical American adaptation and watch every one available on video. They were enchanted with the vibrant illustrations and loved the border details Pinkney added to some pages. They began doing the same to their own drawings
I would love to create a series of staff developments based on a study of several culturally unique tales from settings around the world. The website http://people.ucalgary.ca/~dkBrown/cinderella.html offers additional internet resources, reference books, picture books, full-length versions, as well as versions of Cinderella in collections.
Tuesday, June 15, 2010
A Caldecott Celebration
1. BIBLIOGRAPHY
Marcus, Leonard. 1998. A CALDECOTT CELEBRATION. Walker Publishing Company, Inc. New York: ISBN 0802786588
2. PLOT SUMMARY
Leonard Marcus takes us behind the scenes for an in depth look at six Caldecott Award winners from six different decades and gives an autobiographical slant to these artists and their paths to becoming award winners. An introduction tells the reader about this distinguished award given each year to the best illustrator of a children’s book. He also tells a little (because that’s all that’s known) about how the recipients are chosen. One thing that is certain. Winning this award “prompts librarians, teachers, parents, and children to talk about the books.
Marcus describes the journey of the winners and spotlights their art history and how their celebrated books came about. Each artist won his or her award in a different decade and the description gives a glimpse into the world at the time and how this history shaped the artist’s thinking and his/her work.
3. CRITICAL ANALYSIS: All teachers should own this book and take the
time to explain the history of these famous Caldecott Award Winning authors and illustrators before the books are enjoyed by their classes. Children would be amazed to read about these illustrators and their background. The history of how the books evolved through the hands of each author was fascinating. This book would appeal to all ages, young children listening to a description of McCloskey keeping ducks at his home to observe as well as how Chris Van Allsburg’s stories appear to older students studying the hidden meaning between the pages. The book also includes a helpful list of Caldecott winners from 1938 until the book was written in 1998. A glossary of artistic terms was placed in the back of the book to help the reader understand the terms artists use. His book would be a perfect addition to an art teacher's class library.
It would have been interesting to read how Marcus chose these particular books and how the books changed over the decades. It also would be interesting to read why Marcus decided these books were examples of the decades they were written.
4. REVIEW EXCERPT(S)
1999 ALA Notable Children's Book
1999 winner, Independent Publishers Association Award, Best Picture Book
1998 New York Public Library "100 Titles for Reading and Sharing"
Starred review from PUBLISHERS WEEKLY: “Filled with witty anecdotes and pithy observations, Marcus's (Dear Genius: The Letters of Ursula Nordstrom) approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers.”
Starred review from KIRKUS REVIEW: "Fascinating . . . An outstanding work about the connections between parents and children, editors and artists and readers and writers."
Starred review from BOOKLIST: "A beautifully made book."
Starred review from SCHOOL LIBRARY JOURNAL: "While the focus is on the creation of the award-winning books, a great deal of background about the artists' lives and the way in which they work is given. The large, attractive pages invite readers to savor the multitude of illustrations."
5. CONNECTIONS
I was fascinated with this book. It was so interesting to read about the author’s lives, the history at the time the Caldecott Award books were written, and how the authors gave birth to their stories. I told my granddaughters the story of how MAKE ROOM FOR DUCKLINGS was written and they giggled with delight. The author of one of their favorite books actually kept ducks as pets. “We want to draw ducks!” they shouted with glee, and begged to go down to the nearby lake and catch a duck!
Readers who enjoyed A CALDECOTT CELEBRATION may enjoy:
SHOW AND TELL: EXPLORING THE FINE ART OF CHILDREN’S BOOK ILLUSTRATIONS, Dilys Evans. ISBN13 9780811849715
ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TO TALK TO CHILDREN ABOUT THEIR ART, Eric Carle Museum of Picture Book Art. 13: 9780399246005
MAKE WAY FOR DUCKLINGS by Robert McCloskey
“You have to rather think like a duck.” Robert McCloskey
May Massee of Viking Press gave him good advice: …draw things he knew firsthand instead of the stuffy mythological scenes that he thought a “serious” artist was supposed to draw. He heard about a family of ducks that stopped traffic and decided that was a story he wanted to write. He studied ducks and even brought some home to live with him. McCloskey did not want an exact replica in his story of the park where his ducks lived; he wanted the” feel of the place.” He trimmed his final draft letting the illustrations tell more of the story. Make Way for Ducklings was published in 1941. In 1942 McCloskey found out he won the Caldecott for his book. He then went on to win another Caldecott medal as well as three Caldecott Honor Book Medals.
CINDERELLA; or, THE LITTLE GLASS SLIPPER by Marcia Brown
“When I was a child, thinking I would like one day to illustrate books for children, I always thought of the fairy tales that I loved.” Marcia Brown
Marcia Brown won six Caldecott Honor Awards before she won the Caldecott Award for Cinderella; or, The Little Glass Slipper. To research Brown spent months in museums and libraries studying the style of the setting and characters she would illustrate. She even studied the way her characters would move. In 1955, after coming home from dinner, Brown found out she had won the Caldecott Award for her Cinderella! From here Brown went on to win more awards as she studied and changed her style of artwork to “suit the stories.” In all Brown won six Caldecott Honor Awards and three Caldecott Awards.
WHERE THE WILD THINGS ARE by Maurice Sendak
“Where the Wild Things Are was not meant to please everybody – only children.” Maurice Sendak
As Max spent time on his island, Sendak’s Wild Things become larger, then smaller as he headed home. The illustrations tell the story in the middle of the book and most of the text is saved for the beginning and the end of the story. It took years for the final copy of Where the Wild Things are to go to print. Sendak won five Caldecott Honor Awards for his illustrations, and three Caldecott Awards.
SYLVESTER AND THE MAGIC PEBBLE by William Steig
“Art enhance the sense of wonder. And wonder is respect for life” William Steig.
Steig’s favorite animal is a donkey, explaining why he chose one to be the main character in Sylvester and the Magic Pebble. He clarified that he believes they are “charming animals…loving…and work hard.” Steig’s decided his donkey would walk on two legs and have a childlike face. His story was published in 1969. He won the Caldecott in 1970 and humbly stated he though the story was good because “the feelings are genuine.” In 1977 Steig won a Caldecott Honor Award for his story The Amazing Bone.
JUMANJI by Chris Van Allsburg
“Dear Mr. Van Allsburg…I am so glad your books are so weird because I am very weird. I think you are weird but great.” -a letter from a child to Chris Van Allsburg
Chris Van Allsburg, a sculptor in his early career, changed his art form to drawing and won a Caldecott Honor Award for his first published book, The Garden of Abdul Gasazi. His second book, Jumanji, won the Caldecott Award in 1982. The Polar Express also won the Caldecott Medal. . Many of his illustrations come from his imagination, but he does occasionally use photographs and models.
TUESDAY by David Wiesner
“A wordless book offers a different kind of experience…Each viewer reads the book in his or her own way… - David Wiesner
As a young boy Wiesner found it “fascinating to ‘read’ pictures that told a story.” The idea of flying frogs came to him when he sketched a frog on a lily pad on the middle of a blank page and the frog appeared to be flying. He sketched the pages for Tuesday aboard an airplane fight on a vacation. Wiesner studied nature photos and made sculptures of frogs to make his characters seem more life-like. He won the Caldecott Medal in 1992 for Tuesday. He had previously won the Caldecott Honor Award for Free Fall in 1989.
Marcus, Leonard. 1998. A CALDECOTT CELEBRATION. Walker Publishing Company, Inc. New York: ISBN 0802786588
2. PLOT SUMMARY
Leonard Marcus takes us behind the scenes for an in depth look at six Caldecott Award winners from six different decades and gives an autobiographical slant to these artists and their paths to becoming award winners. An introduction tells the reader about this distinguished award given each year to the best illustrator of a children’s book. He also tells a little (because that’s all that’s known) about how the recipients are chosen. One thing that is certain. Winning this award “prompts librarians, teachers, parents, and children to talk about the books.
Marcus describes the journey of the winners and spotlights their art history and how their celebrated books came about. Each artist won his or her award in a different decade and the description gives a glimpse into the world at the time and how this history shaped the artist’s thinking and his/her work.
3. CRITICAL ANALYSIS: All teachers should own this book and take the
time to explain the history of these famous Caldecott Award Winning authors and illustrators before the books are enjoyed by their classes. Children would be amazed to read about these illustrators and their background. The history of how the books evolved through the hands of each author was fascinating. This book would appeal to all ages, young children listening to a description of McCloskey keeping ducks at his home to observe as well as how Chris Van Allsburg’s stories appear to older students studying the hidden meaning between the pages. The book also includes a helpful list of Caldecott winners from 1938 until the book was written in 1998. A glossary of artistic terms was placed in the back of the book to help the reader understand the terms artists use. His book would be a perfect addition to an art teacher's class library.
It would have been interesting to read how Marcus chose these particular books and how the books changed over the decades. It also would be interesting to read why Marcus decided these books were examples of the decades they were written.
4. REVIEW EXCERPT(S)
1999 ALA Notable Children's Book
1999 winner, Independent Publishers Association Award, Best Picture Book
1998 New York Public Library "100 Titles for Reading and Sharing"
Starred review from PUBLISHERS WEEKLY: “Filled with witty anecdotes and pithy observations, Marcus's (Dear Genius: The Letters of Ursula Nordstrom) approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers.”
Starred review from KIRKUS REVIEW: "Fascinating . . . An outstanding work about the connections between parents and children, editors and artists and readers and writers."
Starred review from BOOKLIST: "A beautifully made book."
Starred review from SCHOOL LIBRARY JOURNAL: "While the focus is on the creation of the award-winning books, a great deal of background about the artists' lives and the way in which they work is given. The large, attractive pages invite readers to savor the multitude of illustrations."
5. CONNECTIONS
I was fascinated with this book. It was so interesting to read about the author’s lives, the history at the time the Caldecott Award books were written, and how the authors gave birth to their stories. I told my granddaughters the story of how MAKE ROOM FOR DUCKLINGS was written and they giggled with delight. The author of one of their favorite books actually kept ducks as pets. “We want to draw ducks!” they shouted with glee, and begged to go down to the nearby lake and catch a duck!
Readers who enjoyed A CALDECOTT CELEBRATION may enjoy:
SHOW AND TELL: EXPLORING THE FINE ART OF CHILDREN’S BOOK ILLUSTRATIONS, Dilys Evans. ISBN13 9780811849715
ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TO TALK TO CHILDREN ABOUT THEIR ART, Eric Carle Museum of Picture Book Art. 13: 9780399246005
MAKE WAY FOR DUCKLINGS by Robert McCloskey
“You have to rather think like a duck.” Robert McCloskey
May Massee of Viking Press gave him good advice: …draw things he knew firsthand instead of the stuffy mythological scenes that he thought a “serious” artist was supposed to draw. He heard about a family of ducks that stopped traffic and decided that was a story he wanted to write. He studied ducks and even brought some home to live with him. McCloskey did not want an exact replica in his story of the park where his ducks lived; he wanted the” feel of the place.” He trimmed his final draft letting the illustrations tell more of the story. Make Way for Ducklings was published in 1941. In 1942 McCloskey found out he won the Caldecott for his book. He then went on to win another Caldecott medal as well as three Caldecott Honor Book Medals.
CINDERELLA; or, THE LITTLE GLASS SLIPPER by Marcia Brown
“When I was a child, thinking I would like one day to illustrate books for children, I always thought of the fairy tales that I loved.” Marcia Brown
Marcia Brown won six Caldecott Honor Awards before she won the Caldecott Award for Cinderella; or, The Little Glass Slipper. To research Brown spent months in museums and libraries studying the style of the setting and characters she would illustrate. She even studied the way her characters would move. In 1955, after coming home from dinner, Brown found out she had won the Caldecott Award for her Cinderella! From here Brown went on to win more awards as she studied and changed her style of artwork to “suit the stories.” In all Brown won six Caldecott Honor Awards and three Caldecott Awards.
WHERE THE WILD THINGS ARE by Maurice Sendak
“Where the Wild Things Are was not meant to please everybody – only children.” Maurice Sendak
As Max spent time on his island, Sendak’s Wild Things become larger, then smaller as he headed home. The illustrations tell the story in the middle of the book and most of the text is saved for the beginning and the end of the story. It took years for the final copy of Where the Wild Things are to go to print. Sendak won five Caldecott Honor Awards for his illustrations, and three Caldecott Awards.
SYLVESTER AND THE MAGIC PEBBLE by William Steig
“Art enhance the sense of wonder. And wonder is respect for life” William Steig.
Steig’s favorite animal is a donkey, explaining why he chose one to be the main character in Sylvester and the Magic Pebble. He clarified that he believes they are “charming animals…loving…and work hard.” Steig’s decided his donkey would walk on two legs and have a childlike face. His story was published in 1969. He won the Caldecott in 1970 and humbly stated he though the story was good because “the feelings are genuine.” In 1977 Steig won a Caldecott Honor Award for his story The Amazing Bone.
JUMANJI by Chris Van Allsburg
“Dear Mr. Van Allsburg…I am so glad your books are so weird because I am very weird. I think you are weird but great.” -a letter from a child to Chris Van Allsburg
Chris Van Allsburg, a sculptor in his early career, changed his art form to drawing and won a Caldecott Honor Award for his first published book, The Garden of Abdul Gasazi. His second book, Jumanji, won the Caldecott Award in 1982. The Polar Express also won the Caldecott Medal. . Many of his illustrations come from his imagination, but he does occasionally use photographs and models.
TUESDAY by David Wiesner
“A wordless book offers a different kind of experience…Each viewer reads the book in his or her own way… - David Wiesner
As a young boy Wiesner found it “fascinating to ‘read’ pictures that told a story.” The idea of flying frogs came to him when he sketched a frog on a lily pad on the middle of a blank page and the frog appeared to be flying. He sketched the pages for Tuesday aboard an airplane fight on a vacation. Wiesner studied nature photos and made sculptures of frogs to make his characters seem more life-like. He won the Caldecott Medal in 1992 for Tuesday. He had previously won the Caldecott Honor Award for Free Fall in 1989.
Monday, June 14, 2010
The Pigeon Wants a Puppy!
1. BIBLIOGRAPHY
Willems, Mo, 2008. THE PIGEON WANTS A PUPPY. New York: Hyperion Books for Children. ISBN-9781423109600
2. PLOT SUMMARY
Pigeon wants a puppy, and he wants it now! He promises to take care of it…water him once a month and give him plenty of sunshine. But whoa! This puppy has teeth, and hair, and a wet nose, and slobber, and claws! Never mind. Pigeon would rather have a walrus.
3. CRITICAL ANALYSIS
Mo Willems pigeon is at it again. Children everywhere should love this character that acts and thinks like a little child. “He wants what he wants when he wants it.” The blue and white pigeon is speaking directly to the reader in language children understand. The words are placed on the page to show emotion; big letters for big thoughts, little letters for words said under his “beak.” Willems places most of his words in speech bubbles in font that looks much like an old typewriter, although children would not understand this. It does make it fun for adults to look at, especially since children will want to hear this story over and over again. Willems brings his pigeon to life by having him act just like a little child.
By the way, do you know what I want?
What I've wanted forever...?
At least since last Tuesday...?
A PUPPY!
Puppy! Puppy! Puppy!
Willems illustrations are brilliant. This story has two characters: the famous pigeon and a puppy. With the closing of an eye and the flick of a wing, Pigeon’s body language exactly matches his speech. He leans a little to the left and a little to the right. His wings are up, down, on his “hips,” and all around. His feet are on the ground and up in the air. His legs are straight, bent, both up, one down. The expression in Pigeon’s eye(s) is perfectly matched to the text. Willems background color changes with the mood of the story. When Pigeon is happy or excited in this book, the background is purple. When he is frightened or sad, the background changes to grey. Pigeon stays blue and white, but that is the only thing consistent about this silly bird. Pigeon’s puppy is a little too much for him. Even a friendly little puppy seems big and bad to a tiny pigeon. Parents reading this book can relate to a child wanting something badly and then finally receiving it and changing his or her mind, opening up a door for “remember when...?
Even though many adults and children would never tire of Mo Willems’s pigeon, the character does act the same, book after book. This could cause a situation for some adults to tire of the character after dozens of rereads. Luckily the author has more books with other characters who take on the characteristics of children, like an elephant, a pig, a cat, and even a naked mole rat.
4. REVIEW EXCERPT(S)
Children’s Choice Award 2009
Starred review in SCHOOL LIBRARY JOURNAL: “Kids will love this perfectly paced picture book, which offers both the expected (breaking the fourth wall, Pigeon's classic temper tantrum) and a new twist (Pigeon actually gets what he wants? Impossible!). Willems's hilariously expressive illustrations and engaging text are cinematic in their interplay.”
Starred review in BOOKLIST: “Willems skillfully executes the formula that made previous Pigeon titles so popular: minimal artwork that places all the attention on the cajoling little bird, whose words and body language will strike a chord of familiarity with every child.”
5. CONNECTIONS
I have personally purchased almost every book that Mo Willems has published. Why? Because my young grandchildren love to hear his stories. The text in his books makes fluent, expressive reading a must. My grandchildren laugh every time I read them their pigeon books like it is the first time they have heard them. The language is so simple they read the words with me.
Children who love THE PIGEON WANTS A PUPPY will most likely adore Willems’s other series books: the Elephant, Piggie and Cat the cat.
Willems, Mo, 2008. THE PIGEON WANTS A PUPPY. New York: Hyperion Books for Children. ISBN-9781423109600
2. PLOT SUMMARY
Pigeon wants a puppy, and he wants it now! He promises to take care of it…water him once a month and give him plenty of sunshine. But whoa! This puppy has teeth, and hair, and a wet nose, and slobber, and claws! Never mind. Pigeon would rather have a walrus.
3. CRITICAL ANALYSIS
Mo Willems pigeon is at it again. Children everywhere should love this character that acts and thinks like a little child. “He wants what he wants when he wants it.” The blue and white pigeon is speaking directly to the reader in language children understand. The words are placed on the page to show emotion; big letters for big thoughts, little letters for words said under his “beak.” Willems places most of his words in speech bubbles in font that looks much like an old typewriter, although children would not understand this. It does make it fun for adults to look at, especially since children will want to hear this story over and over again. Willems brings his pigeon to life by having him act just like a little child.
By the way, do you know what I want?
What I've wanted forever...?
At least since last Tuesday...?
A PUPPY!
Puppy! Puppy! Puppy!
Willems illustrations are brilliant. This story has two characters: the famous pigeon and a puppy. With the closing of an eye and the flick of a wing, Pigeon’s body language exactly matches his speech. He leans a little to the left and a little to the right. His wings are up, down, on his “hips,” and all around. His feet are on the ground and up in the air. His legs are straight, bent, both up, one down. The expression in Pigeon’s eye(s) is perfectly matched to the text. Willems background color changes with the mood of the story. When Pigeon is happy or excited in this book, the background is purple. When he is frightened or sad, the background changes to grey. Pigeon stays blue and white, but that is the only thing consistent about this silly bird. Pigeon’s puppy is a little too much for him. Even a friendly little puppy seems big and bad to a tiny pigeon. Parents reading this book can relate to a child wanting something badly and then finally receiving it and changing his or her mind, opening up a door for “remember when...?
Even though many adults and children would never tire of Mo Willems’s pigeon, the character does act the same, book after book. This could cause a situation for some adults to tire of the character after dozens of rereads. Luckily the author has more books with other characters who take on the characteristics of children, like an elephant, a pig, a cat, and even a naked mole rat.
4. REVIEW EXCERPT(S)
Children’s Choice Award 2009
Starred review in SCHOOL LIBRARY JOURNAL: “Kids will love this perfectly paced picture book, which offers both the expected (breaking the fourth wall, Pigeon's classic temper tantrum) and a new twist (Pigeon actually gets what he wants? Impossible!). Willems's hilariously expressive illustrations and engaging text are cinematic in their interplay.”
Starred review in BOOKLIST: “Willems skillfully executes the formula that made previous Pigeon titles so popular: minimal artwork that places all the attention on the cajoling little bird, whose words and body language will strike a chord of familiarity with every child.”
5. CONNECTIONS
I have personally purchased almost every book that Mo Willems has published. Why? Because my young grandchildren love to hear his stories. The text in his books makes fluent, expressive reading a must. My grandchildren laugh every time I read them their pigeon books like it is the first time they have heard them. The language is so simple they read the words with me.
Children who love THE PIGEON WANTS A PUPPY will most likely adore Willems’s other series books: the Elephant, Piggie and Cat the cat.
The Hello, Goodbye Window
1. BIBLIOGRAPHY
Juster, Norton, 2005. THE HELLO, GOODBYE WINDOW. Ill. by Raschka, Chris. New York: Michael Di Capua Books. ISBN-13: 9789573259947
2. PLOT SUMMARY
This story does not have a typical plotline with a problem and solution. Juster’s story chronicles a day in the life of a young child at Nanna and Poppy’s house. The story, told through the voice of this young child, explains to the reader the many wonderful adventures that occur when she is totally doted on by loving grandparents. Her day is filled with joy, security, and wonder as she takes turns spending time with two people she loves and love her in return. One recurring object in the house is the Hello, Goodbye Window. Through this window the family greets each other upon arriving and gazes longingly as they wave goodbye. The window is the portal to the bedtime stars and the entry place of the morning sun.
3. CRITICAL ANALYSIS
Norton’s nameless main character is egocentric in a way that most three to four year old children are, as evidenced when she claims, “When I get tired I come in and take my nap and nothing happens until I get up.” The voice resonating through the book is that of a youngster that children may relate to because it mimics the way they observe the world. Norton’s placement of the text on the page is poetic. His sentences are separated into phrases, supporting fluency as children read or listen to the story. The text is large and bold, which contrasts with the impressionistic artwork of the illustrator. An adult reading the story may relive his or her own memories of a grandparent. Grandparents reading the story may feel an emotional connection to the author’s depiction of the important role they have in the lives of their grandchildren.
Chris Raschka’s Caldecott winning impressionistic illustrations are a created using watercolors, pastel crayons, and charcoal pencil. The images are childlike with busy, yet not overwhelming lines and squiggles, complementing this story told through the eyes and voice of the main character. The lines and movement he creates to depict the emotions of the characters add to the charm and comprehension of the story. Raschka’s two page illustration of a child and her grandmother saying goodnight to the stars out the Hello, Goodbye Window adds a magical quality to the story as the main character explains to the reader that her nanna knows them all.
4. REVIEW EXCERPT(S)
Caldecott Medal Winner: 2006 “Raschka’s style resembles the spontaneous drawings of children, perfectly mirroring the guileless young narrator’s exuberant voice.”
Booklist Editors’ Choice: Books for Youth, 2006 Notable Children’s Books: 2006
ALA Notable Children's Book: 2006
A Publishers Weekly Best Children's Book of 2005
A School Library Journal Best Book of 2005
A Kirkus Reviews Best Book of 2005
A New York Times Best Illustrated Book, 2005
A Nick Jr. Best Book of the Year
A Parenting Magazine Best Book of the Year 2005
A Child Magazine Best Book of the Year 2005
Chicago Public Library Best of the Best, 2005
Boston Globe/Horn Book Honor: 2005
Booksense Children's Pick: 2005
A Zolotow Highly Commended Book
CCBC Choices 2006
Bank Street Best Children's Book of the Year (Outstanding Merit): 2006
Starred review in SCHOOL LIBRARY JOURNAL: “Raschka’s visual interpretation of this sweet story sings… this is the art of a masterful hand.”
Starred KIRKUS review 3/1/05: “Juster adopts the voice of a child with a steady, sweet candor.”
Starred review in BOOKLIST: “Two well-known names come together in a book that speaks to the real lives of children.”
Starred review in PUBLISHER'S WEEKLY: "Juster crafts an endearing portrait of a grandchild and her grandparents in this endearing book illustrated in paintbox colors by Raschka. . . Grandparents will be especially charmed by this relaxed account of how a child's visit occasions everyday magic."
5. CONNECTIONS
My six year old granddaughter read this book to me and marveled at the illustrations. “I bet I could draw that picture, “she exclaimed. We sat in the middle of a king-sized bed, supported by a sea of pillows and explored each line and illustration. Her favorite illustrations were on pages 10 and 11 as the little girl watched in amazement as Poppy played the harmonica and page 23, as the child and her poppy played with the garden hose.
Enjoy the illustrations of other books illustrated by Chris Raschka, winner of the Caldecott Award For example:
YO! YES?, ISBN-13: 978-0531071083 PARKER PLAYED BE BOP, ISBN-13: 978-0531059999 FISHING IN THE AIR, ISBN-13: 978-0060281113 SOURPUSS AND SWEETIE PIE, ISBN-13: 978-0439929431 GOOD SPORTS: RHYMES ABOUT RUNNING, JUMPING, THROWING, ISBN-13:9780375837005
Juster, Norton, 2005. THE HELLO, GOODBYE WINDOW. Ill. by Raschka, Chris. New York: Michael Di Capua Books. ISBN-13: 9789573259947
2. PLOT SUMMARY
This story does not have a typical plotline with a problem and solution. Juster’s story chronicles a day in the life of a young child at Nanna and Poppy’s house. The story, told through the voice of this young child, explains to the reader the many wonderful adventures that occur when she is totally doted on by loving grandparents. Her day is filled with joy, security, and wonder as she takes turns spending time with two people she loves and love her in return. One recurring object in the house is the Hello, Goodbye Window. Through this window the family greets each other upon arriving and gazes longingly as they wave goodbye. The window is the portal to the bedtime stars and the entry place of the morning sun.
3. CRITICAL ANALYSIS
Norton’s nameless main character is egocentric in a way that most three to four year old children are, as evidenced when she claims, “When I get tired I come in and take my nap and nothing happens until I get up.” The voice resonating through the book is that of a youngster that children may relate to because it mimics the way they observe the world. Norton’s placement of the text on the page is poetic. His sentences are separated into phrases, supporting fluency as children read or listen to the story. The text is large and bold, which contrasts with the impressionistic artwork of the illustrator. An adult reading the story may relive his or her own memories of a grandparent. Grandparents reading the story may feel an emotional connection to the author’s depiction of the important role they have in the lives of their grandchildren.
Chris Raschka’s Caldecott winning impressionistic illustrations are a created using watercolors, pastel crayons, and charcoal pencil. The images are childlike with busy, yet not overwhelming lines and squiggles, complementing this story told through the eyes and voice of the main character. The lines and movement he creates to depict the emotions of the characters add to the charm and comprehension of the story. Raschka’s two page illustration of a child and her grandmother saying goodnight to the stars out the Hello, Goodbye Window adds a magical quality to the story as the main character explains to the reader that her nanna knows them all.
4. REVIEW EXCERPT(S)
Caldecott Medal Winner: 2006 “Raschka’s style resembles the spontaneous drawings of children, perfectly mirroring the guileless young narrator’s exuberant voice.”
Booklist Editors’ Choice: Books for Youth, 2006 Notable Children’s Books: 2006
ALA Notable Children's Book: 2006
A Publishers Weekly Best Children's Book of 2005
A School Library Journal Best Book of 2005
A Kirkus Reviews Best Book of 2005
A New York Times Best Illustrated Book, 2005
A Nick Jr. Best Book of the Year
A Parenting Magazine Best Book of the Year 2005
A Child Magazine Best Book of the Year 2005
Chicago Public Library Best of the Best, 2005
Boston Globe/Horn Book Honor: 2005
Booksense Children's Pick: 2005
A Zolotow Highly Commended Book
CCBC Choices 2006
Bank Street Best Children's Book of the Year (Outstanding Merit): 2006
Starred review in SCHOOL LIBRARY JOURNAL: “Raschka’s visual interpretation of this sweet story sings… this is the art of a masterful hand.”
Starred KIRKUS review 3/1/05: “Juster adopts the voice of a child with a steady, sweet candor.”
Starred review in BOOKLIST: “Two well-known names come together in a book that speaks to the real lives of children.”
Starred review in PUBLISHER'S WEEKLY: "Juster crafts an endearing portrait of a grandchild and her grandparents in this endearing book illustrated in paintbox colors by Raschka. . . Grandparents will be especially charmed by this relaxed account of how a child's visit occasions everyday magic."
5. CONNECTIONS
My six year old granddaughter read this book to me and marveled at the illustrations. “I bet I could draw that picture, “she exclaimed. We sat in the middle of a king-sized bed, supported by a sea of pillows and explored each line and illustration. Her favorite illustrations were on pages 10 and 11 as the little girl watched in amazement as Poppy played the harmonica and page 23, as the child and her poppy played with the garden hose.
Enjoy the illustrations of other books illustrated by Chris Raschka, winner of the Caldecott Award For example:
YO! YES?, ISBN-13: 978-0531071083 PARKER PLAYED BE BOP, ISBN-13: 978-0531059999 FISHING IN THE AIR, ISBN-13: 978-0060281113 SOURPUSS AND SWEETIE PIE, ISBN-13: 978-0439929431 GOOD SPORTS: RHYMES ABOUT RUNNING, JUMPING, THROWING, ISBN-13:9780375837005
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