Review of THE FIRST PART LAST
A. Johnson, Angela. 2004. New York: Simon, Pulse. ISBN 0689849230, 9780689849237.
B. PLOT SUMMARY: On Bobby's 16th birthday he gets a surprise from his girlfriend, Nia. She's pregnant! Bobby's family is very real, a working middle class family where Nia's family is more upper middle class. The parents are pushing for adoption and Nia's family is much more upset about the situation than Bobby's. Bobby makes the tough decision to keep the baby and care for Feather himself even though it comes at the price of nearly loosing his pre-baby life. He does stay in school and is a good role model to his male friends for, hopefully only a future reference. Near the end of the book we find that Nia is in a coma and fighting for her life. She has never recovered from childbirth and eclampsia. Bobby is so in love with his baby girl and awed by the depth of his love for her and amazed each day by things she learns and how much she grows. At the end readers are led to feel that Bobby and Feather will make it and their life together will be good though difficult daily.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
People that believe one doesn't judge a book by it's cover are truly blind in the day and age we live in. The paperback cover is more effective it draws you in. It shows an extremely handsome young African American in casual clothes and thick picture perfect dreadlocks. He is holding a newborn baby girl who's dressed in a fucshia sleeper.
This book is very much not the norm. In reality and in fiction portrayals we have many worries about the African American male father who infrequently acknowledges and rarely helps raise the baby or pay child support to the mother. Bobby is the complete opposite which is very healthy. He talks in glowing terms about the baby girl, Feather, falling asleep on his stomach. He is responsible and stays in school and takes care of his daughter riding the bus across town to get her in a good childcare program and then rushing back to high school classes.
Another thing that is not the norm is that Bobby's mother doesn't jump up and decide to raise the baby as if she were mother instead of grandmother. Bobby's mom is helpful and supportive but she is not routinely sympathetic. She gives Bobby tough love and helps him rise to the occassion.
There is a bit of stereotypical attitude in that the wealthy get more upset as a rule about out of wedlock babies than the middle class and working poor. Parents of daughters get more upset because it is usually the mom whose life changes most dramatically.
Bobby's friends seem authentic by the clothing, language, and attitudes. One of his friends understands and is encouraging to Bobby. The other is so put off and walks away from their friendship in part because of the lack of time that he and Bobby have to spend together.
REVIEW EXCERPTS:
School Library Journal opines, "Grade 8 Up-Brief, poetic, and absolutely riveting, this gem of a novel tells the story of a young father struggling to raise an infant. Bobby, 16, is a sensitive and intelligent narrator. His parents are supportive but refuse to take over the child-care duties, so he struggles to balance parenting, school, and friends who don't comprehend his new role. Alternate chapters go back to the story of Bobby's relationship with his girlfriend Nia and how parents and friends reacted to the news of her pregnancy."
Reviews accessed at :
http://www.amazon.com/First-Part-Last-Angela-Johnson/dp/0689849230/ref=pd_sxp_f_r/103-3639199-3279836
CONNECTIONS:
Other realistic fiction with African American protagonists
Myers, Walter Dean. MOTOWN AND DIDI
Frank, E.R. AMERICA
Multicultural but with a Jewish and Christian family and real life situations
Mazer, Norma Fox. AFTER THE RAIN
African American Realistic Fiction, issue: Drunk Driving and it's consequences
Sharon, Draper. TEARS OF A TIGER
Caucasian Realistic Fiction, issue: Drunk Driving and it's consequences
Rylant, Cynthia. Izzy, Willy, Nilly
Saturday, June 23, 2007
LS 5903 MULTICULTURAL LITERATURE
Review of THE OLD AFRICAN
A. Lester, Julius, and Jerry Pinkney, illustrator. 2005. New York: Dial
ISBN 0803725647.
B. PLOT SUMMARY
The old African used to be called Jaja and his wife was named Ola. In the dark of night their village is raided and the two, with hundreds of others are captured by other Africans whose tribe and language they do not recognize. After days and days of walking through jungles they hear a very loud roar that they do not recognize. It is the roar of the ocean waves. As they get closer to seaside they see many white men. Jaja's culture has taught him about the "Lord of the Dead" who is milky white in color. His role is similar to that of the Grim Reaper of legend. The captured Africans are suprised because they believed their was only a single figure who was The Lord of the Dead but because of their cruel behavior the captured ones believed them to all be "Lords" of the dead. The book realistically takes us through the experience of the Africans being shaved and undressed and the white men touching them repeatedly to assure their sturdiness, muscles, and general health. In the downstairs cabins they are forced to sleep on their sides while they are shackled to each other by foot, neck, and waist. Lester tells the important details such as their heads having to rest on the African in front of them. The heat and body odor for such an extended time left many reguritating. In the morning the soon to be slaves were covered in feces and smelled of urine. They were given a bucket of sea water in which to wash off with above in the open part of the ship. Ola jumps to her death after a white man fondles her breast repeatedly in public. As she resurfaces she seems to be smiling. Jaja seems to think she was even laughing so he is happy for her soul rather than steeped in sadness at his personal loss. The rest of the narrative is about the "Old African" who is a herbalist and a powerful magician in the mythological sense. He can focus his mind so intensely and when someone is suffering greatly he projects the opposite of their pain and he can always ease their pain and sometimes obliterate it. He has a strong power for healing and putting messages into another's mind.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE OLD AFRICAN is an especially moving and empowering tale and that is in large part because the story is rooted in truth. Some people like to quibble about what is truth and what is fiction. It is moot point for some of us. I believe King Arthur was a very real person and that there were/are compilations of him throughout history. In the same vein Lester and Pinkney make me believe in the essence, in the truth of the Old African because to believe in the African is to believe in what is best in all of us.
Jaja is an archetype of the physically huge all knowing benevolent African who gets just a drop of extra tolerance and freedom from his boss. He is very reminiscent of the character John Coffey from Stephen King's novel and movie screenplay, THE GREEN MILE. Coffey served as a sin eater and had otherworldly powers as does the "Old African" In the end Jaja, the Old African, leads his people off Riley's plantation back to the ocean where they walk across the ocean floor and have no physical problems such as breathing. The story is based in large part about a legend from the Georgia coast that an oppressed group of slaves walked across the bottom of the ocean and ended back where they had come from. The story is inspiring and extremely moving. Both Lester and Pinkney offer a united collage of another world, place, and time, where horror and miracles exist side by side each day.
The illustrations and story are very realistic and well researched. As a longtime fan of Lester and Pinkney I must say they have outdone themselves in this powerful, majestic tale. The daily chores, picking cotton in the fields, the slave quarters, the beating of a runaway slave all ring with truth. The motif of family is very strong in the story and the interdependence and respect for the elders in a quasi family such as during slavery or a "traditional" family before the Africans come to America. Jaja had a mentor that taught him his magic and humanity or taught him how to handle his gifts. The family quality of the story shows the Old African's familial role as his mentor dies on the ship and both he and Ola's father passed away early on after the raid in the night. Those sorrows are overshadowed in the end as the Old African takes on their strength, their roles to help and train others. As Rocham says in STORIES MATTER: "Racism dehumanizes, but a good story defeats the stereotype." The Old African is a masterful story full of drama and hope. While never being derogatory towards the plantation owner the response of the Old African and his friends is transcendent and awe inspiring. A glorious and moving story for all ages and ethnicities. The books ends but the feelings and message cannot. I simply cannot recommend it highly enough.
D. REVIEW EXCERPTS
A starred review in School Library Journal includes, "As the story opens, the Old African is watching a boy being whipped on a plantation in Georgia. He is putting a picture into the minds of his comrades--a picture of water as soft and cool as a lullaby --and the picture stops the boy's pain. The Old African doesn't speak--he hasn't since he was brought over on a slave ship--why should he when there is no one who would understand? As he cares for the boy, who had been whipped for running away, a hope sprouts in his mind--a wayto return home and he uses his powers to take his people on an incredible journeyhome. Lester's story is based on a legend about Ybo Landing, Georgia, where a group of slaves walked into the water, saying they were walking to Africa."
Booklist adds in a starred review, "Lester has brought the African American slavery experience to young readers. Complemented by Pinkney's powerful illustration, this picture book presents an unflinching account of the brutal history and personal courage, told with a lyrical magic realism that draws on slave legend and the dream of freedom."
Reviews accessed on: http://www.amazon.com/gp/product/product-description/0803725647/sr=1-1/qid=1182646586/ref=dp_proddesc_0/103-0793530-6662216?ie=UTF8&n=283155&s=books&qid=1182646586&sr=1-1
CONNECTIONS:
Other slave folktales such as:
Hamilton, Virginia. THE PEOPLE COULD FLY: AMERICAN BLACK FOLKTALES.
San Souci, Robert and Brian Pinkney. SUKEY AND THE MERMAID
Also consider Lester has many other slave narrative stories
A. Lester, Julius, and Jerry Pinkney, illustrator. 2005. New York: Dial
ISBN 0803725647.
B. PLOT SUMMARY
The old African used to be called Jaja and his wife was named Ola. In the dark of night their village is raided and the two, with hundreds of others are captured by other Africans whose tribe and language they do not recognize. After days and days of walking through jungles they hear a very loud roar that they do not recognize. It is the roar of the ocean waves. As they get closer to seaside they see many white men. Jaja's culture has taught him about the "Lord of the Dead" who is milky white in color. His role is similar to that of the Grim Reaper of legend. The captured Africans are suprised because they believed their was only a single figure who was The Lord of the Dead but because of their cruel behavior the captured ones believed them to all be "Lords" of the dead. The book realistically takes us through the experience of the Africans being shaved and undressed and the white men touching them repeatedly to assure their sturdiness, muscles, and general health. In the downstairs cabins they are forced to sleep on their sides while they are shackled to each other by foot, neck, and waist. Lester tells the important details such as their heads having to rest on the African in front of them. The heat and body odor for such an extended time left many reguritating. In the morning the soon to be slaves were covered in feces and smelled of urine. They were given a bucket of sea water in which to wash off with above in the open part of the ship. Ola jumps to her death after a white man fondles her breast repeatedly in public. As she resurfaces she seems to be smiling. Jaja seems to think she was even laughing so he is happy for her soul rather than steeped in sadness at his personal loss. The rest of the narrative is about the "Old African" who is a herbalist and a powerful magician in the mythological sense. He can focus his mind so intensely and when someone is suffering greatly he projects the opposite of their pain and he can always ease their pain and sometimes obliterate it. He has a strong power for healing and putting messages into another's mind.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE OLD AFRICAN is an especially moving and empowering tale and that is in large part because the story is rooted in truth. Some people like to quibble about what is truth and what is fiction. It is moot point for some of us. I believe King Arthur was a very real person and that there were/are compilations of him throughout history. In the same vein Lester and Pinkney make me believe in the essence, in the truth of the Old African because to believe in the African is to believe in what is best in all of us.
Jaja is an archetype of the physically huge all knowing benevolent African who gets just a drop of extra tolerance and freedom from his boss. He is very reminiscent of the character John Coffey from Stephen King's novel and movie screenplay, THE GREEN MILE. Coffey served as a sin eater and had otherworldly powers as does the "Old African" In the end Jaja, the Old African, leads his people off Riley's plantation back to the ocean where they walk across the ocean floor and have no physical problems such as breathing. The story is based in large part about a legend from the Georgia coast that an oppressed group of slaves walked across the bottom of the ocean and ended back where they had come from. The story is inspiring and extremely moving. Both Lester and Pinkney offer a united collage of another world, place, and time, where horror and miracles exist side by side each day.
The illustrations and story are very realistic and well researched. As a longtime fan of Lester and Pinkney I must say they have outdone themselves in this powerful, majestic tale. The daily chores, picking cotton in the fields, the slave quarters, the beating of a runaway slave all ring with truth. The motif of family is very strong in the story and the interdependence and respect for the elders in a quasi family such as during slavery or a "traditional" family before the Africans come to America. Jaja had a mentor that taught him his magic and humanity or taught him how to handle his gifts. The family quality of the story shows the Old African's familial role as his mentor dies on the ship and both he and Ola's father passed away early on after the raid in the night. Those sorrows are overshadowed in the end as the Old African takes on their strength, their roles to help and train others. As Rocham says in STORIES MATTER: "Racism dehumanizes, but a good story defeats the stereotype." The Old African is a masterful story full of drama and hope. While never being derogatory towards the plantation owner the response of the Old African and his friends is transcendent and awe inspiring. A glorious and moving story for all ages and ethnicities. The books ends but the feelings and message cannot. I simply cannot recommend it highly enough.
D. REVIEW EXCERPTS
A starred review in School Library Journal includes, "As the story opens, the Old African is watching a boy being whipped on a plantation in Georgia. He is putting a picture into the minds of his comrades--a picture of water as soft and cool as a lullaby --and the picture stops the boy's pain. The Old African doesn't speak--he hasn't since he was brought over on a slave ship--why should he when there is no one who would understand? As he cares for the boy, who had been whipped for running away, a hope sprouts in his mind--a wayto return home and he uses his powers to take his people on an incredible journeyhome. Lester's story is based on a legend about Ybo Landing, Georgia, where a group of slaves walked into the water, saying they were walking to Africa."
Booklist adds in a starred review, "Lester has brought the African American slavery experience to young readers. Complemented by Pinkney's powerful illustration, this picture book presents an unflinching account of the brutal history and personal courage, told with a lyrical magic realism that draws on slave legend and the dream of freedom."
Reviews accessed on: http://www.amazon.com/gp/product/product-description/0803725647/sr=1-1/qid=1182646586/ref=dp_proddesc_0/103-0793530-6662216?ie=UTF8&n=283155&s=books&qid=1182646586&sr=1-1
CONNECTIONS:
Other slave folktales such as:
Hamilton, Virginia. THE PEOPLE COULD FLY: AMERICAN BLACK FOLKTALES.
San Souci, Robert and Brian Pinkney. SUKEY AND THE MERMAID
Also consider Lester has many other slave narrative stories
Friday, June 22, 2007
LS 5903 MULTICULTURAL LITERATURE
BOOK REVIEW: ACCIDENTAL LOVE
A. Soto, Gary. ACCIDENTAL LOVE. New York: Harcourt, 2006. ISBN: 0152061134, 978-0152061135.
B. PLOT SUMMARY:
Marisa is a 14 year old Latino girl living in a lower middle class neighborhood who is prone to beating up boys and making poor grades. She begins her first romance by a chance meeting with Rene, a 13 year old who goes to a mostly white magnet school in an upper middle class part of town. Marisa is brave, strong, impulsive, volatile, and chubby. She routinely beats up boys to avenge her girlfriends and just to put her peers in their place. Rene is a small nerd who wears white socks and highwater pants that he pulls up above his waist. His manners are impecable. He is accepting where Marisa is always challenging. Rene is picked on and beat up. They are truly opposites. After meeting Rene, Marisa thinks she can do better in school if she attends his magnet school and she wants an excuse to see him daily. She realizes she is doing poorly in school but both she and her parents want her to be an academic success. She begs her mother to use her aunt's address and she enters Rene's school. As luck would have it Rene's mom dispises Marisa. She won't let Rene wear his new more hip clothes that Marisa picked out, she doesn't give permission for them to spend time together and she takes away his phone for any infraction of the rules regarding Marisa. Love blooms quickly as the two see each other each day at school. The happiness bubble is burst when Rene's mom tells the school that Marisa doesn't really live in the school district. Rene and Marisa are desperate and see each other and talk on the phone whenever they can. But miraculously just a few days after Marisa is forced to leave Rene's school she suggests that Rene talk to his father about the situation of his mom being mean and domineering towards Rene. Rene,who has never had much to do with his father, tells his dad about being separated from Marisa by his mother and the school system. His father finds bruises and scrathes all over Rene's arms and suggests Rene move in with he and his girlfriend who just happen to live in Marisa's school district. So things end happily ever after and truly seem to good to be true.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Gary Soto has written a teeny bopper novel that is contrived and "Disneyesque". Everyone lives happily ever after despite all odds. There are few surprises in the storyline, still it is a hard to put down the book as the dialog and storyline move smoothly and are deftly handled. This is not a "Princess Diary" book, but almost. It is 50% Latino but yet it is something almost any preteen can relate too. It is definitely a girl book. The universal appeal I guess is a positive feature and it certainly seems like a realistic portrayal of Latino urban life.
Soto puts about 75% of the Spanish words used in the middle of the text in an easy to use glossary in the back with lots of white space. His characterization of Marisa seems authentic and he definitely has the insider perspective. Marisa is fond of food and Soto writes of Monday night as enchillada night, enjoying refried beans, Marisa worrying about her weight and deciding to stop eating pork rinds. The closeness of the family is portrayed by Marisa using her aunt's address and sleeping over a few times a week to be able to attend the upper middle class magnet school that Rene attends. Also in the fact that her mother has a cousin that she has not been close to or really visited in years, but still she drops off a handmade sweater she knitted with love for her at birthday time. Marisa's parents love her and want the best for her. Her father is surprised his daughter has a part in the class play of Romeo and Juliet although she has been at her new school for little more than a week and is not a good student. He is proud of her and says he will see the play with her mother's prodding. There is no typecasting in the book. Marisa and Rene are the main characters and they are fleshed out much better than the rest of the cast.
It is very unclear whether Rene is Caucasian or Latino. His language, values, family, nothing sends any signals. I think somehow that he is meant to be Latino, but his is such a homogenized upper middle class preteen that it is hard to tell. The things we find out about him are nationality neutral. Divorced parents, super intelligent chess playing nerds, shy kids, and young boys short in stature happen in all cultures.
The author uses the word gangster as cholo/a throughtout the book. It is a term Marisa uses towards neighbors and schoolmates that she doesn't like. She also worries that Rene's mom sees her as a gangster girl because she is from the wrong side of the tracks and does not have the material assets that Rene and the people in the school and neighborhood have. It is used much as my African American middle aged female friend refers to young girls that don't listen to their elders and fit her definitive of respectable as "so ghetto."
I was very surprised to see that School Library Journal recommended the book for 6-10th graders and Booklist for 7-10th graders. The reading level is 4th year or 5th year. It is classified in my extremely conservative library as a "teen" book, meaning grades 5-9. It certainly could be used as a high interest/low reading level and vocabulary selection but it is very easy reading with plenty of white space.
The story is a good and quick read. Most of the characters are Latino but it didn't feel like a Latino book to me. I think that is both a plus and a minus. Any young person could pick it up and read it and relate but there are positive and realistically negative depictions of Hispanic Americans in the story.
One of the things that rings very true to me is the fact that Marisa's former classmates think that Marisa believes she is better than them when she tries to get ahead in life by going to a better school. They hesitate to let her back into the fold when she first must return.
D. Review Excerpts
Booklist critiques, "Soto deepens this gentle romance between opposites with subtle, authentic glimpses of an uncertain world, where adults don't always provide protection and nurturing. With humor and insight, he creates memorable, likable characters in Marisa and Rene, who find support and love by valuing authenticity and sweetness over cool."
SLJ comments, "Soto deepens this gentle romance between opposites with subtle, authentic glimpses of an uncertain world, where adults don't always provide protection and nurturing. With humor and insight, he creates memorable, likable characters in Marisa and Rene, who find support and love by valuing authenticity and sweetness over cool."
Book reviews accessed at
http://www.amazon.com/Accidental-Love-Gary-Soto/dp/0152061134/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1183685901&sr=1-1
E. CONNECTIONS
THE AFTERLIFE and HELP WANTED by Gary Soto. Motown and Didi by Walter Dean Myers.
A. Soto, Gary. ACCIDENTAL LOVE. New York: Harcourt, 2006. ISBN: 0152061134, 978-0152061135.
B. PLOT SUMMARY:
Marisa is a 14 year old Latino girl living in a lower middle class neighborhood who is prone to beating up boys and making poor grades. She begins her first romance by a chance meeting with Rene, a 13 year old who goes to a mostly white magnet school in an upper middle class part of town. Marisa is brave, strong, impulsive, volatile, and chubby. She routinely beats up boys to avenge her girlfriends and just to put her peers in their place. Rene is a small nerd who wears white socks and highwater pants that he pulls up above his waist. His manners are impecable. He is accepting where Marisa is always challenging. Rene is picked on and beat up. They are truly opposites. After meeting Rene, Marisa thinks she can do better in school if she attends his magnet school and she wants an excuse to see him daily. She realizes she is doing poorly in school but both she and her parents want her to be an academic success. She begs her mother to use her aunt's address and she enters Rene's school. As luck would have it Rene's mom dispises Marisa. She won't let Rene wear his new more hip clothes that Marisa picked out, she doesn't give permission for them to spend time together and she takes away his phone for any infraction of the rules regarding Marisa. Love blooms quickly as the two see each other each day at school. The happiness bubble is burst when Rene's mom tells the school that Marisa doesn't really live in the school district. Rene and Marisa are desperate and see each other and talk on the phone whenever they can. But miraculously just a few days after Marisa is forced to leave Rene's school she suggests that Rene talk to his father about the situation of his mom being mean and domineering towards Rene. Rene,who has never had much to do with his father, tells his dad about being separated from Marisa by his mother and the school system. His father finds bruises and scrathes all over Rene's arms and suggests Rene move in with he and his girlfriend who just happen to live in Marisa's school district. So things end happily ever after and truly seem to good to be true.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Gary Soto has written a teeny bopper novel that is contrived and "Disneyesque". Everyone lives happily ever after despite all odds. There are few surprises in the storyline, still it is a hard to put down the book as the dialog and storyline move smoothly and are deftly handled. This is not a "Princess Diary" book, but almost. It is 50% Latino but yet it is something almost any preteen can relate too. It is definitely a girl book. The universal appeal I guess is a positive feature and it certainly seems like a realistic portrayal of Latino urban life.
Soto puts about 75% of the Spanish words used in the middle of the text in an easy to use glossary in the back with lots of white space. His characterization of Marisa seems authentic and he definitely has the insider perspective. Marisa is fond of food and Soto writes of Monday night as enchillada night, enjoying refried beans, Marisa worrying about her weight and deciding to stop eating pork rinds. The closeness of the family is portrayed by Marisa using her aunt's address and sleeping over a few times a week to be able to attend the upper middle class magnet school that Rene attends. Also in the fact that her mother has a cousin that she has not been close to or really visited in years, but still she drops off a handmade sweater she knitted with love for her at birthday time. Marisa's parents love her and want the best for her. Her father is surprised his daughter has a part in the class play of Romeo and Juliet although she has been at her new school for little more than a week and is not a good student. He is proud of her and says he will see the play with her mother's prodding. There is no typecasting in the book. Marisa and Rene are the main characters and they are fleshed out much better than the rest of the cast.
It is very unclear whether Rene is Caucasian or Latino. His language, values, family, nothing sends any signals. I think somehow that he is meant to be Latino, but his is such a homogenized upper middle class preteen that it is hard to tell. The things we find out about him are nationality neutral. Divorced parents, super intelligent chess playing nerds, shy kids, and young boys short in stature happen in all cultures.
The author uses the word gangster as cholo/a throughtout the book. It is a term Marisa uses towards neighbors and schoolmates that she doesn't like. She also worries that Rene's mom sees her as a gangster girl because she is from the wrong side of the tracks and does not have the material assets that Rene and the people in the school and neighborhood have. It is used much as my African American middle aged female friend refers to young girls that don't listen to their elders and fit her definitive of respectable as "so ghetto."
I was very surprised to see that School Library Journal recommended the book for 6-10th graders and Booklist for 7-10th graders. The reading level is 4th year or 5th year. It is classified in my extremely conservative library as a "teen" book, meaning grades 5-9. It certainly could be used as a high interest/low reading level and vocabulary selection but it is very easy reading with plenty of white space.
The story is a good and quick read. Most of the characters are Latino but it didn't feel like a Latino book to me. I think that is both a plus and a minus. Any young person could pick it up and read it and relate but there are positive and realistically negative depictions of Hispanic Americans in the story.
One of the things that rings very true to me is the fact that Marisa's former classmates think that Marisa believes she is better than them when she tries to get ahead in life by going to a better school. They hesitate to let her back into the fold when she first must return.
D. Review Excerpts
Booklist critiques, "Soto deepens this gentle romance between opposites with subtle, authentic glimpses of an uncertain world, where adults don't always provide protection and nurturing. With humor and insight, he creates memorable, likable characters in Marisa and Rene, who find support and love by valuing authenticity and sweetness over cool."
SLJ comments, "Soto deepens this gentle romance between opposites with subtle, authentic glimpses of an uncertain world, where adults don't always provide protection and nurturing. With humor and insight, he creates memorable, likable characters in Marisa and Rene, who find support and love by valuing authenticity and sweetness over cool."
Book reviews accessed at
http://www.amazon.com/Accidental-Love-Gary-Soto/dp/0152061134/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1183685901&sr=1-1
E. CONNECTIONS
THE AFTERLIFE and HELP WANTED by Gary Soto. Motown and Didi by Walter Dean Myers.
LS 5903 MULTICULTURAL LITERATURE
Review of JOHN HENRY
A. Lester, Julius.and Jerry Pinkney, illustrator. JOHN HENRY. New York: Dial. ISBN 0803716060
B. PLOT SUMMARY: The typical John Henry story and song that many of us grew up with is a glorious tale, but from John Henry's birth until his death after shaming the steam drill this tale is an inspiring and very different John Henry story. John Henry's interconnectedness with nature and magic are treated as simply a given in Lester and Pinkney's version. The animals of the forest gather round to witness the birth of John Henry very reminiscent of the animals of the forest attending the birth of Walt Disney's Bambi. Henry's friendship with the sun, moon, and affinity with rainbows is handled as matter of fact. This John Henry is just what every parent wishes for in a "good boy," selfless, kind, a real humanitarian without ulterior motives. John Henry is a larger than life hero who gets a send off on a steam engine train that people and animals are lining the roads to admire and pay homeage to before sunrise as the train travels to Washington, D. C. This part of the story has the feel of the long slow political funerals for figures with a populist appeal such as Lincoln, Teddy Roosevelt, Kennedy, Reagan, and in more recent history the cortege of Princess Diana. John Henry serves his fellow man and is truly a man of the people in this story. There are whisperings of friendly ghosts and a secret burial of John Henry on the White House lawn. The beauty of this story is that it celebrates the human spirit and makes the Henry story more of an enchanted fairy tale of virtue than simply a tall tale.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS) Lester and Pinkney combine their talents to show us a fully fleshed out John Henry and a cast of characters, scenes, and settings to show the diversity of the African American. We see John Henry dressed as Nat Love, like a young man on the prarie, as a Railroad man. Pinkney shows both white and black Americans with varying colors of light and darkness about their skin tone and he seems to celebrate that rainbow of people's colors as much as the sun's rainbow that plays a part in this John Henry telling.
In looking at Rudine Bishop's goals for multicultural literature I would say that John Henry would arouse an appreciation for diversity and that is also just a fine example of literature. John Henry is every good and honest, hard working man and yet he is still a child of Africa that appeals to one and all. I believe the broad appeal is generated because this is a feel good, self esteem building kind of book. The John Henry story is an old and well loved one. I believe it speaks more to the American spirit than to any specific race. Daniel Hade talks of searching for ways to "affirm and celebrated differences" which I believe this picturebook does thought it is never forced or stilted. I do not believe it was written as an overt means of claiming reforms of equity and justice but this version of the book does humanize the man of legend in a quiet and dignified manner. The clothing, attire, hairstyles look natural rather than stilted. This story is so obviosly a labor of love for the two gentlemen who made the book. A surprising facial characteristic of John Henry is his slightly protuding front teeth. I certainly don't think it was done as a caricature and it could be said to be authentic of people in general of that day and age when dental care was scarce and only for the wealthy and braces were unheard of. But, Pinkney's John Henry is a very handsome man on the pages where he is smiling with his mouth closed.
The motif of magic is very apparent in parts of this story showing me how more similar than different were the early stories and beliefs of man. The animorphisms and belief cosmoligies are similar to Native American tales as well as other earlier religions that revered nature and the family.
D. REVIEW EXCEPTS Publisher's Weekly expounds, "A great American hero comes fully to life in this epic retelling filled with glorious, detailed watercolors. From his momentous birth, when all the animals come to see him and the sun won't go to bed, John Henry works wonders. As a child he helps his father by adding "a wing onto the house with an indoor swimming pool and one of them jacutzis"-and that's just before lunch."
School Library Journal remarks, "Another winning collaboration from the master storyteller and gifted artist of Tales of Uncle Remus (Dial, 1987) fame. Based on several well-known versions of an African American folk ballad, Lester's tale is true to the essence of the steel-driving man; yet, it allows room for touches of whimsy and even includes some contemporary references that tie the hero to our own times. Told with just a trace of dialect..."
Reviews Accessed at http://www.amazon.com/Henry-Picture-Puffins-Julius-Lester/dp/0140566228/ref=sr_1_1/103-3323325-5316604?ie=UTF8&s=books&qid=1182530799&sr=1-1
E. CONNECTIONS
Other books about the legendary John Henry
Keats, Ezra Jack. JOHN HENRY: AN AMERICAN LEGEND
Other tall tales on VHS but of a more comical nature are the Rabbit Ears video productions of Pecos Bill, narrated by Robin Williams and Paul Bunyan narrated by Jonathan Winters.
A. Lester, Julius.and Jerry Pinkney, illustrator. JOHN HENRY. New York: Dial. ISBN 0803716060
B. PLOT SUMMARY: The typical John Henry story and song that many of us grew up with is a glorious tale, but from John Henry's birth until his death after shaming the steam drill this tale is an inspiring and very different John Henry story. John Henry's interconnectedness with nature and magic are treated as simply a given in Lester and Pinkney's version. The animals of the forest gather round to witness the birth of John Henry very reminiscent of the animals of the forest attending the birth of Walt Disney's Bambi. Henry's friendship with the sun, moon, and affinity with rainbows is handled as matter of fact. This John Henry is just what every parent wishes for in a "good boy," selfless, kind, a real humanitarian without ulterior motives. John Henry is a larger than life hero who gets a send off on a steam engine train that people and animals are lining the roads to admire and pay homeage to before sunrise as the train travels to Washington, D. C. This part of the story has the feel of the long slow political funerals for figures with a populist appeal such as Lincoln, Teddy Roosevelt, Kennedy, Reagan, and in more recent history the cortege of Princess Diana. John Henry serves his fellow man and is truly a man of the people in this story. There are whisperings of friendly ghosts and a secret burial of John Henry on the White House lawn. The beauty of this story is that it celebrates the human spirit and makes the Henry story more of an enchanted fairy tale of virtue than simply a tall tale.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS) Lester and Pinkney combine their talents to show us a fully fleshed out John Henry and a cast of characters, scenes, and settings to show the diversity of the African American. We see John Henry dressed as Nat Love, like a young man on the prarie, as a Railroad man. Pinkney shows both white and black Americans with varying colors of light and darkness about their skin tone and he seems to celebrate that rainbow of people's colors as much as the sun's rainbow that plays a part in this John Henry telling.
In looking at Rudine Bishop's goals for multicultural literature I would say that John Henry would arouse an appreciation for diversity and that is also just a fine example of literature. John Henry is every good and honest, hard working man and yet he is still a child of Africa that appeals to one and all. I believe the broad appeal is generated because this is a feel good, self esteem building kind of book. The John Henry story is an old and well loved one. I believe it speaks more to the American spirit than to any specific race. Daniel Hade talks of searching for ways to "affirm and celebrated differences" which I believe this picturebook does thought it is never forced or stilted. I do not believe it was written as an overt means of claiming reforms of equity and justice but this version of the book does humanize the man of legend in a quiet and dignified manner. The clothing, attire, hairstyles look natural rather than stilted. This story is so obviosly a labor of love for the two gentlemen who made the book. A surprising facial characteristic of John Henry is his slightly protuding front teeth. I certainly don't think it was done as a caricature and it could be said to be authentic of people in general of that day and age when dental care was scarce and only for the wealthy and braces were unheard of. But, Pinkney's John Henry is a very handsome man on the pages where he is smiling with his mouth closed.
The motif of magic is very apparent in parts of this story showing me how more similar than different were the early stories and beliefs of man. The animorphisms and belief cosmoligies are similar to Native American tales as well as other earlier religions that revered nature and the family.
D. REVIEW EXCEPTS Publisher's Weekly expounds, "A great American hero comes fully to life in this epic retelling filled with glorious, detailed watercolors. From his momentous birth, when all the animals come to see him and the sun won't go to bed, John Henry works wonders. As a child he helps his father by adding "a wing onto the house with an indoor swimming pool and one of them jacutzis"-and that's just before lunch."
School Library Journal remarks, "Another winning collaboration from the master storyteller and gifted artist of Tales of Uncle Remus (Dial, 1987) fame. Based on several well-known versions of an African American folk ballad, Lester's tale is true to the essence of the steel-driving man; yet, it allows room for touches of whimsy and even includes some contemporary references that tie the hero to our own times. Told with just a trace of dialect..."
Reviews Accessed at http://www.amazon.com/Henry-Picture-Puffins-Julius-Lester/dp/0140566228/ref=sr_1_1/103-3323325-5316604?ie=UTF8&s=books&qid=1182530799&sr=1-1
E. CONNECTIONS
Other books about the legendary John Henry
Keats, Ezra Jack. JOHN HENRY: AN AMERICAN LEGEND
Other tall tales on VHS but of a more comical nature are the Rabbit Ears video productions of Pecos Bill, narrated by Robin Williams and Paul Bunyan narrated by Jonathan Winters.
Thursday, June 14, 2007
LS 5903 MULTICULTURAL LITERATURE
Kathleen Richardson Shelnutt
LS 5903, Multicultural Literature
Dr. Sylvia M. Vardell
Summer 2007
Review of THE HONEY POT
A. Menchu, Rigoberta and Dante Liano. Illustrated by Domi. 2006. THE HONEY POT.
Toronto: Groundwood Books, House of Anansi Press. ISBN 0888996705, 9780888996701
B. PLOT SUMMARY
Renowned author, Maya activist, and Pulitzer Prize Winner, Rigoberta Menchu
takes us back to her beginnings and birthplace of Chimel Guatemala. She shares
with us her warm relationship with her grandparents and her interaction among the
children of the village. Menchu then relates ten of the tales her grandparents
often told her by presenting them in short story format. While powerfully
written, being read aloud adds much to the tales that came from centuries old
oral tradition. Menchu becomes animated when she tells of the holidays and
festivals that shaped the daily life of she and her neighbors. There are tales
of the sun and the moon where villagers taught the children as they had been
taught that the moon was the Grandmother and the Sun was the Grandfather of the
Universe. These legendary Guatemalan celestial beings were thought to have
created the Mother, which is the heart of the Earth and the Father who is the
Father of heaven. There is a hilarious reversal of the question of creationism
in the Maya culture that monkeys are descended from humans. The tales all flow
with everyday language that becomes majestic because of the old legends and
myths and the way Menchu and Liano present the tales. Extremely well written
one is quickly taken in and transported to a far away place to hear about Howler
monkeys, tales of hunting, farming, weasels and corn.
C. CRITICAL ANALYSIS
These enchanted stories will appeal and be easily read by most 2nd through 5th
graders. The book is lush and beautiful and all associated with the work have
gone to much trouble to make it so. The illustrations, all in deep, vivid oils
are complimentary of the text but both story and traditional art are of such
high caliber they could stand alone on their own merit. The art is very
reminescent of Clive Barker's oil paintings in the Abarat books which took him
almost a decade to illustrate.
I found the similarities in beliefs between the people of Guatemala and many
modern day Earth religions fascinating. A parallel practice is calling the
four corners of the universe, Earth, Sun, Sky, and Water. The reverence towards
the earth, in fact the whole universe and the belief that everything has a spirit
reminds me of Native American belief systems, customs, and practices.
The book is a must read for students and teachers studying the Maya or Central
America. One of the most visually appealing books for juveniles that I have read
this year! Again, the birds and animals are realistic, the vessels for food and
drink are realistically portrayed adding credibility to this fine piece of
multicultural literature.
The stories and paintings are certainly faithful to the traditions of the
society because they have been created by one of their own. Hazel Rochman
tells us in her essay, "Beyond Political Correctness" that with enthralling
stories we can come to imagine the lives of others which breaks down barriers
and ends thinking of anothers culture in stereotypical fashion. (As published
in STORIES MATTER: THE COMPLEXITY OF CULTURAL AUTHENTICITY IN CHILDREN'S
LITERATURE (page 103) The brown skin of the people in the illustrations of oil
are true to life and the warm, depictions of the lush green landscape, and
traditional clothing are true to life and were done with great care to portray
an authentic setting and characters for the folklore vignettes.
D. REVIEW EXCERPTS
"Universal in appeal, this collection of 12 Mayan tales would be a significant
addition to any library's holdings. The anthology includes creation myths,
animal tales, and twin tales as well as stories that explain natural phenomena
such as rainbows." -- School Library Journal.
Carolyn Phelan writing for the ALA publication, Booklist states: "...selections
that reflect a distinctive worldview, a broad awareness of nature...Using vivid
colors, the naturalistic, folk-art oil paintings illustrate the stories in a
manner that reflects the simple spirit and directness of the tellings. An
expressive collection that lends insight into the Mayan culture."
E. CONNECTIONS
Other children's books that tell stories of Guatemala
Menchu, Roberta and Dante Liano. THE GIRL FROM CHIMEL, 0888996667, 9780888996664
Aboff, Marcie. GUATEMALA ABCs: A BOOK ABOUT THE PEOPLE AND PLACES OF
GUATEMALA. 1404815708, 9781404815704
Castaneda, Omar. ABUELA'S WEAVE. 1880000202, 9781880000205
LS 5903, Multicultural Literature
Dr. Sylvia M. Vardell
Summer 2007
Review of THE HONEY POT
A. Menchu, Rigoberta and Dante Liano. Illustrated by Domi. 2006. THE HONEY POT.
Toronto: Groundwood Books, House of Anansi Press. ISBN 0888996705, 9780888996701
B. PLOT SUMMARY
Renowned author, Maya activist, and Pulitzer Prize Winner, Rigoberta Menchu
takes us back to her beginnings and birthplace of Chimel Guatemala. She shares
with us her warm relationship with her grandparents and her interaction among the
children of the village. Menchu then relates ten of the tales her grandparents
often told her by presenting them in short story format. While powerfully
written, being read aloud adds much to the tales that came from centuries old
oral tradition. Menchu becomes animated when she tells of the holidays and
festivals that shaped the daily life of she and her neighbors. There are tales
of the sun and the moon where villagers taught the children as they had been
taught that the moon was the Grandmother and the Sun was the Grandfather of the
Universe. These legendary Guatemalan celestial beings were thought to have
created the Mother, which is the heart of the Earth and the Father who is the
Father of heaven. There is a hilarious reversal of the question of creationism
in the Maya culture that monkeys are descended from humans. The tales all flow
with everyday language that becomes majestic because of the old legends and
myths and the way Menchu and Liano present the tales. Extremely well written
one is quickly taken in and transported to a far away place to hear about Howler
monkeys, tales of hunting, farming, weasels and corn.
C. CRITICAL ANALYSIS
These enchanted stories will appeal and be easily read by most 2nd through 5th
graders. The book is lush and beautiful and all associated with the work have
gone to much trouble to make it so. The illustrations, all in deep, vivid oils
are complimentary of the text but both story and traditional art are of such
high caliber they could stand alone on their own merit. The art is very
reminescent of Clive Barker's oil paintings in the Abarat books which took him
almost a decade to illustrate.
I found the similarities in beliefs between the people of Guatemala and many
modern day Earth religions fascinating. A parallel practice is calling the
four corners of the universe, Earth, Sun, Sky, and Water. The reverence towards
the earth, in fact the whole universe and the belief that everything has a spirit
reminds me of Native American belief systems, customs, and practices.
The book is a must read for students and teachers studying the Maya or Central
America. One of the most visually appealing books for juveniles that I have read
this year! Again, the birds and animals are realistic, the vessels for food and
drink are realistically portrayed adding credibility to this fine piece of
multicultural literature.
The stories and paintings are certainly faithful to the traditions of the
society because they have been created by one of their own. Hazel Rochman
tells us in her essay, "Beyond Political Correctness" that with enthralling
stories we can come to imagine the lives of others which breaks down barriers
and ends thinking of anothers culture in stereotypical fashion. (As published
in STORIES MATTER: THE COMPLEXITY OF CULTURAL AUTHENTICITY IN CHILDREN'S
LITERATURE (page 103) The brown skin of the people in the illustrations of oil
are true to life and the warm, depictions of the lush green landscape, and
traditional clothing are true to life and were done with great care to portray
an authentic setting and characters for the folklore vignettes.
D. REVIEW EXCERPTS
"Universal in appeal, this collection of 12 Mayan tales would be a significant
addition to any library's holdings. The anthology includes creation myths,
animal tales, and twin tales as well as stories that explain natural phenomena
such as rainbows." -- School Library Journal.
Carolyn Phelan writing for the ALA publication, Booklist states: "...selections
that reflect a distinctive worldview, a broad awareness of nature...Using vivid
colors, the naturalistic, folk-art oil paintings illustrate the stories in a
manner that reflects the simple spirit and directness of the tellings. An
expressive collection that lends insight into the Mayan culture."
E. CONNECTIONS
Other children's books that tell stories of Guatemala
Menchu, Roberta and Dante Liano. THE GIRL FROM CHIMEL, 0888996667, 9780888996664
Aboff, Marcie. GUATEMALA ABCs: A BOOK ABOUT THE PEOPLE AND PLACES OF
GUATEMALA. 1404815708, 9781404815704
Castaneda, Omar. ABUELA'S WEAVE. 1880000202, 9781880000205
LS 5903 MULTICULTURAL LITERATURE
Kathleen Richardson Shelnutt
LS 5903, Multicultural Literature
Dr. Sylvia M. Vardell
Summer 2007
Review of TOUGH BORIS
A. Fox, Mem. 1994. TOUGH BORIS. New York: Harcourt Brace. Kathryn Brown, Illustrator. ISBN 0374315205
B. PLOT SUMMARY
This book by the much celebrated Australian author of children’s books is a delight to read and to look at. The name of the book comes from the pirate and Captain of the ship, Boris von der Borch. Boris is the quintessential pirate, reminiscent of Treasure Island’s Long John Silver or Peter Pan’s Captain Hook. A young boy falls under Boris’ tutelage as they experience life on shore, live in the ocean, life on deck, life in the bowels of the ship, life in a dinghy, etc. The boy watches Boris and comments on his temperament, “Boris is greedy. All pirates are greedy.” and scruffy, scary, fearless, etc. follow. This continues in a rote sing-song fashion that would appeal to young children from Pre-School through 2nd grade. When Boris’ beloved parrot dies he becomes all too human. He cries and cries. The two sentences are what the book hangs on, “All pirates cry. And so do I.”
C. CRITICAL ANALYSIS
Ms. Fox, one of the most famous children’s authors in Australian history writes many books about Australian animals and customs using the authentic vernacular of her time and place. This international book is an exception to most of her other work. Illustrator Kathryn Brown is from America rather than Australia. The theme of the story, illustrations, language patterns, setting, makes for a very nice tale that just happens to be categorized as International literature because of the birthplace of the author, Mem Fox. The pirate’s name of Boris von der Borch is explained on the dedication page. It is the last name of one of Fox’s friends so has nothing to do with place or culture in the story.
The book was cataloged by the Library of Congress and given an LC number in 1992. Tough Boris was first published in the U.S. in 1994. The book is a very well told yarn and the illustrations are bright, vivid, and enthralling. The fact that the boy is seen in each two page spread along with the pirate is indicative that there is no ageism bias in the book. It passes the test for very good International or any type of literature because there is a high quality in the wording, pictures and themes. There is also balance in the story and in the characters which Dr.Vardell reminds us is a positive and necessary quality for all literature of exceptional quality, no matter the type. The humanization of Boris in the end is a very important part of the story. Boris, the pirate, doesn’t just cry, he “cries and cries.” Knowing that the tough old brute of a pirate can deftly foster a young boy and teach him that it is ok to cry would erase all the stereotyping that was used until the very last two pages of the book.
D. REVIEW EXCERPTS
School Library Journal praises the title with these words: “Tough Boris is a treasure. This easy-to-read picture book features a repetitive, engaging text; a very popular subject; and an interesting subplot played out in the colorful illustrations.”
Publisher’s Weekly comments:
“Boris the pirate is as mean, greedy and scary as they come. But when his parrot dies, he mourns like anyone else.”
E. CONNECTIONS
Pirates are currently incredibly popular. They are perennially favorites even if there are not large numbers of pirate picture books. The success of three Disney movies about “The Pirates of the Caribbean” has only made the topic hotter.
Other books about pirates for young readers.
Kennedy, Kim. Pirate Pete. 0810943568, 9780810943568
Tucker, Kathy. Do Pirates take Baths? 080751697X, 9780807516973
Of course other books by Mem Fox should be investigated. Her book, Koala Lou, I do love you, has an adult (though in animal form) that treats young ones with respect and dignity just as Boris does in Tough Boris.
Reviewed by Kathleen Richardson Shelnutt, a graduate student in the MLS program at Texas Woman’s University. Professor is Dr. Sylvia Vardell.
LS 5903, Multicultural Literature
Dr. Sylvia M. Vardell
Summer 2007
Review of TOUGH BORIS
A. Fox, Mem. 1994. TOUGH BORIS. New York: Harcourt Brace. Kathryn Brown, Illustrator. ISBN 0374315205
B. PLOT SUMMARY
This book by the much celebrated Australian author of children’s books is a delight to read and to look at. The name of the book comes from the pirate and Captain of the ship, Boris von der Borch. Boris is the quintessential pirate, reminiscent of Treasure Island’s Long John Silver or Peter Pan’s Captain Hook. A young boy falls under Boris’ tutelage as they experience life on shore, live in the ocean, life on deck, life in the bowels of the ship, life in a dinghy, etc. The boy watches Boris and comments on his temperament, “Boris is greedy. All pirates are greedy.” and scruffy, scary, fearless, etc. follow. This continues in a rote sing-song fashion that would appeal to young children from Pre-School through 2nd grade. When Boris’ beloved parrot dies he becomes all too human. He cries and cries. The two sentences are what the book hangs on, “All pirates cry. And so do I.”
C. CRITICAL ANALYSIS
Ms. Fox, one of the most famous children’s authors in Australian history writes many books about Australian animals and customs using the authentic vernacular of her time and place. This international book is an exception to most of her other work. Illustrator Kathryn Brown is from America rather than Australia. The theme of the story, illustrations, language patterns, setting, makes for a very nice tale that just happens to be categorized as International literature because of the birthplace of the author, Mem Fox. The pirate’s name of Boris von der Borch is explained on the dedication page. It is the last name of one of Fox’s friends so has nothing to do with place or culture in the story.
The book was cataloged by the Library of Congress and given an LC number in 1992. Tough Boris was first published in the U.S. in 1994. The book is a very well told yarn and the illustrations are bright, vivid, and enthralling. The fact that the boy is seen in each two page spread along with the pirate is indicative that there is no ageism bias in the book. It passes the test for very good International or any type of literature because there is a high quality in the wording, pictures and themes. There is also balance in the story and in the characters which Dr.Vardell reminds us is a positive and necessary quality for all literature of exceptional quality, no matter the type. The humanization of Boris in the end is a very important part of the story. Boris, the pirate, doesn’t just cry, he “cries and cries.” Knowing that the tough old brute of a pirate can deftly foster a young boy and teach him that it is ok to cry would erase all the stereotyping that was used until the very last two pages of the book.
D. REVIEW EXCERPTS
School Library Journal praises the title with these words: “Tough Boris is a treasure. This easy-to-read picture book features a repetitive, engaging text; a very popular subject; and an interesting subplot played out in the colorful illustrations.”
Publisher’s Weekly comments:
“Boris the pirate is as mean, greedy and scary as they come. But when his parrot dies, he mourns like anyone else.”
E. CONNECTIONS
Pirates are currently incredibly popular. They are perennially favorites even if there are not large numbers of pirate picture books. The success of three Disney movies about “The Pirates of the Caribbean” has only made the topic hotter.
Other books about pirates for young readers.
Kennedy, Kim. Pirate Pete. 0810943568, 9780810943568
Tucker, Kathy. Do Pirates take Baths? 080751697X, 9780807516973
Of course other books by Mem Fox should be investigated. Her book, Koala Lou, I do love you, has an adult (though in animal form) that treats young ones with respect and dignity just as Boris does in Tough Boris.
Reviewed by Kathleen Richardson Shelnutt, a graduate student in the MLS program at Texas Woman’s University. Professor is Dr. Sylvia Vardell.
LS 5903 MULTICULTURAL LITERATURE
Review of THE COLLECTOR OF MOMENTS
A. Buchholz, Quint. 1999. The Collector of Moments. New York: Farrar, Straus and Giroux. ISBN 0374315205.
B. PLOT SUMMARY
There are two main characters in this Batchelder honor book, the unnamed young
boy in the story and the cultured blonde artist named Max. The boy and his
family live above his father’s hardware store. Max moves in as their neighbor on
the fourth floor and he and the young boy become fast friends. They read, draw,
and sing together. Max becomes like family and anytime that the studio is
unlocked his young friend is free to enter. Max is always mysterious about his
paintings. He fusses over them again and again and when he is finally satisfied he
places them in a white frame and turns the picture side towards the wall. Max
teaches the child his philosophy of art: “One invisible and unique path leads into
every picture and the artist has to find just that one path. He can’t show the
picture too soon, or he might lose that path forever.” When Max moves the
young lad discovers a room full of special paintings created especially for him.
CRITICAL ANALYSIS
The book is translated from the German by Peter Neumeyer who is an American book author. The writer and illustrator of COLLECTOR OF MOMENTS was born and resided in Germany at the time the book was published. The book is full of dull colored surreal illustrations that are metaphorical in nature. The sepia tones set the pace of the book that is hard to quantify. I think the book is an enigma that one will like exceedingly well or not at all. It would appear to have a small cult following on Amazon.com. if their reviews are taken seriously. The story is odd as are the nostalgic sepia drawings. The color and mood of the book is very muted and somehow poignant. I can’t find anything specific to link the book to Germany or any other country or culture. It seems to me simply an unusual story where both the boy and Max could have been from any culture in the Western Hemisphere.
Trying to ascertain that my instincts were correct that the author, illustrator, and translator did not have nationalist reasons for producing COLLECTOR, I discovered another book that Buchholz and Neumeyer have collaborated on, SLEEP WELL, LITTLE BEAR that also appears to have no characters, dialogue, or illustrations relating to persons of color or specifically to Germany. The COLLECTOR has been translated into many languages so indeed the audience is international. The illustrations in COLLECTOR OF MOMENTS made me think of Chris Van Allsburg’s illustrations in TWO BAD ANTS because in both books the perspective is the key to the art and the story. The imaginary quality of the COLLECTOR reminds me a bit of JUMANJI as well, also by Van Allsburg, because the other worldly feel of the story is even stronger than the unusual feel to the illustrations.
This work of International fiction also won the Bologna Ragazzi Prize. The story transcends nationality and ethnicity and is neither a morality or folk tale. The mood of the story is foggy and gray. It reminds me of two recent adult novels, The Confessions of Max Tivoli by Andrew Greer and Mitch Albom’s The Five People You Meet in Heaven because of the tenor of the story, the romantic notion of heartbreak just waiting to happen and the unusual life of the characters.
REVIEW EXCERPTS
From reviewer Patricia Lothrop-Green, St. George's School, Newport, RI
for School Library Journal: “Evocative is the word here. Despite a lengthy text, there is no plot in this oversized illustrated book. Against the muted, atmospheric backgrounds, an occasional touch of crimson glows as mysteriously as this book.”
Kirkus Reviews comments: “Buchholz has created an intriguing story with illustrations that are surreal and strangely mythic.”
Reviews accessed at:
http://www.amazon.com/Collector-Moments-Quint-Buchholz/dp/0374315205/ref=pd_bbs_sr_1/105-6828923-3424457?ie=UTF8&s=books&qid=1181836683&sr=1-1
E. CONNECTIONS
Besides the above mentioned books in section C. Children who enjoyed
COLLECTOR might enjoy any of the writings of Chris Van Allsburg.
Children who were interested in the pictures more than the story might enjoy
any of the I SPY books by Jean Marzollo and Walter Wick.
Children looking for other stories about imagination that feature an adult as
well as a child protagonist might enjoy:
Cooney, Barbara. MISS RUMPHIUS. ISBN 0140505393, 9780140550399
McLerrah, Alice. ROXABOXEN. ISBN 0060526335, 3780060526337
Reviewed by Kathleen Richardson Shelnutt, a graduate student in the MLS program at Texas Woman’s University. Professor is Dr. Sylvia Vardell.
June 14, 20007.
A. Buchholz, Quint. 1999. The Collector of Moments. New York: Farrar, Straus and Giroux. ISBN 0374315205.
B. PLOT SUMMARY
There are two main characters in this Batchelder honor book, the unnamed young
boy in the story and the cultured blonde artist named Max. The boy and his
family live above his father’s hardware store. Max moves in as their neighbor on
the fourth floor and he and the young boy become fast friends. They read, draw,
and sing together. Max becomes like family and anytime that the studio is
unlocked his young friend is free to enter. Max is always mysterious about his
paintings. He fusses over them again and again and when he is finally satisfied he
places them in a white frame and turns the picture side towards the wall. Max
teaches the child his philosophy of art: “One invisible and unique path leads into
every picture and the artist has to find just that one path. He can’t show the
picture too soon, or he might lose that path forever.” When Max moves the
young lad discovers a room full of special paintings created especially for him.
CRITICAL ANALYSIS
The book is translated from the German by Peter Neumeyer who is an American book author. The writer and illustrator of COLLECTOR OF MOMENTS was born and resided in Germany at the time the book was published. The book is full of dull colored surreal illustrations that are metaphorical in nature. The sepia tones set the pace of the book that is hard to quantify. I think the book is an enigma that one will like exceedingly well or not at all. It would appear to have a small cult following on Amazon.com. if their reviews are taken seriously. The story is odd as are the nostalgic sepia drawings. The color and mood of the book is very muted and somehow poignant. I can’t find anything specific to link the book to Germany or any other country or culture. It seems to me simply an unusual story where both the boy and Max could have been from any culture in the Western Hemisphere.
Trying to ascertain that my instincts were correct that the author, illustrator, and translator did not have nationalist reasons for producing COLLECTOR, I discovered another book that Buchholz and Neumeyer have collaborated on, SLEEP WELL, LITTLE BEAR that also appears to have no characters, dialogue, or illustrations relating to persons of color or specifically to Germany. The COLLECTOR has been translated into many languages so indeed the audience is international. The illustrations in COLLECTOR OF MOMENTS made me think of Chris Van Allsburg’s illustrations in TWO BAD ANTS because in both books the perspective is the key to the art and the story. The imaginary quality of the COLLECTOR reminds me a bit of JUMANJI as well, also by Van Allsburg, because the other worldly feel of the story is even stronger than the unusual feel to the illustrations.
This work of International fiction also won the Bologna Ragazzi Prize. The story transcends nationality and ethnicity and is neither a morality or folk tale. The mood of the story is foggy and gray. It reminds me of two recent adult novels, The Confessions of Max Tivoli by Andrew Greer and Mitch Albom’s The Five People You Meet in Heaven because of the tenor of the story, the romantic notion of heartbreak just waiting to happen and the unusual life of the characters.
REVIEW EXCERPTS
From reviewer Patricia Lothrop-Green, St. George's School, Newport, RI
for School Library Journal: “Evocative is the word here. Despite a lengthy text, there is no plot in this oversized illustrated book. Against the muted, atmospheric backgrounds, an occasional touch of crimson glows as mysteriously as this book.”
Kirkus Reviews comments: “Buchholz has created an intriguing story with illustrations that are surreal and strangely mythic.”
Reviews accessed at:
http://www.amazon.com/Collector-Moments-Quint-Buchholz/dp/0374315205/ref=pd_bbs_sr_1/105-6828923-3424457?ie=UTF8&s=books&qid=1181836683&sr=1-1
E. CONNECTIONS
Besides the above mentioned books in section C. Children who enjoyed
COLLECTOR might enjoy any of the writings of Chris Van Allsburg.
Children who were interested in the pictures more than the story might enjoy
any of the I SPY books by Jean Marzollo and Walter Wick.
Children looking for other stories about imagination that feature an adult as
well as a child protagonist might enjoy:
Cooney, Barbara. MISS RUMPHIUS. ISBN 0140505393, 9780140550399
McLerrah, Alice. ROXABOXEN. ISBN 0060526335, 3780060526337
Reviewed by Kathleen Richardson Shelnutt, a graduate student in the MLS program at Texas Woman’s University. Professor is Dr. Sylvia Vardell.
June 14, 20007.
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