Review of PORCH LIES: TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILY CHARACTERS
A. Bibliographic Information:
McKissack, Patricia C. PORCH LIES: TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILY CHARACTERS
B. Plot Summary:
McKissack introduces her story collection with “Whippoorwills, lightning bugs, and homemade peach ice cream trigger memories of my childhood summers………..Skipping up five steps placed me in my favorite spot—the porch swing. There I could read for hours or listen to someone tell a story about sneaky foxes or things that went bump in the night.”
There are ghost stories, family stories, and lots and lots of neighborhood tall tales. McKissack does an excellent job of giving friends, neighbors, and family members credit for their help with the stories origin and recollection. Most of the stories are set in place and time near the author’s grandparents’ home in Nashville.
C. Critical analysis including cultural markers and standards of literary merit.
I was so excited about reading this book because of the intro of the peach ice cream and porch swing of my grandparents South but I was very disappointed. The type set used in part of the book is reminiscent of old PICA typewriting but students will not know how to place that in a cultural perspective because they don’t even remember typewriters!
The story I liked best was, “By the Weight of a Feather” It talks of a young boy being mentored and unofficially adopted by and older man in the neighborhood who teaches him how to be the quintessentially untrustworthy used car salesman. Aunt Gran and the Outlaws is pretty good as well.
I did like the use of authentic jargon and colloquialisms such as “aine” rather than “ain’t” which is exactly how we spoke in small town West GA.
I am a big fan of McKissacks’ THE DARK THIRTY and Virginia Hamilton’s THE PEOPLE COULD FLY: AMERICAN BLACK FOLKTALES. I did not think this volume was nearly as good as the two mentioned above but 4 customers on Amazon.com all gave it a 5 star review. Even the artwork left me put off because it wasn’t appealing to me and I thought would only be that much more unappealing to a child without a long historical background of experience.
It wasn't a horrible book at all but I found it blase and I had been expecting so much more.
D. Review Excerpts:
School Library Journal comments, “The tales are variously narrated by boys and girls, even though the authors preface seems to set readers up for a single, female narrator in the persona of McKissack herself. They contain the essence of truth but are fiction from beginning to end, an amalgam of old stories, characters, jokes, setups, and motifs. As such, they have no provenance. Still, it would have helped readers unfamiliar with African-American history to have an authors note helping separate the truth of these lies that allude to Depression-era African-American and Southern traditions. That aside, theyre great fun to read aloud and the tricksters, sharpies, slicksters, and outlaws wink knowingly at the child narrators, and at us foolish humans
Booklist opines, “Without using dialect, her intimate folk idiom celebrates the storytelling among friends, neighbors, and family as much as the stories themselves. "Some folk believe the story; some don't. You decide for yourself." Is the weaselly gravedigger going to steal a corpse's jewelry, or does he know the woman is really still alive? Can bespectacled Aunt Gran outwit the notorious outlaw Jesse James? In black and white, Carrilho's full-page illustrations--part cartoon, part portrait in silhouette.”
E. Reviews accessed from:
http://www.amazon.com/Porch-Lies-Slicksters-Tricksters-Characters/dp/0375836195/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1191040420&sr=1-1
F. Connections:
As mentioned above I preferred Virginia Hamilton’s THE PEOPLE COULD FLY: AMERICAN BLACK FOLKTALES or McKissack’s DARK THIRTY. McKissack’s own FLOSSIE AND THE FOX is an excellent traditional tale with a great African American main character.
Friday, September 28, 2007
LS 5603 LITERATURE FOR CHILDREN AND YOUNG ADULTS
Review of CINDERLILY
A. Bibliographic Information:
Tagg, Christine. CINDERLILY: A FLORAL FAIRY TALE IN THREE ACTS. David Ellwand, illustrator. Cambridge, Mass: Candlewick Press, 2003.
B. Plot Summary
This is almost a typical Cinderella as far as storyline and action. It is presented as a play in three acts. From the billing on the pumpkin orange stage curtain we begin to see how the layout and form are going to be used in this modern edition to the Cinderella International gathering!
Small differences such as rather than a Prince we are told “The Sultan” is giving a dance to find a bride. Cinderlily’s two sisters are made of pansies and cockscomb and sure enough they are the mean and bossy types, “Then she (Cinderlily) hears her sisters calling: “You must help us look our best. Then surely at the Sultan’s Ball, we’ll stand out from the rest.”
Act II opens and we realize that these are really verses with a rhyming meter rather than paragraphs of prose. “Suddenly a light appears—a fairy hovers near. “Cinderlilly don’t despair” she cries, “now that I am here. My magic will transform you-- with the Sultan you shall dance. But mind, be back by MIDNIGHT, or that’s the end of the romance.”
In Act III the missing flower petal matches Cinderlily and sure enough it is happily ever after.
C. Critical analysis including cultural markers and standards of literary merit.
CINDERLILY is an interesting book to look at! The fairy Godmother is a Stargazer Lily and the Sultan is a Dutch Iris flower. The concept was an interesting one and from the very 1st page we see interesting things.
Almost the entire book is illustrated like a play bill. The type style is unusual and someone has placed the word
If I were asked if I would suggest purchasing a copy of this title for a public library or public library media center I would predicate my decision based on how many Cinderella variants you already had in your collection.
The artwork is unusual with flower photos on each page. There is one double page spread that is far better than any other to me. Cinderlily’s coach arrives. It is a homegrown bright orange pumpkin which is rather short and broad. Three windows have been cut out of the pumpkin carriage and a dutch iris of purple and yellow form the curtain. A tiny, tiny, daisy wildflower is put in all 4 corners of each window. The wheels look very oversized for the size of the pumpkin carriage but the wheels are large, voluptuous yellow Gerbera daisies. The adjoining page has moths and butterflies pulling Cinderlily’s coach by string. There is a monarch butterfly, a swallowtail butterfly I believe it is. Three of the strings are being pulled by the most unusual type of butterfly. These three have iridescent shaded aqua blue wings and fuchsia bodies.
Overall I think the strength is the novel artwork but it sacrifices an easy to follow and smooth story for some nice photos. I feel this is a experimental book that will not stand the test of time despite the timeless story.
D. Review Excerpts:
School Library Journal opines, “In this visually intriguing twist on the traditional tale, Ellwand has replaced the human protagonists with flowers. Using Adobe Photoshop, he has arranged lilies, pansies, tulips, roses, and other petals in graceful poses against stark black backgrounds. While the pictures are technically well executed, it is unlikely they will engender other than a passing interest in children. Tagg's text, written in reasonably well-rhymed couplets, is thin on plot, character development, and imagery. In addition, the alterations she makes in the original tale are incongruous. The prince has become a Sultan, but nonetheless the "band strikes up a waltz" at his Royal Autumn Ball. The fonts, which change frequently in an apparent attempt to match the action of the story, are often hard to read, particularly when placed against those black backgrounds.”
Amazon dot com announces, “With singular vision, humor, and a touch of computer magic, David Ellwand directs a delightfully expressive cast of flowers in a breathtaking production sure to enchant lovers of fairy tales - and lovers of flowers, too.
E. Reviews accessed from:
http://www.amazon.com/Cinderlily-Floral-Fairy-David-Ellwand/dp/0763623288/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1191039170&sr=1-1
F. Connections:
For a well done story using fruits and vegetables as characters I prefer Saxton Freymann and Joost Elffer's How Are You Peeling? Foods with Moods. A fairy tale whose action and artwork has a bit of the same whimsy as CINDERLILY try PEEPING BEAUTY by Mary Jane Auch.
A. Bibliographic Information:
Tagg, Christine. CINDERLILY: A FLORAL FAIRY TALE IN THREE ACTS. David Ellwand, illustrator. Cambridge, Mass: Candlewick Press, 2003.
B. Plot Summary
This is almost a typical Cinderella as far as storyline and action. It is presented as a play in three acts. From the billing on the pumpkin orange stage curtain we begin to see how the layout and form are going to be used in this modern edition to the Cinderella International gathering!
Small differences such as rather than a Prince we are told “The Sultan” is giving a dance to find a bride. Cinderlily’s two sisters are made of pansies and cockscomb and sure enough they are the mean and bossy types, “Then she (Cinderlily) hears her sisters calling: “You must help us look our best. Then surely at the Sultan’s Ball, we’ll stand out from the rest.”
Act II opens and we realize that these are really verses with a rhyming meter rather than paragraphs of prose. “Suddenly a light appears—a fairy hovers near. “Cinderlilly don’t despair” she cries, “now that I am here. My magic will transform you-- with the Sultan you shall dance. But mind, be back by MIDNIGHT, or that’s the end of the romance.”
In Act III the missing flower petal matches Cinderlily and sure enough it is happily ever after.
C. Critical analysis including cultural markers and standards of literary merit.
CINDERLILY is an interesting book to look at! The fairy Godmother is a Stargazer Lily and the Sultan is a Dutch Iris flower. The concept was an interesting one and from the very 1st page we see interesting things.
Almost the entire book is illustrated like a play bill. The type style is unusual and someone has placed the word
If I were asked if I would suggest purchasing a copy of this title for a public library or public library media center I would predicate my decision based on how many Cinderella variants you already had in your collection.
The artwork is unusual with flower photos on each page. There is one double page spread that is far better than any other to me. Cinderlily’s coach arrives. It is a homegrown bright orange pumpkin which is rather short and broad. Three windows have been cut out of the pumpkin carriage and a dutch iris of purple and yellow form the curtain. A tiny, tiny, daisy wildflower is put in all 4 corners of each window. The wheels look very oversized for the size of the pumpkin carriage but the wheels are large, voluptuous yellow Gerbera daisies. The adjoining page has moths and butterflies pulling Cinderlily’s coach by string. There is a monarch butterfly, a swallowtail butterfly I believe it is. Three of the strings are being pulled by the most unusual type of butterfly. These three have iridescent shaded aqua blue wings and fuchsia bodies.
Overall I think the strength is the novel artwork but it sacrifices an easy to follow and smooth story for some nice photos. I feel this is a experimental book that will not stand the test of time despite the timeless story.
D. Review Excerpts:
School Library Journal opines, “In this visually intriguing twist on the traditional tale, Ellwand has replaced the human protagonists with flowers. Using Adobe Photoshop, he has arranged lilies, pansies, tulips, roses, and other petals in graceful poses against stark black backgrounds. While the pictures are technically well executed, it is unlikely they will engender other than a passing interest in children. Tagg's text, written in reasonably well-rhymed couplets, is thin on plot, character development, and imagery. In addition, the alterations she makes in the original tale are incongruous. The prince has become a Sultan, but nonetheless the "band strikes up a waltz" at his Royal Autumn Ball. The fonts, which change frequently in an apparent attempt to match the action of the story, are often hard to read, particularly when placed against those black backgrounds.”
Amazon dot com announces, “With singular vision, humor, and a touch of computer magic, David Ellwand directs a delightfully expressive cast of flowers in a breathtaking production sure to enchant lovers of fairy tales - and lovers of flowers, too.
E. Reviews accessed from:
http://www.amazon.com/Cinderlily-Floral-Fairy-David-Ellwand/dp/0763623288/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1191039170&sr=1-1
F. Connections:
For a well done story using fruits and vegetables as characters I prefer Saxton Freymann and Joost Elffer's How Are You Peeling? Foods with Moods. A fairy tale whose action and artwork has a bit of the same whimsy as CINDERLILY try PEEPING BEAUTY by Mary Jane Auch.
LS 5603 LITERATURE FOR CHILDREN AND YOUNG ADULTS
Review of Days of the Blackbird
A. Bibliographic Information:
dePaola, Tomie. DAYS OF THE BLACKBIRD: A TALE OF NORTHERN
ITALY. New York: Putnam, 1997.
B. Plot Summary: The Duke of Gennaro and his daughter, Gemma, lived alone in a grand home in the center of the town. The Duke was good and kind and always tried to keep the city’s inhabitants in good favor with each other. The favorite pastime of The “Duca” and Gemma was listening to birds sing in their courtyard each afternoon. It was a very special time of day for them. Gemma had finished her schoolwork and is ready to relax with her father at the end of the afternoon. The Duke has settled disputes of neighbors and spread good will holding court in the Great Hall all day and he is ready to relax with his daughter while he listens to the sweet music of the birds. The birds of Gennaro were of all colors, shapes, and sizes, but the bird whose song they loved the most was La Columba who was pure white. After Gemma’s father becomes very ill she opens the windows of his bedroom and parlor so he can hear the birds singing. Gennaro was in the Northern mountainside of Italy and as the cold approached the bird’s flew south. Gemma begs La Columba to stay and help sooth and heal the Duke with its pure sweet songs. La Columba stays until she almost freezes but she is loyal to Gemma and the Duca and keeps her promise. On the night of January 29th Gemma finds the nest of wool Gemma left to keep her warm does not even take the edge off the frigid weather. There was only one way La Columba could stay warm enough and that was to settle into the top of the chimney. That left La Columba’s coat black with soot. Gemma and her father are surprised to hear bright and cheerful singing the next day but they are surprised that it would come from a blackbird and not their beloved La Columba. As the song of La Columba continues the bird’s singing becomes more and more beautiful until father and daughter discern La Columba’s identity. La Columba’s songs are the one thing able to cheer the Duke and bring him back to good health. The legend of the “Days of the Blackbird” states that La Columba never again returned to her coat full of white feathers and that from thenceforth she would be called La Merla, the blackbird. The Duke in thanksgiving for his restoration to health christened the last 3 days of January as Le Giornate della Melra; The Days of the Blackbird which were the coldest days of the year
C. Critical analysis including cultural markers and standards of literary merit.
With a volatile home life with his Italian father and Irish mother Tomie learned the literature of myth, legend, and folly and is able to strike a note of authenticity to the story. This work like most of his other Italian tales fare far better with his illustration and tone than do his stories of Irish folklore.
Drawings are very rich and vivid in true Tomie fashion. Lines are rounded and the detail of the human faces, the multidimensional flowers are beyond beautiful. Especially effective are the closeups of Gemma’s curly hair and scenes where Gemma’s arms are held out to the birds. dePaola manages to make his characters and their gestures look almost 3 dimensional. The bright carefully shaded color of each bird adds much to the effectiveness of the pictures.
In true picture book fashion these illustrations are just as important in the telling of the tale as the text. dePaola, we all know from previous experience is a winner at both the story and illustration of many different types of picture books. I believe the pictures alone could tell much of the story. The health or lack thereof regarding the Duke are apparent without the text and the mood of Gemma as well. Going from solid white to solid black might be the only part that could be missed without the accompanying text. The bird is symbolic of loyalty and commitment both as a white bird and later a black one. Any morals or lessons are stated quietly and unobtrusively and are never didactic. Some of the themes of the story are that love and sacrifice make a difference in the world, that families take turns nurturing and caring for each other and that nature is a gift to be treasured daily.
The artwork is notable because of the bright, rich hues used and the many curved lines. The curving lines of the character’s gowns, the wooden relief on the bench that is a pew, Duke’s broaches and caps are splendid artwork as well as bonnets and headbands of Gemma.
You almost miss artistic symbolism in the story because it is done so subtly. In just one picture we see three pears in different states of wholeness and three candles in the room. There are three apples in a bowl on another page and three apples on the tree. Another page has 3 pots of purple petunias hanging on the outside stucco walls of the main characters’ home. The story is a blended hybrid. Tunnell and James have told us often that the line blurs in much of these childhood tales and certainly it does here. The symbolic use of 3 is the stuff of fairy tales and traditional literature. This story is both legend and folklore. We don’t know who wrote it, it has no single author or known date of when it came into being but seems to be a tale passed down through the generations.
The setting is identified and fully fleshed out with words and pictures. The words and character’s dialog flow smoothly. My only complaint about the illustrations maybe should not even be mentioned. After reading, buying and processing Tomie dePaola’s books for over twenty years they all look almost alike to me at this point. His stylized drawings are so predictable that I wish the artist would do some more exploratory and inventive techniques and designs. I guess that would be asking too much because masters of many different art forms are often predictable as well. Ralph Lauren clothes are always classic and in good taste, nothing frew frew. Versace is always loud and gaudy.
One can always recognize the artwork of Maurice Sendak but it is sometimes in colors muted, sometimes in pencil only, sometimes in pencil and one color on the page, many times the color is yellow. These small things make an audience more attentive. dePaola has been in his comfort zone for a long time and I guess that’s what jumps out at me.
One of the big pluses of the book is the many Italian words it sneaks in slowly, one every page or two. Most of the word meanings can be figured out in context.
For example, “il concerto”, “cara”, “la primavera”, “panettone”, “Epifania”.
The last page of the book, the author’s note is very significant. Just as the Grimm Brothers collected “household” tales so this story is a household one with no known author. dePaola gives credit to the owner of a Northern Italian restaurant near his New Hampshire home for telling him the story of the day of the blackbirds. Tomie documents the village and provence where this branch of the restarauter’s family were located in Italy so a setting is given for historical and pragmatic purposes. Tomie invites his reader’s to travel to Perio’s homeplace with details of the area in Italy and also tells the audience the specific U.S. locale of the restaurant and home of it’s owner.
D. Review Excerpts:
School Library Journal comments, “The moving story is elegantly, yet simply, told. The artist combines his recognizable style with visual elements reminiscent of Italian frescoes. Watercolor background washes create a marbleized effect. Color choices portray the warmth and serenity the story suggests. A successful and satisfying union of narration and illustration.”
Publishers Weekly announces, “DePaola spins the tale with panache, imbuing it with a folktale-like timelessness, and artistically it's clear he was delighted to return once again to his beloved Italy for visual cues. The pages radiate warmth, from the picturesque late medieval setting and the terra cotta or blue-green houses with their tiled roofs, to the jewel-colored birds and flowers of the duke's garden. A sprinkling of Italian words and phrases adds an authentic flavor.”
E. Reviews accessed from:
http://www.amazon.com/Days-Blackbird-Tomie-dePaola/dp/0142402710/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1191034087&sr=1-1
F. Connections:
The most similar in theme and nuance would be Aliki’s THE TWO OF THEM another great picture book where the young granddaughter, like the daughter in DAYS OF THE BLACKBIRD cares for an ill and aging parent. Aliki’s offering is much more realistic however and the elderly grandparent does not return to good health. dePaola’s many other Italian folktales featuring Strega Nona, Old Beefana seem an obviously good choice.
A. Bibliographic Information:
dePaola, Tomie. DAYS OF THE BLACKBIRD: A TALE OF NORTHERN
ITALY. New York: Putnam, 1997.
B. Plot Summary: The Duke of Gennaro and his daughter, Gemma, lived alone in a grand home in the center of the town. The Duke was good and kind and always tried to keep the city’s inhabitants in good favor with each other. The favorite pastime of The “Duca” and Gemma was listening to birds sing in their courtyard each afternoon. It was a very special time of day for them. Gemma had finished her schoolwork and is ready to relax with her father at the end of the afternoon. The Duke has settled disputes of neighbors and spread good will holding court in the Great Hall all day and he is ready to relax with his daughter while he listens to the sweet music of the birds. The birds of Gennaro were of all colors, shapes, and sizes, but the bird whose song they loved the most was La Columba who was pure white. After Gemma’s father becomes very ill she opens the windows of his bedroom and parlor so he can hear the birds singing. Gennaro was in the Northern mountainside of Italy and as the cold approached the bird’s flew south. Gemma begs La Columba to stay and help sooth and heal the Duke with its pure sweet songs. La Columba stays until she almost freezes but she is loyal to Gemma and the Duca and keeps her promise. On the night of January 29th Gemma finds the nest of wool Gemma left to keep her warm does not even take the edge off the frigid weather. There was only one way La Columba could stay warm enough and that was to settle into the top of the chimney. That left La Columba’s coat black with soot. Gemma and her father are surprised to hear bright and cheerful singing the next day but they are surprised that it would come from a blackbird and not their beloved La Columba. As the song of La Columba continues the bird’s singing becomes more and more beautiful until father and daughter discern La Columba’s identity. La Columba’s songs are the one thing able to cheer the Duke and bring him back to good health. The legend of the “Days of the Blackbird” states that La Columba never again returned to her coat full of white feathers and that from thenceforth she would be called La Merla, the blackbird. The Duke in thanksgiving for his restoration to health christened the last 3 days of January as Le Giornate della Melra; The Days of the Blackbird which were the coldest days of the year
C. Critical analysis including cultural markers and standards of literary merit.
With a volatile home life with his Italian father and Irish mother Tomie learned the literature of myth, legend, and folly and is able to strike a note of authenticity to the story. This work like most of his other Italian tales fare far better with his illustration and tone than do his stories of Irish folklore.
Drawings are very rich and vivid in true Tomie fashion. Lines are rounded and the detail of the human faces, the multidimensional flowers are beyond beautiful. Especially effective are the closeups of Gemma’s curly hair and scenes where Gemma’s arms are held out to the birds. dePaola manages to make his characters and their gestures look almost 3 dimensional. The bright carefully shaded color of each bird adds much to the effectiveness of the pictures.
In true picture book fashion these illustrations are just as important in the telling of the tale as the text. dePaola, we all know from previous experience is a winner at both the story and illustration of many different types of picture books. I believe the pictures alone could tell much of the story. The health or lack thereof regarding the Duke are apparent without the text and the mood of Gemma as well. Going from solid white to solid black might be the only part that could be missed without the accompanying text. The bird is symbolic of loyalty and commitment both as a white bird and later a black one. Any morals or lessons are stated quietly and unobtrusively and are never didactic. Some of the themes of the story are that love and sacrifice make a difference in the world, that families take turns nurturing and caring for each other and that nature is a gift to be treasured daily.
The artwork is notable because of the bright, rich hues used and the many curved lines. The curving lines of the character’s gowns, the wooden relief on the bench that is a pew, Duke’s broaches and caps are splendid artwork as well as bonnets and headbands of Gemma.
You almost miss artistic symbolism in the story because it is done so subtly. In just one picture we see three pears in different states of wholeness and three candles in the room. There are three apples in a bowl on another page and three apples on the tree. Another page has 3 pots of purple petunias hanging on the outside stucco walls of the main characters’ home. The story is a blended hybrid. Tunnell and James have told us often that the line blurs in much of these childhood tales and certainly it does here. The symbolic use of 3 is the stuff of fairy tales and traditional literature. This story is both legend and folklore. We don’t know who wrote it, it has no single author or known date of when it came into being but seems to be a tale passed down through the generations.
The setting is identified and fully fleshed out with words and pictures. The words and character’s dialog flow smoothly. My only complaint about the illustrations maybe should not even be mentioned. After reading, buying and processing Tomie dePaola’s books for over twenty years they all look almost alike to me at this point. His stylized drawings are so predictable that I wish the artist would do some more exploratory and inventive techniques and designs. I guess that would be asking too much because masters of many different art forms are often predictable as well. Ralph Lauren clothes are always classic and in good taste, nothing frew frew. Versace is always loud and gaudy.
One can always recognize the artwork of Maurice Sendak but it is sometimes in colors muted, sometimes in pencil only, sometimes in pencil and one color on the page, many times the color is yellow. These small things make an audience more attentive. dePaola has been in his comfort zone for a long time and I guess that’s what jumps out at me.
One of the big pluses of the book is the many Italian words it sneaks in slowly, one every page or two. Most of the word meanings can be figured out in context.
For example, “il concerto”, “cara”, “la primavera”, “panettone”, “Epifania”.
The last page of the book, the author’s note is very significant. Just as the Grimm Brothers collected “household” tales so this story is a household one with no known author. dePaola gives credit to the owner of a Northern Italian restaurant near his New Hampshire home for telling him the story of the day of the blackbirds. Tomie documents the village and provence where this branch of the restarauter’s family were located in Italy so a setting is given for historical and pragmatic purposes. Tomie invites his reader’s to travel to Perio’s homeplace with details of the area in Italy and also tells the audience the specific U.S. locale of the restaurant and home of it’s owner.
D. Review Excerpts:
School Library Journal comments, “The moving story is elegantly, yet simply, told. The artist combines his recognizable style with visual elements reminiscent of Italian frescoes. Watercolor background washes create a marbleized effect. Color choices portray the warmth and serenity the story suggests. A successful and satisfying union of narration and illustration.”
Publishers Weekly announces, “DePaola spins the tale with panache, imbuing it with a folktale-like timelessness, and artistically it's clear he was delighted to return once again to his beloved Italy for visual cues. The pages radiate warmth, from the picturesque late medieval setting and the terra cotta or blue-green houses with their tiled roofs, to the jewel-colored birds and flowers of the duke's garden. A sprinkling of Italian words and phrases adds an authentic flavor.”
E. Reviews accessed from:
http://www.amazon.com/Days-Blackbird-Tomie-dePaola/dp/0142402710/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1191034087&sr=1-1
F. Connections:
The most similar in theme and nuance would be Aliki’s THE TWO OF THEM another great picture book where the young granddaughter, like the daughter in DAYS OF THE BLACKBIRD cares for an ill and aging parent. Aliki’s offering is much more realistic however and the elderly grandparent does not return to good health. dePaola’s many other Italian folktales featuring Strega Nona, Old Beefana seem an obviously good choice.
Friday, September 14, 2007
LS 5603 LITERATURE FOR CHILDREN AND YOUNG ADULTS: Review of ELLINGTON WAS NOT A STREET
A. Bibliographic Information:
Shange, Ntozake. ELLINGTON WAS NOT A STREET. Kadir Nelson, illustrator.
New York: Simon & Schuster
B. Plot Summary:
A young African American girl reminesces about her childhood with her father who routinely had many male friends visiting their home who became movers and shakers in turn of the century America. The entire narration and diaglog comes from a poem by the author which appears as the last page in the book. The poem entitled, "Mood Indigo" on the most rich oversized sheet of shiny blue indiglo paper you can imagine is a very effective ending to this satisfying picturebook that is in actuality historical fiction.
C. CRITICAL ANALYSIS with Cultural Markers and Established Standards of Excellence
ELLINGTON WAS NOT A STREET makes me sing more than any children's book I've become acquainted with in a long time and I see, shelve, recommend, and touch picturebooks on a daily basis. Even though caucasian I am a lover and student of "Black" art since I was a young child.
The book to me was like opening a door to The Harlem Renassaince. We meet W.E.B. duBois, Paul Robeson, Dizzy Gillespie, Duke Ellington, Ghana's Prime Minister Dr. Kwame Nkrumah, and four other cultural figures of the time period. The book is very subtle about introducing these men to the audience of readers. Nicknames are often used.
The art work is extremely important and well done in this volume. The dark muted yet rich colors of a Victorian home are used. Antique settees, brownstone walkups, men always in hats and with silk ties speak to a bygone era. From the arrangement of magnolias and gardenias in a vase, to the staircase, and Grandfather clock these rich pictures come alive! The purples, the greens, the blues, the pin striped suits, the little girl's young brother in a bowtie. This is a time capsule of love, warmth, and especially dignity.
The words of the poem that has been dissected stanza by stanza on a word and picture double spread has a slow and earnest quality but also a joyous one. The recognition that the girl and her family were important people entertaining important people is done in matter of fact way, never haughtily. The words flow naturally from the lips and slide off the pages effortlessly. One of my favorite stanzas is, "politics as necessary as collards, music even in our dreams." Another page goes on to say, "our doors opened like our daddy's arms held us safe & loved." The look on the father's face and the arms around them, well this picture does speak is thousands of words. The audience is never talked down to, the mood is never too serious or somber. I would love to have a class of students think up a retelling of this story in a post modern setting.....Maya Angelou, Bill Cosby, Barack Obama, Oprah, Eloise Greenfield, Nikki Giovanni, Mildred Taylor, Morgan Freeman. This would be a satisfying project of art and words just like our book.
This little girl in the story grew up to know from early childhood that ideas are important and need to be talked and puzzled out frequently, that African American people are a vital part of the American tableau. At the end of the volume the 9 men are pictured in a postage stamp sized double spread with important information about their life and it's impact. That page is entitled, "More about a few of the men........who changed the world." Happiness, warmth, security were a daily part of the young girls life. What a thing to celebrate, life, comraderie, debates, sharing music, playing cards, singing dancing. The book is many things but understated is an important part of it's charm. The book also begs, in fact, crys out to be read aloud! The illustrations are mind blowing with their depth, detail, and quite seriousness. The cover with our narrator holding a RCA Victor record album is a wonderful introduction to this title.
D. Review Excerpts:
School Library Journal reflects:
Grade 3-8-Nelson illustrates the noted poet's "Mood Indigo," from her collection entitled A Daughter's Geography. The book begins with the opening lines of the poem set against a pale gray page: "it hasn't always been this way/ellington was not a street." Opposite, a full-page painting shows several people walking beneath a green sign that reads Ellington St.......Done in oils, the skillfully rendered portraits emphasize facial expressions, clothing, and physical positioning on the page, and provide unmistakable insight into the persona of each individual. Although presented in picture-book format, the poem is sophisticated, and therefore it may need to be read aloud and explained to younger readers. A biographical sketch of each man appears at the end, along with the poem reprinted on a single page.
Booklist concurs:
Gr. 3-5. The text of this picture book for older children is a paean to Shange's family home and the exciting men who gathered there, everyone from W. E. B. DuBois and Paul Robeson to Dizzy Gillispie and Duke Ellington. Taken from Shange's 1983 poem "Mood Indigo," the words here recall, from a child's perspective, what it was like to listen "in the company of men / politics as necessary as collards / music even in our dreams." The evocative words are more than matched by Nelson's thrilling, oversize oil paintings, a cross between family photo album and stage set, featuring this group of extraordinary men interacting--playing cards, singing, discussing. The girl who is always watching them is, unfortunately, portrayed as very young, perhaps three or four, although she appears somewhat older on the beguiling jacket art. Preschoolers are not the audience for this, and despite the helpful notes that introduce the men mentioned in the poem, even older children will need further explanations (e.g., where are the famous women?). Depicting the narrator as a child closer in age to the target audience would have helped bridge the gap between a poem written for adults and a book for children. Still, with words and pictures that are so enticing, this will be embraced by many.
Reviews accessed at:
http://www.amazon.com/gp/product/product-description/0689828845/sr=1-1/qid=1189829459/ref=dp_proddesc_0/103-7575722-4136600?ie=UTF8&n=283155&s=books&qid=1189829459&sr=1-1
E. CONNECTIONS:
Picturebook biographies of these and other famous African American leaders and other African American poets would be an excellent bridge. HARLEM by Walter Dean Myers and Christopher Myers or LANGSTON HUGHES: AMERICAN POET by Alice Walker would be a great starting point. Langston is one of my loves since early childhood. The picture of Duke Ellington in the back of this book could have just as easily been Lang. I always taught my kindergarteners to memorize the Hughes poem that begins, "Hold fast to dreams........."
Shange, Ntozake. ELLINGTON WAS NOT A STREET. Kadir Nelson, illustrator.
New York: Simon & Schuster
B. Plot Summary:
A young African American girl reminesces about her childhood with her father who routinely had many male friends visiting their home who became movers and shakers in turn of the century America. The entire narration and diaglog comes from a poem by the author which appears as the last page in the book. The poem entitled, "Mood Indigo" on the most rich oversized sheet of shiny blue indiglo paper you can imagine is a very effective ending to this satisfying picturebook that is in actuality historical fiction.
C. CRITICAL ANALYSIS with Cultural Markers and Established Standards of Excellence
ELLINGTON WAS NOT A STREET makes me sing more than any children's book I've become acquainted with in a long time and I see, shelve, recommend, and touch picturebooks on a daily basis. Even though caucasian I am a lover and student of "Black" art since I was a young child.
The book to me was like opening a door to The Harlem Renassaince. We meet W.E.B. duBois, Paul Robeson, Dizzy Gillespie, Duke Ellington, Ghana's Prime Minister Dr. Kwame Nkrumah, and four other cultural figures of the time period. The book is very subtle about introducing these men to the audience of readers. Nicknames are often used.
The art work is extremely important and well done in this volume. The dark muted yet rich colors of a Victorian home are used. Antique settees, brownstone walkups, men always in hats and with silk ties speak to a bygone era. From the arrangement of magnolias and gardenias in a vase, to the staircase, and Grandfather clock these rich pictures come alive! The purples, the greens, the blues, the pin striped suits, the little girl's young brother in a bowtie. This is a time capsule of love, warmth, and especially dignity.
The words of the poem that has been dissected stanza by stanza on a word and picture double spread has a slow and earnest quality but also a joyous one. The recognition that the girl and her family were important people entertaining important people is done in matter of fact way, never haughtily. The words flow naturally from the lips and slide off the pages effortlessly. One of my favorite stanzas is, "politics as necessary as collards, music even in our dreams." Another page goes on to say, "our doors opened like our daddy's arms held us safe & loved." The look on the father's face and the arms around them, well this picture does speak is thousands of words. The audience is never talked down to, the mood is never too serious or somber. I would love to have a class of students think up a retelling of this story in a post modern setting.....Maya Angelou, Bill Cosby, Barack Obama, Oprah, Eloise Greenfield, Nikki Giovanni, Mildred Taylor, Morgan Freeman. This would be a satisfying project of art and words just like our book.
This little girl in the story grew up to know from early childhood that ideas are important and need to be talked and puzzled out frequently, that African American people are a vital part of the American tableau. At the end of the volume the 9 men are pictured in a postage stamp sized double spread with important information about their life and it's impact. That page is entitled, "More about a few of the men........who changed the world." Happiness, warmth, security were a daily part of the young girls life. What a thing to celebrate, life, comraderie, debates, sharing music, playing cards, singing dancing. The book is many things but understated is an important part of it's charm. The book also begs, in fact, crys out to be read aloud! The illustrations are mind blowing with their depth, detail, and quite seriousness. The cover with our narrator holding a RCA Victor record album is a wonderful introduction to this title.
D. Review Excerpts:
School Library Journal reflects:
Grade 3-8-Nelson illustrates the noted poet's "Mood Indigo," from her collection entitled A Daughter's Geography. The book begins with the opening lines of the poem set against a pale gray page: "it hasn't always been this way/ellington was not a street." Opposite, a full-page painting shows several people walking beneath a green sign that reads Ellington St.......Done in oils, the skillfully rendered portraits emphasize facial expressions, clothing, and physical positioning on the page, and provide unmistakable insight into the persona of each individual. Although presented in picture-book format, the poem is sophisticated, and therefore it may need to be read aloud and explained to younger readers. A biographical sketch of each man appears at the end, along with the poem reprinted on a single page.
Booklist concurs:
Gr. 3-5. The text of this picture book for older children is a paean to Shange's family home and the exciting men who gathered there, everyone from W. E. B. DuBois and Paul Robeson to Dizzy Gillispie and Duke Ellington. Taken from Shange's 1983 poem "Mood Indigo," the words here recall, from a child's perspective, what it was like to listen "in the company of men / politics as necessary as collards / music even in our dreams." The evocative words are more than matched by Nelson's thrilling, oversize oil paintings, a cross between family photo album and stage set, featuring this group of extraordinary men interacting--playing cards, singing, discussing. The girl who is always watching them is, unfortunately, portrayed as very young, perhaps three or four, although she appears somewhat older on the beguiling jacket art. Preschoolers are not the audience for this, and despite the helpful notes that introduce the men mentioned in the poem, even older children will need further explanations (e.g., where are the famous women?). Depicting the narrator as a child closer in age to the target audience would have helped bridge the gap between a poem written for adults and a book for children. Still, with words and pictures that are so enticing, this will be embraced by many.
Reviews accessed at:
http://www.amazon.com/gp/product/product-description/0689828845/sr=1-1/qid=1189829459/ref=dp_proddesc_0/103-7575722-4136600?ie=UTF8&n=283155&s=books&qid=1189829459&sr=1-1
E. CONNECTIONS:
Picturebook biographies of these and other famous African American leaders and other African American poets would be an excellent bridge. HARLEM by Walter Dean Myers and Christopher Myers or LANGSTON HUGHES: AMERICAN POET by Alice Walker would be a great starting point. Langston is one of my loves since early childhood. The picture of Duke Ellington in the back of this book could have just as easily been Lang. I always taught my kindergarteners to memorize the Hughes poem that begins, "Hold fast to dreams........."
Thursday, September 13, 2007
LS 5603 LITERATURE FOR CHILDREN AND YOUNG ADULTS: Review of THE HELLO, GOODBYE WINDOW
A. BIBLIOGRAPHIC INFORMATION:
Juster, Norton. THE HELLO, GOODBY WINDOW. Chris Raschka, illustrator.
New York: Michael Di Capua Books/Hyperion, 2005.
B. PLOT SUMMARY: This is a story of a little girl who is lucky enough to have her grandparents, Nanna and Poppy as her best friends. She stays with her grandparents while her mom and dad are at work each day. Nanna and Poppy spend most of their time in the kitchen. It truly is the heart and hearth of this home so much so that it reminds me of old Irish cottages where the indwellers believe that Brigid, whether goddess or saint looks over them. In the kitchen are "lots of drawers to take stuff out and play with." The love and acceptance of the grandparents for the unnamed little girl are manifested in the hello, goodbye window as they play peek-a-boo, blow kisses, and play make believe. The child narrator talks about the family looking out the window and seeing their reflections at night. Poppy says, "What are you doing out there? You come right in and have your dinner. And I say, But I'm here with you, Poppy and then he looks at me in his funny way. An engaging story about a happy, happy family that sees each other on a daily basis the way most families use to do. Both grandparents are creative and exuberant as is the little girl.
C. CRITICAL ANALYSIS with Cultural Markers and Established Standards of Excellence
Besides the bright and always optimistic drawings of Raschka the first thing I noticed was the positive portrayal of an interracial couple. Nanna is clearly a woman of color and Poppy is not. I believe that is a very good portrayal of many modern families. Kids need to see others that look like themselves and this book will let children of two races do just that. Our little pre-school girl looks lighter than Nanna and darker than Poppy. That realism almost goes unnoticed because of the sunshiny drawings and the quick movement from one activity and room of the house or yard to the other. The characters are fleshed out as much as possible I believe in a book of this size and grade level. Both grandparents have a good sense of humor, Poppy is a trickster who sprays little girl with the garden hose and hides bananas and raisins in the little girls hot porridge.
A key factor of a quality picturebook, that the illustrations are as important if not more so than the text is realized in this volume as they meld seamlessly to give the book a nice cadence and flow. What one may take away from the book is the mood of bright enthusiasm even more than the plot line. As mentioned earlier the art style is definitely naive. It looks like a 6 year old has just discovered craypas, oil pastel crayons and has been coloring all day in a smooth yet disjointed fashion. Poppy's big nose, Nanna's hair that is curly like our protagonist. The point of view is definitely is the little girls. The setting is realistic but this little girl most likely sees her grandparent's home as an enchanted castle. The pacing of the book fits well and both the words and pictures appeal to the senses and encourage the imagination of the reader. Many times the little girl and Poppy are pictured in a position that makes them look like they will take off flying at any moment. That keeps with the whimsical and flowing nature of the story in word and graphics. At the end of the story we see that little girl's mom and dad are also a biracial couple. This is handled gently and naturally so as to give the book an imaginative feel and never a didactic one.
The drawings exhibit an intense naive quality. Colors don't stay in the lines of the items portrayed. It looks very like a 5-7 year old colored and painted each page with enthusiasm and without stopping to censor herself but let her imagination run free.
From a strictly personal point of view the story resonated very deeply with me. My grandmother gave me what she called "machine toys" from the sewing machine and kitchen and I enjoyed similar daily interaction with one set of grandparents. The fun loving and kitchen dwelling grandparents reminded me of my parents and the compelling sense of humor of the adults in the book also remind me of family, of home. I very much did not like the style of drawing except for the cover of the book though I can see how it would be positive for a child to see this type and ability of artwork were acceptable and well thought of. Maybe it would inspire a youngster to create a project for the student media festival or PTA reflections contest.
D. REVIEW EXCERPTS:
As seen in School Library Journal:
Starred Review. PreSchool-Grade 1–The window in Nanna and Poppy's kitchen is no ordinary window–it is the place where love and magic happens. It's where the girl and her doting grandparents watch stars, play games, and, most importantly, say hello and goodbye. The first-person text is both simple and sophisticated, conjuring a perfectly child-centered world. Sentences such as "When I get tired I come in and take my nap and nothing happens until I get up" typify the girl's happy, imaginative world. While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand. Perfect for lap-sharing, this book will find favor with children and adults alike.
Booklist weighs in:
The window imagery is less important than the title would make it seem. More intrinsic is Juster's honest portrayal of a child's perceptions (a striped cat in the yard is a tiger) and emotions (being happy and sad at the same time "just happens that way sometimes"). Raschka's swirling lines, swaths, and dabs of fruity colors seem especially vibrant, particularly in the double-page spreads, which have ample room to capture both the tender moments between members of the interracial family and the exuberance of spending time in the pulsating outdoors, all flowers, grass, and skyFROM:
REVIEWS ACCESSED from:
http://www.amazon.com/Hello-Goodbye-Window-Norton-Juster/dp/0786809140/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1189825431&sr=1-1
E. CONNECTIONS:
The joyful interactions of a child with grandparents and lust for life characters remind my of the Vera Williams series that begins with A CHAIR FOR MY MOTHER which precedes this title by nearly 25 years. My favorite grandparent book is Aliki Brandenberg's THE TWO OF THEM where the little girl and her Greek grandfather have fun,happy, loving days of adventure but that story ends of a realistic and sad note so it would be recommended only after thoughtful consideration. Both Juster and Raschka have many other popular picturebooks for the reader to choose from.
Juster, Norton. THE HELLO, GOODBY WINDOW. Chris Raschka, illustrator.
New York: Michael Di Capua Books/Hyperion, 2005.
B. PLOT SUMMARY: This is a story of a little girl who is lucky enough to have her grandparents, Nanna and Poppy as her best friends. She stays with her grandparents while her mom and dad are at work each day. Nanna and Poppy spend most of their time in the kitchen. It truly is the heart and hearth of this home so much so that it reminds me of old Irish cottages where the indwellers believe that Brigid, whether goddess or saint looks over them. In the kitchen are "lots of drawers to take stuff out and play with." The love and acceptance of the grandparents for the unnamed little girl are manifested in the hello, goodbye window as they play peek-a-boo, blow kisses, and play make believe. The child narrator talks about the family looking out the window and seeing their reflections at night. Poppy says, "What are you doing out there? You come right in and have your dinner. And I say, But I'm here with you, Poppy and then he looks at me in his funny way. An engaging story about a happy, happy family that sees each other on a daily basis the way most families use to do. Both grandparents are creative and exuberant as is the little girl.
C. CRITICAL ANALYSIS with Cultural Markers and Established Standards of Excellence
Besides the bright and always optimistic drawings of Raschka the first thing I noticed was the positive portrayal of an interracial couple. Nanna is clearly a woman of color and Poppy is not. I believe that is a very good portrayal of many modern families. Kids need to see others that look like themselves and this book will let children of two races do just that. Our little pre-school girl looks lighter than Nanna and darker than Poppy. That realism almost goes unnoticed because of the sunshiny drawings and the quick movement from one activity and room of the house or yard to the other. The characters are fleshed out as much as possible I believe in a book of this size and grade level. Both grandparents have a good sense of humor, Poppy is a trickster who sprays little girl with the garden hose and hides bananas and raisins in the little girls hot porridge.
A key factor of a quality picturebook, that the illustrations are as important if not more so than the text is realized in this volume as they meld seamlessly to give the book a nice cadence and flow. What one may take away from the book is the mood of bright enthusiasm even more than the plot line. As mentioned earlier the art style is definitely naive. It looks like a 6 year old has just discovered craypas, oil pastel crayons and has been coloring all day in a smooth yet disjointed fashion. Poppy's big nose, Nanna's hair that is curly like our protagonist. The point of view is definitely is the little girls. The setting is realistic but this little girl most likely sees her grandparent's home as an enchanted castle. The pacing of the book fits well and both the words and pictures appeal to the senses and encourage the imagination of the reader. Many times the little girl and Poppy are pictured in a position that makes them look like they will take off flying at any moment. That keeps with the whimsical and flowing nature of the story in word and graphics. At the end of the story we see that little girl's mom and dad are also a biracial couple. This is handled gently and naturally so as to give the book an imaginative feel and never a didactic one.
The drawings exhibit an intense naive quality. Colors don't stay in the lines of the items portrayed. It looks very like a 5-7 year old colored and painted each page with enthusiasm and without stopping to censor herself but let her imagination run free.
From a strictly personal point of view the story resonated very deeply with me. My grandmother gave me what she called "machine toys" from the sewing machine and kitchen and I enjoyed similar daily interaction with one set of grandparents. The fun loving and kitchen dwelling grandparents reminded me of my parents and the compelling sense of humor of the adults in the book also remind me of family, of home. I very much did not like the style of drawing except for the cover of the book though I can see how it would be positive for a child to see this type and ability of artwork were acceptable and well thought of. Maybe it would inspire a youngster to create a project for the student media festival or PTA reflections contest.
D. REVIEW EXCERPTS:
As seen in School Library Journal:
Starred Review. PreSchool-Grade 1–The window in Nanna and Poppy's kitchen is no ordinary window–it is the place where love and magic happens. It's where the girl and her doting grandparents watch stars, play games, and, most importantly, say hello and goodbye. The first-person text is both simple and sophisticated, conjuring a perfectly child-centered world. Sentences such as "When I get tired I come in and take my nap and nothing happens until I get up" typify the girl's happy, imaginative world. While the language is bouncy and fun, it is the visual interpretation of this sweet story that sings. Using a bright rainbow palette of saturated color, Raschka's impressionistic, mixed-media illustrations portray a loving, mixed-race family. The artwork is at once lively and energetic, without crowding the story or the words on the page; the simple lines and squiggles of color suggest a child's own drawings, but this is the art of a masterful hand. Perfect for lap-sharing, this book will find favor with children and adults alike.
Booklist weighs in:
The window imagery is less important than the title would make it seem. More intrinsic is Juster's honest portrayal of a child's perceptions (a striped cat in the yard is a tiger) and emotions (being happy and sad at the same time "just happens that way sometimes"). Raschka's swirling lines, swaths, and dabs of fruity colors seem especially vibrant, particularly in the double-page spreads, which have ample room to capture both the tender moments between members of the interracial family and the exuberance of spending time in the pulsating outdoors, all flowers, grass, and skyFROM:
REVIEWS ACCESSED from:
http://www.amazon.com/Hello-Goodbye-Window-Norton-Juster/dp/0786809140/ref=pd_bbs_sr_1/103-7575722-4136600?ie=UTF8&s=books&qid=1189825431&sr=1-1
E. CONNECTIONS:
The joyful interactions of a child with grandparents and lust for life characters remind my of the Vera Williams series that begins with A CHAIR FOR MY MOTHER which precedes this title by nearly 25 years. My favorite grandparent book is Aliki Brandenberg's THE TWO OF THEM where the little girl and her Greek grandfather have fun,happy, loving days of adventure but that story ends of a realistic and sad note so it would be recommended only after thoughtful consideration. Both Juster and Raschka have many other popular picturebooks for the reader to choose from.
LS 5603 Literature for Children & Young Adults
Book Review of PASS IT DOWN: FIVE PICTURE-BOOK FAMILIES MAKE THEIR MARK.
A. Marcus, Leonard S. PASS IT DOWN: FIVE PICTURE-BOOK FAMILIES MAKE THEIR MARK.
New York: Walker & Company, 2007.
B. PLOT SUMMARY: The book is a concise yet rich rendering of biographical information as it pertains to families in the business of writing and or illustrating literature of the children's picture book variety. The five well known picture book families that are portrayed include Walter Dean Myers and his son Christopher Myers, Donald Crews and his wife Ann Jonas and their daughter Nina Crews, Marlow and Anne Rockwell and daughter Lizzy Rockwell, Jerry Pinkney and son Brian Pinkney. Clement and Edith Thacher and their son Thacher Hurd.
The volume traces the phenomena of how families often have many members with the same talents and that often leads to collaboration or choosing the same, similar, or complementary careers of melding art and story together for the creation of childrens picture books.
C. CRITICAL ANALYSIS (With Cultural Markers and Established Standards of Excellence)
The book is visually very appealing from the bright and colorful cover to the brilliant yellow gold of the end papers. The type setting is unusually interesting, the index is exhaustive and the glossary is very helpful. In telling the story of these creative families the author uses many primary sources. Most prevalent are photos from the families themselves. Photos of Nina and Amy Crews painting on easels with their oil cloth aprons help to support the claim that they went in and out of their parent's studio and indeed had one of their own that bordered their parent's workroom. I thought the presentation of the Pinkneys was exceptional. There is a photograph of Brian modeling for his Dad. He is squatting and holding a mailing tube in place of a saxophone. It is uncanny to see the finished art in watercolor and pencil from Jerry Pinkney's book, HALF A MOON AND ONE WHOLE STAR. The painting reflects Brian's stance almost as if it were photocopied. The exact angle of the feet with the left heel not touching the flooring, the exact type of eyeglasses from photo to finished art work and so many other very small details that make the piece rich and as integral and probably more so than the text of the title.
There were many details that even most childrens book lovers will likely not know before reading the book such as that Clement and Edith Thacher were intimates of Margaret Wise Brown, famed author of GOODNIGHT MOON. We learn their nicknames. Clement is Clem, Edith is Posey, and Margaret is Brownie. There is a rare photo of the Thachers with Brownie that shows exquisite detail of clothing, accessories hats, corsages, pocket hankerchiefs, and the style of furniture in the foyer. We see an ink study of Brown's GOODNIGHT MOON. Margaret decided that she would select the name of the Hurd's baby before it was born. She was right in that the baby was a boy. The Hurd's and Margaret were collaborating on a picturebook. When Margaret sent the Hurd's a new version of the manuscript the dedication page read, "For Hiram, when he comes." In the final version of the story published a few months later Clem changes the dedication to: "For John Thacher Hurd. When he comes. (He's here.) There is a picture of Thacher (as he would be called) with his father and the devastation of the couple when Brownie dies unexpectedly and early.
The story or the Crews family is rendered extremely well. Pictures of Donald using an airbrush for his first award winning book; FREIGHT TRAIN which received the Caldecott Honor Book award. There is a photo that shows such joy and wide smiles that it is extremely contagious. Donald and wife Ann have their picture taken on either side of their daughter Nina at the publication party of her first book. Crews looks as I remember him over a decade ago, big beard, bow tie, and a smile that was as wide as train tracks are long. We also learn small things that make us feel as if we actually know these families and not just their books. Ann Jonas wears a patch on her eye in more than one picture taken at different times and locations. This black patch over her left idea would make a child think of a pirate and the exciting details go on and on.
I have read Walter Dean Myers for as long as I can remember but I didn't remember him at all as a picture book author until I saw the award winning cover of HARLEM in the chapter of the Myers. There is a large color photo of a self-portrait that Chrisopher Myers made of himself at 14. There are pictures of father and son autographing books together and a 2 paged letter to Walter from the editor of Holiday House commenting on his work in progress BLUES JOURNEY.
The style of writing flows and the color placards introducing the families look like postcards, the page numbers alternate between blue, purple, green and terra cotta. The book though intended for middle school students would be equally pleasurable to bright students from the 3rd or 4th grade on up. The book is not "dumb downed" in the least and will appeal to teachers, writers and librarians as much or more than to young people.
As in true picturebook form these photos, illustrations, and memorabilia are as important if not more so than the text of the book. On the back of the book in bright red and gold the author appeals to children with the heading: THE NEXT GENERATION PICKS UP THE PEN AND PAINTBRUSH. Details about whether the children wanted to approach art as their parents had or had a more independent feeling for picturebook realization is mentioned using quotes from the children. The characters, who in this book are living authors and illustrators are very fleshed out, the transition from chapter to chapter and family to family flows smoothly and seamlessly.
D. REVIEW EXCERPTS:
School Library Journal assesses the book:
Grade 4 Up—Marcus presents the events and circumstances that have resulted in five picture-book dynasties. Each chapter includes biographical information about the subjects that zeroes in on the salient pieces that nurtured artistic growth and includes numerous quotes from the authors/illustrators themselves...
Marcus's writing is, as usual, tight but lively, and each chapter is liberally laced with photographs, preliminary sketches, and final art. The book will be of interest to those readers who enjoy getting behind the scenes of the books they love.
Booklist muses:
Marcus quotes extensively from interviews with each living subject and weaves the personal statements into a coherent presentation to show how each person developed creatively. Illustrations include family photos and artwork, beautifully reproduced in color on heavy, glossy pages. This may be of greatest interest to librarians, but young fans will find this a very readable and perceptive book that throws an intriguing light on growing up within a successful family and choosing a career path.
REVIEWS ACCESSED FROM:
http://www.amazon.com/Pass-Down-Picture-Families-Their/dp/0802796001/ref=sr_1_1/103-7575722-4136600?ie=UTF8&s=books&qid=1189824716&sr=1-1
E. CONNECTIONS:
Other books in the series by Leonard Marcus are a logical choice in my estimation and Booklist agrees:
Similar in format to Marcus' previous books on picture-book creators, includingSide by Side: Five Favorite Picture-Book Teams Go to Work (2001), this handsome book looks at five picture-book dynasties
A. Marcus, Leonard S. PASS IT DOWN: FIVE PICTURE-BOOK FAMILIES MAKE THEIR MARK.
New York: Walker & Company, 2007.
B. PLOT SUMMARY: The book is a concise yet rich rendering of biographical information as it pertains to families in the business of writing and or illustrating literature of the children's picture book variety. The five well known picture book families that are portrayed include Walter Dean Myers and his son Christopher Myers, Donald Crews and his wife Ann Jonas and their daughter Nina Crews, Marlow and Anne Rockwell and daughter Lizzy Rockwell, Jerry Pinkney and son Brian Pinkney. Clement and Edith Thacher and their son Thacher Hurd.
The volume traces the phenomena of how families often have many members with the same talents and that often leads to collaboration or choosing the same, similar, or complementary careers of melding art and story together for the creation of childrens picture books.
C. CRITICAL ANALYSIS (With Cultural Markers and Established Standards of Excellence)
The book is visually very appealing from the bright and colorful cover to the brilliant yellow gold of the end papers. The type setting is unusually interesting, the index is exhaustive and the glossary is very helpful. In telling the story of these creative families the author uses many primary sources. Most prevalent are photos from the families themselves. Photos of Nina and Amy Crews painting on easels with their oil cloth aprons help to support the claim that they went in and out of their parent's studio and indeed had one of their own that bordered their parent's workroom. I thought the presentation of the Pinkneys was exceptional. There is a photograph of Brian modeling for his Dad. He is squatting and holding a mailing tube in place of a saxophone. It is uncanny to see the finished art in watercolor and pencil from Jerry Pinkney's book, HALF A MOON AND ONE WHOLE STAR. The painting reflects Brian's stance almost as if it were photocopied. The exact angle of the feet with the left heel not touching the flooring, the exact type of eyeglasses from photo to finished art work and so many other very small details that make the piece rich and as integral and probably more so than the text of the title.
There were many details that even most childrens book lovers will likely not know before reading the book such as that Clement and Edith Thacher were intimates of Margaret Wise Brown, famed author of GOODNIGHT MOON. We learn their nicknames. Clement is Clem, Edith is Posey, and Margaret is Brownie. There is a rare photo of the Thachers with Brownie that shows exquisite detail of clothing, accessories hats, corsages, pocket hankerchiefs, and the style of furniture in the foyer. We see an ink study of Brown's GOODNIGHT MOON. Margaret decided that she would select the name of the Hurd's baby before it was born. She was right in that the baby was a boy. The Hurd's and Margaret were collaborating on a picturebook. When Margaret sent the Hurd's a new version of the manuscript the dedication page read, "For Hiram, when he comes." In the final version of the story published a few months later Clem changes the dedication to: "For John Thacher Hurd. When he comes. (He's here.) There is a picture of Thacher (as he would be called) with his father and the devastation of the couple when Brownie dies unexpectedly and early.
The story or the Crews family is rendered extremely well. Pictures of Donald using an airbrush for his first award winning book; FREIGHT TRAIN which received the Caldecott Honor Book award. There is a photo that shows such joy and wide smiles that it is extremely contagious. Donald and wife Ann have their picture taken on either side of their daughter Nina at the publication party of her first book. Crews looks as I remember him over a decade ago, big beard, bow tie, and a smile that was as wide as train tracks are long. We also learn small things that make us feel as if we actually know these families and not just their books. Ann Jonas wears a patch on her eye in more than one picture taken at different times and locations. This black patch over her left idea would make a child think of a pirate and the exciting details go on and on.
I have read Walter Dean Myers for as long as I can remember but I didn't remember him at all as a picture book author until I saw the award winning cover of HARLEM in the chapter of the Myers. There is a large color photo of a self-portrait that Chrisopher Myers made of himself at 14. There are pictures of father and son autographing books together and a 2 paged letter to Walter from the editor of Holiday House commenting on his work in progress BLUES JOURNEY.
The style of writing flows and the color placards introducing the families look like postcards, the page numbers alternate between blue, purple, green and terra cotta. The book though intended for middle school students would be equally pleasurable to bright students from the 3rd or 4th grade on up. The book is not "dumb downed" in the least and will appeal to teachers, writers and librarians as much or more than to young people.
As in true picturebook form these photos, illustrations, and memorabilia are as important if not more so than the text of the book. On the back of the book in bright red and gold the author appeals to children with the heading: THE NEXT GENERATION PICKS UP THE PEN AND PAINTBRUSH. Details about whether the children wanted to approach art as their parents had or had a more independent feeling for picturebook realization is mentioned using quotes from the children. The characters, who in this book are living authors and illustrators are very fleshed out, the transition from chapter to chapter and family to family flows smoothly and seamlessly.
D. REVIEW EXCERPTS:
School Library Journal assesses the book:
Grade 4 Up—Marcus presents the events and circumstances that have resulted in five picture-book dynasties. Each chapter includes biographical information about the subjects that zeroes in on the salient pieces that nurtured artistic growth and includes numerous quotes from the authors/illustrators themselves...
Marcus's writing is, as usual, tight but lively, and each chapter is liberally laced with photographs, preliminary sketches, and final art. The book will be of interest to those readers who enjoy getting behind the scenes of the books they love.
Booklist muses:
Marcus quotes extensively from interviews with each living subject and weaves the personal statements into a coherent presentation to show how each person developed creatively. Illustrations include family photos and artwork, beautifully reproduced in color on heavy, glossy pages. This may be of greatest interest to librarians, but young fans will find this a very readable and perceptive book that throws an intriguing light on growing up within a successful family and choosing a career path.
REVIEWS ACCESSED FROM:
http://www.amazon.com/Pass-Down-Picture-Families-Their/dp/0802796001/ref=sr_1_1/103-7575722-4136600?ie=UTF8&s=books&qid=1189824716&sr=1-1
E. CONNECTIONS:
Other books in the series by Leonard Marcus are a logical choice in my estimation and Booklist agrees:
Similar in format to Marcus' previous books on picture-book creators, includingSide by Side: Five Favorite Picture-Book Teams Go to Work (2001), this handsome book looks at five picture-book dynasties
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