Bibliographic Information
McKissack, Patricia C. 2006. PORCH LIES: TALES OF SLICKESTERS, TRICKSTERS AND OTHER WILY CHARACTERS. Illus. by André Carrilho. Schwartz & Wade Books. New York, NY. ISBN 037593619X
Plot Summary
Ten tales that a woman heard when she was a little girl sitting on the porch of her grandparents house in Tennessee is the basis for this collection of tall tales. Except for the nonsense tale The Earth Bone and the King of Ghosts, every other story offers a life lesson hidden in the extraordinary folds of a well-developed tale. In the mood for a ghost story? A Grave Situation will offer just the right blend of doubt and faith to stir your heart strings and make you rethink every promise you make. Prefer a slide-splitting yarn? The Greatest Lie Ever Told and The Earth Bone and the King of Ghosts will deliver plenty of smiles. Want to root for the underdog and have a happy ending? Change and the remaining stories in this collection will deliver a whopping good time.
Critical Analysis
The black and white that is often used to judge good and bad, and race, is exposed in these masterfully crafted pictures of the misguided heroes of these tales. The shading in each of these pictures provides a parallel to each hero in the story: while most of the background is in white, the degree of detail shows us a visual balance of black and white in each portrait. This visual symbolism is of the theme is eloquently stated in the tale Cake Norris Lives On: “He aine good enough or bad enough to live in either place [heaven or hell].” All people have good qualities and qualities that they are trying to improve. Each story sheds light on various facets of this fact in these masterfully crafted African-American tales. The tale Change, for example, exposes the concept of truth, and how although a person tries to believe the good in people, their own misguided opinions can overshadow reality. Aunt Gran and the Outlaws is a perfect example of giving each person the benefit of the doubt. Although Aunt Gran is repeated warned that the two business men of Tom and John Howard are the notorious thieves Frank and Jesse James, she insists on allowing her to form her opinion of them based on how they act to her. This lesson alone is worth it’s weight in gold, especially for young children who are taught the message that different is bad so terrifyingly early in their lives. The picture of Dooly Hunter at the microphone telling the best lie ever told, from the story of the same name, is a seamless blend of cartoon, real-life-picture, and air spray paint. Isn’t that the definition of human nature? Fantasy, reality and a bit of coloring; either rose red tinting of an optimistic nature or dreary grey of the sky-is-falling-in persuasion. Written with charm, wit, and truth, the only disappointing thing about this book is that it lacks a second volume.
Review Excerpts
*School Library Journal: “These 10 literate stories make for great leisure listening and knowing chuckles. …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 author's note helping separate the "truth" of these lies that allude to Depression-era African-American and Southern traditions. That aside, they're great fun to read aloud and the tricksters, sharpies, slicksters, and outlaws wink knowingly at the child narrators, and at us foolish humans.”
*Kirkus Reviews: “These tales all lend themselves to telling or reading aloud, and carry the common theme that even the worst rascals have saving graces.”
*Hornbook: “It’s a clever idea: McKissack presents ten original trickster stories tailored for children with a child narrator in each one, for immediate and lasting identification. McKissack contextualizes the stories, too, more fully and circumstantially than she did in The Dark-Thirty. “The Best Lie Ever Told” (“I aine never told no lie before”) scores on its crafty staging; and the concluding two-part story about rascally Cake Norris, on the ascent into Heaven and the descent into Hell, is a humdinger. Grandly melodramatic black-and-white illustrations capture the mood of the stories and the flavor of the period.”
Connections
In a series of three lessons, present a selection or two from PORCH LIES to students.
Lesson 1
Decorate the area as if you are a cavewoman living in the time of prehistoric man. Set up a campfire and perhaps tie fake animal fabric over your clothes toga style. Silently greet your students by leading them to sit in a circle around the campfire. Using only grunts and body language, explain to the students the story of a simple hunt. Be sure to exaggerate your facial expressions and gestures and if possible use prop animals to explain how you waited in the bush and were able to spear and antelope. Once you have finished, you now begin to speak and allow the children to know you are back to yourself again. Ask what the students saw in the story. Explain this is how stories were shared hundreds of years ago. If time permits, have students act out simple pantomime situations such as the following:
Lost a tooth
Got a surprise present
Lost the ‘big’ game
Tripped and got an injury
Won a game of checkers
Lesson 2
Now decorate your area as if you are in an Indian tipi. It will help if you have such artifacts present as a peace pipe, sage, or authentic deerskin clothing. Present a book on Native American lore or tell one story from a collection (see previous blog posting). After you have shared this tale, make a venn diagram showing the differences and similarities of both the tale in the cave and the tale in the tipi. If time permits, take a few moments to display some of the items you have brought with you. Remember that some children are tactile learners and love to touch and handle objects for better understanding! Then, allow at least 15 minutes for a discussion on what types of objects have special importance in their home. Invite children to share their objects, their meanings, and why it is so important within their culture. If you are comfortable talking about a diverse group of cultures, you are helping children to become better ease with it as well.
Lesson 3
Invite a storyteller to share one or two of the stories from PORCH LIES. Once the tale(s) is(are) finished, either you or the storyteller should emphasize what character traits are considered to be valued and appreciated within this little girl’s porch time. If you share the story Change, be sure to discuss honesty with students. Next, follow up with questions such as how this can be an important trait today. Ask students to share a time when they were honest. Did they feel good about themselves? Explain this is being proud of your choices and assure them when they are proud of themselves, their parents, friends, and teachers are proud of them, too.
Sunday, June 22, 2008
Saturday, June 21, 2008
The Return of the Buffaloes
Biblographic Information
Goble, Paul. 1996. THE RETURN OF THE BUFFALOES. National Geographic Society. Washington, D.C. ISBN 079222714X
Plot Summary
A tribe has been many moons without food. The buffalo, the deer and all other game are gone. Children are crying out in hunger. The tribe must do something to find food. Two young warriors are sent out to look for the buffalo. The young men wander and wander. Just as they agree they would rather die than return to the camp without food, they meet a mysterious woman who ushers them into her cave. Actually, it is a tipi, and thousands of buffalo are painted on the walls. She asks them why it took them so long to find her and she promises them she will send the buffalo soon. The young men race back to the camp. Immediately, all the members of the tribe pack up gifts to take back to the woman. Though they all wait outside her tipi…rather, a cave now…she does not come out. The gifts are left and the tribe returns to camp. In the middle of the night a great storm begins crashing all around the campsite. Only, instead of thunder and lightening, it is the buffaloes who have returned.
Critical Analysis
The language of this story is so beautifully woven that it is hard to separate the tale from the geometric shapes and designs from the pictures of this literary tapestry. The details in the India ink and watercolor pictures from the plains sage brushes to individual leaves create realism in a surreal pictorial style. The composition in the beginning pictures emphasizes the vast emptiness of the sky in relation to the extreme hunger of the tribe. The carefully sculptured text shows compassion, caring, and a deep rooted trust in the mystery of life and is conveyed through simple language that is appropriate for all age levels. Although one might be tempted to brush the tale away because of the tribe being ‘rescued’ by an outside sage, this tale eloquently describes the quiet pride and unwavering honor of the Native Americans.
Review Excerpts
Hornbook: “Goble's illustrated retelling of this Lakota myth is respectful and dignified, and he has included story sources and an extensive note on the role of this myth in the lives of the nomadic peoples of the High Plains. Parfleche designs painted from 1875 to 1930 by Plains Indian women embellish Goble's handsome, authentic, highly stylized illustrations. The result is a blend of story and information, of illustration and decoration, of myth and meaning.”
Kirkus review: “Goble is customarily generous with supporting information on the Plains Indians: Children can discover the Lakota design elements he incorporates into the art, learn how to make parfleche (an intricately decorated rawhide container for dried meat) and appreciate the use these native people made of every part of the buffalo. Attractive, absorbing fare.”
School Library Journal: “The strong symbiotic relationship between Native Americans and the natural world is apparent in both the myth and the accompanying information. Goble’s signature style is evident in his hues of vivid colors, stylized images, and traditional motifs. The large India-ink and watercolor illustrations effectively contrast the natural world with Indian decoration. ...in a book that is entertaining, informative, and inspirational.”
Connections
Follow up the reading of this story with additional Native American tales.
THE SOUND OF FLUTES AND OTHER INDIAN LEGENDS ISBN 0394831810
PAUL GOBLE GALLERY: THREE NATIVE AMERICAN STORIES ISBN 0689822197
Goble, Paul. 1996. THE RETURN OF THE BUFFALOES. National Geographic Society. Washington, D.C. ISBN 079222714X
Plot Summary
A tribe has been many moons without food. The buffalo, the deer and all other game are gone. Children are crying out in hunger. The tribe must do something to find food. Two young warriors are sent out to look for the buffalo. The young men wander and wander. Just as they agree they would rather die than return to the camp without food, they meet a mysterious woman who ushers them into her cave. Actually, it is a tipi, and thousands of buffalo are painted on the walls. She asks them why it took them so long to find her and she promises them she will send the buffalo soon. The young men race back to the camp. Immediately, all the members of the tribe pack up gifts to take back to the woman. Though they all wait outside her tipi…rather, a cave now…she does not come out. The gifts are left and the tribe returns to camp. In the middle of the night a great storm begins crashing all around the campsite. Only, instead of thunder and lightening, it is the buffaloes who have returned.
Critical Analysis
The language of this story is so beautifully woven that it is hard to separate the tale from the geometric shapes and designs from the pictures of this literary tapestry. The details in the India ink and watercolor pictures from the plains sage brushes to individual leaves create realism in a surreal pictorial style. The composition in the beginning pictures emphasizes the vast emptiness of the sky in relation to the extreme hunger of the tribe. The carefully sculptured text shows compassion, caring, and a deep rooted trust in the mystery of life and is conveyed through simple language that is appropriate for all age levels. Although one might be tempted to brush the tale away because of the tribe being ‘rescued’ by an outside sage, this tale eloquently describes the quiet pride and unwavering honor of the Native Americans.
Review Excerpts
Hornbook: “Goble's illustrated retelling of this Lakota myth is respectful and dignified, and he has included story sources and an extensive note on the role of this myth in the lives of the nomadic peoples of the High Plains. Parfleche designs painted from 1875 to 1930 by Plains Indian women embellish Goble's handsome, authentic, highly stylized illustrations. The result is a blend of story and information, of illustration and decoration, of myth and meaning.”
Kirkus review: “Goble is customarily generous with supporting information on the Plains Indians: Children can discover the Lakota design elements he incorporates into the art, learn how to make parfleche (an intricately decorated rawhide container for dried meat) and appreciate the use these native people made of every part of the buffalo. Attractive, absorbing fare.”
School Library Journal: “The strong symbiotic relationship between Native Americans and the natural world is apparent in both the myth and the accompanying information. Goble’s signature style is evident in his hues of vivid colors, stylized images, and traditional motifs. The large India-ink and watercolor illustrations effectively contrast the natural world with Indian decoration. ...in a book that is entertaining, informative, and inspirational.”
Connections
Follow up the reading of this story with additional Native American tales.
THE SOUND OF FLUTES AND OTHER INDIAN LEGENDS ISBN 0394831810
PAUL GOBLE GALLERY: THREE NATIVE AMERICAN STORIES ISBN 0689822197
Friday, June 20, 2008
The Egyptian Cinderella
Bibliographic Information
Climo, Shirley. 1989. THE EGYPTIAN CINDERELLA. Illus. by Ruth Heller. Thomas Y. Crowell Junior Books. New York, NY. ISBN 0-690-04822-X
Plot Summary
In this ancient tale dating back to the Amasis Dynasty (570-526 B.C.), a young girl named Rhodopis was stolen by Pirates from Greece and sold as a slave in Egypt. Taunted and teased by the servant girls, she is ostracicized by her blond hair, green eyes, and light skin. One day, her master sees her dancing with the animals and he decides to give her a present of slippers. The beautiful golden slippers delight Rhodopis and enrage the servant girls. One day there is the news that the Pharaoh will be holding court and although Rhodopis hopes she can attend, she is left. A falcon comes to her and steals one of her shoes. Rhodopis is saddened but unknown to her, the shoe is brought to the Pharaoh who decides that whoever can fit the shoe is meant to be his wife. After a long search, the Pharaoh finds her and she becomes his queen.
Critical Analysis
This is an excellent retelling of a traditional folk tale. It characterizes all of the traditional plot with the 'Cinderlla' story in it, yet the setting makes such a powerful impact on this story that this story might appeal more to children than the original tale! It paints a more realistic background for us to identify with the characterization of Cinderella. It appeals to the underdog factor with Rhodopis being taunted because she is different. This is a fact of life that every child can identify with. Either because of appearance, religion, culture, voice, or behavior, all children know what it is like to feel different and to be constantly reminded of that difference.
Ancient Egypt comes alive in Ruth Heller’s stylized watercolor paintings. The personality differences between Rhodopis and the servant girls are seen in their manner of stature, their dress, and their haughty expressions. The beauty of the Nile river is painted with bright, vibrant colors, and the details from the falcon’s wings to Rhodopis’s golden hair bring the picturesque setting to life. This is not only a true tale, as the author’s note explains, but it would be a wonderful tool to base a multi-disciplinary unit around understanding life in Ancient Egypt.
Review Excerpts
School Library Journal: "A stunning combination of fluent prose and exquisitely wrought illustrations. Climo has woven this ancient tale … with clarity and eloquence."
Book Links: Pharaoh Amasis did marry a slave girl named Rhodopis between 570 and 526 B.C., so the tale is based on fact. The double-spread, full-bleed watercolors contrast Cleopatra-like Egyptian maidens with the blond Rhodopis, who is not only beautiful and kind, but talented and resourceful. Dramatic details in this version of a familiar story will fascinate young readers.
Connections
*Compare and contrast the differences between this tale and the version most students have heard.
*Share Moss Gown by William H. Hooks ISBN 0899194605 Again, compare and contrast the differences.
*Character Traits: List all of the personality traits Cinderella exhibits in all the versions of this story. Ask students to explain why these are good traits to have and why the traits are generally admired by humans of all cultures.
Climo, Shirley. 1989. THE EGYPTIAN CINDERELLA. Illus. by Ruth Heller. Thomas Y. Crowell Junior Books. New York, NY. ISBN 0-690-04822-X
Plot Summary
In this ancient tale dating back to the Amasis Dynasty (570-526 B.C.), a young girl named Rhodopis was stolen by Pirates from Greece and sold as a slave in Egypt. Taunted and teased by the servant girls, she is ostracicized by her blond hair, green eyes, and light skin. One day, her master sees her dancing with the animals and he decides to give her a present of slippers. The beautiful golden slippers delight Rhodopis and enrage the servant girls. One day there is the news that the Pharaoh will be holding court and although Rhodopis hopes she can attend, she is left. A falcon comes to her and steals one of her shoes. Rhodopis is saddened but unknown to her, the shoe is brought to the Pharaoh who decides that whoever can fit the shoe is meant to be his wife. After a long search, the Pharaoh finds her and she becomes his queen.
Critical Analysis
This is an excellent retelling of a traditional folk tale. It characterizes all of the traditional plot with the 'Cinderlla' story in it, yet the setting makes such a powerful impact on this story that this story might appeal more to children than the original tale! It paints a more realistic background for us to identify with the characterization of Cinderella. It appeals to the underdog factor with Rhodopis being taunted because she is different. This is a fact of life that every child can identify with. Either because of appearance, religion, culture, voice, or behavior, all children know what it is like to feel different and to be constantly reminded of that difference.
Ancient Egypt comes alive in Ruth Heller’s stylized watercolor paintings. The personality differences between Rhodopis and the servant girls are seen in their manner of stature, their dress, and their haughty expressions. The beauty of the Nile river is painted with bright, vibrant colors, and the details from the falcon’s wings to Rhodopis’s golden hair bring the picturesque setting to life. This is not only a true tale, as the author’s note explains, but it would be a wonderful tool to base a multi-disciplinary unit around understanding life in Ancient Egypt.
Review Excerpts
School Library Journal: "A stunning combination of fluent prose and exquisitely wrought illustrations. Climo has woven this ancient tale … with clarity and eloquence."
Book Links: Pharaoh Amasis did marry a slave girl named Rhodopis between 570 and 526 B.C., so the tale is based on fact. The double-spread, full-bleed watercolors contrast Cleopatra-like Egyptian maidens with the blond Rhodopis, who is not only beautiful and kind, but talented and resourceful. Dramatic details in this version of a familiar story will fascinate young readers.
Connections
*Compare and contrast the differences between this tale and the version most students have heard.
*Share Moss Gown by William H. Hooks ISBN 0899194605 Again, compare and contrast the differences.
*Character Traits: List all of the personality traits Cinderella exhibits in all the versions of this story. Ask students to explain why these are good traits to have and why the traits are generally admired by humans of all cultures.
Wednesday, June 11, 2008
Talking with Artists
Bibliographic Information
Cummings, Pat.1992. TALKING WITH ARTISTS. Bradbury Press. New York, New York. ISBN 0027242455.
Plot Summary
This is actually a non-fiction book about the lives of illustrators (and some authors) of picture books. Compiled by illustrator Pat Cummings, each author gives a biref autobiography about their life and answers some of the more popular questions children of all ages have about the process of making a picture book.
Critical Analysis
Although the concept of learning about illustrators is a fantastic idea, this realization has much to be desired. The sheer repetion found in this book in both the lifes of illustrators and the questions that are asked about their work makes for dry reading by the third illustrator. Out of the fourteen featured illustrators, all claimed they grew up drawing. The commentaries offered little variety except for Lane Smith, who enhanced his autobiography with wit and zany doodlings. The majority of illustrators were encouraged to continue to draw at a young age by either family, a teacher or a mentor. Although children might like the predictability of the book, fears of a child reading about only one illustrator and shelving the rest of the book could be more common than reading the book from cover to cover. This book does inspire young artisits with words. The sample pictures the illustrators chose to include are more impressive than suggesting..."this is how I drew then, so you will be able to learn, too."
Review Excerpt
School Library Journal: “Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum.”
Connections
Building Visual Literacy: Have students do an illustrator study from one of the authors such as David Wiesner. Read several of his books such as:
Honest Andrew ISBN 015235672X
Sector 7 ISBN 0395746566
Floatsam ISBN 0618194576
Cloze Procedure
After reading several of an artists books, you could perform the cloze procedure with unknown words. For example, in studying David Weisner, you could choose to cover any of the following words and have students try to figure out the meaning of the missing word.
pg. 84 fascinated
appealing
interchangable
captivating
exotic
pg. 85 frustration
murals
conventional
agricultural
obvious
chuckles
pg. 86 discouraging
uninspiring
oceanography
Cummings, Pat.1992. TALKING WITH ARTISTS. Bradbury Press. New York, New York. ISBN 0027242455.
Plot Summary
This is actually a non-fiction book about the lives of illustrators (and some authors) of picture books. Compiled by illustrator Pat Cummings, each author gives a biref autobiography about their life and answers some of the more popular questions children of all ages have about the process of making a picture book.
Critical Analysis
Although the concept of learning about illustrators is a fantastic idea, this realization has much to be desired. The sheer repetion found in this book in both the lifes of illustrators and the questions that are asked about their work makes for dry reading by the third illustrator. Out of the fourteen featured illustrators, all claimed they grew up drawing. The commentaries offered little variety except for Lane Smith, who enhanced his autobiography with wit and zany doodlings. The majority of illustrators were encouraged to continue to draw at a young age by either family, a teacher or a mentor. Although children might like the predictability of the book, fears of a child reading about only one illustrator and shelving the rest of the book could be more common than reading the book from cover to cover. This book does inspire young artisits with words. The sample pictures the illustrators chose to include are more impressive than suggesting..."this is how I drew then, so you will be able to learn, too."
Review Excerpt
School Library Journal: “Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum.”
Connections
Building Visual Literacy: Have students do an illustrator study from one of the authors such as David Wiesner. Read several of his books such as:
Honest Andrew ISBN 015235672X
Sector 7 ISBN 0395746566
Floatsam ISBN 0618194576
Cloze Procedure
After reading several of an artists books, you could perform the cloze procedure with unknown words. For example, in studying David Weisner, you could choose to cover any of the following words and have students try to figure out the meaning of the missing word.
pg. 84 fascinated
appealing
interchangable
captivating
exotic
pg. 85 frustration
murals
conventional
agricultural
obvious
chuckles
pg. 86 discouraging
uninspiring
oceanography
The Hello, Goodbye Window
Bibliographic Information
Jester, Norton. 2005. The Hello, Goodbye Window d illustrated by Chris Raschka. Published by Michael Di Capua Books, Hyperion Books for Children. Copyright 2005. ISBN 0-7868-0914-0. Illustrated by Chris Raschka.
Plot Summary
In this magical trip to Nanna and Poppy's house, we rediscover how full of possibilities the world is to a little girl. In this circular storyline, we see how important a window is for playing jokes, discovering the weather, and imagining all sorts of things. This heartwarming tale pulls a person back to their own fond memories of childhood, and makes you think you just left Nanna and Poppy's house yourself.
Critical Analysis
The pictures are truly the heart of this picture book. Though lacking a formal plot, the squiggly lines and child-like formation of the characters, the window and the obejects of this little girl's world are both realistic and comforting. The soft edges and use of white to deliberately blur unimportant details are a unique way of illustrating a vibrant and exciting memory. The bright greens, subdued blues, and smattering of red bring this story alive to those of us who remember it personally while simultatniously offfering a fresh twist to youngsters who are reading this book for the first time. Each person has their own color of skin, which opens this universal experience up to people from many cultures. However, the most stunning theme throughout the entire book is that the window of childhood is only open before so long until it closes forever. Literally and visually, this book conveys that theme from the front cover to the ending cover.
Review Excerpt
Horn Book Magazine"The quiet, gently humorous first-person narrative presents a very young child’s worldview (“when I get tired I . . . take my nap and nothing happens until I get up”); occasionally, an adult perspective intrudes (“You can be happy and sad at the same time, you know. It just happens that way sometimes”). The familial love that is Juster’s subtext finds overt expression, spectacularly, in Raschka’s illustrations—lush mixedmedia
creations saturated in watercolor and pastel crayon and set off perfectly by white space. In paintings that are freewheeling yet controlled, Raschka incorporates tight circular scribbles (for the little girl’s and Nanna’s hair, for bushes, for clouds), solid shapes (for furniture, for floors); thick strokes of watercolor (for trees, for the door that separates the little girl and her grandparents when her parents come to take her home); and a black line that outlines occasional objects—everything from Poppy’s glasses to electrical outlets to a flower Nanna picks... Say hello to Raschka at the top of his form.
Connections
Creative Dramatics: After discussing the concept of family, the Librarian will read this book. Then, students will be divided into groups and asked to act out the many different activities they perform at their realitives house. After students have planned, each group will present their actions. Audience members will raise their hands once they have figured out what each member is doing. The librarian will call on students to guess what action each member performed. Each group will get to present.
Think Aloud Strategy: When first introducing the book to students, the librarian will read the author, illustrator and title of the book. Other think aloud prompts could include: "This story involves a window. Where do you think this window is? Where do you think this window leads? (Looking on the back cover) These three people are all hugging. Why do you think they are hugging? What emotion does a person show when they hug someone? Who hugs you?
Jester, Norton. 2005. The Hello, Goodbye Window d illustrated by Chris Raschka. Published by Michael Di Capua Books, Hyperion Books for Children. Copyright 2005. ISBN 0-7868-0914-0. Illustrated by Chris Raschka.
Plot Summary
In this magical trip to Nanna and Poppy's house, we rediscover how full of possibilities the world is to a little girl. In this circular storyline, we see how important a window is for playing jokes, discovering the weather, and imagining all sorts of things. This heartwarming tale pulls a person back to their own fond memories of childhood, and makes you think you just left Nanna and Poppy's house yourself.
Critical Analysis
The pictures are truly the heart of this picture book. Though lacking a formal plot, the squiggly lines and child-like formation of the characters, the window and the obejects of this little girl's world are both realistic and comforting. The soft edges and use of white to deliberately blur unimportant details are a unique way of illustrating a vibrant and exciting memory. The bright greens, subdued blues, and smattering of red bring this story alive to those of us who remember it personally while simultatniously offfering a fresh twist to youngsters who are reading this book for the first time. Each person has their own color of skin, which opens this universal experience up to people from many cultures. However, the most stunning theme throughout the entire book is that the window of childhood is only open before so long until it closes forever. Literally and visually, this book conveys that theme from the front cover to the ending cover.
Review Excerpt
Horn Book Magazine"The quiet, gently humorous first-person narrative presents a very young child’s worldview (“when I get tired I . . . take my nap and nothing happens until I get up”); occasionally, an adult perspective intrudes (“You can be happy and sad at the same time, you know. It just happens that way sometimes”). The familial love that is Juster’s subtext finds overt expression, spectacularly, in Raschka’s illustrations—lush mixedmedia
creations saturated in watercolor and pastel crayon and set off perfectly by white space. In paintings that are freewheeling yet controlled, Raschka incorporates tight circular scribbles (for the little girl’s and Nanna’s hair, for bushes, for clouds), solid shapes (for furniture, for floors); thick strokes of watercolor (for trees, for the door that separates the little girl and her grandparents when her parents come to take her home); and a black line that outlines occasional objects—everything from Poppy’s glasses to electrical outlets to a flower Nanna picks... Say hello to Raschka at the top of his form.
Connections
Creative Dramatics: After discussing the concept of family, the Librarian will read this book. Then, students will be divided into groups and asked to act out the many different activities they perform at their realitives house. After students have planned, each group will present their actions. Audience members will raise their hands once they have figured out what each member is doing. The librarian will call on students to guess what action each member performed. Each group will get to present.
Think Aloud Strategy: When first introducing the book to students, the librarian will read the author, illustrator and title of the book. Other think aloud prompts could include: "This story involves a window. Where do you think this window is? Where do you think this window leads? (Looking on the back cover) These three people are all hugging. Why do you think they are hugging? What emotion does a person show when they hug someone? Who hugs you?
Click, Clack, Moo: Cows That Type
Bibliographic Information
Cronin, Doreen. 2000. Click, Clack, Moo: Cows that Type. Simon & Shuster Children's Publishing Division. New York, NY. ISBN 0689832133. Illustrated by Betsy Lewin.
Plot Summary
Farmer Brown is shocked when he learns his cows have figured out how to type on the old typewriter. What are they typing? At first, the cows ask for electric blankets. Farmer Brown refuses, but he gets another note informing him he will get no milk. The chickens also ask for blankets, but are also refused. The chickens decide to join the strike. After Farmer Brown composes a letter, sent by Duck to the cows, he agrees to trade electric blankets for the typewriter. The cows agree. However, Duck keeps the typewriter, and writes his own letter. What happens? Suffice to say, the ending is a "splashing" good time!
Critical Analysis
The blend of fantasy, reality, and humor are certainly reasons Click, Clack, Moo: Cows That Type is a New York Times Best Seller. The whimsy found in the loose lines, the deliberate smudges, and in the lively colors, paint an ordinary farm with an extra-ordinary secret! The wittiest moments of this book are painted into the facial expressions of by-standing animals. A variety of textures are seen throught the movement of the lines in the fields, animal's fur, and especially Farmer Brown.
This story is a nonsense tale, deliberately lacking a moral, which only enhances it's appeal to children. Although Farmer Brown is a one dimensional character, his relenquishing the blankets shows his kind nature. Duck, on the other hand, allows his actions to speak more than his words. By using his cleverness, he ends up getting his diving board.
The rhythmic verses spread throughout the story make this story picture book a balanced fusion of poetry and prose. The only problem in the book is the fact that the barn is so far away from the house. This showed the fact that the illustrator did not do her research and missed this important cultural marker. Barns were deliberately made close to the house to keep an eye on the animals and incase of fire. However, despite it's minute flaws, children of all ages will find this an entertaining book.
Review Excerpt
Horn Book Magazine:"The story is told in economical prose, with the typewritten notes blended smoothly into the text. Betsy Lewin's illustrations, splashy watercolor washes, follow Farmer Brown from perplexed to perturbed, with his angry reaction to the cows' demands silhouetted against the barn door while the animals peek out with bovine passivity. The pictures of the cows and ducks striking typewriter keys with hoof and wing are equally delightful. That typewriters may be as anachronistic to today's kids as rumble seats and spinning wheels won't lessen their enjoyment of this amusing story. They may have never heard the racket of a real typewriter, but they will certainly be familiar with the art of negotiation, and will soon be chanting along: "Click, clack, moo. Click, clack, moo. Clickety, clack, moo." "
Cronin, Doreen. 2000. Click, Clack, Moo: Cows that Type. Simon & Shuster Children's Publishing Division. New York, NY. ISBN 0689832133. Illustrated by Betsy Lewin.
Plot Summary
Farmer Brown is shocked when he learns his cows have figured out how to type on the old typewriter. What are they typing? At first, the cows ask for electric blankets. Farmer Brown refuses, but he gets another note informing him he will get no milk. The chickens also ask for blankets, but are also refused. The chickens decide to join the strike. After Farmer Brown composes a letter, sent by Duck to the cows, he agrees to trade electric blankets for the typewriter. The cows agree. However, Duck keeps the typewriter, and writes his own letter. What happens? Suffice to say, the ending is a "splashing" good time!
Critical Analysis
The blend of fantasy, reality, and humor are certainly reasons Click, Clack, Moo: Cows That Type is a New York Times Best Seller. The whimsy found in the loose lines, the deliberate smudges, and in the lively colors, paint an ordinary farm with an extra-ordinary secret! The wittiest moments of this book are painted into the facial expressions of by-standing animals. A variety of textures are seen throught the movement of the lines in the fields, animal's fur, and especially Farmer Brown.
This story is a nonsense tale, deliberately lacking a moral, which only enhances it's appeal to children. Although Farmer Brown is a one dimensional character, his relenquishing the blankets shows his kind nature. Duck, on the other hand, allows his actions to speak more than his words. By using his cleverness, he ends up getting his diving board.
The rhythmic verses spread throughout the story make this story picture book a balanced fusion of poetry and prose. The only problem in the book is the fact that the barn is so far away from the house. This showed the fact that the illustrator did not do her research and missed this important cultural marker. Barns were deliberately made close to the house to keep an eye on the animals and incase of fire. However, despite it's minute flaws, children of all ages will find this an entertaining book.
Review Excerpt
Horn Book Magazine:"The story is told in economical prose, with the typewritten notes blended smoothly into the text. Betsy Lewin's illustrations, splashy watercolor washes, follow Farmer Brown from perplexed to perturbed, with his angry reaction to the cows' demands silhouetted against the barn door while the animals peek out with bovine passivity. The pictures of the cows and ducks striking typewriter keys with hoof and wing are equally delightful. That typewriters may be as anachronistic to today's kids as rumble seats and spinning wheels won't lessen their enjoyment of this amusing story. They may have never heard the racket of a real typewriter, but they will certainly be familiar with the art of negotiation, and will soon be chanting along: "Click, clack, moo. Click, clack, moo. Clickety, clack, moo." "
Connections:
Brown Bag Book Report of Click, Clack, Moo. Using the following items, one can tell the story holding up each item as they discuss it. Items could include:
cow
picture of a type writer
each one of the typed notes in the story
a rubber chicken
a rubber ducky
fuzzy fabric to represent the electric blankets
an easter egg
empty milk carton
Follow Up Activity to Reading Click, Clack, Moo: Cows That Type. The Librarian will read the follow up books to this series. They are Giggle,Giggle, Quack and Dooby Dooby Moo.
What If Game to Reading Click, Clack, Moo: Cows That Type. After reading the book, the librarian will ask the following prompts: "What if cows that typed and the Chick-fil-A cows met and became friends? What would happen?" The librarian will hand students a peice of paper folded into a tri-fold. Students could draw the beginning, the middle and the end of their What If Game tale. Older students might be required to have three events in each box, to represent a visual comic strip. (You could also contact your local Chick-fil-A and see if they would come in with someone in a cow suit and offer incentives for reading.)
Monday, June 9, 2008
Purpose of This Blog
Hello! The purpose of this blog is as a site to reveiw several children's books for my graduate class Children and Young Adult Literature LS5603 for Texas Woman's University school of Library and Information Science.
My posts here will be from various types of books, all to assist me to become an elementary school librarian.
I would enjoy hearing your thoughts about my thoughts!
Library Lady
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