Nye, Naomi Shihab. 1997. HABIBI. New York: Simon & Schuster Books For Young Readers. ISBN: 0-689- 80149-1
Summary:
HABIBI is a story of fourteen year old Liyana and her family as they move to their father’s home Jerusalem. Liyana has lived her whole life in America. She is an Arab- American and her father feels it is time for the family to experience his side of the family. “He wanted them to know both sides of their history and become the fully rounded human beings they were destined to be.” Liyana remembers hearing the stories of her father when he came to this country as an immigrant and “now she would be the immigrant.” As Liyana and her family settle into their new life in Jerusalem, she looks for ways to make a difference. The difference may come through her friendship with Omer who is Jewish and gave her family concern. Liyana and Omer may just be the beginning of a new story between the Arabs and Jew people.
Analysis:
Habibi is Arabic for darling a term of endearment. Poppy said it all the time. Nye included many Arabic words that identified food and phrases that the family needed in their new home. Liyana, Rafik and her mother had spent their whole life in America and throughout the story the words are in italic and followed by a translation for the reader. The family and friends shared meals and stories and the names of foods such as hareesa, falafel, katayef, baba ghanoij, and hummus are just a few of the foods that were named. The family needed to learn some phrases in order to communicate with others quicker. Father taught the word “ana” to say I am when meeting others, “ yumken”- maybe, Liyana’s favorite was “Nos- nos” meaning half- half when explaining she is Arab- American and “souk” meaning market place. Learning the language of others is important and is one part of finding your place. “Language is one shiny key.”
Liyana had to adjust what was “appropriate” while living in Jerusalem. Women were not to wear shorts, no displays of affection such as kissing, and no coming wet hair in public were a few of the adjustments Liyana had to make. Father reminds her “It’s inappropriate for a girl to invite a boy anywhere in this part of the world.” Then there was the reminder of the Jewish and Arabs not to socialize. The license plates are color coded to identify whether you are from Arab or Jewish side, with blue for Arabs and yellow license for Jews.
Living conditions are differen,t not only are there sides to the city but some people live in refugee camps or on the land as the Bodouins that wander year to year. Liyana and Rafik meet Khaled and Nadine while walking past the refugee camp. After exchanging hellos in Arabic and English the four become good friends. Although Liyana and Rafik have friends at school but the only friends that visit their home are Nadine and Khaled.
Liyana meets a young boy in a favorite shop and when he introduces himself as “Omar”, Liyana thinks that it is an Arabic name. As she soon discovers it is “Omer with an “e”, not an “a”- which is a Jewish name. Liyana gets nervous and begins speaking fast, “I mean, this fighting is senseless, don’t you think? I have hope for peace, do you?” Omer answers, “Of course I do!” The friendship begins to grow.
The tension between the Jews and Arabs is escalated when there is a bombing in a Jewish marketplace. This is the first experience since arriving in Jerusalem that has touched the Abboud family and their friends. When their friend Khaled is shot because soldiers believe he may have been involved in the bombing and their father is taken to jail for helping it becomes real to the family.
Liyana finds strength in her family and her father’s family especially “Sitti” his mother. Sitti wants a peaceful future for all families. She welcomes Omer and calls him an “angel.” It is Omer, Sitti, insists that father bring with them on their trip to the Sea of Galilee. He speaks Hebrew and we may need it. Sitti like Liyana wants change and she sees in the tea leaves Omer needing to be “brave” because there are “hard days coming”, there are walls you can’t break, just find the doors in them.” The leaves promised Liyana a beautiful future. As Sitti touches Liyana”s forehead as dad translates, “She says you have a powerful world in there. Be strong. Keep letting it out.”
Reviews/Awards:
Book Links (A.L.A.) 01/01/09 Notable/Best Books (A.L.A.) 01/19/98
Booklist 09/15/97 Publishers Weekly starred 09/08/97
Books for the Teen Age (NYPL) 04/01/98 School Library Journal 09/01/97
New York Times 11/16/97 Wilson's Junior High School 07/01/98
From School Library Journal
Grade 5-9. An important first novel from a distinguished anthologist and poet. When Liyana's doctor father, a native Palestinian, decides to move his contemporary Arab-American family back to Jerusalem from St. Louis, 14-year-old Liyana is unenthusiastic. Arriving in Jerusalem, the girl and her family are gathered in by their colorful, warmhearted Palestinian relatives and immersed in a culture where only tourists wear shorts and there is a prohibition against boy/girl relationships. When Liyana falls in love with Omer, a Jewish boy, she challenges family, culture, and tradition, but her homesickness fades. Constantly lurking in the background of the novel is violence between Palestinian and Jew. It builds from minor bureaucratic annoyances and humiliations, to the surprisingly shocking destruction of grandmother's bathroom by Israeli soldiers, to a bomb set off in a Jewish marketplace by Palestinians. It exacts a reprisal in which Liyana's friend is shot and her father jailed. Nye introduces readers to unforgettable characters. The setting is both sensory and tangible: from the grandmother's village to a Bedouin camp. Above all, there is Jerusalem itself, where ancient tensions seep out of cracks and Liyana explores the streets practicing her Arabic vocabulary. Though the story begins at a leisurely pace, readers will be engaged by the characters, the romance, and the foreshadowed danger. Poetically imaged and leavened with humor, the story renders layered and complex history understandable through character and incident. Habibi succeeds in making the hope for peace compellingly personal and concrete...as long as individual citizens like Liyana's grandmother Sitti can say, "I never lost my peace inside."?Kate McClelland, Perrot Memorial Library, Greenwich, CT
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Kirkus Reviews
Liyana Abboud, 14, and her family make a tremendous adjustment when they move to Jerusalem from St. Louis. All she and her younger brother, Rafik, know of their Palestinian father's culture come from his reminiscences of growing up and the fighting they see on television. In Jerusalem, she is the only ``outsider'' at an Armenian school; her easygoing father, Poppy, finds himself having to remind her--often against his own common sense--of rules for ``appropriate'' behavior; and snug shops replace supermarket shopping--the malls of her upbringing are unheard of. Worst of all, Poppy is jailed for getting in the middle of a dispute between Israeli soldiers and a teenage refugee. In her first novel, Nye (with Paul Janeczko, I Feel a Little Jumpy Around You, 1996, etc.) shows all of the charms and flaws of the old city through unique, short-story-like chapters and poetic language. The sights, sounds, and smells of Jerusalem drift through the pages and readers glean a sense of current Palestinian-Israeli relations and the region's troubled history. In the process, some of the passages become quite ponderous while the human story- -Liyana's emotional adjustments in the later chapters and her American mother's reactions overall--fall away from the plot. However, Liyana's romance with an Israeli boy develops warmly, and readers are left with hope for change and peace as Liyana makes the city her very own. (Fiction. 12+) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title
Connections:
This is a book I would recommend for a read aloud to third or fourth grade students. As the teacher is reading the book- stop and go to the maps and follow their trip from St. Louis to Jerusalem. There are many opportunities to research the people, conflict, food, housing and family traditions.
Compare what is “appropriate” in America but not in other countries. What other customs are there? Are there certain phrases that would not be appropriate or appreciated in other countries? Make a list of important phrases or words to know when going to another country.
This is a good website for upper grade children to use a resource to learn more about Jerusalem.
http://kids.britannica.com/comptons/article-9276254/Palestine
Tuesday, July 26, 2011
Saturday, July 23, 2011
THE PIRATE OF KINDERGARTEN- Lyon
Lyon, George Ella. 2010. THE PIRATE OF KINDERGARTEN. New York: Antheneum Books for Young Readers. ISBN: 978-1-4169-5024-0
Summary:
Ginny is a kindergarten student who loves school and loves to read, but she runs into chairs and reads things twice. She doesn’t understand why she sees two of everything knowing “only half of them are real.” It is not until Vision Screening Day that Ginny finds out she has double vision. A trip to the eye doctor lets her know a patch, and new glasses will help her see only one of everything. Ginny gets her patch and becomes the Pirate of Kindergarten. The story is told through not only the words but the illustrations that give us the story from Ginny’s eyes.
Analysis:
THE PIRATE OF KINDERGARTEN is a story of an undiagnosed vision problem of a young child in kindergarten. The story is told through the eyes of Ginny through the illustrations that show what she sees. She saw two of everything but “she knew only half of them were real.” Ginny tried to “tightened her mind,” and close one eye. Ginny found when she “closed one eye, she saw one word.” Ginny “thought everyone saw this way.” There were many challenges presented for Ginny, just going to reading circle was hard. She saw the chairs, but she saw two of each and sometimes she ran into them and children laughed. Other challenges were using scissors –“Scissors were tricky,” and not knowing if she should read it once or twice. Through the words the reader gets an insight to how Ginny is feeling. Sometimes she is “afraid” or “mad.” The story takes place in a school setting and the teacher at times made things more confusing without meaning to. The teacher, Ms. Cleo said, “we read with our eyes, not our noses,” and “we read it just once,” confuses Ginny more and makes her afraid to read. These are examples of how a child with a disability is feeling and this gives the reader more insight to their feelings. As the story progresses Ginny’s vision problem is discovered during the schools Vision Screening Day and after being diagnosed with double vision she earned her patch. She becomes the Kindergarten Pirate and she is able to read, walk without bumping into chairs, write numbers and use scissors.
The illustrations tell the story of what it would be like to see two of everything. A young child will be able to understand how seeing two of everything would cause someone to have more challenges just walking in the classroom and then being able to participate in the school activities such as cutting, reading, and writing. The illustrations show young children that getting help can make things better. Ginny experiences growth in herself.
Review/Awards:
Booklist 05/01/10 Publishers Weekly starred 05/17/10
Horn Book 10/01/10 Schneider Family Book Award 01/01/11
Kirkus Review starred 06/01/10 School Library Journal 06/01/10
Library Media Connection 08/01/10 Wilson's Children 10/01/10
Full-Text Reviews
Booklist (May 1, 2010 (Vol. 106, No. 17))
Preschool-Grade 2. Ginny enjoys kindergarten, but she does have some difficulties, and occasionally children laugh when she runs into chairs or reads lines of text twice. Her teacher notices that the child closes one eye to read, but on Vision Screening Day, the school nurse discovers that Ginny has double vision. When the doctor gives her a temporary eye patch, Ginny wears it with style and becomes a “Kindergarten Pirate,” suddenly better at numbers, scissors, and reading and no longer tense from concentrating in order to avoid mistakes. Created with pastels, acrylics, and colored pencils, Avril’s bold and wonderfully vivid mixed-media illustrations sometimes portray the classroom through Ginny’s eyes, with overlapping images of chairs, books, and people, though they usually present an outside perspective. Based on Lyon’s own experience, the sensitively written story radiates empathy and good humor. Even children who have not experienced Ginny’s problem will understand her occasional frustration and find it intriguing that one person can literally see the world differently from another.
Horn Book (July/August, 2010)
Plainspoken text and sunny mixed-media illustrations present the confusing world of a child with double vision. Ginny loves reading circle, but getting there is an obstacle course when there are twice as many chairs and only half of them are real. Reading and math are heroic efforts when every word appears twice on the page and "numbers [hop] around like popcorn." A vision screening finally catches the problem, and Ginny's eye doctor outfits her with glasses and an eye patch ("for a while") to correct her vision: "So Ginny became a Kindergarten Pirate who could do numbers and scissors...and read and read and read." Avril's easygoing pic-tures in cheerful colors simultaneously depict a warm, inviting classroom and the chaos seen through Ginny's eyes. Ginny squints her way through the day, eager to learn and succeed at school, but her efforts and frustration are palpable. Lyon and Avril treat Ginny with the empathy and respect that all earnest kids facing a challenge deserve.
Horn Book starred (Fall 2010)
Plainspoken text and sunny mixed-media illustrations present the confusing world of a child with double vision. Ginny's doctor outfits her with an eye patch ("for a while"): "So Ginny became a Kindergarten Pirate who could...read and read and read." Easygoing pictures in cheerful colors simultaneously depict a warm, inviting classroom and the chaos seen through Ginny's eyes.
Connection:
This is a good book to use with young children when talking about how everyone is unique. The illustrations give a clear understanding of how not seeing things clearly can affect you at school. Vision problems are one of the most common problems we have and it seems to take the longest to diagnose with young children. They do not know how things are supposed to look and this book gives children the language to express vision problems.
Use the book to address how we treat our friends and classmates also. Having students find other ways to react when students stumble or trip over furniture and when reading or cutting may not be just right. Children can role play with small group, ways to encourage or help others that seem to be struggling in class.
Summary:
Ginny is a kindergarten student who loves school and loves to read, but she runs into chairs and reads things twice. She doesn’t understand why she sees two of everything knowing “only half of them are real.” It is not until Vision Screening Day that Ginny finds out she has double vision. A trip to the eye doctor lets her know a patch, and new glasses will help her see only one of everything. Ginny gets her patch and becomes the Pirate of Kindergarten. The story is told through not only the words but the illustrations that give us the story from Ginny’s eyes.
Analysis:
THE PIRATE OF KINDERGARTEN is a story of an undiagnosed vision problem of a young child in kindergarten. The story is told through the eyes of Ginny through the illustrations that show what she sees. She saw two of everything but “she knew only half of them were real.” Ginny tried to “tightened her mind,” and close one eye. Ginny found when she “closed one eye, she saw one word.” Ginny “thought everyone saw this way.” There were many challenges presented for Ginny, just going to reading circle was hard. She saw the chairs, but she saw two of each and sometimes she ran into them and children laughed. Other challenges were using scissors –“Scissors were tricky,” and not knowing if she should read it once or twice. Through the words the reader gets an insight to how Ginny is feeling. Sometimes she is “afraid” or “mad.” The story takes place in a school setting and the teacher at times made things more confusing without meaning to. The teacher, Ms. Cleo said, “we read with our eyes, not our noses,” and “we read it just once,” confuses Ginny more and makes her afraid to read. These are examples of how a child with a disability is feeling and this gives the reader more insight to their feelings. As the story progresses Ginny’s vision problem is discovered during the schools Vision Screening Day and after being diagnosed with double vision she earned her patch. She becomes the Kindergarten Pirate and she is able to read, walk without bumping into chairs, write numbers and use scissors.
The illustrations tell the story of what it would be like to see two of everything. A young child will be able to understand how seeing two of everything would cause someone to have more challenges just walking in the classroom and then being able to participate in the school activities such as cutting, reading, and writing. The illustrations show young children that getting help can make things better. Ginny experiences growth in herself.
Review/Awards:
Booklist 05/01/10 Publishers Weekly starred 05/17/10
Horn Book 10/01/10 Schneider Family Book Award 01/01/11
Kirkus Review starred 06/01/10 School Library Journal 06/01/10
Library Media Connection 08/01/10 Wilson's Children 10/01/10
Full-Text Reviews
Booklist (May 1, 2010 (Vol. 106, No. 17))
Preschool-Grade 2. Ginny enjoys kindergarten, but she does have some difficulties, and occasionally children laugh when she runs into chairs or reads lines of text twice. Her teacher notices that the child closes one eye to read, but on Vision Screening Day, the school nurse discovers that Ginny has double vision. When the doctor gives her a temporary eye patch, Ginny wears it with style and becomes a “Kindergarten Pirate,” suddenly better at numbers, scissors, and reading and no longer tense from concentrating in order to avoid mistakes. Created with pastels, acrylics, and colored pencils, Avril’s bold and wonderfully vivid mixed-media illustrations sometimes portray the classroom through Ginny’s eyes, with overlapping images of chairs, books, and people, though they usually present an outside perspective. Based on Lyon’s own experience, the sensitively written story radiates empathy and good humor. Even children who have not experienced Ginny’s problem will understand her occasional frustration and find it intriguing that one person can literally see the world differently from another.
Horn Book (July/August, 2010)
Plainspoken text and sunny mixed-media illustrations present the confusing world of a child with double vision. Ginny loves reading circle, but getting there is an obstacle course when there are twice as many chairs and only half of them are real. Reading and math are heroic efforts when every word appears twice on the page and "numbers [hop] around like popcorn." A vision screening finally catches the problem, and Ginny's eye doctor outfits her with glasses and an eye patch ("for a while") to correct her vision: "So Ginny became a Kindergarten Pirate who could do numbers and scissors...and read and read and read." Avril's easygoing pic-tures in cheerful colors simultaneously depict a warm, inviting classroom and the chaos seen through Ginny's eyes. Ginny squints her way through the day, eager to learn and succeed at school, but her efforts and frustration are palpable. Lyon and Avril treat Ginny with the empathy and respect that all earnest kids facing a challenge deserve.
Horn Book starred (Fall 2010)
Plainspoken text and sunny mixed-media illustrations present the confusing world of a child with double vision. Ginny's doctor outfits her with an eye patch ("for a while"): "So Ginny became a Kindergarten Pirate who could...read and read and read." Easygoing pictures in cheerful colors simultaneously depict a warm, inviting classroom and the chaos seen through Ginny's eyes.
Connection:
This is a good book to use with young children when talking about how everyone is unique. The illustrations give a clear understanding of how not seeing things clearly can affect you at school. Vision problems are one of the most common problems we have and it seems to take the longest to diagnose with young children. They do not know how things are supposed to look and this book gives children the language to express vision problems.
Use the book to address how we treat our friends and classmates also. Having students find other ways to react when students stumble or trip over furniture and when reading or cutting may not be just right. Children can role play with small group, ways to encourage or help others that seem to be struggling in class.
IN OUR MOTHERS' HOUSE- POLACCO
Polacco, Patricia. 2009. IN OUR MOTHERS’ HOUSE. New York: Philomel Books. ISBN: 978-0-399-25076-7
Summary:
Polacco’s, OUR MOTHERS’ HOUSE is a story about a family that has adopted an African American daughter, Asian American son and a Caucasian daughter that will be raised by two mothers. The family lives in a very diverse neighborhood. The neighbors, the Mardicians, the Yamagakis, the Kiernanas, the Goldsteins and the Abdullas come together for block parties and to help build the tree house known as “Thistle House.” The neighborhood seems perfect until Mrs. Lockner puts her feelings into words when she says in front of the neighborhood, “I don’t appreciate what you two are!” The children learn that not all people see the love and family that “their” family has and gives to the children. IN OUR MOTHERS’ HOUSE there is love and memories and our two moms. Will the son has moved his family into the house to keep the memories alive. The family gathers and realizes “all of our hearts find peace whenever we are there.” In this story the message of love, family and being different doesn’t mean being wrong is conveyed in a gentle way for young children to understand.
Analysis:
In OUR MOTHERS’ HOUSE there seems to be a multicultural theme in addition to being an example of gay literature for young people. The markers I found in this book are those of the family and the families in the neighborhood. The first marker is the family has two moms. Meema and Marmee are two professional woman in the medical field. Meema is a pediatrician and Marmee a paramedic living in a diverse neighborhood. The moms adopt three children, an African American daughter, An Asian American son and a Caucasian daughter that create their diverse family. Just like their immediate family is diverse the extended family adds even more diversity to their lives. Meema’s large Italian family spends holidays with the family where making “gnocchi” is a family event. Another family tradition is sitting at the table and being able “to speak their hearts, and we never measured words.” The family lived in a neighborhood of many cultures. The neighborhood party allows each family to share a little about their culture through the food brought to the food court. “The Mardicians brought stuffed grape leaves and ground lamb. The Polos brought spanakopita and Greek salads. The Abdullas brought hummus and tabouli. Nonno made a huge pot of spaghetti and fried schnitzels. The Yamagakis brought sushi.” The Barbers made fried clams and crawdads and corn on the cob. Food is used often as a cultural marker and being included in this book was important when Meema meant “our street everyone was so different.”
The story is set in contemporary time as we see a diverse neighborhood, adoption by a same sex couple, job opportunities not being limited by life style choices. The negative feelings of Mrs. Lockner is a limited view but one that is still part of life. Mrs. Lockner glares at the family, turns her back on them and pulls her children away from fun neighborhood activities just because of their life choice. The words “I don’t appreciate what you two are!” are voiced in front of children and neighbors. When the children become confused the moms explain “She is full of fear, sweetie. She is afraid of what she cannot understand; she doesn’t understand us.”
The illustrations compliment the text beautifully. The drawings show the diversity of the family members through facial features, hair and skin tones. The illustrations convey the love, family and friends and how all are different but the same in many ways. The illustrations will help young children see the diversity of the people and the ways that people come together.
The story is told from the oldest daughter’s point of view and she sees the good events that made her memories and only touched on the negative feelings she and her siblings may have encountered. The children grew up and left to make their way in the world. It was interesting that her Asian American brother left to study engineering, and her fiery red- head sister went to New York to be a fashion designer. It seemed almost stereotypical, but then again stereotypes cannot keep people from their dreams.
Side note: My daughter is in New York in the fashion industry and many of her classmates had a similar look, free spirited style and the artistic ability that Millie demonstrated on the wall of the living room.
Reviews / Awards:
Book Links (A.L.A.) 01/01/10 Multicultural Review 05/01/10
Booklist 05/01/09 School Library Journal 05/01/09
Library Media Connection starred 10/01/09 Wilson's Children 10/01/10
Full-Text Reviews
Booklist (May 1, 2009 (Vol. 105, No. 17))
Grades 1-4. The oldest of three adopted children recalls her childhood with mothers Marmee and Meema, as they raised their African American daughter, Asian American son, and Caucasian daughter in a lively, supportive neighborhood. Filled with recollections of family holidays, rituals, and special moments, each memory reveals loving insight. At a school mother-daughter tea, for instance, the mothers make their first ever appearance in dresses. The narrator recalls, “My heart still skips a beat when I think of the two of them trying so hard to please us.” Only a crabby neighbor keeps her children away from their family. Meema explains, “She’s afraid of what she cannot understand: she doesn’t understand us.” The energetic illustrations in pencil and marker, though perhaps not as well-rendered as in some previous works, teem with family activities and neighborhood festivity.
Horn Book (Fall 2009)
The eldest of three siblings (each a different race) adopted by a lesbian couple recalls an idyllic childhood. The heavy-handed message is that same-sex parents are just like everybody else, but what real family is this perfect? The nostalgic adult tone and dearth of actual plot severely limit the child appeal of this well-intentioned story played out in Polacco's recognizable illustrations.
Kirkus Review (March 15, 2009)
The placement of the title's possessive apostrophe here is no typo: Two mothers own this house, and they have filled it with lots of love. Unfortunately, while this ambitious picture book seeks to offer an inclusive vision of family, it ultimately comes up short. Meema and Marmee's eldest daughter offers a sweeping narrative about three children embraced by their loving, interracial, adoptive family and multicultural community, with their "mothers' house" at the center of it all. It is outside of this safe haven that the children face overt and neatly contained homophobia in the character of one bad apple, who declares, "I don't appreciate what you two are!" The distillation of hate into a single character undermines the reality of systematic oppression faced by same-sex couples; furthermore, the flash-forward narration depicting each child grown and married into heterosexual, monoracial unions ironically presents this family as an anomaly. There is a desperate need for books that present queer families as just another part of the American quilt, but this title, despite its obvious good intentions, doesn't do it. (Picture book. 6-8)
Connections:
I really like this book. I think it does a nice job of showing how people can work and play together. The love the family shows to their children, extended family and neighbors is a wonderful example of finding the good in people. This book could be used in upper grades when included with other books that have examples of diverse families. The additional cultures in this book and showing how almost everyone works together could be a great way to make a connection to many classrooms. Mrs. Lockner is a character to look at closer. The discussions in upper grades could really bring awareness of how people’s actions affect others and possibly keep change from happening.
Since I teach first grade I am leaning towards the recommendation in our notes, “consider having this book in your library or classroom.” I can address individual students if there are questions. I think my students would not really understand the family dynamics from just looking at the pictures, but would enjoy the family fun pictures.
Summary:
Polacco’s, OUR MOTHERS’ HOUSE is a story about a family that has adopted an African American daughter, Asian American son and a Caucasian daughter that will be raised by two mothers. The family lives in a very diverse neighborhood. The neighbors, the Mardicians, the Yamagakis, the Kiernanas, the Goldsteins and the Abdullas come together for block parties and to help build the tree house known as “Thistle House.” The neighborhood seems perfect until Mrs. Lockner puts her feelings into words when she says in front of the neighborhood, “I don’t appreciate what you two are!” The children learn that not all people see the love and family that “their” family has and gives to the children. IN OUR MOTHERS’ HOUSE there is love and memories and our two moms. Will the son has moved his family into the house to keep the memories alive. The family gathers and realizes “all of our hearts find peace whenever we are there.” In this story the message of love, family and being different doesn’t mean being wrong is conveyed in a gentle way for young children to understand.
Analysis:
In OUR MOTHERS’ HOUSE there seems to be a multicultural theme in addition to being an example of gay literature for young people. The markers I found in this book are those of the family and the families in the neighborhood. The first marker is the family has two moms. Meema and Marmee are two professional woman in the medical field. Meema is a pediatrician and Marmee a paramedic living in a diverse neighborhood. The moms adopt three children, an African American daughter, An Asian American son and a Caucasian daughter that create their diverse family. Just like their immediate family is diverse the extended family adds even more diversity to their lives. Meema’s large Italian family spends holidays with the family where making “gnocchi” is a family event. Another family tradition is sitting at the table and being able “to speak their hearts, and we never measured words.” The family lived in a neighborhood of many cultures. The neighborhood party allows each family to share a little about their culture through the food brought to the food court. “The Mardicians brought stuffed grape leaves and ground lamb. The Polos brought spanakopita and Greek salads. The Abdullas brought hummus and tabouli. Nonno made a huge pot of spaghetti and fried schnitzels. The Yamagakis brought sushi.” The Barbers made fried clams and crawdads and corn on the cob. Food is used often as a cultural marker and being included in this book was important when Meema meant “our street everyone was so different.”
The story is set in contemporary time as we see a diverse neighborhood, adoption by a same sex couple, job opportunities not being limited by life style choices. The negative feelings of Mrs. Lockner is a limited view but one that is still part of life. Mrs. Lockner glares at the family, turns her back on them and pulls her children away from fun neighborhood activities just because of their life choice. The words “I don’t appreciate what you two are!” are voiced in front of children and neighbors. When the children become confused the moms explain “She is full of fear, sweetie. She is afraid of what she cannot understand; she doesn’t understand us.”
The illustrations compliment the text beautifully. The drawings show the diversity of the family members through facial features, hair and skin tones. The illustrations convey the love, family and friends and how all are different but the same in many ways. The illustrations will help young children see the diversity of the people and the ways that people come together.
The story is told from the oldest daughter’s point of view and she sees the good events that made her memories and only touched on the negative feelings she and her siblings may have encountered. The children grew up and left to make their way in the world. It was interesting that her Asian American brother left to study engineering, and her fiery red- head sister went to New York to be a fashion designer. It seemed almost stereotypical, but then again stereotypes cannot keep people from their dreams.
Side note: My daughter is in New York in the fashion industry and many of her classmates had a similar look, free spirited style and the artistic ability that Millie demonstrated on the wall of the living room.
Reviews / Awards:
Book Links (A.L.A.) 01/01/10 Multicultural Review 05/01/10
Booklist 05/01/09 School Library Journal 05/01/09
Library Media Connection starred 10/01/09 Wilson's Children 10/01/10
Full-Text Reviews
Booklist (May 1, 2009 (Vol. 105, No. 17))
Grades 1-4. The oldest of three adopted children recalls her childhood with mothers Marmee and Meema, as they raised their African American daughter, Asian American son, and Caucasian daughter in a lively, supportive neighborhood. Filled with recollections of family holidays, rituals, and special moments, each memory reveals loving insight. At a school mother-daughter tea, for instance, the mothers make their first ever appearance in dresses. The narrator recalls, “My heart still skips a beat when I think of the two of them trying so hard to please us.” Only a crabby neighbor keeps her children away from their family. Meema explains, “She’s afraid of what she cannot understand: she doesn’t understand us.” The energetic illustrations in pencil and marker, though perhaps not as well-rendered as in some previous works, teem with family activities and neighborhood festivity.
Horn Book (Fall 2009)
The eldest of three siblings (each a different race) adopted by a lesbian couple recalls an idyllic childhood. The heavy-handed message is that same-sex parents are just like everybody else, but what real family is this perfect? The nostalgic adult tone and dearth of actual plot severely limit the child appeal of this well-intentioned story played out in Polacco's recognizable illustrations.
Kirkus Review (March 15, 2009)
The placement of the title's possessive apostrophe here is no typo: Two mothers own this house, and they have filled it with lots of love. Unfortunately, while this ambitious picture book seeks to offer an inclusive vision of family, it ultimately comes up short. Meema and Marmee's eldest daughter offers a sweeping narrative about three children embraced by their loving, interracial, adoptive family and multicultural community, with their "mothers' house" at the center of it all. It is outside of this safe haven that the children face overt and neatly contained homophobia in the character of one bad apple, who declares, "I don't appreciate what you two are!" The distillation of hate into a single character undermines the reality of systematic oppression faced by same-sex couples; furthermore, the flash-forward narration depicting each child grown and married into heterosexual, monoracial unions ironically presents this family as an anomaly. There is a desperate need for books that present queer families as just another part of the American quilt, but this title, despite its obvious good intentions, doesn't do it. (Picture book. 6-8)
Connections:
I really like this book. I think it does a nice job of showing how people can work and play together. The love the family shows to their children, extended family and neighbors is a wonderful example of finding the good in people. This book could be used in upper grades when included with other books that have examples of diverse families. The additional cultures in this book and showing how almost everyone works together could be a great way to make a connection to many classrooms. Mrs. Lockner is a character to look at closer. The discussions in upper grades could really bring awareness of how people’s actions affect others and possibly keep change from happening.
Since I teach first grade I am leaning towards the recommendation in our notes, “consider having this book in your library or classroom.” I can address individual students if there are questions. I think my students would not really understand the family dynamics from just looking at the pictures, but would enjoy the family fun pictures.
Wednesday, July 20, 2011
THE FIREKEEPERS SON- Linda Sue Park
Park, Linda Sue. 2004. THE FIREKEEPER’S SON. New York: Clarion Books. ISBN: 0-618-13337-2
Summary:
Sang- hee watched his father go every night to light the fire that started all the fires to let the king know all was well in the land. Sang – hee loved playing with his soldiers and knew if the fire was not lit the king would send the soldiers to fight. When father hurts his ankle and can get up the hill to light the fire, Sang – hee must go in his place. Sang- hee wonders if he didn’t light the fire would the soldiers come, after finding no threat that “maybe not all them would be angry… I could show him the beach… After that he might teach me a little about sword – fighting.” Sang – hee knows he must light the fire and with only one coal left he starts the fire. The author’s note explains about the bonfires and how it was recorded to work in 1800’s the time in which this story is set.
Analysis:
I believe the cultural markers for The FIREKEEPER’S SON comes from the story itself , that is rich in history. The story that is based on a historical tradition of lighting the bon fires in the 1800’s to let the king know that all was well. Additional cultural markers are from the illustrations rather than the use of Korean words in the text, food, or celebrations. The soft watercolor and pastel illustrations revealed the Korean style clothing and hair styles of the people in the village and the soldiers as the reader sees in the flames. The setting of the story is a village with mud and wood huts with a few cows, chickens and dogs in the dirt street, set at the foot of the mountain and next to the sea. The father is seen with his straw on his back and holding a handmade rake while his son plays with toy soldiers on the ground. A quiet and simple life style is seen through the illustrations. The story addresses a young boy and his struggle to do the right thing or do something selfish.
Sang – hee is faced with his desire to see the soldiers as he thinks, “If there is no fire, the soldiers will come. They will be angry when they find no enemies here.” But as a young boy he thinks “maybe – maybe not all of them will be angry,” and he can show them the beach and learn how to use a sword. It is a conflict that he must work through. Will he do what he desires or what is best for the village? As Sang – hee lights the fire and watches the flames “he saw a great battle- soldiers, their shining swords clashing…” Sang – hee does the right thing and somehow father knows he struggled with his decision. Father says “When I was a boy, I too wished the soldiers would come.” The author’s note explains the story is a simplified version of the signal fires and additional information about the mountains and provinces that gives the story authenticity.
Reviews/Awards:
Booklist 02/01/04 Library Media Connection 10/01/04
Bulletin of the Center for Children's Books 04/01/04 Publishers Weekly starred 02/16/04
Horn Book 10/01/04 School Library Journal 05/01/04
Kirkus Review 02/15/04 Wilson's Children 10/01/10
Booklist (February 1, 2004 (Vol. 100, No. 11))
K-Gr. 3. Park, who won a Newbery Medal for her novel A Single Shard (2001), tells a picture-book story set in Korea in the early 1800s about a young boy in a remote village who suddenly finds himself serving his country. At sunset Sang-hee's father always climbs the mountain and lights a fire that signals to another firekeeper on the next mountain to light his fire, and so on, all the way to the mountain at the palace of the king, who knows from the fire signals that all is well in the land. Then one evening Sang-hee's father breaks his ankle, and the boy must keep the light burning. Downing's handsome, watercolor-and-pastel double-page pictures personalize the history, showing realistic close-ups of the child, who plays soldiers and dreams of the excitement of battle. In contrast are the panoramic views far across the country as the boy tends the flame that preserves peace from mountain to mountain. Add this to those lighthouse stories about the brave child who must take over for adults.
Horn Book (Fall 2004)
Each night Sang-hee's father lights the mountaintop fire that begins the chain of bonfires informing the king that no enemy boats have been seen. When his father is hurt, Sang-hee must take his place. Aptly capturing a young boy's point of view, this well-written story, set in nineteenth-century Korea, is accompanied by handsome if somewhat romanticized illustrations.
Kirkus Review (February 15, 2004)
Drawing once again on her heritage, Newbery Medalist Park tells a tale rooted in the history of Korea. Centuries ago-and through the 19th century-the lighting of fires apprised the king of the safety of his country. Darkness warned of trouble. When Sang-hee's father is injured, Sang-hee must climb the mountain with the brass pot of hot coals to start the fire that signals all is well. The first night Sang-hee contemplates whether or not he should light the fire-after all, if he does not, the soldiers will come and he would like to see the soldiers just once. In the end both Sang-hee and his father are proud that Sang-hee has become a trustworthy fire-starter as his father and grandfather were before him. Even in the darkness the watercolor illustrations glow with vibrancy. The cover illustration is especially striking: Sang-hee bright-eyed at the orange-and-yellow fire flickering before him. A lovely telling that will bring readers back to read or hear this story one more time. (Picture book. 5-9)
Connections:
This book could be used for first grade.
This is a good book to start discussions on responsibility. What does it mean?
The signal fires is a way of communicating, what are other ways we communicate today?
Writing Activity: Change the ending. What if Sang-hee had not lit the fire?
Social Studies/Science- Locate Korea on the map. Research the history of the country.
List other uses for fire.
Summary:
Sang- hee watched his father go every night to light the fire that started all the fires to let the king know all was well in the land. Sang – hee loved playing with his soldiers and knew if the fire was not lit the king would send the soldiers to fight. When father hurts his ankle and can get up the hill to light the fire, Sang – hee must go in his place. Sang- hee wonders if he didn’t light the fire would the soldiers come, after finding no threat that “maybe not all them would be angry… I could show him the beach… After that he might teach me a little about sword – fighting.” Sang – hee knows he must light the fire and with only one coal left he starts the fire. The author’s note explains about the bonfires and how it was recorded to work in 1800’s the time in which this story is set.
Analysis:
I believe the cultural markers for The FIREKEEPER’S SON comes from the story itself , that is rich in history. The story that is based on a historical tradition of lighting the bon fires in the 1800’s to let the king know that all was well. Additional cultural markers are from the illustrations rather than the use of Korean words in the text, food, or celebrations. The soft watercolor and pastel illustrations revealed the Korean style clothing and hair styles of the people in the village and the soldiers as the reader sees in the flames. The setting of the story is a village with mud and wood huts with a few cows, chickens and dogs in the dirt street, set at the foot of the mountain and next to the sea. The father is seen with his straw on his back and holding a handmade rake while his son plays with toy soldiers on the ground. A quiet and simple life style is seen through the illustrations. The story addresses a young boy and his struggle to do the right thing or do something selfish.
Sang – hee is faced with his desire to see the soldiers as he thinks, “If there is no fire, the soldiers will come. They will be angry when they find no enemies here.” But as a young boy he thinks “maybe – maybe not all of them will be angry,” and he can show them the beach and learn how to use a sword. It is a conflict that he must work through. Will he do what he desires or what is best for the village? As Sang – hee lights the fire and watches the flames “he saw a great battle- soldiers, their shining swords clashing…” Sang – hee does the right thing and somehow father knows he struggled with his decision. Father says “When I was a boy, I too wished the soldiers would come.” The author’s note explains the story is a simplified version of the signal fires and additional information about the mountains and provinces that gives the story authenticity.
Reviews/Awards:
Booklist 02/01/04 Library Media Connection 10/01/04
Bulletin of the Center for Children's Books 04/01/04 Publishers Weekly starred 02/16/04
Horn Book 10/01/04 School Library Journal 05/01/04
Kirkus Review 02/15/04 Wilson's Children 10/01/10
Booklist (February 1, 2004 (Vol. 100, No. 11))
K-Gr. 3. Park, who won a Newbery Medal for her novel A Single Shard (2001), tells a picture-book story set in Korea in the early 1800s about a young boy in a remote village who suddenly finds himself serving his country. At sunset Sang-hee's father always climbs the mountain and lights a fire that signals to another firekeeper on the next mountain to light his fire, and so on, all the way to the mountain at the palace of the king, who knows from the fire signals that all is well in the land. Then one evening Sang-hee's father breaks his ankle, and the boy must keep the light burning. Downing's handsome, watercolor-and-pastel double-page pictures personalize the history, showing realistic close-ups of the child, who plays soldiers and dreams of the excitement of battle. In contrast are the panoramic views far across the country as the boy tends the flame that preserves peace from mountain to mountain. Add this to those lighthouse stories about the brave child who must take over for adults.
Horn Book (Fall 2004)
Each night Sang-hee's father lights the mountaintop fire that begins the chain of bonfires informing the king that no enemy boats have been seen. When his father is hurt, Sang-hee must take his place. Aptly capturing a young boy's point of view, this well-written story, set in nineteenth-century Korea, is accompanied by handsome if somewhat romanticized illustrations.
Kirkus Review (February 15, 2004)
Drawing once again on her heritage, Newbery Medalist Park tells a tale rooted in the history of Korea. Centuries ago-and through the 19th century-the lighting of fires apprised the king of the safety of his country. Darkness warned of trouble. When Sang-hee's father is injured, Sang-hee must climb the mountain with the brass pot of hot coals to start the fire that signals all is well. The first night Sang-hee contemplates whether or not he should light the fire-after all, if he does not, the soldiers will come and he would like to see the soldiers just once. In the end both Sang-hee and his father are proud that Sang-hee has become a trustworthy fire-starter as his father and grandfather were before him. Even in the darkness the watercolor illustrations glow with vibrancy. The cover illustration is especially striking: Sang-hee bright-eyed at the orange-and-yellow fire flickering before him. A lovely telling that will bring readers back to read or hear this story one more time. (Picture book. 5-9)
Connections:
This book could be used for first grade.
This is a good book to start discussions on responsibility. What does it mean?
The signal fires is a way of communicating, what are other ways we communicate today?
Writing Activity: Change the ending. What if Sang-hee had not lit the fire?
Social Studies/Science- Locate Korea on the map. Research the history of the country.
List other uses for fire.
Sunday, July 17, 2011
THE BOY IN THE GARDEN- Alan Say
Say, Allen. 2010. THE BOY IN THE GARDEN. New York: Houghton Mifflin Harcourt. ISBN: 978-0-547-21410-8
Summary:
THE BOY IN THE GARDEN begins with a father and his son going to Mr. Ozu’s house to wish him Happy New Year. As the Jiro walks through the garden he spots a beautiful crane that reminds him of The Grateful Crane a story his mother read to him. The boy’s curiosity leads him to the garden where he sees a crane. The crane is really a statue and Mr. Ozu and father find it humorous that he thought it was real and as they laughed,Jiro runs off. The boy finds a house and goes inside where his dreams and reality are woven together. As the father and son leave father says,” You know, son, for a moment that crane looked real.” Jiro smiles and says “It’s just a statue, Papa.”
Analysis:
Say has created a story through his words and his illustrations of a young boy and the story of a crane. The story begins with a Japanese folktale, The Grateful Crane, that Jiro’s mom read to him. The folktale and the young boy’s name introduce the reader to the Japanese culture that is woven throughout the book. The father and his son are going on the third of January to wish their Mr. Ozu a happy new year. The Japanese New Year is celebrated from January 1 – 3 and Jiro is handed a red envelop he “knew there would money in it.” This is a tradition during the New Year celebration. The reader is not told who Mr. Ozu is, the father tells his son “We are in a very famous a garden … and there are many treasures in the house…” The name Ozu is known in Japan as a well known Japanese film director. The home, gardens and architecture are a part of the Japanese culture. It is through the beautiful art work of Mr. Say that the mystery of the dream may seem so real. The boy is dressed in a kimono with the “obi” he could tie by himself and he is sitting in a small cottage with the fire pit in the middle with a fish hanging above. The fish “represents the literary motif of magic power, but a cultural symbol of good luck and prosperity” (p.209). He sees a “tall woman” dressed in the traditional kimono with dark straight hair and pale skin just as the picture of the woman from The Grateful Crane story taking the reader back to the time of the folktale that begins the book. The illustrations show a modern day father and son. Say’s illustrations were sensitive to the facial features of the characters. The skin tones included white and shades of brown or tan and the eyes were expressive. The book told a quiet story with little detail of the characters, but a strong tie to a folktale that a young boy remembers his mom read to him.
Reviews/ Awards:
Booklist 09/01/10 Library Media Connection starred 05/01/11
Horn Book 05/01/11 New York Times 02/13/11
Horn Book starred 09/01/10 Publishers Weekly starred 10/11/10
Kirkus Review starred 10/01/10 School Library Journal 10/01/10
From School Library Journal
Gr 2-5–Say takes the ancient legend about a crane magically transformed into a woman through an act of kindness and adds another layer of mystery to the story. A brief retelling of “the Grateful Crane,” as told to Jiro by his mother, sets the scene. The rest of the book traces the child and his father's visit to Mr. Ozu, who has a “famous garden and many treasures in his house.” Intrigued by the life-size bronze crane, Jiro investigates first the statue and then a small seemingly empty cottage on the property. When a tall, lovely Japanese lady appears, he finds himself playing out the tale. Is she the crane personified? Is he the woodcutter from the story? With the arrival of his father to take him home, he is left to ponder: Was this just a dream? The care and subtlety the artist employs to make the contemporary twist believable, in both text and illustration, is extraordinary. A final magnificent image depicts a crane flying through the night sky beneath a full moon. Carefully chosen words mesh seamlessly with dramatic and effective paintings, bringing both energy and tranquility to carry the story to its thought-provoking ending.Barbara Elleman, Eric Carle Museum of Picture Book Art, Amherst, MA
© Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
From Booklist
Say’s book begins with a brief retelling of the Japanese folktale “The Grateful Crane,” in which a woodcutter frees a crane and later marries a mysterious woman. The woman weaves fabric that enriches the couple until her husband sees her at work, at which time she reverts to being a bird. In Say’s quixotic story, a boy and his father visit a rich man, Mr. Ozu. Young Jiro wanders the grounds and finds a statue of a crane. Remembering the tale, he thinks it’s real. His father and Mr. Ozu laugh, and the boy is humiliated. Then a mysterious cottage beckons, a beautiful woman appears, and so begins the boy’s own reenactment of “The Grateful Crane.” Although the mood is evocative in the manner of fairy tales, there’s a question here of audience. Jiro looks to be about six, yet the issues the book raises—about the illusion of story and the nature of reality—would probably be best contemplated by an older child. Still, Say’s artwork, with its clean, quiet scenes, always pleases, and the more perceptive child will take much away from this. Grades K-2. --Ilene Cooper
"A gently unsettling tale of the power of the imagination."—The Horn Book,starred review
"Say is at the height of his artistic achievement in this tale of a little boy named Jiro and the powerful impact that a story has on him....This is a beautiful, moving, quietly mysterious read, ripe with possibilities for interpretation and contemplation."—Kirkus Reviews,starred review
"Caldecott Medalist Say (Grandfather's Journey), his work always painstaking and poignant, ventures tentatively into the realm of fantasy....Pale colors and expanses of empty space contribute to the feeling of haunted charm. Did Jiro dream? Possibly—or possibly not."—Publishers Weekly,starred review
Connections:
I would use this book with second or third grade children.
Fairytales and Folktales are always a fun and educational way to connect cultures.
The Grateful Crane (Kodansha Nihongo Folktales) by Hiroko C. Quackenbush, Yasuji Mori and Kazue Ito
The Adventure of Momotaro, the Peach Boy (Kodansha's Children's Classics) by Ralph F. McCarthy and Ioe Saito (Sep 15, 2000)
Peach Boy and Other Japanese Children's Favorite Stories by Florence Sakade and Yoshisuke Kurosaki (Sep 15, 2008)
Momotaro: the Peach Boy (Storycard Theater) by David Battino, Hazuki Kataoka and Mario Uribe (Dec 30, 2003)
Little One-Inch and Other Japanese Children's Favorite Stories]
Florence Sakade & Yoshisuke Kurosaki
Summary:
THE BOY IN THE GARDEN begins with a father and his son going to Mr. Ozu’s house to wish him Happy New Year. As the Jiro walks through the garden he spots a beautiful crane that reminds him of The Grateful Crane a story his mother read to him. The boy’s curiosity leads him to the garden where he sees a crane. The crane is really a statue and Mr. Ozu and father find it humorous that he thought it was real and as they laughed,Jiro runs off. The boy finds a house and goes inside where his dreams and reality are woven together. As the father and son leave father says,” You know, son, for a moment that crane looked real.” Jiro smiles and says “It’s just a statue, Papa.”
Analysis:
Say has created a story through his words and his illustrations of a young boy and the story of a crane. The story begins with a Japanese folktale, The Grateful Crane, that Jiro’s mom read to him. The folktale and the young boy’s name introduce the reader to the Japanese culture that is woven throughout the book. The father and his son are going on the third of January to wish their Mr. Ozu a happy new year. The Japanese New Year is celebrated from January 1 – 3 and Jiro is handed a red envelop he “knew there would money in it.” This is a tradition during the New Year celebration. The reader is not told who Mr. Ozu is, the father tells his son “We are in a very famous a garden … and there are many treasures in the house…” The name Ozu is known in Japan as a well known Japanese film director. The home, gardens and architecture are a part of the Japanese culture. It is through the beautiful art work of Mr. Say that the mystery of the dream may seem so real. The boy is dressed in a kimono with the “obi” he could tie by himself and he is sitting in a small cottage with the fire pit in the middle with a fish hanging above. The fish “represents the literary motif of magic power, but a cultural symbol of good luck and prosperity” (p.209). He sees a “tall woman” dressed in the traditional kimono with dark straight hair and pale skin just as the picture of the woman from The Grateful Crane story taking the reader back to the time of the folktale that begins the book. The illustrations show a modern day father and son. Say’s illustrations were sensitive to the facial features of the characters. The skin tones included white and shades of brown or tan and the eyes were expressive. The book told a quiet story with little detail of the characters, but a strong tie to a folktale that a young boy remembers his mom read to him.
Reviews/ Awards:
Booklist 09/01/10 Library Media Connection starred 05/01/11
Horn Book 05/01/11 New York Times 02/13/11
Horn Book starred 09/01/10 Publishers Weekly starred 10/11/10
Kirkus Review starred 10/01/10 School Library Journal 10/01/10
From School Library Journal
Gr 2-5–Say takes the ancient legend about a crane magically transformed into a woman through an act of kindness and adds another layer of mystery to the story. A brief retelling of “the Grateful Crane,” as told to Jiro by his mother, sets the scene. The rest of the book traces the child and his father's visit to Mr. Ozu, who has a “famous garden and many treasures in his house.” Intrigued by the life-size bronze crane, Jiro investigates first the statue and then a small seemingly empty cottage on the property. When a tall, lovely Japanese lady appears, he finds himself playing out the tale. Is she the crane personified? Is he the woodcutter from the story? With the arrival of his father to take him home, he is left to ponder: Was this just a dream? The care and subtlety the artist employs to make the contemporary twist believable, in both text and illustration, is extraordinary. A final magnificent image depicts a crane flying through the night sky beneath a full moon. Carefully chosen words mesh seamlessly with dramatic and effective paintings, bringing both energy and tranquility to carry the story to its thought-provoking ending.Barbara Elleman, Eric Carle Museum of Picture Book Art, Amherst, MA
© Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
From Booklist
Say’s book begins with a brief retelling of the Japanese folktale “The Grateful Crane,” in which a woodcutter frees a crane and later marries a mysterious woman. The woman weaves fabric that enriches the couple until her husband sees her at work, at which time she reverts to being a bird. In Say’s quixotic story, a boy and his father visit a rich man, Mr. Ozu. Young Jiro wanders the grounds and finds a statue of a crane. Remembering the tale, he thinks it’s real. His father and Mr. Ozu laugh, and the boy is humiliated. Then a mysterious cottage beckons, a beautiful woman appears, and so begins the boy’s own reenactment of “The Grateful Crane.” Although the mood is evocative in the manner of fairy tales, there’s a question here of audience. Jiro looks to be about six, yet the issues the book raises—about the illusion of story and the nature of reality—would probably be best contemplated by an older child. Still, Say’s artwork, with its clean, quiet scenes, always pleases, and the more perceptive child will take much away from this. Grades K-2. --Ilene Cooper
"A gently unsettling tale of the power of the imagination."—The Horn Book,starred review
"Say is at the height of his artistic achievement in this tale of a little boy named Jiro and the powerful impact that a story has on him....This is a beautiful, moving, quietly mysterious read, ripe with possibilities for interpretation and contemplation."—Kirkus Reviews,starred review
"Caldecott Medalist Say (Grandfather's Journey), his work always painstaking and poignant, ventures tentatively into the realm of fantasy....Pale colors and expanses of empty space contribute to the feeling of haunted charm. Did Jiro dream? Possibly—or possibly not."—Publishers Weekly,starred review
Connections:
I would use this book with second or third grade children.
Fairytales and Folktales are always a fun and educational way to connect cultures.
The Grateful Crane (Kodansha Nihongo Folktales) by Hiroko C. Quackenbush, Yasuji Mori and Kazue Ito
The Adventure of Momotaro, the Peach Boy (Kodansha's Children's Classics) by Ralph F. McCarthy and Ioe Saito (Sep 15, 2000)
Peach Boy and Other Japanese Children's Favorite Stories by Florence Sakade and Yoshisuke Kurosaki (Sep 15, 2008)
Momotaro: the Peach Boy (Storycard Theater) by David Battino, Hazuki Kataoka and Mario Uribe (Dec 30, 2003)
Little One-Inch and Other Japanese Children's Favorite Stories]
Florence Sakade & Yoshisuke Kurosaki
Friday, July 15, 2011
THE YEAR OF THE DOG- Grace Lin
Lin, Grace.2006. THE YEAR OF THE DOG. New York: Little Brown and Company. ISBN: 0-316-06000-3
Summary:
Lin tells a modern day story of a young girl who spends the year trying to find out what it means to “find yourself.” The story begins as Pacy also known as Grace and her family are celebrating Chinese New Year and mom tells her it is her year, “The Year of the Dog.” Pacy tries to balance the traditional Taiwanese / Chinese traditions and the American ways at home and school. Pacy tries to remember the lessons of the year of the dog as she looks for wealth, luck and her talent in order to find herself before the end of the year. It is through her family, friends and special assignment at school that she discovers herself. Pacy also known as Grace finds wealth when she wins the $400.00, a prize and most of all she found her talent. She was an author and an illustrator. Grace includes Author’s Note that lets the reader know what parts are true and what parts might have been switched. There is a reader’s guide that gives suggestions to extend the learning.
Analysis:
Grace is a modern day young girl who struggles with the same problems as many young girls have with siblings, boys, friends and family. Grace is Taiwanese American and struggles with what that means to her. She struggles with what others think and explains her confusion to her mother as she says, “It’s not fair. To Americans, I’m too Chinese, and to Chinese people, I’m too American. So what am I supposed to be?” Lin uses the year of the dog to show how Grace learns the lessons of her Taiwanese culture and traditions to find out who she is. Grace learns about her family and the lessons learned through stories mom would tell throughout the story. The stories were a way of letting Grace know her struggles are not hers alone and a time to pass down family stories to the children. There are many cultural markers woven throughout the book. Lin begins the book with Chinese New Year where Chinese is spoken to friends and relatives in the greeting, “Gong xi- gong xi!” heard over and over as dad greets those who were on the phone. At the Red Egg Celebration for baby Albert the family is heard to say “Ja- ba, bei?” which Grace knew as “Have you eaten yet?” but discovers it also means “How are you doing?” Lin incorporates the special foods used during the celebrations. Grace filled the New Year tray with the “special Chinese candy” and they ate fried fish, dumplings and “shrimp in a milky sauce.” For breakfast Grace ate “watery rice porridge and flaky dried pork.” Grace was surprised when visiting Melody that all Chinese food was not the same. The rice was brown and not white and the “tofu didn’t have any shiny sauce on it”, Grace wondered “Could a person get sick from eating too many healthy things?” Grace struggles with being Chinese American when she is told at the Wizard of Oz auditions, “You can’t be Dorothy … Dorothy is not Chinese.” This is the moment that Grace realizes there are no real books that have characters like her. Grace wrote her first book about the ugly fruit and included illustrations that she painted. The Year of the Dog is over and it has been a good year for Grace and now the family celebrates with new friends the Year of the Pig. “Gong xi-gong xi! Xin Nian Hao!” “Happy Chinese New Year!” Felix hands a crate of oranges, oranges for “money.” Why oranges, because the” Chinese word for oranges sounds like the word for wealth.” Another celebration with “roasted duck with its head still on… red marinated pork, and brownish black seaweed” on the table, the sounds of Chinese and English being spoken as friends and family share their culture and traditions with each other.
Reviews and Awards
2006 Fall Publisher's Pick
• Starred Booklist Review
• 2006 ALA Children's Notable
• 2006 Asian Pacific American Librarian Association Honor
• 2006 National Parenting Publications Awards (NAPPA) GOLD Winner
• 2007-2008 Texas Bluebonnet Award Masterlist
• 2007 Nene Awards Recommended List (Hawaii's Book Award Chosen by Children Grades 4-6)
• 2007 Cochecho Readers' Award List (sponsored by the Children's Librarians of Dover, New Hampshire)
• NYPL 100 Titles for Reading and Sharing 2006
• Kirkus Best Early Chapter Books 2006
•2006 Booklist Editors' Choice for Middle Readers
•Cooperative Children's Book Center Choice 2007
•Boston Authors Club Recommended Book
•2007-2008 Great Lakes Great Books Award nominee
•2007-2008 North Carolina Children's Book Award nominee
•2007-2008 West Virginia Children's Book Award nominee
•2009 Beverly Cleary Children's Choice Award (OR) nominee
•2009 Pacific Northwest Young Readers Choice Award (WA, OR, ID)nominee
Book Links starred 03/01/06 Notable/Best Books (A.L.A.) 01/01/07
Booklist starred 01/01/06 Publishers Weekly 01/02/06
Horn Book 03/01/06 School Library Journal 03/01/06
Horn Book starred 10/01/06 Wilson's Children 10/01/10
Booklist starred (January 1, 2006 (Vol. 102, No. 9))
Gr. 3-5. When Lin was a girl, she loved the Betsy books by Carolyn Hayward, a series about a quintessentially American girl whose days centered around friends and school. But Lin, a child of Taiwanese immigrants, didn't see herself in the pages. Now she has written the book she wished she had as a child. Told in a simple, direct voice, her story follows young Grace through the Year of the Dog, one that Grace hopes will prove lucky for her. And what a year it is!
Horn Book (March/April, 2006)
Pacy spends the Year of the Dog on a journey of self-discovery. Although sorting out her ethnic identity is important (she is Taiwanese-American in a largely non-Asian community), Pacy has another pressing question to answer: what should she be when she grows up? She likes coloring eggs for her new baby cousin Albert's Red Egg party -- maybe she will become a Red Egg colorer. Or how about a scientist (she and her best friend Melody get quite excited about their project for the science fair) or an actress (Pacy plays a munchkin in her school production of The Wizard of Oz)? Writing and illustrating her own book for a national contest makes her think that perhaps she can become an author of a "real Chinese person book." With a light touch, Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective. The story, interwoven with several family anecdotes, is entertaining and often illuminating. Appealing, childlike decorative line drawings add a delightful flavor to a gentle tale full of humor.
Horn Book starred (Fall 2006)
For Taiwanese-American Pacy, sorting out her ethnic identity is important, and she wonders what she should be when she grows up. Writing and illustrating a book for a national contest makes her think that perhaps she can become an author of a "real Chinese person book." Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective.
Kirkus Review (December 15, 2005)
…This comfortable first-person story will be a treat for Asian-American girls looking to see themselves in their reading, but also for any reader who enjoys stories of friendship and family life. (Fiction. 8-12)
Publishers Weekly (May 28, 2007)
"Lin creates an endearing protagonist, realistically dealing with universal emotions and situations," in this "autobiographical tale of an Asian-American girl's sweet and funny insights on family, identity and friendship," PW wrote. Ages 8-12. (May) Copyright 2007 Reed Business Information.
Connections:
This is a great book to help children think about the writing process. As educators we encourage to write about what you know. I wonder if I give my students the time they need to think about what to write. As Grace struggles with what to write she learns what is important to her and what she wants to say.
Grace Lin has included at the end of her book suggestions for extending the book. The suggestions are very good and I would use them with confidence.
On Grace Lin’s website I found these two lessons that I will incorporate into my first grade classroom next year. I suggest going to Grace Lin’s website and looking for more suggestions and find her other books to use with your students.
www.gracelin.com
Lesson Suggestion: Chinese Horoscopes
In the book, Pacy is fascinated by the symbolism of the Year of the Dog. Have students research the Chinese horoscope and read about the personality traits for the year she or he was born in. Have students discuss and then write a persuasive essay agreeing or disagreeing with the horoscope descriptions of themselves.
Need some resources? Try these:
Chinese Culture's Zodiac Page
China Today's Zodiac Page
Lesson Suggestion: Memoir Writing
Much of The Year of the Dog is based on Grace's personal experience. Discuss writing from life with the students and have them write their own memoirs from the past year. This can be combined with book making, also a subject in The Year of the Dog. Give students the opportunity to develop an understanding of who they are and where they come from, and how this is connected to the past and future, the near and far away. A memoir study focusing on time, such as a certain year, as a theme can provide this opportunity.
Summary:
Lin tells a modern day story of a young girl who spends the year trying to find out what it means to “find yourself.” The story begins as Pacy also known as Grace and her family are celebrating Chinese New Year and mom tells her it is her year, “The Year of the Dog.” Pacy tries to balance the traditional Taiwanese / Chinese traditions and the American ways at home and school. Pacy tries to remember the lessons of the year of the dog as she looks for wealth, luck and her talent in order to find herself before the end of the year. It is through her family, friends and special assignment at school that she discovers herself. Pacy also known as Grace finds wealth when she wins the $400.00, a prize and most of all she found her talent. She was an author and an illustrator. Grace includes Author’s Note that lets the reader know what parts are true and what parts might have been switched. There is a reader’s guide that gives suggestions to extend the learning.
Analysis:
Grace is a modern day young girl who struggles with the same problems as many young girls have with siblings, boys, friends and family. Grace is Taiwanese American and struggles with what that means to her. She struggles with what others think and explains her confusion to her mother as she says, “It’s not fair. To Americans, I’m too Chinese, and to Chinese people, I’m too American. So what am I supposed to be?” Lin uses the year of the dog to show how Grace learns the lessons of her Taiwanese culture and traditions to find out who she is. Grace learns about her family and the lessons learned through stories mom would tell throughout the story. The stories were a way of letting Grace know her struggles are not hers alone and a time to pass down family stories to the children. There are many cultural markers woven throughout the book. Lin begins the book with Chinese New Year where Chinese is spoken to friends and relatives in the greeting, “Gong xi- gong xi!” heard over and over as dad greets those who were on the phone. At the Red Egg Celebration for baby Albert the family is heard to say “Ja- ba, bei?” which Grace knew as “Have you eaten yet?” but discovers it also means “How are you doing?” Lin incorporates the special foods used during the celebrations. Grace filled the New Year tray with the “special Chinese candy” and they ate fried fish, dumplings and “shrimp in a milky sauce.” For breakfast Grace ate “watery rice porridge and flaky dried pork.” Grace was surprised when visiting Melody that all Chinese food was not the same. The rice was brown and not white and the “tofu didn’t have any shiny sauce on it”, Grace wondered “Could a person get sick from eating too many healthy things?” Grace struggles with being Chinese American when she is told at the Wizard of Oz auditions, “You can’t be Dorothy … Dorothy is not Chinese.” This is the moment that Grace realizes there are no real books that have characters like her. Grace wrote her first book about the ugly fruit and included illustrations that she painted. The Year of the Dog is over and it has been a good year for Grace and now the family celebrates with new friends the Year of the Pig. “Gong xi-gong xi! Xin Nian Hao!” “Happy Chinese New Year!” Felix hands a crate of oranges, oranges for “money.” Why oranges, because the” Chinese word for oranges sounds like the word for wealth.” Another celebration with “roasted duck with its head still on… red marinated pork, and brownish black seaweed” on the table, the sounds of Chinese and English being spoken as friends and family share their culture and traditions with each other.
Reviews and Awards
2006 Fall Publisher's Pick
• Starred Booklist Review
• 2006 ALA Children's Notable
• 2006 Asian Pacific American Librarian Association Honor
• 2006 National Parenting Publications Awards (NAPPA) GOLD Winner
• 2007-2008 Texas Bluebonnet Award Masterlist
• 2007 Nene Awards Recommended List (Hawaii's Book Award Chosen by Children Grades 4-6)
• 2007 Cochecho Readers' Award List (sponsored by the Children's Librarians of Dover, New Hampshire)
• NYPL 100 Titles for Reading and Sharing 2006
• Kirkus Best Early Chapter Books 2006
•2006 Booklist Editors' Choice for Middle Readers
•Cooperative Children's Book Center Choice 2007
•Boston Authors Club Recommended Book
•2007-2008 Great Lakes Great Books Award nominee
•2007-2008 North Carolina Children's Book Award nominee
•2007-2008 West Virginia Children's Book Award nominee
•2009 Beverly Cleary Children's Choice Award (OR) nominee
•2009 Pacific Northwest Young Readers Choice Award (WA, OR, ID)nominee
Book Links starred 03/01/06 Notable/Best Books (A.L.A.) 01/01/07
Booklist starred 01/01/06 Publishers Weekly 01/02/06
Horn Book 03/01/06 School Library Journal 03/01/06
Horn Book starred 10/01/06 Wilson's Children 10/01/10
Booklist starred (January 1, 2006 (Vol. 102, No. 9))
Gr. 3-5. When Lin was a girl, she loved the Betsy books by Carolyn Hayward, a series about a quintessentially American girl whose days centered around friends and school. But Lin, a child of Taiwanese immigrants, didn't see herself in the pages. Now she has written the book she wished she had as a child. Told in a simple, direct voice, her story follows young Grace through the Year of the Dog, one that Grace hopes will prove lucky for her. And what a year it is!
Horn Book (March/April, 2006)
Pacy spends the Year of the Dog on a journey of self-discovery. Although sorting out her ethnic identity is important (she is Taiwanese-American in a largely non-Asian community), Pacy has another pressing question to answer: what should she be when she grows up? She likes coloring eggs for her new baby cousin Albert's Red Egg party -- maybe she will become a Red Egg colorer. Or how about a scientist (she and her best friend Melody get quite excited about their project for the science fair) or an actress (Pacy plays a munchkin in her school production of The Wizard of Oz)? Writing and illustrating her own book for a national contest makes her think that perhaps she can become an author of a "real Chinese person book." With a light touch, Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective. The story, interwoven with several family anecdotes, is entertaining and often illuminating. Appealing, childlike decorative line drawings add a delightful flavor to a gentle tale full of humor.
Horn Book starred (Fall 2006)
For Taiwanese-American Pacy, sorting out her ethnic identity is important, and she wonders what she should be when she grows up. Writing and illustrating a book for a national contest makes her think that perhaps she can become an author of a "real Chinese person book." Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective.
Kirkus Review (December 15, 2005)
…This comfortable first-person story will be a treat for Asian-American girls looking to see themselves in their reading, but also for any reader who enjoys stories of friendship and family life. (Fiction. 8-12)
Publishers Weekly (May 28, 2007)
"Lin creates an endearing protagonist, realistically dealing with universal emotions and situations," in this "autobiographical tale of an Asian-American girl's sweet and funny insights on family, identity and friendship," PW wrote. Ages 8-12. (May) Copyright 2007 Reed Business Information.
Connections:
This is a great book to help children think about the writing process. As educators we encourage to write about what you know. I wonder if I give my students the time they need to think about what to write. As Grace struggles with what to write she learns what is important to her and what she wants to say.
Grace Lin has included at the end of her book suggestions for extending the book. The suggestions are very good and I would use them with confidence.
On Grace Lin’s website I found these two lessons that I will incorporate into my first grade classroom next year. I suggest going to Grace Lin’s website and looking for more suggestions and find her other books to use with your students.
www.gracelin.com
Lesson Suggestion: Chinese Horoscopes
In the book, Pacy is fascinated by the symbolism of the Year of the Dog. Have students research the Chinese horoscope and read about the personality traits for the year she or he was born in. Have students discuss and then write a persuasive essay agreeing or disagreeing with the horoscope descriptions of themselves.
Need some resources? Try these:
Chinese Culture's Zodiac Page
China Today's Zodiac Page
Lesson Suggestion: Memoir Writing
Much of The Year of the Dog is based on Grace's personal experience. Discuss writing from life with the students and have them write their own memoirs from the past year. This can be combined with book making, also a subject in The Year of the Dog. Give students the opportunity to develop an understanding of who they are and where they come from, and how this is connected to the past and future, the near and far away. A memoir study focusing on time, such as a certain year, as a theme can provide this opportunity.
Sunday, July 10, 2011
SALTYPIE- Tingle
Tingle,Tim. 2010. SALTYPIE A CHOCTAW JOURNEY FROM DARKNESS TO LIGHT. Texas: Cinco Puntos Press. ISBN: 978-1-933693-67-5
Summary:
SALTYPIE A CHOCTAW JOURNEY FROM DARKNESS TO LIGHT, tells the story of a young Tim Tingle as he remembers his childhood with memories of having “a bee sting on the bottom!” and the sweet smell of gardenias as his grandmother, Mawmaw, comforted him. Mawmaw says to him “That was some kind of saltypie…” Saltypie was the word his father had given said as “a way of dealing with trouble.” It is not until Tim is six years old that he realizes his “mawmaw” is blind and that was some kind of “saltypie.” The years and childhood memories tell the story of young boy who grows up in a loving family that comes together as Mawmaw has an eye transplant some fifty years later. “The whole Tingle clan was gathered to gether” waiting to hear the news about Mawmaw. They waited four days “catching up on the news, as laughing at old stories, as families do.” On the fourth day father walks back from talking to the doctor and says “No more saltypie… Mawmaw can see.” There is a wonderful section at the end of the book that tells more about the family history and Choctaw culture and brings awareness about American Indian stereotypes. The poetic language and beautiful illustrations tell a wonderful story of a family’s love.
Analysis:
Tingle tells the story of a modern Choctaw family with Native American culture woven into the words and illustrations. As the story is about the author’s life and family the sense of authenticity and intimacy comes through in the words. The history of the Choctaw national government that recognized “women as equals” is comes through in the words “My grandmother was a strong and special Choctaw woman.” As the family moves from Oklahoma to Texas they move to “a white wooden house” which is the type of home that the early Choctaw people lived in for years. The illustrations show Mawmaw and her grandson feeding the chickens and in the garage checking the eggs. Many Choctaw people had farms and gardens and this is seen throughout the pages. The strength of Mawmaw is seen in her ability to live her life in a way that her six- year old grandson did not know she was blind. The theme of family is throughout the story as we see “Aunt Bobbie at the house and “the whole Tingle clan [was] gathered together” in the hospital waiting room. As the family waits four days to hear about Mawmaw’s eye transplant, Tingle talks about how “the spirit of who we were as a Choctaw family was coming alive in the room” the bond the family has through their Choctaw heritage.
The clothes that were worn as seen in the illustrations were a marker of the modern day American Indian. The fashion is a way to break the stereotype of the Native American culture. The woman wore everyday dresses and aprons and the boys and men wore button up shirts and long pants, the same as others did at the time. The only difference in the young family that moved into the “wooden house on Strawberry Lane” was the color of their skin as we see in the illustrations. The only reason the boy threw the stone is because they were Indian. The story begins in 1914 and continues into the seventies were we find that “strong and special Choctaw woman” having an eye transplant. After a phone call her grandson drives “four hours” from his college to the hospital. We are reminded that Mawmaw was sent to an “Indian boarding school” where life was hard and then she went to “Tuskahoma Academy in Oklahoma” and was left at Christmas alone after her father’s death. The history of boarding schools had the goal of taking away your culture and heritage and it was usually through strict and harsh discipline that the goal was accomplished.
Reviews/Awards:
Booklist 05/01/10 Publishers Weekly 04/26/10
Kirkus Review 04/15/10 School Library Journal 05/01/10
Library Media Connection 11/01/10 Wilson's Children 10/01/10
Notable/Best Books (A.L.A.) 01/01/11
Full-Text Reviews
Booklist (May 1, 2010 (Vol. 106, No. 17))
Grades 3-5. Looking back to his childhood, Choctaw storyteller Tingle introduces his capable, comforting Mawmaw (grandmother); recalls his shock as a six-year-old at realizing that she was blind (possibly, he learns, as a result of a racially motivated assault in her own youth); and recounts a hospital vigil years afterward when she received an eye transplant. His strong, measured prose finds able counterpart in Clarkson’s subtly modeled, full-bleed close-ups of eloquently expressive faces and closely gathered members of the author’s large extended family. The title comes from a word invented by Tingle’s father as a stand-in for any sort of pain or distress, and its use serves to enhance the vivid sense of intimacy that pervades this reminiscence. A lengthy afterword provides more details about Tingle’s family and Choctaw culture, and offers much to think about regarding American Indian stereotypes.
Horn Book (Fall 2010)
The title refers to Tingle's family's "way of dealing with trouble...you just kinda shrug it off, say saltypie. It helps you carry on." The very loosely structured story focuses vaguely on Tingle's Choctaw grandmother, blinded by an act of violence and later granted an "eye transplant." Stiff and sentimental paintings illustrate the lengthy text; the appended afterword (in tiny type) is more compelling.
Kirkus Review (April 15, 2010)
A grandmother's life story centers this welcome depiction of a contemporary Choctaw family. A young boy's bee sting is soothed when the grandmother calls his hurt "saltypie." A flashback reveals the origin of the expression: A stone malevolently thrown at a young mother injures her, and her son, thinking the blood is like pie filling, tastes it and pronounces it "saltypie." When the bee-stung boy discovers his grandmother's blindness, possibly resulting from the blow, an uncle explains, "You just kind of shrug it off, say saltypie. It helps you carry on." Years later, the extended family gathers in a Houston hospital, sharing its collective past while the grandmother undergoes eye surgery: "No more saltypie ...Mawmaw can see." The grown boy realizes that his grandmother, "Blind as she was...taught so many how to see." The term "eye transplant," the cause of the blindness and the sequencing of events could be clearer. Nevertheless, Tingle provides a corrective view of contemporary Native American life, as his author's note reveals was his intent. Clarkson's evocative illustrations bathe each scene in a soft light that accentuates the warmth of the family's love. (author's note) (Picture book/biography. 5-10)
Connections:
SALTYPIE will be in my classroom library when school begins in August. I am excited to share Tingle’s words and Clarkson’s illustrations to show a modern American Indian Family. I think due to movies, games and books that have shown the Native American culture in very stereotypical way this book lets children see students are not the stereotype that may have in their head.
As recommended on Tim Tingle’s website www.timtingle.com I would begin by studying the “How Much Can We Tell Them?” This book can be used to discuss the stereotypes that children may have of Native American culture. The information that is provided will help teachers and parents understand better the history of the Choctaw. Then begin by showing the book and explaining that “Indians are modern people…Indians serve in the United /states military, as soldiers, sailors and marines. Indians are schoolteachers, lawyers….”
Bruchac’s CODE TALKERS would be a good follow up to the military connection.
Summary:
SALTYPIE A CHOCTAW JOURNEY FROM DARKNESS TO LIGHT, tells the story of a young Tim Tingle as he remembers his childhood with memories of having “a bee sting on the bottom!” and the sweet smell of gardenias as his grandmother, Mawmaw, comforted him. Mawmaw says to him “That was some kind of saltypie…” Saltypie was the word his father had given said as “a way of dealing with trouble.” It is not until Tim is six years old that he realizes his “mawmaw” is blind and that was some kind of “saltypie.” The years and childhood memories tell the story of young boy who grows up in a loving family that comes together as Mawmaw has an eye transplant some fifty years later. “The whole Tingle clan was gathered to gether” waiting to hear the news about Mawmaw. They waited four days “catching up on the news, as laughing at old stories, as families do.” On the fourth day father walks back from talking to the doctor and says “No more saltypie… Mawmaw can see.” There is a wonderful section at the end of the book that tells more about the family history and Choctaw culture and brings awareness about American Indian stereotypes. The poetic language and beautiful illustrations tell a wonderful story of a family’s love.
Analysis:
Tingle tells the story of a modern Choctaw family with Native American culture woven into the words and illustrations. As the story is about the author’s life and family the sense of authenticity and intimacy comes through in the words. The history of the Choctaw national government that recognized “women as equals” is comes through in the words “My grandmother was a strong and special Choctaw woman.” As the family moves from Oklahoma to Texas they move to “a white wooden house” which is the type of home that the early Choctaw people lived in for years. The illustrations show Mawmaw and her grandson feeding the chickens and in the garage checking the eggs. Many Choctaw people had farms and gardens and this is seen throughout the pages. The strength of Mawmaw is seen in her ability to live her life in a way that her six- year old grandson did not know she was blind. The theme of family is throughout the story as we see “Aunt Bobbie at the house and “the whole Tingle clan [was] gathered together” in the hospital waiting room. As the family waits four days to hear about Mawmaw’s eye transplant, Tingle talks about how “the spirit of who we were as a Choctaw family was coming alive in the room” the bond the family has through their Choctaw heritage.
The clothes that were worn as seen in the illustrations were a marker of the modern day American Indian. The fashion is a way to break the stereotype of the Native American culture. The woman wore everyday dresses and aprons and the boys and men wore button up shirts and long pants, the same as others did at the time. The only difference in the young family that moved into the “wooden house on Strawberry Lane” was the color of their skin as we see in the illustrations. The only reason the boy threw the stone is because they were Indian. The story begins in 1914 and continues into the seventies were we find that “strong and special Choctaw woman” having an eye transplant. After a phone call her grandson drives “four hours” from his college to the hospital. We are reminded that Mawmaw was sent to an “Indian boarding school” where life was hard and then she went to “Tuskahoma Academy in Oklahoma” and was left at Christmas alone after her father’s death. The history of boarding schools had the goal of taking away your culture and heritage and it was usually through strict and harsh discipline that the goal was accomplished.
Reviews/Awards:
Booklist 05/01/10 Publishers Weekly 04/26/10
Kirkus Review 04/15/10 School Library Journal 05/01/10
Library Media Connection 11/01/10 Wilson's Children 10/01/10
Notable/Best Books (A.L.A.) 01/01/11
Full-Text Reviews
Booklist (May 1, 2010 (Vol. 106, No. 17))
Grades 3-5. Looking back to his childhood, Choctaw storyteller Tingle introduces his capable, comforting Mawmaw (grandmother); recalls his shock as a six-year-old at realizing that she was blind (possibly, he learns, as a result of a racially motivated assault in her own youth); and recounts a hospital vigil years afterward when she received an eye transplant. His strong, measured prose finds able counterpart in Clarkson’s subtly modeled, full-bleed close-ups of eloquently expressive faces and closely gathered members of the author’s large extended family. The title comes from a word invented by Tingle’s father as a stand-in for any sort of pain or distress, and its use serves to enhance the vivid sense of intimacy that pervades this reminiscence. A lengthy afterword provides more details about Tingle’s family and Choctaw culture, and offers much to think about regarding American Indian stereotypes.
Horn Book (Fall 2010)
The title refers to Tingle's family's "way of dealing with trouble...you just kinda shrug it off, say saltypie. It helps you carry on." The very loosely structured story focuses vaguely on Tingle's Choctaw grandmother, blinded by an act of violence and later granted an "eye transplant." Stiff and sentimental paintings illustrate the lengthy text; the appended afterword (in tiny type) is more compelling.
Kirkus Review (April 15, 2010)
A grandmother's life story centers this welcome depiction of a contemporary Choctaw family. A young boy's bee sting is soothed when the grandmother calls his hurt "saltypie." A flashback reveals the origin of the expression: A stone malevolently thrown at a young mother injures her, and her son, thinking the blood is like pie filling, tastes it and pronounces it "saltypie." When the bee-stung boy discovers his grandmother's blindness, possibly resulting from the blow, an uncle explains, "You just kind of shrug it off, say saltypie. It helps you carry on." Years later, the extended family gathers in a Houston hospital, sharing its collective past while the grandmother undergoes eye surgery: "No more saltypie ...Mawmaw can see." The grown boy realizes that his grandmother, "Blind as she was...taught so many how to see." The term "eye transplant," the cause of the blindness and the sequencing of events could be clearer. Nevertheless, Tingle provides a corrective view of contemporary Native American life, as his author's note reveals was his intent. Clarkson's evocative illustrations bathe each scene in a soft light that accentuates the warmth of the family's love. (author's note) (Picture book/biography. 5-10)
Connections:
SALTYPIE will be in my classroom library when school begins in August. I am excited to share Tingle’s words and Clarkson’s illustrations to show a modern American Indian Family. I think due to movies, games and books that have shown the Native American culture in very stereotypical way this book lets children see students are not the stereotype that may have in their head.
As recommended on Tim Tingle’s website www.timtingle.com I would begin by studying the “How Much Can We Tell Them?” This book can be used to discuss the stereotypes that children may have of Native American culture. The information that is provided will help teachers and parents understand better the history of the Choctaw. Then begin by showing the book and explaining that “Indians are modern people…Indians serve in the United /states military, as soldiers, sailors and marines. Indians are schoolteachers, lawyers….”
Bruchac’s CODE TALKERS would be a good follow up to the military connection.
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