Ed Young’s Seven Blind Mice is a folktale about seven colorful mice that come upon a “strange Something at their pond." “What it is it?” they cried. On Monday the Red Mouse went to look and said,” It is a pillar.” No one believed him so they each went to see. Green Mouse saw a snake, Yellow Mouse saw a spear, and so it went that each of the mice seeing something different. White Mouse looks and says “Now I see.” He sees each of the parts that the other mice see, but he also sees the parts all put together as “an elephant.” The mice all agree as they see it too. The Mouse Moral:” Knowing in part may make a fine tale, but wisdom comes from seeing the whole." The Indian fable The Blind Men and the Elephant is re-told in Ed Young’s Seven Blind Mice in a way that can reach the younger reader. The men become mice of many colors and the time passes by the days of the week letting the young child understand in a more concrete way the time it took to see each part. The choice of collage pictures set against the black ground is simplistic yet conveys how the mouse sees each part. The story moves from page to page with just the right amount of text. The illustrations allow the young reader to see details and how they could be interpreted as a spear, a rope or even a snake.
Awards and Reviews:
Winner of the Caldecott Honor Award -1992
Kirkus Review starred (1992) Exquisitely crafted: a simple, gracefully honed text, an appealing story, real but unobtrusive values and levels of meaning, and outstanding illustrations and design--all add up to a perfect book.
Horn Book starred (September, 1992)- The spareness of the text is echoed in the splendid collages. Immensely appealing.
Booklist starred (Vol. 88, No. 15 (April 1, 1992))- What does one see? Curved lines? Tails? Mice? At once profound and simple, intelligent and playful, this picture book is the work of an artist who understands the medium and respects his audience.
I have always used this book as a way to review color words, ordinal numbers, and days of the week more than an example of traditional literature. I am glad to have looked at this book again as a way to teach folktales, perspective, parts to whole, and of course the moral of “wisdom coming from seeing the whole.” I think that has been my Ah Ha moment for me with this book. It is one more part to a unit on traditional literature that I didn’t really explore with my students. I am adding schoolyard rhymes and more fables and folktales to my list of fairy tales.
Tuesday, February 23, 2010
Sunday, February 21, 2010
Traditional Literature- SCHOOLYARD RHYMES
Sierra, Judy. Knopf. 2005. SCHOOLYARD RHYMES. Ill. by Melissa Sweet. New York: Random House.
ISBN 0375825169
Schoolyard Rhymes is a collection of 50 jump rope, hand-clapping, and ball bouncing fun and silly chants and rhymes. The collection contains many familiar songs and chants such as Miss Mary Mack, “Cinderella”, and "Teddy Bear, Teddy Bear" that brings a smile or giggle. I was surprised to find additional verses that I had not heard, such as “But she can smoke, smoke, smoke Her daddy’s pipe, pipe, pipe.", in Miss Mary Mack. Melissa Sweet's illustrations made reading this book even more enjoyable. The watercolor and pen illustrations gave great detail to the characters.
She captures the fun and silliness of the rhymes. Many pages had verses written very small as it formed the jump rope,went around the picture frames and tree trunks. I found myself intrigued by the tiny print and how is was apart of the illustration. As much as I enjoyed reading the schoolyard rhymes , I thought about what would happen if the school children began chanting some the lines such as “Teacher, teacher don’t be so dumb,” and “Teacher, teacher, don’t be so mean,” (pg. 17) “Liar, liar pants on fire”,(pg.20) would it bring children running to tattle. Children need a chance to hear and say funny, silly things and know that is okay in the right circumstances.
Reviews:
Horn Book (September/October, 2005) –“Kids will enjoy this celebration of naughtiness and childhood fun.
Horn Book starred (Spring 2006) - Sweet goes for a comic style with her watercolor and pencil art.”
School Library Journal (October 1, 2005)-“This is a definite winner, as it will be enormously popular with children.-Lee Bock, Glenbrook Elementary School, Pulaski, WI Copyright 2005 Reed Business Information.”
I really enjoyed re-visiting schoolyard rhymes. I realized that the children are not saying silly chants on the playground. I am going to introduce my class to some of the jump rope chants during exercise time. Along with learning “Cinderella dressed in yella” they will have to learn to jump rope. This will be a fun way to continue the traditional literature unit to include rhymes, chants and songs. This is another way to connect with the students. First graders love when their teacher can be silly and hopefully learn that some words are ok in a rhyme or chant. This is what traditional literature is all about sharing from one generation to another in hopes that one day the children will remember the day they learned about “Cinderella”,or “Coca-Cola went to town”, the day the lemon and pickle knocked on the door, and pass it down to another generation.
ISBN 0375825169
Schoolyard Rhymes is a collection of 50 jump rope, hand-clapping, and ball bouncing fun and silly chants and rhymes. The collection contains many familiar songs and chants such as Miss Mary Mack, “Cinderella”, and "Teddy Bear, Teddy Bear" that brings a smile or giggle. I was surprised to find additional verses that I had not heard, such as “But she can smoke, smoke, smoke Her daddy’s pipe, pipe, pipe.", in Miss Mary Mack. Melissa Sweet's illustrations made reading this book even more enjoyable. The watercolor and pen illustrations gave great detail to the characters.
She captures the fun and silliness of the rhymes. Many pages had verses written very small as it formed the jump rope,went around the picture frames and tree trunks. I found myself intrigued by the tiny print and how is was apart of the illustration. As much as I enjoyed reading the schoolyard rhymes , I thought about what would happen if the school children began chanting some the lines such as “Teacher, teacher don’t be so dumb,” and “Teacher, teacher, don’t be so mean,” (pg. 17) “Liar, liar pants on fire”,(pg.20) would it bring children running to tattle. Children need a chance to hear and say funny, silly things and know that is okay in the right circumstances.
Reviews:
Horn Book (September/October, 2005) –“Kids will enjoy this celebration of naughtiness and childhood fun.
Horn Book starred (Spring 2006) - Sweet goes for a comic style with her watercolor and pencil art.”
School Library Journal (October 1, 2005)-“This is a definite winner, as it will be enormously popular with children.-Lee Bock, Glenbrook Elementary School, Pulaski, WI Copyright 2005 Reed Business Information.”
I really enjoyed re-visiting schoolyard rhymes. I realized that the children are not saying silly chants on the playground. I am going to introduce my class to some of the jump rope chants during exercise time. Along with learning “Cinderella dressed in yella” they will have to learn to jump rope. This will be a fun way to continue the traditional literature unit to include rhymes, chants and songs. This is another way to connect with the students. First graders love when their teacher can be silly and hopefully learn that some words are ok in a rhyme or chant. This is what traditional literature is all about sharing from one generation to another in hopes that one day the children will remember the day they learned about “Cinderella”,or “Coca-Cola went to town”, the day the lemon and pickle knocked on the door, and pass it down to another generation.
Tuesday, February 16, 2010
Traditional Literature- Rough Face Girl
In this Native American variant of Cinderella we find three sisters living with their poor father in a village on the shores of Lake Ontario. The youngest sister was made to sit by the fire and feed the flames by the older hard- hearted sisters. After years of sitting by the fire the youngest sister’s face and hands are scarred and her black hair is charred. The girls of the village want to marry the Invisible Being as he is “a great, rich, powerful, and supposedly handsome Invisible Being”. The older sisters take all their father has so they can dress in the finest to go and marry the Invisible Being. The sisters fail to see the Invisible Being and return to the village ashamed. The youngest daughter asked for buckskin, beads and shoes like her sisters so she could go and marry the Invisible Being but her father had nothing left but old shoes and broken shells. She walked to the shore and told the Invisible Being‘s sister “I have come to marry the Invisible Being”. The sister could see she had a good and kind heart. The youngest sister was able to see the Invisible Being. As she bathed the in the lake to scars vanished from her skin and her hair grew long and glossy again. She became as beautiful on the outside as she was on the inside. This story has the good/bad sister element that goes across cultures. The youngest sister is treated cruelly but continues to have a good and kind heart. Her reward is the ability to see the Invisible Being. This variant of Cinderella allows the reader through the words and the illustrations to experience the spiritual beliefs of the Native American culture depicted in this story. The illustrations of the Invisible being in the sky brought in nature, animals and space. David Shannon’s watercolor illustrations set the mood and the drama of the events that happened from page to page. The art and text create a wonderful layout for reading this book aloud to a group of children.
The School Library Journal review- “ … a splendid read aloud.”, Kirkus –“ …a strong distinctive with art to match.”, Booklist- “libraries will find this a well-used picture book.”
The Rough-Face Girl is a book I have used every year during the Traditional Literature study. I have used many variants of Cinderella as well as the traditional versions and created charts to compare the different versions. I have not included illustrator or country of origin on my charts but want to add those two areas for next year. I teach first grade and after reading several versions, my first grade students create their own story. I have many retells but I am always amazed by how many children come up with a new Cinderella character and have followed the Cinderella story pattern.
The School Library Journal review- “ … a splendid read aloud.”, Kirkus –“ …a strong distinctive with art to match.”, Booklist- “libraries will find this a well-used picture book.”
The Rough-Face Girl is a book I have used every year during the Traditional Literature study. I have used many variants of Cinderella as well as the traditional versions and created charts to compare the different versions. I have not included illustrator or country of origin on my charts but want to add those two areas for next year. I teach first grade and after reading several versions, my first grade students create their own story. I have many retells but I am always amazed by how many children come up with a new Cinderella character and have followed the Cinderella story pattern.
Sunday, February 7, 2010
The Invention of Hugo Cabret
Selznick, Brian. 2007. THE INVENTION OF HUGO CABRET. New York, N.Y.: Scholastic Press. ISBN 0439813786
Hugo Cabret is a twelve year boy that becomes an orphan after his father’s death. He is taken by his uncle who lives and works as a timekeeper in a Parisian train station. The uncle teaches Hugo how to set and repair the clocks in the train station. Life for Hugo is lonely and secretive. Hugo finds a friend in a young girl, Isabelle who he has seen at the toymaker's shop. The two find themselves drawn together as they begin to unravel the mysteries of a notebook of drawings, an automaton, and the man that owns the toy shop. There are secrets, people and coincidences that lead to answers the two of them never expected to discover. The illustrations tell the story as much as the words. The illustrations were drawn as a camera would zoom in for a close up then out for the bigger picture. The charcoal drawings are able to convey the dark and light of the situation as a cinematographer would do in the movies. The details of the face and body as Hugo moves about the train station in secrecy show the insecurity and fears he has about being caught. There are more than 250 pages of images in this picture book that appears more like a graphic novel. The book brings in the magic of the movies with movie stills and art from Georges Méliès estate included for a touch of the real life influences in this fictional journey. As the reader comes to the text it is printed simply on a plain white page. The words are as cinematic as the illustrations with the words appearing on the plain white screen of the cinema.
Awards and Reviews:
Caldecott Honor Award (2008)
Starred review- School Library Journal 03/01/07
Starred review-Bulletin of the Center for Children’s Books
Book Links (A.L.A)-05/01/07
“The way the illustrations told the story was so exquisite,” said Karen Breen, chairwoman of the Caldecott judges committee and the children’s book review editor at Kirkus Reviews. “It was a favorite right from the start.”
2007 National Book Award Finalist,
Young People's Literature
This book would be a good example of how storytelling is not just in books but through movies. The Invention of Hugo Cabret by Brian Selznick is a great example of storyboarding for older children who are looking for a “grown up” way of exploring art, design, film and writing. After reading this book I had two immediate thoughts, “Do middle school and high school art and language arts teacher know and use this book?” and my daughter needed to buy this book for her father. He is a cinematographer and would truly appreciate the art and cinematic influences in this book.
Hugo Cabret is a twelve year boy that becomes an orphan after his father’s death. He is taken by his uncle who lives and works as a timekeeper in a Parisian train station. The uncle teaches Hugo how to set and repair the clocks in the train station. Life for Hugo is lonely and secretive. Hugo finds a friend in a young girl, Isabelle who he has seen at the toymaker's shop. The two find themselves drawn together as they begin to unravel the mysteries of a notebook of drawings, an automaton, and the man that owns the toy shop. There are secrets, people and coincidences that lead to answers the two of them never expected to discover. The illustrations tell the story as much as the words. The illustrations were drawn as a camera would zoom in for a close up then out for the bigger picture. The charcoal drawings are able to convey the dark and light of the situation as a cinematographer would do in the movies. The details of the face and body as Hugo moves about the train station in secrecy show the insecurity and fears he has about being caught. There are more than 250 pages of images in this picture book that appears more like a graphic novel. The book brings in the magic of the movies with movie stills and art from Georges Méliès estate included for a touch of the real life influences in this fictional journey. As the reader comes to the text it is printed simply on a plain white page. The words are as cinematic as the illustrations with the words appearing on the plain white screen of the cinema.
Awards and Reviews:
Caldecott Honor Award (2008)
Starred review- School Library Journal 03/01/07
Starred review-Bulletin of the Center for Children’s Books
Book Links (A.L.A)-05/01/07
“The way the illustrations told the story was so exquisite,” said Karen Breen, chairwoman of the Caldecott judges committee and the children’s book review editor at Kirkus Reviews. “It was a favorite right from the start.”
2007 National Book Award Finalist,
Young People's Literature
This book would be a good example of how storytelling is not just in books but through movies. The Invention of Hugo Cabret by Brian Selznick is a great example of storyboarding for older children who are looking for a “grown up” way of exploring art, design, film and writing. After reading this book I had two immediate thoughts, “Do middle school and high school art and language arts teacher know and use this book?” and my daughter needed to buy this book for her father. He is a cinematographer and would truly appreciate the art and cinematic influences in this book.
Wednesday, February 3, 2010
Picture book- Mo Willems
Willems, Mo. 2003. DON'T LET THE PIGEON DRIVE THE BUS!. Hyperion Books for Children. New York, N.Y. ISBN 078681988X
This is a very simple story about a pigeon that wants to drive the bus. But there nothing simple about the pigeon trying to convince the audience to actually let him drive the bus. As the bus driver leaves he says "Don't let the pigeon drive the bus!" and it becomes the mission of the audience to tell the pigeon "No". The pigeon continues to convince everyone it would be a good idea to let him drive the bus. The pigeon says "Please" a word that most young children have found saying can get them what they want. Not in this case as the answer is still "No". As the pigeon is still not able to change the minds of the audience he begins to use many strategies that children from ages 3-6 have experienced when wanting to get their way. The pigeon changes his request to "I'll just steer" when that does not work he continues tell about his cousin that drives a bus and that does not make a difference so now the pigeon says "I never get to do anything" hoping to change the minds of the audience that continues to tell him "No". As the book ends you see the pigeon sad and disappointed he didn't get to drive the bus. You may feel sad for the pigeon but keep reading the sad feeling may be replaced with a smile.
As I read this book I was impressed with the simplicity of the illustrations and the size of the print used for the text. The simple drawings of the pigeon and the soft color made his expressions easy to see and understand. The illustrations help tell the story from the first page where we see the pigeon driving the bus. As the the driver walks away and asks for help through a speech bubble you feel invited to participate in the reading of the book. The bus driver walks away and we get our first look at the pigeon. The expressions and body placement of the pigeon help even the youngest listener understand the meaning of what is being said. The font and speech bubbles are big and simple and can be easily seen from a child sitting on the floor. The illustrations are simple enough for a child to copy or think they could draw that too. The book's illustrations and text invite the reader to participate in the reading and connect with an inner artist. Children will love the ability to finally say "No!" The single picture on the page gives the perfect pause for the children to answer. The pigeon is seen moving from one page to another by separating his body as in " Let's play Drive the Bus"! "I'll go first! we see the back half and when we turn the page he is already in the future as his head is there. Don't Let the Pigeon Drive the Bus has illustrations that tell the story and text that perfectly fits the illustrations that give children the additional information that is needed to convey the feelings of the pigeon.
Don't Let the Pigeon Drive the Bus has won many awards such as the Caldecott Honor,ALA Notable Book, CCBC Choices, Picture Book Hall of Fame Inductee, A New York Times Best Seller,A Bank Street Best Book of the Year 2004,A Child Magazine Best Book of the Year, A Publishers Weekly Bestseller, A Bulletin Blue Ribbon Book, A Kirkus Reviews Editor's Choice Book, A Nick Jr. Magazine Best Book of the Year, Winner of the 2005 Kentucky Bluegrass Award, and Winner of the 2995 Maine Red Clover Award
Many reviews were found from Booklist starred(September 1, 2003(Vol.100, No.1),Horn Book (July/August, 2003), and Kirkus Review (April1,2003). These are just a few of the positive reviews of Mo Willems Don't Let The Pigeon Drive the Bus!
The Library Media Connection (August/SEptember, 2003 review had a different response to this book. The review found the book's text "emphasizes negative instead of positive behavior".
I found this book as an entertaining and a fun way to hook my first grade students into reading. The first response from the children was "Does our library have anymore pigeon books?". The text was easy to see and gave opportunities for all levels of readers to read. The simple lines and colors of the illustrations encouraged the children to try and draw more to support the writing that was being done in class. This was a great way to create a common language between me as the teacher and the children. Sometimes they have to be told No, to driving the bus.
This is a very simple story about a pigeon that wants to drive the bus. But there nothing simple about the pigeon trying to convince the audience to actually let him drive the bus. As the bus driver leaves he says "Don't let the pigeon drive the bus!" and it becomes the mission of the audience to tell the pigeon "No". The pigeon continues to convince everyone it would be a good idea to let him drive the bus. The pigeon says "Please" a word that most young children have found saying can get them what they want. Not in this case as the answer is still "No". As the pigeon is still not able to change the minds of the audience he begins to use many strategies that children from ages 3-6 have experienced when wanting to get their way. The pigeon changes his request to "I'll just steer" when that does not work he continues tell about his cousin that drives a bus and that does not make a difference so now the pigeon says "I never get to do anything" hoping to change the minds of the audience that continues to tell him "No". As the book ends you see the pigeon sad and disappointed he didn't get to drive the bus. You may feel sad for the pigeon but keep reading the sad feeling may be replaced with a smile.
As I read this book I was impressed with the simplicity of the illustrations and the size of the print used for the text. The simple drawings of the pigeon and the soft color made his expressions easy to see and understand. The illustrations help tell the story from the first page where we see the pigeon driving the bus. As the the driver walks away and asks for help through a speech bubble you feel invited to participate in the reading of the book. The bus driver walks away and we get our first look at the pigeon. The expressions and body placement of the pigeon help even the youngest listener understand the meaning of what is being said. The font and speech bubbles are big and simple and can be easily seen from a child sitting on the floor. The illustrations are simple enough for a child to copy or think they could draw that too. The book's illustrations and text invite the reader to participate in the reading and connect with an inner artist. Children will love the ability to finally say "No!" The single picture on the page gives the perfect pause for the children to answer. The pigeon is seen moving from one page to another by separating his body as in " Let's play Drive the Bus"! "I'll go first! we see the back half and when we turn the page he is already in the future as his head is there. Don't Let the Pigeon Drive the Bus has illustrations that tell the story and text that perfectly fits the illustrations that give children the additional information that is needed to convey the feelings of the pigeon.
Don't Let the Pigeon Drive the Bus has won many awards such as the Caldecott Honor,ALA Notable Book, CCBC Choices, Picture Book Hall of Fame Inductee, A New York Times Best Seller,A Bank Street Best Book of the Year 2004,A Child Magazine Best Book of the Year, A Publishers Weekly Bestseller, A Bulletin Blue Ribbon Book, A Kirkus Reviews Editor's Choice Book, A Nick Jr. Magazine Best Book of the Year, Winner of the 2005 Kentucky Bluegrass Award, and Winner of the 2995 Maine Red Clover Award
Many reviews were found from Booklist starred(September 1, 2003(Vol.100, No.1),Horn Book (July/August, 2003), and Kirkus Review (April1,2003). These are just a few of the positive reviews of Mo Willems Don't Let The Pigeon Drive the Bus!
The Library Media Connection (August/SEptember, 2003 review had a different response to this book. The review found the book's text "emphasizes negative instead of positive behavior".
I found this book as an entertaining and a fun way to hook my first grade students into reading. The first response from the children was "Does our library have anymore pigeon books?". The text was easy to see and gave opportunities for all levels of readers to read. The simple lines and colors of the illustrations encouraged the children to try and draw more to support the writing that was being done in class. This was a great way to create a common language between me as the teacher and the children. Sometimes they have to be told No, to driving the bus.
Talking With Artists- Pat Cummings
Cummings, Pat. 1992.TALKING WITH ARTISTS. New York, NY: Bradbury Press. ISBN 0027242455
Plot Summary
Many of us may not have thought about why or how the illustrators of many of the children books we see and read each year became an illustrator. In this first volume of Talking With Artists ,Pat Cummings compiled conversations with 14 favorite children's book artists to tell their story. Through their story many of the questions people have asked were answered. Tales of encouraging teachers and boring days led to a career as an artist of children's books.
The stories touched on family, pets, travel and school. There were a lot of common experiences between the artists such as the love for drawing but the styles and media they chose were unique to their own experiences and sometimes availability. The personal stories are very interesting and the question and answer section was very informative about what their day to day lives are like now.
Critical Analysis
This book was set up to a have a double page spread for each of the 14 artists personal story. For each of the artists there was a photograph from his/her childhood as well as a recent photograph along with his/her signature in a bright yellow artist palette. Turning the page brought the reader to a question and answer section. The artists answered eight questions that were frequently asked when visiting schools. Each of the artists had a sample of artwork from his/her past as well as what they were doing at the time the book was published in 1992. The art selected were examples of the work they were doing at that time and the type of Illustration media used. The stories were short and personal and the addition of the photographs of them as children and adults gave the reader a face to go with the words. The book contains a table of contents to easily access information about a specific artist. A letter from Pat Cummings gives insight to why she compiled the book of artists and reminded the reader you or someone you know could be a future illustrator. The book was a very readable book. It was easy to just read about one or two artists or in few minutes read about all fourteen that are included in the book.
Awards
Boston Globe-Horn Book Award
Review">"Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived"-School Library Journal
Connections
Give children resources that they can relate to as young artists. Many of the artists featured began their love for art in their early years.
For a list of books and activities for budding artists-
http://www.carolhurst.com/index.html
http://www.carolhurst.com/subjects/color.
Curriculum area- Color and Children's literature
reviewed by Tammy Hatcher
Plot Summary
Many of us may not have thought about why or how the illustrators of many of the children books we see and read each year became an illustrator. In this first volume of Talking With Artists ,Pat Cummings compiled conversations with 14 favorite children's book artists to tell their story. Through their story many of the questions people have asked were answered. Tales of encouraging teachers and boring days led to a career as an artist of children's books.
The stories touched on family, pets, travel and school. There were a lot of common experiences between the artists such as the love for drawing but the styles and media they chose were unique to their own experiences and sometimes availability. The personal stories are very interesting and the question and answer section was very informative about what their day to day lives are like now.
Critical Analysis
This book was set up to a have a double page spread for each of the 14 artists personal story. For each of the artists there was a photograph from his/her childhood as well as a recent photograph along with his/her signature in a bright yellow artist palette. Turning the page brought the reader to a question and answer section. The artists answered eight questions that were frequently asked when visiting schools. Each of the artists had a sample of artwork from his/her past as well as what they were doing at the time the book was published in 1992. The art selected were examples of the work they were doing at that time and the type of Illustration media used. The stories were short and personal and the addition of the photographs of them as children and adults gave the reader a face to go with the words. The book contains a table of contents to easily access information about a specific artist. A letter from Pat Cummings gives insight to why she compiled the book of artists and reminded the reader you or someone you know could be a future illustrator. The book was a very readable book. It was easy to just read about one or two artists or in few minutes read about all fourteen that are included in the book.
Awards
Boston Globe-Horn Book Award
Review">"Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived"-School Library Journal
Connections
Give children resources that they can relate to as young artists. Many of the artists featured began their love for art in their early years.
For a list of books and activities for budding artists-
http://www.carolhurst.com/index.html
http://www.carolhurst.com/subjects/color.
Curriculum area- Color and Children's literature
reviewed by Tammy Hatcher
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