We Are the Ship: The Story of Negro League Baseball

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Recipient of Peach’s Picks Award

Top Ten Favorite Books

Summer 2011

Author: Kadir Nelson

Illustrator: Kadir Nelson

Peach’s Picks Rating:

 

Year of publication: 2008

City of publication: New York

Publisher: Jump at the Sun / Hyperion

ISBN: 978-0-7868-0832-8

Author website: http://www.kadirnelson.com/

Illustrator website: See entry for “Author website”

Media used for illustrations: Oil paintings

Annotation: Shows life in American Negro League baseball from the 1902s to the late 1940s. The narrative is told from the perspective of an “everyman” player; documenting discrimination, segregation, and poor working conditions.

Personal reaction to the book: This book tells the history of Negro League Baseball from the 1920s through the 1940s. It is told in an authentic voice using a narrator who represents a composite player from the league. The narrator speaks to the reader in a first person conversational tone, relating his memories of the time. We learn of the players’ love of baseball and their determination to continue playing in the face of discrimination, inadequate sports equipment, and low pay. Their story reflects the social and political climate that affected all African-Americans at the time. The title of the book is a quote from Rube Foster, the founder of the Negro National League. There are ten chapters each referred to as “innings”. Each chapter offers a different aspect of a player’s experience. The ninth inning takes the reader to Jackie Robinson’s entrance in the Major Leagues. The last chapter, “Extra Innings” explains the end of the Negro Leagues. The work is well researched including endnotes, a list of Negro League players who entered the major leagues, Negro League players inducted into the Baseball Hall of Fame, an extensive author’s note, bibliography, and filmography. The book is paginated and includes a well constructed index, both offering the reader easy reference. Nelson’s powerful oil paintings often depict the players looking straight out of the page at the reader. The angle is usually low, making the players seem especially powerful and athletic. Their faces, arms, and hands are all expressive of their power and confidence on the field. Their athleticism is apparent. The text is laid out on one side of the open spread with an illustration, usually a player’s portrait, covering the entire opposite page. There are five stunning two page spread illustrations with no text. The reader feels as though they are on the field with the players. One spectacular gatefold illustration is included. It is a ticket to the “First Colored World Series” and invites one to open it. There the reader finds a portrait of both teams, their mangers, and owns standing against the backdrop of Muehlebach Field in Kansas City, Missouri. Adults will enjoy this book as much, if not more than young readers. After reading this book, one feels as though they were a player traveling with the Negro Leagues. (Learn how Leroy “Satchel” Paige got his nickname on page 47.)

Further discussion of artwork:

In his book Looking at Picture Books, John Warren Stewig states, “Oil paints are a medium not often used by illustrators, perhaps in part because they take a long time to dry” (page 106). The reader who views the visual delights of We Are the Ship will be thankful that Kadir Nelson embraces the use of oil paints. He has created stunning and expressive photorealistic portraits illustrating the history and players of Negro League baseball. Nelson displays much detail in his paintings making them seem as though he used an air-brush to create the illustrations. He shows texture in the player’s lips, the veins in their hands, and the bulging muscles of biceps and forearms. Most illustrations show players from a straight on point of view, looking directly out from the middle of the page. Even though the angle is straight on, it is also low causing the viewer to look up at the player. This technique makes the player look powerful and larger than life. The characters look as though they paused and posed for a photograph. Many illustrations show bright blue skies in the background. This frames the players and reminds the reader of a glorious day at the ballpark. According to a study guide created for this book by the Friends of African & African-American Art, Nelson finds inspiration for his artwork from artists such as Michelangelo, Norman Rockwell, Andrew Wyeth, and Howard Pyle, among others (page 3). Placement of people on the page is especially reminiscent of many of Norman Rockwell’s work with characters and action placed in the middle of the page.

References

Friends of African & African-American Art. (2011). We are the ship: The story of the Negro League baseball exhibit study guide. Arts Council of Fayetteville/Cumberland County. Retrieved August 6, 2011, from http://www.theartscouncil.com/Exhibits/Study%20guide%20WATS.pdf

Stewig, J. W. (1995). Looking at picture books. Fort Atkinson, WI: Highsmith Press.

General curricular connections:

• Art /Use when studying award winning illustrators
• Baseball
• Baseball / History
• Negro leagues
• African-American baseball players
• Civil Rights
• Use this book in connection with Teammates by Peter Golenbock; The Journal of Biddy Owens, the Negro Leagues by Walter Dean Myers; Black Diamonds: Life in the Negro Leagues from the Men who Lived It compiled by John B. Holway; A Negro League Scrapbook by Carole Boston Weatherford

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

11.10 Students analyze the development of federal civil rights and voting rights.

2. Examine and analyze the key events, policies, and court cases in the evolution of civil rights, including Dred Scott v. Sandford, Plessy v. Ferguson, Brown v. Board of Education, Regents of the University of California v. Bakke, and California Proposition 209.

(Specifically, Plessy v. Feguson)

Recommended grade levels:

School Library Journal recommends the book for use with grades 3 and up

Booklist recommends the book for use with grades 5-8

Peach’s Picks recommends the book for use with grades 5 and up

Awards/Recognitions:

Booklist starred review

Horn Book starred review

Library Media Connection starred review

Publishers Weekly starred review

School Library Journal starred review

Coretta Scott King Award Winner, Author Award, 2009

ALA Notable Children’s Books, Older Readers, 2009

Note: This book is included in Assignment 2.

Simile: Page 38; “Worked like the mule that plows the field during the week and pulls the carriage to church on Sunday morning.”

Simile: Page 42; “He was like lightning.”

Metaphor: Page 42; “He killed fastballs.”

Book cover picture retrieved from http://sportsillustrated.cnn.com/2008/baseball/more/03/05/pride0310/

Goin' Someplace Special

Author: Patricia C. McKissack

Illustrator: Jerry Pinkney

Peach’s Picks Rating:

 

Year of publication: 2001

City of publication: New York

Publisher: Atheneum Books for Young Readers

ISBN: 0-689-81885-8

Author website: No personal website available, but information about the author can be found at http://www2.scholastic.com/browse/contributor.jsp?id=3372 and http://www.randomhouse.com/kids/catalog/author.pperl?authorid=20049

Illustrator website: http://www.jerrypinkneystudio.com/

Media used for illustrations: Pencil and watercolor on paper

Annotation: Set in 1950s segregated Nashville an African-American girl takes a bus ride downtown to “Someplace Special”. During her journey she faces indignities, but is determined to reach her destination.

Personal reaction to the book: Tricia Ann, a 12-year-old African-American girl, wants to take the bus alone downtown to “Someplace Special.” Mama Frances, her grandmother, is hesitant about letting Tricia Ann make the trip unaccompanied. Tricia Ann pleads and offers reasons she should be allowed to go. Finally, Mama Frances acquiesces and reminds Tricia Ann to “hold yo’ head up and act like you b’long to somebody” (page 3). Tricia Ann is making this trip in 1950s segregated Nashville when Jim Crow laws are in full force. Mama Frances knows that Tricia Ann is likely to experience discrimination and humiliation on her journey, but still allows her to go. Tricia Ann sets off smiling brightly in a lovely turquoise dress with yellow details, wearing her hat and carrying her pocketbook. She faces one humiliation after another. Fortunately, after each incident she encounters someone who encourages her to keep going. She arrives safely at “Someplace Special” – the public library. A sign above the red door states “PUBLIC LIBRARY: ALL ARE WELCOME”. In the last illustration, Tricia Ann smiles with reverence at the library, glowing with the accomplishment of arriving independently and the anticipation of entering. The text flows smoothly and illustrations match the text perfectly. Southern dialect is sprinkled through the story; for example, “Carry yo’self proud” (page 8), but does not become cumbersome to read aloud or difficult to understand. It offers a flavor of the 1950s South. Those unfamiliar with the term “Jim Crow” will need explanation to understand life in the South during this time period. The discussion of Jim Crow laws may lead to meaningful dialogue about United States history and Civil Rights. An author’s note explains that this story reflects McKissack’s life as an African-American girl growing up in 1950s Nashville and the life of African-Americans living in the South in general at the time. Pinkney’s water colors are beautiful and detailed. Tricia Ann is depicted in her Grandmother’s kitchen which is filled with fresh vegetables about to be cooked, reflecting the warmth and security her grandmother’s house offers (pages 1-2). Mama Frances lovingly ties the lemon yellow belt on Tricia Ann’s turquoise dress before sending her on her journey. Tricia Ann’s bright dress stands out on each page, spotlighting her along the journey to “Someplace Special”. The illustrations show 1950s fashions, cars, “Whites Only” signs, as well as other signs of the times. In the end, Tricia Ann arrives at “Someplace Special” as a girl who has gained confidence and self-reliance in the face of adversity. This book reads aloud well and can be viewed by a large group or examined individually for detail. It lends itself to discussion of Civil Rights and the importance of libraries.

Further discussion of artwork:

Kathleen T. Horning the author of From Cover to Cover: Evaluating and Reviewing Children’s Books discusses the composition of picture books in chapter 5. In a subsection titled “Composition” she states, “An artist must carefully plan how to arrange the visual elements on a page to create the desired mood or effect. This is rarely done without a lot of thought. In fact, if you look carefully at the composition of an illustration, you can generally see several design principles at work” (page 98). One of the design principles discussed by Horning is dominance.

The principle of dominance is apparent in Jerry Pinkney’s illustrations created for Goin’ Someplace Special by Patricia C. McKissack. This principle is utilized in the full page spread where Tricia Ann stands in a hotel lobby at the front of a group of white adults. The hotel manager dominates the scene. The reader’s eye is drawn to the manager because he is shown larger than anything else on the page. Also, he wears a dark jacket showcasing him against the lighter background. He dominates Tricia Ann in a threatening manner by standing in front of her with his arms outstretched pointing at her.

The principle of dominance is also used throughout the book when illustrating Tricia Ann. The reader’s eye is drawn to her in each scene. Dominance is created using bright colors for her clothing. She is more brightly colored than shapes and people around her. Dressed in a vibrant turquoise dress with a bright yellow border, yellow sash, and a yellow hat with a red ribbon she stands out on each page. The reader’s eye follows her throughout the book.

Again, the principle of dominance is used on the double page spread where Tricia Ann visits the Peace Fountain. The fountain is larger than any other object in the picture. The reader’s eye focuses on the fountain. The fountain symbolizes peace, something Tricia Ann will not find until see reaches her destination, the public library.

Reference

Horning, K. T. (2010). From cover to cover: Evaluating and reviewing children’s books (revised edition). New York: Collins.

General curricular connections:

• Segregation
• Civil rights
• Historical fiction 

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

11.10 Students analyze the development of federal civil rights and voting rights.

2. Examine and analyze the key events, policies, and court cases in the evolution of civil rights, including Dred Scott v. Sandford, Plessy v. Ferguson, Brown v. Board of Education, Regents of the University of California v. Bakke, and California Proposition 209.

(Specifically, Plessy v. Feguson)

Recommended grade levels:

School Library Journal recommends this book for use with grades 3-5

Booklist recommends this book for use with ages 5-8

Peach’s Picks recommends this book for use with grades 3 and up

Awards/Recognitions:

Booklist starred review

Coretta Scott King Award, Illustrator Award Winner, 2002

ALA Notable Children’s Books Award, Younger Readers, 2002

Note: This book is included in Assignment 2.

Sophisticated language: Page 7; “She recalled the first time she and Mama Frances had taken this bus ride, and her grandmother had told her, 'Those signs can tell us where to sit, but they can’t tell us what to think.”

Repetition: After each experience with discrimination or humiliation, Tricia Ann encounters a person who encourages her to keep going: Mrs. Grannell, Jimmy Lee, Mr. John Willis, Blooming Mary, Mama Frances’ words of support ringing in her mind

Metaphor: Page 29; The library is referred to as “a doorway to freedom.”

Book cover picture retrieved from http://www.jerrypinkneystudio.com/frameset.html

Moses: When Harriet Tubman Led Her People to Freedom

Author: Carole Boston Weatherford

Illustrator: Kadir Nelson

Peach’s Picks Rating:

 

Year of publication: 2006

City of publication: New York

Publisher: Jump At the Sun: Hyperion Books for Children

ISBN: 0-7868-5175-9

Author website: http://www.caroleweatherford.com/

Illustrator website: http://www.kadirnelson.com/

Media used for illustrations: Oil and water color paintings

Annotation: A fictional story based on events of Harriet Tubman’s escape from slavery and her subsequent journeys back to the South to free hundreds of slaves, including her family, during the mid 1800s.

Personal reaction to the book: This picturebook is a fictional version of Harriet Tubman’s life. She was a slave who escaped to Philadelphia in search of freedom. The story begins the night she decides to run away. The reader is introduced to Tubman as she sits outdoors on a dark night, praying and talking to God. Tubman’s escape is successful. She finds herself in Philadelphia, but soon realizes that personal freedom is not fulfilling when others are still enslaved. So Tubman becomes a conductor on the Underground Railroad and time and time again returns to the south to guide others to freedom. The book is written in free verse as a dialogue between Tubman and God, with God speaking directly to Harriet in the form of a poem. This poem, independent of the story, stands on its own merit as a work of literature reminiscent of scripture. The powerful and expressive illustrations are painted in earth tones and cover two-page spreads. The text is printed on the illustrations, but does not distract from them. The color palette is especially dark when Tubman is in danger and filled with light when she feels hopeful or is safe. Tubman’s face is particularly striking in each illustration. The reader can see her fear, her determination, and her hope. A forward is included that discusses slavery in the United States. An author’s note gives biographical information about Harriet Tubman. This book reads aloud well and can easily be shared with a large group.

General curricular connections:

• Harriet Tubman
• Slavery
• Underground Railroad
• Biography / Women
• African American women
• Underground Railroad

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 8

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 8 United States History: Growth and Conflict

8.9 Students analyze the early and steady attempts to abolish slavery and to realize the ideals of the Declaration of Independence.

1. Describe the leaders of the movement (e.g., John Quincy Adams and his proposed constitutional amendment, John Brown and the armed resistance, Harriet Tubman and the Underground Railroad, Benjamin Franklin, Theodore Weld, William Lloyd Garrison, Frederick Douglass).

Recommended grade levels:

School Library Journal recommends this book for use with grades 2-5

Booklist recommends this book for use with grades 1-3

Peach’s Picks recommends this book for use with grades 2-9

Awards/Recognitions:

Horn Book starred review

Publishers Weekly starred review

School Library Journal starred review

ALA Notable Children's Books, Middle Readers, 2007

Caldecott Honor, 2007

Coretta Scott King Illustrator Honor Award Winner, 2007

Note: This book is included in Assignment 2.

This book was included in the LIBR 271A category “Other books receiving Top Ten votes, Summer 2009.”

Simile: Page 1; “I am Your child, Lord; yet Master owns me, drives me like a mule.”

Simile: Page 22; “She recalls dreams where she flew like a bird…”

Simile: Page; 26; “…Harriet rises from that hole like a sapling…”

Metaphor: Page 1; “God speaks in a whip-poor-will’s song.”

Metaphor: Page 1; “God wraps her in the blanket of night…”

Metaphor: Page 14; “In a dust cloud, she sees the broom become a staff, then a rifle.”

Allusion: Page 35; “Canaanland” is a Biblical allusion to the Promised Land

Allusion: Title of the book Moses, alluding to the Biblical character, Moses, who led his people to freedom.

Book cover picture retrieved from http://www.caroleweatherford.com/books.htm

Henry's Freedom Box: A True Story from the Underground Railroad

Author: Ellen Levine

Illustrator: Kadir Nelson

Peach’s Picks Rating:

 

Year of publication: 2007

City of publication: New York

Publisher: Scholastic Press

ISBN: 978-0-439-77733-9

Author website: http://www.ellenlevineauthor.com/

Illustrator website: http://www.kadirnelson.com/

Media used for illustrations: Pencil, watercolor, and oil paintings. The artist uses crosshatched pencil lines layered with watercolors and oil paints. “Kadir Nelson’s paintings for this book were inspired by an antique lithography of Henry “Box” Brown, created by Samuel Rowse in 1850 as a fundraiser for the anti-slavery movement (back jacket flap).”

Annotation: A fictionalized account of Henry “Box” Brown, a slave living in Richmond. With help from abolitionists he escapes to freedom by hiding in a wooden crate that is shipped to Philadelphia.

Personal reaction to the book: Henry “Box” Brown declared his birthday as “March 30, 1849, his first day of freedom! (page 38)”. As a slave in Richmond, Virginia, Henry Brown was not allowed to know his birthday nor was he allowed to stay with his mother. As a child he was given to his master’s son who set him to work in a tobacco factory. Henry was constantly at the mercy of his white masters. As an adult, he married and had a family. One day while he was at work, his family was sold. Henry could no longer abide his slavery. With the help of two men, one a white abolitionist, he was packed into a large wooden crate and shipped to Philadelphia where he found freedom. This fictionalized picturebook version of Henry’s life complements the study of Civil Rights or slavery. It is an interesting story about a man yearning for freedom and finding a creative solution to obtain it. The reader empathizes with Henry’s plight and is glad to learn that he gained his freedom, but there is sorrow as he has lost his family. The text is simple, but not simplistic text. It describes Henry’s plight in a direct and powerful manner; for example, “When he wiped away his tears, Nancy, too, was gone (page 19)”. The pictures give the text emotion. On that same page the reader sees Henry’s children calling to him as they are carted away. Henry’s anxiety and loss is apparent on his face. Nelson’s paintings convey the characters’ depth of emotion through their eyes, expressive faces, and body language. The rich earth-tones of the illustrations fill entire two-page spreads throughout the book. With a few exceptions, the text is printed over the illustrations, but does not interrupt the paintings. Any author would be privileged to have Kadir Nelson illustrate their work. An author’s note extends historical information surrounding the story and a bibliography is included. The book reads well aloud and the large illustrations can be seen by a group or examined individually for depth of detail.

General curricular connections:

• Henry Box Brown
• African-Americans
• Underground Railroad
• Civil Rights
• Slavery

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 8

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 8 United States History: Growth and Conflict

8.9 Students analyze the early and steady attempts to abolish slavery and to realize the ideals of the Declaration of Independence.

1. Describe the leaders of the movement (e.g., John Quincy Adams and his proposed constitutional amendment, John Brown and the armed resistance, Harriet Tubman and the Underground Railroad, Benjamin Franklin, Theodore Weld, William Lloyd Garrison, Frederick Douglass).

Recommended grade levels:

School Library Journal recommends this book for use with grades 2-5

Booklist recommends this book for use with grades 1-3

Peach’s Picks recommends this book for use with grades 2-9

Awards/Recognitions:

Booklist starred review

Horn Book starred review

Caldecott Honor, 2008

ALA Notable Children's Books, Middle Readers, 2008

Notable Social Studies Trade Books for Young People (CBC & NCSS)

Notable Books for a Global Society, (IRA)

Cooperative Children's Book Center (CCBC) best-of-the-year

Pennsylvania Young Reader's Choice Award

Note: This book is included in Assignment 2. This book was included in the LIBR 271A category “Other books receiving Top Ten votes, Summer 2009.”

Simile: Page 3; “Do you see those leaves blowing in the wind? They are torn from the trees like slave children are torn from their families.”

Allusion: Page 37; Allusion to the Society for the Abolition of the Slave Trade. An image found on the pitcher at William H. Johnson’s home in Philadelphia. The pitcher is placed on a table in the background. On the pitcher is an image created by Josiah Wedgwood, a member of the Society for the Abolition of the Slave trade. It shows a slave bound in chains reaching up in a pleading manner. This pitcher alludes to the abolitionist movement. It also indicates that Henry has arrived in a safe place.

Metaphor: Page 35; “…rattling song of the train wheels.”

Symbolism: Pages 25-26; “THIS SIDE UP WITH CARE” is written on the box where Henry is hiding. This statement is emphasized in the artwork on pages 29-30, when Henry (in the box) is loaded into the train car for shipment. “Dr. Smith begged the clerks to be careful. But they didn’t listen. They threw the box into the baggage car.” This symbolizing the rough treatment which Henry has always received at the hands of white men. On pages 34-35, the reader sees white men roughly handling the crate, once again symbolizing the mishandling Henry has received at the hands of white men throughout his life

Symbolism: Page 38; Henry was born again when he obtained his freedom on March 30, 1849, in Philadelphia.

Symbolism: Pages 5-6; The large size of the master’s sickbed emphasizing his importance and power he holds in Henry and his mother’s world

Symbolism: Page 19; Overcast gray sky threatening a storm symbolize the storm brewing in Henry’s heart

Repetition: Song: Page 12, “Henry felt like singing.” Page 14, Henry is singing in the picture. Page 21, “Henry no longer sang.” Page 24, “Henry heard singing.” Page 35, “He fell asleep to the rattling song of the train wheels.”

Book cover picture retrieved from http://www.ellenlevineauthor.com/works.htm

Ellington Was Not A Street

Author: Ntozake Shange

Illustrator: Kadir Nelson

Peach’s Picks Rating:

 



Year of publication: Text, 1983; Illustrations, 2004

City of publication: New York

Publisher: Simon & Schuster Books for Young Readers

ISBN: 0-689-82884-5

Author website: http://www.ntozakeshange.org/home.html

Illustrator website: http://www.kadirnelson.com/

Media used for illustrations: Oil paint

Annotation: This book is based on the poem “Mood Indigo” by author Ntozake Shange which chronicles her unique childhood where she was surrounded by notable African-American artists, musicians, politicians, and historians.

Personal reaction to the book: “Mood Indigo” written by Shange was first published in a collection of her poetry titled A Daughter’s Geography (New York: St Martin’s Press, Inc.). Here the poem is presented in an eloquent picturebook format from the view point of a little girl (Shange) growing up in New York City during the mid-twentieth century. It is a lyrical tribute to the neighborhood she grew up in and her family home. This home was a gathering place for men who made important contributions to society; among them, Duke Ellington, W.E.B. DuBois, and Paul Robeson. Only a few lines of poetry are presented on each page. The large, powerful oil paintings created by Nelson bring to life this expressive poem. The illustrations show friends warmly greeting one another, visiting, and playing cards. Soon the little girl and the reader are at a party with men and women relaxing and enjoying one another in the warmth of their family home. The little girl watches all this with pleasure. The illustrator depicts the girl as especially small and demure. This technique emphasizes the significance of the adults. The girl is shown throughout the book wearing a robin’s egg blue dress. This makes her stand out from the rest of painting’s the strong earth tones. Nelson pays tribute to Shange by showing her walking on Ellington Street as an adult (pages 2 and 10). The last two-page spread looks like a family portrait with members comfortably smiling at the reader. The illustrations extend and complement the text. Shange’s beautiful poem is presented in its entirety on the back endpaper. Endnotes offer biographical information about each man mentioned in the poem. The book reads aloud well. The illustrations are large and can easily be viewed by a crowd. They should be examined individually for details that establish the time period and the character of the famous men who contributed so much to the world.

General curricular connections:

• Poetry
• Art / Illustrator study
• African-Americans

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

11.10 Students analyze the development of federal civil rights and voting rights.

 
Recommended grade levels:

School Library Journal recommends the book for use with grades 3-8

Booklist recommends the book for use with grades 3-5

Peach’s Picks recommends the book for use with grades 3 and up

Awards/Recognitions:

Kirkus Review starred review

Publishers Weekly starred review

School Library Journal starred review

Coretta Scott King Award, Illustrator Award, 2005

ALA Notable Children’s Books Award, Middle readers, 2005

Simon Wiesenthal Center Award, 2005

Note: This book is included in Assignment 2.

Simile: “Our doors opened like our daddy’s arms”

Simile: “Politics as necessary as collards”

Rhythm:  text flows in rhythmic free verse

Sophisticated use of language: The entire poem in written in a complex spare style that will need to be examined, discussed, and clarified to students

Allusion: The title of the book reminds readers that Ellington Street in New York City is named in honor of Duke Ellington, the musician. The street’s name has background and significance. Duke Ellington music and actions helped change the world.

Book cover picture retrieved from http://www.amazon.com/Ellington-Was-Street-Ntozake-Shange/dp/0689828845/ref=sr_1_1?ie=UTF8&qid=1310607786&sr=8-1

When Marian Sang: The True Recital of Marian Anderson, The Voice of a Century

Author: Pam Muñoz Ryan

Illustrator: Brian Selznick

Peach’s Picks Rating:

 

Year of publication: 2002

City of publication: New York

Publisher: Scholastic Press

ISBN: 0-439-26967-9

Author website: http://www.pammunozryan.com/

 

Illustrator website: No personal website located, but information about the illustrator can be found at http://www.theinventionofhugocabret.com/about_brian_bio.htm and http://www2.scholastic.com/browse/contributor.jsp?id=3180

Media used for illustrations: Liquitex acrylics

Annotation: Marian Anderson, a renowned singer, struggled to gain acceptance in America because she was black. With support from Eleanor Roosevelt, she performed at the Lincoln Memorial in a 1939 historic event.

Personal reaction to the book:  At the time the story begins, Marian Anderson is a young African-American girl grew up in South Philadelphia. She sings in the church choir all the while dreaming of singing professionally, especially at the Metropolitan Opera. Because of the color barrier in the United States during this time period, she finds it difficult to gain acceptance at established music schools. Finally, through perseverance she becomes the student of Giuseppe Boghetti, a respected singing coach. Through his tutelage she hones her skills and sets off to perform in Europe, where there are not the same color prejudices. There she is accepted as the accomplished performer she has become. Returning to the United States in 1939, she is denied the right to sing at Constitution Hall due to a “white performers” only policy. In protest, Ms. Anderson performs on the steps of the Lincoln Memorial to a mixed-race crowd of thousands. Eleanor Roosevelt becomes instrumental in making this historic event possible. Slowly, color barriers break down and at the age of 57, Ms. Anderson realizes her dream of singing at the Metropolitan Opera. Her life and career encouraged social changes. This is not a straight forward, all-inclusive biography; rather the reader receives an impression of Ms. Anderson’s life from childhood to her performance at the Metropolitan Opera House. Endnotes, a timeline of her life, and a discography offer further information. The text flows smoothly. It is simply written, but not simplistic. The text includes verses from songs made famous by Ms. Anderson. Illustrations and text blend to advance the story. For example; the reader sees Marian standing on the steps of the music school from which she was denied, wistfully looking up at a white girl singing in a second floor window (pages 7-8). The illustrations are large, sepia-toned drawings that cover two page openings. Narration is placed in a white block running across either the bottom or down the sides of pages. The illustrations are carefully researched and reflect the time period though wallpaper, light fixtures, clothing styles, and other details. At the close, of the book when Ms. Anderson sings at the Metropolitan Opera, she is highlighted in a beam of light; her clothing is drawn using colors, the only color in the book. This artistic device accents the importance of the event. In the illustrator’s notes, Selznick mentions that his uncle was a fan of Ms. Anderson. He places his uncle on page 27, standing in the crowd listening to her sing at the Lincoln Memorial. (Hint, the uncle is the man facing the reader; standing with his eyes closed, wearing glasses.) This is an excellent introduction to Marian Anderson, the first African-American to perform at the Metropolitan Opera. The book reads well aloud and the pictures can be seen and enjoyed by large groups as well as individually.

General curricular connections:

• Civil Rights
• Marian Anderson / biography
• Biographies
• African American biographies
• Women biographies

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

2. Examine and analyze the key events, policies, and court cases in the evolution of civil rights, including Dred Scott v. Sandford, Plessy v. Ferguson, Brown v. Board of Education, Regents of the University of California v. Bakke, and California Proposition 209.

(Specifically, Plessy v. Feguson)

Recommended grade levels:

School Library Journal recommends the book for use with grades K-5

Peach’s Picks recommends the book for use with grades 1 and up

Awards/Recognitions:

Parents Choice Award Winner (Gold Award, picture book, ages 6-10)

School Library Journal Best Book of the Year, 2002

 ALA Sibert Honor Award, 2003

ALA Notable Book, 2003

Orbis Pictus Winner for Outstanding Nonfiction for Children, 2003

NCTE Notable Children's Book in the Language Arts, 2003

Booklist starred review

Kirkus Review starred review

Publishers Weekly starred review

School Library Journal starred review

Note: This book is included in Assignment 2.

Use of sophisticated language: Page 25; “Standing in the shadow of the statue of Lincoln, waiting to be called out, she read the engraved words: …THIS NATION UNDER GOD SHALL HAVE A NEW BIRTH OF FREEDOM…”

Simile: Introduction; “With one breath she sounded like rain, sprinkling high notes in the morning sun.”

Metaphor: Introduction; “And with the next she was thunder, resounding deep in a dark sky.”

Repetition: Five pages throughout the book show Ms. Anderson singing with her eyes closed.

Symbolism: Pages 17-18; The illustration is a side view of Ms. Anderson aboard the Ile de France on her way to Europe. She is facing at the bow of the ship looking toward the future 

Book cover picture retrieved from http://www2.scholastic.com/browse/book.jsp?id=3040

Martin's Big Words

Author: Doreen Rappaport

Illustrator: Bryan Collier

Peach’s Picks Rating:

 

Year of publication: 2001

City of publication: New York

Publisher: Jump At the Sun / Hyperion Books for Children

ISBN: 0-7868-0714-8

Author website: http://www.doreenrappaport.com/

Illustrator website: http://www.bryancollier.com/

Media used for illustrations: Collage and watercolors

Annotation: This picturebook biography celebrates the life of Dr. Martin Luther King, Jr. It begins with his childhood, includes early events in the Civil Rights Movement, and ends with his assassination.

Personal reaction to the book: The story begins with Martin Luther King, Jr. and his mother on a downtown sidewalk. Young Martin points questioningly at a on a drinking fountain that says “WHITE ONLY”.  His mother tells him, “You are as good as anyone.” So begins the beautifully written and illustrated tribute to Martin Luther King, Jr.’s life. It includes early events in the Civil Rights Movement and King’s involvement in those events, the march on Washington, and eventually ends with King’s assassination in Memphis, Tennessee where he was supporting striking garbage workers. As a child King, listened to his minister father deliver sermons containing what Martin considered “big words”, well-chosen words that delivered powerful messages. He grew up to deliver his own “big words” that helped change the course of history. Rappaport’s tight narrative weaves itself around King’s quotations. She captures the essentials of his nonviolent message. The illustrator creates a textural combination of cut-paper collages and watercolor illustrations that extend the text, adding powerful images to powerful words. An author’s note and illustrator’s note at the beginning of the book offer insights into the making of the book. A timeline of “Important Dates” and a list of related books and websites are included at the end. The endpapers are beautiful, stained glass windows echoing the illustrations of stained glass windows found throughout the text and emphasize the importance of King’s spiritual beliefs. This is a beautiful introduction to Martin Luther King, Jr. and his words.

General curricular connections:

• Social Studies / Civil Rights Movement
• History / Civil Rights Movement
• Biography / Martin Luther King, Jr.
• Black History Month

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

11.10 Students analyze the development of federal civil rights and voting rights.

4. Examine the roles of civil rights advocates (e.g., A. Philip Randolph, Martin Luther King, Jr., Malcom X, Thurgood Marshall, James Farmer, Rosa Parks), including the significance of Martin Luther King, Jr.’s “Letter from Birmingham Jail” and “I Have a Dream” speech.

Recommended grade levels:
School Library Journal recommends this book for use with grades 3-5
Booklist recommends this book for use with ages 4-9
Peach’s Picks recommends this book for use with grades 2 and up

Awards/Recognitions:

Jane Addams Children’s Book Award, 2002

National Council of Teachers of English, Orbis Pictus Honor Book, 2002

Caldecott Honor Book, 2002

Coretta Scott King Illustrator Honor Book, 2002

ALA Notable Children’s Book, All Ages, 2002

Booklist starred review

Horn Book starred review

School Library Journal starred review

Note: This book is included in Assignment 2.

Metaphor: In the illustrator’s notes Collier says “For me the, the windows are metaphors in a lot of ways, I the dark, they blaze out at you like beams of light. The multicolors symbolize multi races. Stained-glass windows are also a vehicle to tell the story of Jesus. And, whether you’re on the inside or the outside, windows allow you to look past where you are. I use metaphors throughout my work. The four candles in the last picture, for example, represent the four girls who were killed in the Sixteenth Street Baptist church. Their light shines on.”

Repetition: Illustrations of stained glass windows found throughout the book

Use of sophisticated language: Quotations by Martin Luther King, Jr.; for example, page 14, “When the history books are written, someone will say there lived black people who had the courage to stand up for their rights.”

Book cover picture retrieved fromhttp://www.doreenrappaport.com/gallery.html

Sit-In: How Four Friends Stood Up by Sitting Down

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Recipient of Peach’s Picks Award

Top Ten Favorite Books

Summer 2011

Author: Andrea Davis Pinkney

Illustrator: Brian Pinkney

Peach’s Picks Rating:

Year of publication: 2010

City of publication: New York

Publisher: Little, Brown and Company

ISBN: 9780316070164

Author website: No author website, but a website offering information about the author is available at http://www2.scholastic.com/browse/contributor.jsp?id=2861

Illustrator website: http://www.brianpinkney.net/

Media used for illustrations: Arches 300lb rough paper with watercolors and India ink

Annotation: Four young African-American men staged a sit-in at Woolworth’s in Greensboro, North Carolina. Their action reverberated across America, part of the civil unrest leading to the implementation of the 1964 Civil Rights Act. 

Personal reaction to the book: This is a compelling, lyrical book written in free verse that celebrates the 50^th anniversary of the sit-in staged at a Woolworth’s lunch counter in Greensboro, North Carolina by four young African-American men who attended North Carolina Agricultural and Technical State University. The text plays on the food and recipe metaphors emphasizing the lunch counter setting. The full-color impressionist paintings are not heavy-handed, but manage to capture the tension of the times. With the exception of pages 25-26, all the illustrations are two-page spreads with a center of focus effectively created in each picture. The book designer has chosen to emphasize important phrases in bold letters and colors. This leads to some confusion. The bold phrases in quotation marks are quotes from Martin Luther King, Jr., but other phrases in bold seem to be phrases considered important by the book’s designer. The biographical references and simplified Civil Rights timeline included at the end are a valuable addition. Students may need background information to understand the idea of a Woolworth store with a lunch counter. The text and the illustrations complement one another creating a first class book that can be used with younger students as well as older students. Both the text and illustrations offer many points for discussion, e.g. page 10 “So the customers left, including the four friends who went home to dinner, where they were served first.” Pair with Freedom on the Menu: The Greensboro Sit-ins by Carole Boston Weatherford, (2005) Dial Books for Young Readers.

General curricular connections:

• Civil Rights movement
• United State history
• Race relations

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

11.10 Students analyze the development of federal civil rights and voting rights.

Recommended grade levels:

School Library Journal recommends the book for use with grades 3-6

Booklist recommends the book for use with grades 3-4

Peach’s Picks recommends the book for use with grades 3 and up

Awards/Recognitions:

Booklist starred review

Library Media Connection starred review

School Library Journal starred review

Jane Addams Children’s Book Award, Honors for Books for Younger Children, 2011

Note: This entry applies to the assignment criteria to review books published during  2010-2011. This book is included in Assignment 2.

Repetition: The names of the four young men, David, Joseph, Franklin, and Ezell, are repeated throughout the text.

Repetition: The phrase “A doughnut and coffee with cream on the side.” is repeated throughout the text.

Simile: Page 4; “…they were treated like the hole in a doughnut…”

Metaphor: Page 6; “Integration was finder than homemade cake.”

Metaphor: Page 6; “Integration was a recipe that would take time.”

Symbolism: Pages 17 and 18; the Woolworth’s lunch counter grows infinitely longer as more and more people join sit-ins

Book cover picture retrieved from http://www.brianpinkney.net/main.html

The Beatitudes: From Slavery to Civil Rights

Author: Carole Boston Weatherford

Illustrator: Tim Ladwig

Peach’s Picks Rating:

Year of publication: 2010

City of publication: Grand Rapids, Michigan

Publisher: Eerdmans Books for Young Readers

ISBN: 9780802853523

Author website: http://www.caroleweatherford.com/

Illustrator website: http://www.timladwig.com/

Media used for illustrations: Watercolor and pastel on Twinrocker tinted watercolor paper

Annotation: The beatitudes found in the book of Matthew 5:3-12 (King James Version of the Bible) form the background for this free-verse poem that follows the African-American experience from slavery to civil rights.

Personal reaction to the book: This is a stirring free-verse poetry rendition of the beatitudes found in the book of Matthew 5:3-12 (KJV) set against the backdrop of experiences of African- Americans in the United States. The text on pages 29-30 extends this rendition beyond the experiences of African-Americans to all people who are seeking social justice. The book reads aloud well and lends itself to be read aloud slowly using a powerful voice, e.g., James Earl Jones. The text of the beatitudes begins on the first page. Then they proceed like a running banner through the book on the bottom of the pages. While showing the beatitude text as a running border on the page bottoms adds to the layout, unfortunately some of the text is cut off. As a reader I felt that the text of each verse could be more effectively laid out at the bottom of the page rather than running on. This gave the illustrations a feeling of being off-balance with the beatitude text. The book deals with difficult subjects such as the killing of Emmett Till as well as topics of hope such as the achievements of Booker T. Washington. Educators using this as a classroom read-aloud are well advised to prepare their students for the experience and be prepared to discuss information presented in the book. Students may not be familiar with the beatitudes and some of the characters presented. The full-color artwork adds emotion and drama to the text as well as extending the concepts of the story.

General curricular connections:

• Civil Rights
• American history
• Racism
• Prejudice
• Poetry

Specific example of curricular connection matched to State Standards:
Subject: History
Grade level: 11

Standards:

California State Standards

History – Social Studies Content Standards for Public Schools: Kindergarten through Grade 12

Grade 11 United States History and Geography: Continuity and Change in the Twentieth Century

11.10 Students analyze the development of federal civil rights and voting rights.

Recommended grade levels:

School Library Journal recommends the book for grades 1-6

Booklist recommends the book for grades 2-4

Peach’s Ratings recommends the book for grades 3 and up

Awards/Recognitions:

None located for this book, although the author has received numerous awards and recognitions

Note: This entry applies to the assignment criteria to review books published during  2010-2011. This book is included in Assignment 2.

Sophisticated language: Page 2; “Since the first African American churches were founded in the 18^th century, black religious organizations have brought biblical values to bear on the freedom struggle.”

Metaphor: Page 14, “I was the microphone”.

Rhythm: The beatitudes from Matthew 5:3-12 (KJV) found on page 1

Book cover picture retrieved from http://www.eerdmans.com/shop/product.asp?p_key=9780802853523