Migrant

Author: Maxine Trottier

Illustrator: Isabelle Arsenault

Peach’s Picks Rating:

 

Year of publication: 2011

City of publication: Toronto, Ontario

Publisher: Groundwood Books / House of Anansi Press

ISBN: 978-0-88899-975-7

Author website: http://www.execulink.com/~maxitrot/index.html

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

Media used for illustrations: Mixed media using watercolor, gouache, crayons and collage

Annotation: A young girl longs to have a permanent home with roots as deep as a tree’s roots. She and her family are Mennonite migrant workers from Mexico who travel following the harvest.

Personal reaction to the book: This picturebook is a fictionalized look into the little known world of Mexican Mennonite migrant workers. The families travel north in the spring following the harvest and return south to Mexico in the fall. Anna, the main character, is a little girl who is too young to work. While she watches her mother set up housekeeping in yet another empty farmhouse and observes family members harvesting crops, she wonders “What would it be like to be a tree with roots sunk deeply into the earth…” (page 25). Anna’s longing for a permanent home is apparent when she likens her life to the migration of geese, monarch butterflies, and robins. The short story opens with the family heading north toward a harvest in the spring and ends with the family returning to Mexico in the fall. The text is beautifully constructed. The narration is full of symbolism, similes, and metaphors which are effectively used. The lovely mixed media illustrations both complement and extend the story. They also contain many similes and metaphors; for example, Anna is shown with rabbit ears as mentioned in the text on page 6, “There are moments when she feels like a rabbit.” The illustrations have a quilt-like quality, especially the endpapers at the front of the book composed of triangular pieces of fabric facing both left and right, symbolizing the family’s travels to the north and south. The palette is created with soft warm colors that are highlighted with tangerine-red. Clean white backgrounds emphasize the illustrations, crisply highlighting them on each page. The characters are drawn in a doll-like manner with rosy cheeks that makes them warm and endearing. The book reads aloud well. It can best be viewed individually or by a small group. While this is a poignant story of an obscure group of Mennonite migrant workers, its theme can be applied to all migrant workers or anyone yearning for a permanent home. It can be used effectively in discussions about the lives of agricultural workers. The author includes end notes discussing Mennonite migrant workers who visit Canada each year. I book is highly recommend this book.

General curricular connections:

• Migrant labor
• Mennonites

Recommended grade levels:

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

Booklist recommends this book for use with grades preschool - 2

Peach’s Picks recommends this book for use with grades 2-6

Awards/Recognitions: None to date

Note: This book applies to the assignment criteria - books published in 2010-2011. The title was selected from the list of the Association for Service to Children/ALA Notable Children’s Books – Nominated Titles for Discussion, 2011 Annual Conference - New Orleans, Picture books

Simile: Page 2; “There are times when Anna feels like a bird.”

Simile: Page 6; “There are moments when she feels like a rabbit.”

Simile: Page 7; “…Anna feels like a jack rabbit.”

Simile: Pages 22; “…their words as spicy as the hottest chilies, or as slow and rich as dark molasses.”

Simile: Page 32; “And with them goes Anna, like a monarch, like a robin, like a feather in the wind.”

Metaphor: Page 2; “Her family is a flock of geese beating its way there and back again.”

Metaphor: Page 10; “…when her older brothers and sisters dip and rise, dip and rise over the vegetables, that is when all of them are bees.”

Symbolism: Pages 1 and 2; The geese flying in the illustrations are wearing scarves and hats symbolizing the narrator’s family as mentioned in the text on page 2, “Her family is a flock of geese beating its way there and back again.”

Symbolism: Page 6; Anna is shown with rabbit ears as mentioned in the text on page 6, “There are moments when she feels like a rabbit.”

Symbolism: Pages 7-8; Pictures of shadowy people symbolizing “…the rooms filled with the ghosts of last year’s workers…”

Symbolism: Page 8; The back half of a jack rabbit is shown emphasizing that Anna feels like a jack rabbit as mentioned in the text also on page 7, “…Anna feels like a jack rabbit.”

Book cover picture retrieved from http://www.execulink.com/~maxitrot/newbooks.htm

Smoky Night

Author: Eve Bunting

Illustrator: David Diaz

Peach’s Picks Rating:

 

Year of publication: 1994

City of publication: San Diego, CA

Publisher: Harcourt Brace & Company

ISBN: 0-15-269954-6

Author website: No personal website. Information may be found at http://www2.scholastic.com/browse/contributor.jsp?id=2210

Illustrator website: No personal website. Information may be found at http://www.harpercollinschildrens.com/HarperChildrens/Kids/AuthorsAndIllustrators/ContributorDetail.aspx?CId=12021 and http://www2.scholastic.com/browse/contributor.jsp?id=3002 

Media used for illustrations: Paintings done in acrylics on Arches watercolor paper and photographs

Annotation:  A neighborhood erupts with violence during the 1992 Los Angeles riots. Neighbors come together in the safety of a shelter and establish connections leaving differences in backgrounds and ethnicities behind.

Personal reaction to the book: The story takes place during one night of the 1992 Los Angeles riots. Daniel and his mother live in an apartment that is surrounded by rioters and looters who rampage through the streets. As they look out the window and watch the action in the street below, Daniel is perplexed by the events. He acts as the narrator of the book and reflectively asks his mother questions about the scenes of violence and looting below.  She answers him directly, trying to make sense of the violence and destruction in their neighborhood. The reader learns that Mrs. Kim, whose market is being looted, seems like an unfriendly woman to Daniel and his mother. Mrs. Kim has an ornery pet cat. Daniel also has a pet cat. Suddenly, fires threaten Daniel’s apartment building as well as Mrs. Kim’s store. All neighbors flee to a shelter. In the melee, neither Daniel nor Mrs. Kim is able to locate their pet before running to safety. Daniel pleads with neighbors and firefighters to look for his cat. Finally, a firefighter enters the shelter holding both Daniel and Mrs. Kim’s cat. For safety’s sake, the cats that were once enemies appear to have set aside grievances and become friendly. Following the lead of their pets, Mrs. Kim and Daniel’s mother follow suit and form a tentative friendship. The author uses Daniel as a mouthpiece to address the underlying cause of how an event such as this could occur. It is best summed up when Daniel says that people do not trust each other because “They probably didn’t know each other before…now they do” (page 25). The text is straightforward and tightly constructed. The artwork is textural mixed media with jagged edges echoing the uneasy emotions of the 1992 Los Angeles riots. Each opening is a double-page spread with the background covering both sides. Backgrounds are photographs created by the illustrator that relate to the text; for example, breakfast cereal looking as though it exploded on to the ground from a box forms the background of pages 7-8. The text relates to the background saying, “Across the street from us people are dragging cartons of cereal and sacks of rice from Kim’s Market (page 7).” The illustrations portraying the story’s action are chunky, impressionistic paintings created using acrylic paint and bold brush strokes. Each painting is framed by a black border. While it is clear by the text that the characters are Korean, African-American, and Hispanic, the illustrator depicts the people in shades of blue and purple, thus eliminating obvious ethnicities. The text is placed in jagged rectangular boxes on the left side of the double spread while the illustrations that portray the story’s action are placed in a square boldly outlined in black on the right side of the double-spread. The color palette is dark, with yellow-gold used as highlights. Illustrations complement the text very well. I suggest that it is time to publish an updated edition that includes end notes placing the 1992 Los Angeles riots in historical perspective.

Further discussion of artwork:

In his book Looking at Picture Books, John Warren Stewig states “What goes on in the art world affects what goes on in picture book art…” (page xvii). In the case of Smoky Night, “What goes on in current events affects what goes on in picturebook art. This is the story of a tumultuous time in Los Angeles. David Diaz, the illustrator, created a tumultuous tableau reflecting the chaotic 1992 Los Angeles riots. Just as the streets were littered with debris from looting, the borders surrounding the main illustrations and the text box are littered with a collage of debris that corresponds to the text and reflects events surrounding the riots. The primary illustrations are composed of acrylic paint that is thickly applied to paper giving the pictures a heavy feel. Each picture looks like a stained glass window and seems to be lit from behind. The pictures are framed by a thick black line, like those that surround stained glass windows.  Using heavy black lines to outline each character and their features, the artist continues emphasizing the stained glass style.

Reference

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

General curricular connections:

• Los Angeles history
• Los Angeles riots, 1992
• Riots and looting
• Neighborhood relations

Recommended grade levels:

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

Book list recommends this book for use with ages 5-9

Peach’s Picks recommends this book for use with grades K-6

Awards/Recognitions:

School Library Journal starred review

Horn Book starred review

Publishers Weekly starred review

Caldecott Medal Winner, 1995

Simile: Page 5; “They toss out shoes like they’re throwing footballs.”

Simile: Page 5; “Smoke drifts, light as fog.”

Book cover picture retrieved from http://www.hmhbooks.com/catalog/downloadresultsa.cfm?adv=y&ean=9780152018849

Rapunzel's Revenge

Author: Shannon and Dean Hale

 

Illustrator: Nathan Hale

Peach’s Picks Rating:

 

Year of publication: 2008

City of publication: New York

Publisher: Bloomsbury U.S.A. Children’s Books

ISBN: 978-1-59990-070-4

Author website: http://www.squeetus.com/stage/books.html

Illustrator website: http://spacestationnathan.blogspot.com/

Media used for illustrations: pencil and ink, digitally colored

Annotation: Graphic novel that fractures the Rapunzel tale. In this cheeky adaptation, a self sufficient young woman breaks free from the tower where she is imprisoned and goes in search of her mother.

Personal reaction to the book: This fractured fairy tale is full of humor and sight gags. It begins with the same premise as the traditional tale, a pregnant woman craves greens. Her husband steals them from an evil witch’s garden. Alas, they must pay dearly for this theft by giving the witch their baby daughter upon birth. The witch names the baby Rapunzel. Now the story fractures and takes its own road. Rapunzel meets Jack and there is no end to the calamities and quandaries they encounter. Of course, as in any good fairy tale, the story ends happily ever after. The authors have included aspects of a tall tale. For example on page 39 Rapunzel lassoes a wild boar and rides it and on page 106 she does the same with a sea serpent.  The text has an easy conversational style blending Western twang with modern day teen intonation. I enjoyed the play on well known fairy tale symbols: the goose that lays the golden egg, the beanstalk, and dwarfs. The author and illustrator throw in some American folklore for good measure when they introduce the jackalope on page 84. There is even a reference to the Wizard of Oz when Gothel withers and disappears. This book has everything to make it a modern fractured fairy tale from magic to romance. It is lots of fun and best of all; it has a strong heroine who takes care of business by defeating her nemesis. The text and illustrations work together to move the story along at a rapid pace. The reader is encouraged to carefully read the pictures to get the full understanding of the story and enjoy the sight gags. The dialogue is placed in balloons with a white background. The narration is placed in rectangular panels with yellow background. The panels are laid out horizontally throughout the book. Each page is bordered in white. The book is paginated for easy reference. This book design makes the story easy to read. The color palette is predominately earthy tones with blues and purples used as accents and highlights. Readers interested in Shannon and Dean Hale’s creative process will enjoy reading information found at http://www.squeetus.com/stage/books_rap.html ----warning spoiler alert. Do not read this until you have read the book. Have a good time with this book and enjoy the wild ride reminiscent of the Indiana Jones movies.

General curricular connections:

• Graphic novels
• Reading for pleasure
• Study of fairy and folk tales
• Use in conjunction with Calamity Jack by Sarah Hale

Recommended grade levels:

School Library Journal recommends this book for use with grades 5 and up

Booklist recommends this book for use with grades 5-8

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

Awards/Recognitions:

ALA Notable Children’s Books, 2009
YALSA Great Graphic Novels for Teens, Fiction, 2009

Junior Library Guild Selection

Cybil Award Winner, Graphic Novels for Elementary/Middle Grades, 2008

Horn Book starred review

Library Media Connection starred review

Publishers Weekly starred review

School Library Journal starred review

Note: This book was selected from " Other books receiving Top Ten votes, Summer Session 2009", San Jose State University, School of Library and Information Science, LIBR 271A, Genres & Topics in Youth Literature, Professor Partington. This book applies to the assignment criteria – fiction graphic novel.

Onomatopoeia: Page 57; “FWUMP!”

Onomatopoeia: Page 62; “SMACK!”

Onomatopoeia: Page 93; “Yank”

Symbolism: Page 144; The golden egg symbolizes wealth and prosperity

Repetition: Chase scenes throughout the book, villains chase the Rapunzel and Jack

Book cover picture retrieved from http://www.bloomsbury.com/children/Rapunzels-Revenge/Shannon-Hale-Dean-Hale/books/details/9780747587439

It's a Book

Author: Lane Smith

Illustrator: Lane Smith

Peach’s Picks Rating:

Year of publication: 2010

City of publication: New York

Publisher: Roaring Brook Press

ISBN: 978-1-59643-606-0

Author website: http://www.lanesmithbooks.com/LaneSmithBooks/Lane_Smith_Books.html

Illustrator website: See “Author website” entry

Media used for illustrations: Brush and ink – more information about Smith’s creative process may be found at http://curiouspages.blogspot.com/2010/07/lane-smith-on-its-book.html

Annotation: Two friends, jackass and monkey, discuss and compare print and digital media. Jackass is unfamiliar with books, but soon comes to realize their value.

Personal reaction to the book: This book is laugh out loud funny, especially for adults. The reader is introduced to three characters, a mouse, a jackass, and a monkey on the title page. The jackass carries a laptop computer. The monkey sits in a red chair reading a book. The mouse observes their actions. At first the jackass cannot understand how the monkey can enjoy the book. After all, a book cannot do all the things a computer can do; scroll, blog, text, tweet, or be used for game playing. However, the jackass’ interest is piqued. He continues to ask the monkey questions about using a book. Finally, putting his computer aside he becomes engrossed in the book. Monkey must go to the library to get another.  The final sentence is an excellent punch line that will take readers by surprise as it is considered a naughty, inappropriate word by most parents. Depending on the community a librarian serves, there may be a challenge against the book due to the last sentence. I considered it hilarious, but snarky.  The text is brief, simple, and to the point. The story is told through dialogue. Another illustrator might have used balloons for the dialogue, but Smith chose to convey which character is speaking by assigning each a color and a font style. The characters are cartoon-like with the action taking place in a living room with two red chairs. The jackass and the donkey face one another throughout their discussions. The eyes are very expressive showing a range of emotions including disbelief, irritation, and anger. Lane Smith’s body of work contains many humorous and clever picturebooks. I especially enjoy the fable “Grasshopper Logic” found in Squids Will Be Squids by Scieszka and Smith (Viking, 1998).

General curricular connections:

• Humorous stories
• Use in school library classes when discussing technology and print resources and their uses
• Use in health and human development classes when discussing technology and print resources and their uses

Recommended grade levels:

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

Booklist recommends this book for use with grades 1-3

Peach’s Picks recommends this book for use with grades 4 and up

Awards/Recognitions:

Publishers Weekly starred review

School Library Journal starred review

Note: This book applies to the assignment criteria - books published in 2010-2011

Repetition:  “It’s a book.” found throughout the text

Repetition:  Page 21-33; the wall clock

Onomatopoeia: Page 10; “Toot”

Symbolism: Page 9; the firework-like drawings that float above the jackass’ head symbolizing the noise of characters fighting in a computer game

Book cover picture retrieved from http://www.lanesmithbooks.com/LaneSmithBooks/Books.html

Willy & Max: A Holocaust Story

Author: Amy Littlesugar

Illustrator: William Low

Peach’s Picks Rating:

 

Year of publication: 2006

City of publication: New York

Publisher: Philomel Books

ISBN: 0-399-23483-7

Author website: No website available

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

Media used for illustrations: Mixed media; the author discusses his creative process and provides a video at http://www.williamlow.com/process/

Annotation: A friendship develops between Max, a Jewish boy, and Willie, a Gentile, in Antwerp, Belgium during World War II. The friendship lasts a lifetime even though the boys are separated by the war.

Personal reaction to the book: This is a heartwarming story of friendship with a bittersweet ending. Willy, a shy Gentile boy, living in Antwerp, Belgium during World War II becomes friends with Max, a shy Jewish boy, the same age. Willy’s father owns an antique shop where he displays a striking portrait of a woman. Max’s father is drawn to the portrait and comes into the shop to purchase it. While the transaction happens, Willy and Max become friendly and engage in a game of hide-and-seek in the shop’s basement. Their friendship grows as does the threat of war. One day while playing in the park, Willy and Max have their picture taken. They smile into the camera with arms draped around each other. Danger to Jews is imminent. Max and his father must flee the city. Late one night they knock on Willy’s parents’ door explaining that they must leave Antwerp. The painting of the lady is returned to Willy’s father for safekeeping. Willy hides the painting in the statue of an angel. Unbeknownst to him, the photo of the two boys is tucked in with the painting. Shortly after, Nazi soldiers come to the antique shop looking for the painting. They do not find it, but one soldier admires the angel and takes it. Willy never sees his friend again, but often thinks of Max through the years. Willy does not see the painting again until, as an elderly man, a museum curator contacts him. She has the painting and has located him through the picture of two boys. At Willy’s urging she searches for Max. She finds that Max has died, but has family nearby. Willy is reunited with Max’s son and his family and gives the portrait of the woman to Max’s family. The story is fiction, but is told so convincingly that I searched for footnotes about the factual back story. The text flows smoothly. It reads aloud well and has a balanced blend of dialogue and narration. However, the text set in Calson Antique can be difficult to make out. An author’s note is included that addresses issues surrounding the provenance of artwork stolen by Nazis. The illustrations are full two-page spreads. They appear to be highly textured oil paintings, however, at the illustrator’s website he reveals his creative process saying he uses oil paints and computer generated artwork. The color palette uses somber using earth tones. Reds and yellows are used as accents and emphasize content, for example; pages 1-2 the painting is introduced to the viewer displayed within a rich red window frame.

General curricular connections:

• Holocaust
• Friendship

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

Grade level: 10

Standards:

History-Social Science Content Standards for California Public Schools, Kindergarten through Grade Twelve

Grade 10

World History, Culture, and Geography: The Modern World

10.8 Students analyze the causes and consequences of World War II.

5. Analyze the Nazi policy of pursuing racial purity, especially against the European Jews; its transformation into the Final Solution; and the Holocaust that resulted in the murder of six million Jewish civilians
Recommended grade levels:

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

Booklist recommends this book for use with grades 2-4

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

Awards/Recognitions:

California Young Reader Medal Nominee, 2010

Allusion: Page 21; “…Max wore a little yellow star on his coat.” This alludes to the yellow Star of David that Nazis required Jews to wear as identification.

Repetition: “Friends forever” found on pages 11, 23, 32

Repetition: “as precious as friends” found on pages 2, 24, 36

Repetition: Willy is included at erev Shabbos (Sabbath dinner) with Max’s family on pages 13-14 and 35-36

Symbolism: The angel is chosen as the hiding place for the painting. The angel symbolizes safety.

Simile: Page 26; “The officer’s voice was like ice.”

Book cover picture retrieved from http://www.williamlow.com/william-low-books/

And Tango Makes Three

Author: Justin Richardson and Peter Parnell

Illustrator: Henry Cole

Peach’s Picks Rating:

 

Year of publication: 2005

City of publication: New York

Publisher: Simon & Schuster Books for Young Readers

ISBN: 0-689-87845-1

Author website:

Justin Richardson: No author website available. Information can be found at http://authors.simonandschuster.com/Justin-Richardson/27409275

Peter Parnell: No author website available. Information can be found at http://authors.simonandschuster.com/Peter-Parnell/707666

Illustrator website: http://www.henrycole.net/index.php?scrWidth=1280

Media used for illustrations: Watercolor

Annotation: At Central Park Zoo in New York City, two male penguins fall in love and build a nest. An understanding zookeeper places an abandoned egg in their nest which the penguins nurture.

Personal reaction to the book: This is the fictionalized true story presented in picturebook format of two male penguins in Central Park Zoo, New York City. Two male penguins, Roy and Silo, begin courting one another. Their understanding zookeeper, Mr. Gramzay, notices they have built a nest like other male/female penguin couples. Roy and Silo attempt to hatch a rock. When another penguin couple cannot care for their egg, Mr. Gramzay places it in Roy and Silo’s nest. The two male penguins carefully take turns tending the egg. One day the egg makes a “peep” and out comes a female chick. The two daddies are delighted and tenderly care for their hatchling. They have become a family like the other animal families in the zoo and like the “families of all kinds that go to visit the animals that live there” (page 4). This joyful story presents a theme of tolerance and understanding of all types of families. The illustrations are warmly toned watercolors that realistically portray the characters. The pictures complement the text and extend its meaning; for example, on page 4 the reader sees various combinations of family groups entering the zoo. The artist uses different perspectives to add interest to the illustrations; for example, Roy and Silo peer down at their nest (page 15), then on page 20 the reader sees Mr. Gramzay’s legs and hand as he places an egg in the nest, and the perspective on page 22 is shown from above looking down on Roy and Silo. An author’s note offers more information about Roy, Silo, and Tango, the real life penguins who inhabit the Central Park Zoo. The book reads well aloud and can easily be viewed by a small group; however, the pictures are not big enough to be viewed by a large group. Readers will enjoy viewing the illustrations individually and noticing nuances in the penguins’ expressions.

General curricular connections:

• Penguins
• Zoos
• Homosexuality
• Parenting
• Use in middle school health and human development classes to introduce discussions about parenting, families, and homosexuality

Recommended grade levels:

School Library Journal recommends the book for use with grades preschool – grade 3

Booklist recommends the book for use with preschool – grade 2

Peach’s Picks recommends the book for use with grades K – 8

Awards/Recognitions:

Booklist starred review

Kirkus Review starred review

Publishers Weekly starred review

School Library Journal starred review

ALA Notable Children’s Books, Younger readers, 2006

Lambda Literary Award, Honor, Children’s/Young Adult category

Personification: Page 5; Illustration showing three cotton-top tamarins as a loving set of parents cuddling their baby

Personification: Page11; referring to Roy and Silo, Mr. Gramzay thinks “They must be in love.”

Onomatopoeia: Page 25; “CRAAAACK!”

Repetition: Pages 16 and 17; The word “sat” is repeated

Note:  This book meets the assignment criteria to include one book that has been challenged.

Peter Parnell and Justin Richardson are listed in the American Library Association (ALA) list of “Most frequently challenged authors of the 21^st century; 2006, 2007, 2008, 2009, and 2010” http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/challengedauthors/index.cfm

This book is listed on American Library Association (ALA) list of:

• “Top ten most frequently challenged books of 2006”. Reasons:  anti-ethnic, anti-family, homosexuality, religious viewpoint, sexism, and unsuited to age group” http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/21stcenturychallenged/2006/index.cfm

• “Top ten most frequently challenged books of 2007”. Reasons:  anti-ethnic, anti-family, homosexuality, religious viewpoint, sexism, and unsuited to age group” http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/21stcenturychallenged/2007/index.cfm

• “Top ten most frequently challenged books of 2008”. “Reasons: anti-ethnic, anti-family, homosexuality, religious viewpoint, and unsuited to age group”  http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/21stcenturychallenged/2008/index.cfm

• “Top ten most frequently challenged books of 2009”. Reason: homosexuality http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/21stcenturychallenged/2009/index.cfm

 

Challenged book discussion for And Tango Makes Three by Justin Richardson and Peter Parnell

Since this book’s publication it has consistently ranked high on the American Library Association’s (ALA) list of most frequently challenged books (http://www.ala.org/ala/newspresscenter/news/pr.cfm?id=6874). A theme of homosexuality is cited as one of the reasons it is challenged. The book is included in the school library’s collection because it is a well regarded book as mentioned above in the “Awards and Recognitions” section of this blog entry and it facilitates discussions that meet the Health Education Content Standards for California Public Schools: Kindergarten Through

Grade Twelve / Health Education Content Standards, Grades Seven and Eight, specifically standards for:

Growth and Development

Standard 1: Essential Concepts

1.8.G      Recognize that there are individual differences in growth and development, physical appearance, gender roles, and sexual orientation.

Standard 2: Analyzing Influences

2.5.G      Recognize that there are individual, family, and cultural differences in relationships.

Mental, Emotional, and Social Health

Standard 1: Essential Concepts

1.5.M      Recognize diversity among people, including disability, gender, race, sexual orientation, and body size.

A review of the book found in the May 16, 2005, edition of  Publishers Weekly, pages 61-62 states, “This tender story can … serve as a gentle jumping-off point for discussions about same-sex partnerships in human society”. Including this book in a middle school library collection offers a means to approach topics of sexual orientation and diverse family units in a non-threatening manner. This story provides a comfortable way to ease into discussions about families who have same-gender parents. Perhaps, since the main characters are animals rather than human, readers will find the topic of a two daddy family easier to discuss than a story about human same-gender parents. “Readers may find its [And Tango Makes Three] theme of acceptance … convincing for being delivered in such a matter of fact, non-preachy way” (Kirkus Reviews).

The best course of action when faced with censorship and a book challenge begins before the challenge takes place. For example, Los Angeles Public Library (LAPL) makes their position on intellectual freedom available on their website at http://www.lapl.org/about/blc_policies.pdf “Selection and Maintenance of Library Collections” saying “The Los Angeles Public Library subscribes to the provisions of the Library Bill of Rights and the Freedom to Read Statement as adopted by the American Library Association.  LAPL also restates the ALA Bill of Rights and has an established challenge policy guideline. The school library where I work has a written mission statement, selection policy, challenge policy procedure, and subscribes to the ALA Bill of Rights, and very importantly, I believe we have the backing of the administration.

I believe that people who register a challenge against a book often feel threatened by the story or information contained in the book and become angry. Listening to their opinion is one way to diffuse a challenge before it blows out of proportion. If the challenge does not end there, the challenger should be directed by the library’s administration to follow the formal challenge policy. A frightened parent might find it easier to challenge a book than have frank discussions with their child. The American Library Association should be notified of a book challenge if necessary. Also, Judy Blume’s website gives tips for handing a challenge. (“What to do if it Happens to you” available at http://www.judyblume.com/censorship/happens.php) Dr. Joni Richards Bodart’s article, Books that Help, Books that Heal: Dealing with Controversy in YA Literature offers a checklist for handling challenges (Bodart, 2006).

References

American Library Association. (2011). "And Tango Makes Three" waddles its way back to the number one slot as America’s most frequently challenged book”. News & Press Center. Retrieved August 3, 2011, from http://www.ala.org/ala/newspresscenter/news/pr.cfm?id=6874

“And Tango makes three”. (2005). Kirkus Reviews, 73(11), 642. Retrieved from EBSCOhost.

“And Tango makes three”. (2005). Publishers Weekly, 252(20), 61-62. Retrieved from EBSCOhost.

Blume, J. (2010). “What to do if it happens to you.” Judy Blume on the Web. Retrieved August 3, 2011, from http://www.judyblume.com/censorship/happens.php

Board of Library Commissioners. (2005). Policies established by Board of Library Commissioners.  Retrieved August 3, 2011, from http://www.lapl.org/about/blc_policies.pdf

Bodart, J. R. (2006). “Books that help, books that heal: Dealing with controversy in YA literature” (Cover story). Young Adult Library Services, 5(1), 31-34. Retrieved from EBSCOhost.

California Department of Education. (2009). Grades Seven and Eight. Health education contentment standards for California public schools: Kindergarten through grade twelve. Retrieved August 3, 2011, from http://www.cde.ca.gov/be/st/ss/documents/healthstandmar08.pdf

Book cover picture retrieved from http://www.henrycole.net/main.php?link=libdetail&sort=date%20DESC&page=&bookID=53

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

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

Hereville: How Mirka Got Her Sword

Author: Barry Deutsch

-----------------------------------

Recipient of Peach’s Picks Award

Top Ten Favorite Books

Summer 2011

Illustrator: Barry Deutsch, colors by Jake Richmond

Peach’s Picks Rating: 

 

Year of publication: 2010

City of publication: New York

Publisher: Amulet Books

ISBN: 978-0-8109-8422-6

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

Illustrator website: See above “Author website” entry

Media used for illustrations: The author/illustrator created the black-and-white drawings on a computer using Photoshop and a Cintiq tablet (described as a type of interactive pen-on-screen tool). The colorist used Photoshop to digitally add color to the drawings.

Annotation: Eleven-year-old Mirka Hirschberg lives with her large Orthodox Jewish family in a tight-knit community. She dreams of fighting dragons and longs to escape her hum-drum life and chores.

Personal reaction to the book: Personal reaction to the book: What a funny, poignant, and engrossing graphic novel! The characters are authentic, the images and text are well-integrated, and readers learn about Orthodox Jewish life. While the story contains fairytale-like elements (witches and trolls), it also shows the contemporary life of an 11-year-old Orthodox Jewish  girl who is struggling to find herself, longing for adventures, and dealing with her mother’s death. Spunky Mirka longs to leave behind her argumentative, but loving stepmother, her bossy sister, and pesky little brother to go in search of dragons and adventure. The author/illustrator sprinkles Yiddish and Hebrew expressions into the text with translations placed at the bottom of the page. The dialogue is contained in text-bubbles. The narrative used to advance the story is contained in rectangular boxes. The illustrations effectively show expressions and action. A monochromatic color scheme is used; showing daytime scenes in orange, tan, and brown colors. The night scenes are shown in lavender and blue tones. Brown-toned endpapers show cross-hatch panels of Mirka displaying a range of emotions interspersed with panels of other characters. Endnotes explain Deutsch’s creative process following the troll’s design. Readers unfamiliar with Orthodox Jewish customs will be introduced to this life-style. The Yiddish language and Jewish customs presented in the story may lead to informative discussions in a classroom or book club setting. The story is full of symbolism and metaphors that speak to all girls who are struggling through adolescence. Set aside an hour. You will not want to put this book down once you start reading it.

General curricular connections:

•  Reading for pleasure
•  Graphic novels
• Orthodox Jewish life
•  Use in literature reading circles

Recommended grade levels:

School Library Journal recommends this book for grades 4-7

Booklist recommends this book for grades 3-6

Peaches Picks recommends this book for grades 5-9

Awards/Recognitions:

Bulletin of the Center for Children’s Books starred review

Kirkus Review starred review

Publishers Weekly starred review

School Library Journal starred review

The Sydney Taylor Book Award, 2011

Note: This book applies to the assignment criteria - books published in 2010-2011. This book applies to the assignment criteria – fiction graphic novels.

Symbolism: Found throughout the book, Mirka’s mother is smiling from a picture watching over Mirka

Symbolism: Page 78; Mirka is encased in a loaf of khale symbolizing the happiness and safety she feels when smelling the bread bake

Onomatopoeia: Page 61; “Gasp”, “Hork!”

Book cover picture retrieved from http://www.amazon.com/Hereville-How-Mirka-Got-Sword/dp/0810984229