Feathers

Feathers

By Jacqueline Woodson

Hope is the thing with feathers
that perches in the soul,
And sings the tune--without the words,
And never stops at all
--Emily Dickinson

 

BIBLIOGRAPHY:

Woodson, Jacqueline. (2007). FEATHERS. New York: G.P. Putnam’s Sons.
       eISBN 978-1-101-01928-3. Retrieved from www.amazon.com.

PLOT SUMMARY:

In 1971, Eleven-year-old Frannie, her older, deaf brother Sean, and their parents live in an apartment on the “other side” of the highway, the white people live separate lives on the other side of the highway that separates them. Her life is changed when a new boy, called Jesus Boy, “Stepped through that door white and softly as the snow.”  Frannie deals with everything from the loss of her mother’s babies, issues of religion and church, the difficulties that her deaf brother faces, school bullies, hopelessness, and racism. Through it all, she never lets go of “the thing with feathers” and recognizes that hope is everywhere, no matter where you live, what your circumstances, or the color of your skin, “There’s hope in this house. And at your church. And at OnePeople. At our school. Across the highway and on this side too. Everywhere” (p.79).

CRITICAL ANALYSIS:

This lovely story masterfully captures the era of the early 70s and the Vietnam War (I know, because I lived it!) She uses phrases that I remember so well amongst my classmates and playmates—I lived on an Air Force Base that was multiracial. Some of them are: “right on”, “brother-man”, “dag”, “soul brother”, “jive”, “jive turkey”, “It’s a free country”, and “Take a picture, it lasts longer”.  Some of the cultural references are: Wilt Chamberlain being the first man in NBA history to score 30,000 points; mention of the Black Panthers; the Black Power Fist; and “Black is Beautiful”.  All of these cultural markers are appropriate for a book whose setting is the early 1970s in an urban environment.

Woodson also uses frequent mention of skin color and hair to indicate that the characters are African American or White. She mentions the afro, the afro pick in the pocket, the hair products, Trevor’s copper-colored skin, and Jesus Boy’s “long, curly hair and white skin”.

Overall, I believe this book offers an authentic and balanced view of childhood and schoolyard tribulations, tension between black and white people in the early 70s, ridicule or ignorance of those with hearing impairments or other disabilities, and communication difficulties between the younger and the older generations.

The theme of hope is exemplified in Trevor’s explanation that hope is a bird that wants to fly away. He and others on the “other side” of the highway want to fly away and escape their circumstances, or fly away, not to escape something, but to embrace it. In Trevor’s case, his white father who lives across the highway; in Sean’s case, the world of the hearing; in Frannie’s family, the arrival of healthy baby. This book eloquently reminds us that “Each moment. . . is a thing with feathers” (p. 118).

AWARDS:

Newbery Honor Book 2008

REVIEW EXCERPTS:

Publishers Weekly: “Looking forward is the message that runs through Woodson's (The House You Pass on the Way) novel. Narrator Frannie is fascinated with Emily Dickinson's poem, "Hope is the thing with feathers/ that perches in the soul," and grapples with its meaning, especially after a white student joins Frannie's all-black sixth-grade classroom. Trevor, the classroom bully, promptly nicknames him "Jesus Boy," because he is "pale and his hair [is] long." Frannie's best friend, Samantha, a preacher's daughter, starts to believe that the new boy truly could be Jesus ("If there was a world for Jesus to need to walk back into, wouldn't this one be it?"). The Jesus Boy's sense of calm and its effect on her classmates make Frannie wonder if there is some truth to Samantha'a musings, but a climactic faceoff between him and Trevor bring the newcomer's human flaws to light. Frannie's keen perceptions allow readers to observe a ripple of changes. Because she has experienced so much sadness in her life (her brother's deafness, her mother's miscarriages) the heroine is able to see beyond it all—to look forward to a time when the pain subsides and life continues. Set in 1971, Woodson's novel skillfully weaves in the music and events surrounding the rising opposition to the Vietnam War, giving this gentle, timeless story depth. She raises important questions about God, racial segregation and issues surrounding the hearing-impaired with a light and thoughtful touch.”

School Library Journal: — "‘Stepped through that door white and softly as the snow,’ notes sixth-grader Frannie, on the arrival of a pale, long-haired boy to her predominantly black middle school on a winter day in 1971. He is dubbed the Jesus Boy by the class rowdy, and the name seems to suit the newcomer's appearance and calm demeanor. Frannie is confused, not only by declarations that he's NOT white, but that her friend Samantha, daughter of a conservative Baptist minister, also seems to believe that he is Jesus. In light of this and other surprises in her life, Frannie questions her own faith and, most of all, the meaning of the Emily Dickinson poem that she is studying in class, "Hope is a thing with feathers/that perches in the soul/…." How does she maintain hope when her newly pregnant mother has lost three babies already? She also worries about her deaf older brother, Sean, who longs to be accepted in the hearing world. She sees the anger in the bully intensify as he targets Jesus Boy. With her usual talent for creating characters who confront, reflect, and grow into their own persons, Woodson creates in Frannie a strong protagonist who thinks for herself and recognizes the value and meaning of family. The story ends with hope and thoughtfulness while speaking to those adolescents who struggle with race, faith, and prejudice. They will appreciate its wisdom and positive connections.”

CONNECTIONS:

Jacqueline Woodson’s Website: http://www.jacquelinewoodson.com/mg.shtml

Newbery Medal and Honor Books Website: http://www.ala.org/alsc/awardsgrants/bookmedia/newberymedal/newberyhonors/newberymedal

Lesson idea: http://www.the-best-childrens-books.org/Feathers-by-Jacqueline-Woodson.html

Feathers Reading Guide: http://www.teachervision.fen.com/novels/printable/56827.html

Poem in its entirety: http://www.poets.org/viewmedia.php/prmMID/19729

 

 

 

 

 

John Henry

John Henry

By Julius Lester

Illustrated by Jerry Pinkney

 

BIBLIOGRAPHY:

Lester, Julius. (1994). JOHN HENRY. Illus. by Jerry Pinkney. New York: Dial Books.
       ISBN 0-590-53936-1.

PLOT SUMMARY:

This book is a beautiful retelling of the American folk tall tale John Henry, which is based on an old black folk ballad. When John Henry is born, all of nature is in awe, even the sun and the moon, “And instead of the sun tending to his business and going to bed, it was peeping out from behind the moon’s skirts trying to get a glimpse of the new baby.” He immediately begins to grow, and grow, and grow until he bursts through the roof. The next morning, he is grown and ready to work even chopping “down an acre of trees. . .” His triumph is his strength and the tools his father gave him. With these he is able to pulverize a boulder and turn out a perfectly constructed road and beat a steam drill tunneling through a mountain. He hammers so long, hard and fast that his heart bursts from the exertion. He dies with a smile on his face, while “the sound of soft crying” is heard from the sun and the moon. Sadness gives way to clapping and cheers in celebration of the man who died doing what he loved.
John Henry may or may not have been a real, historical person, but the message in his story is what matters, “Dying ain’t important. Everybody does that. What matters is how well you do your living.”

CRITICAL ANALYSIS:

The book is told in the distinct voice of a storyteller who adds his own bit of humor to the telling of the story. The storyteller is obviously telling the story to a group of contemporary children and when he tells of John Henry rebuilding the porch, he says he “. . . added a wing onto the house with an indoor swimming pool and one of them jacutzis.” When John Henry tackles a boulder with his hammers, “that boulder shivered like you do on a cold winter morning when it looks like the school bus is never going to come.” Finally, he adds a clever twist on words with “. . . John Henry was already on the other side, sitting in a rocking chair and drinking a soda mom.” No soda pop here. And of course, the story has to be true, because “My great-granddaddy’s brother’s cousin’s sister-in-law’s uncle’s aunt was there that morning.”

The author uses some examples of colloquial dialect or slang in the book such as “sho’nuf”, “ain’t”, and “gon”, “folks”, and “didn’t nobody”.

In keeping with the spirit of the tall tale, the author employs frequent use of hyperbole. Some notable examples are these: “He laughed so loud, the sun got scared,” “. . .he was so fast, the wind was out of breath trying to keep up with him,” and, “the dynamite made so much racket, the Almighty looked over the parapets of Heaven and hollered, ‘It’s getting too noisy down there’”.

The watercolor, pencil and color pencil illustrations are done in a realistic manner with true-to-life people, settings and colors. Some of the illustrations of the people are more distinct than others and some of their features are hard to discern. But Pinkney shows the crowds of people in the town or in the work camp interacting with each from varying racial backgrounds. The clothing, hairstyles, equipment, and buildings appear to be historically accurate. The illustrations of John Henry the character are life-like and are not exaggerated stereotypes or unrealistic.

John Henry, so monumental a character, that even the sun and the moon are intimately woven into every step of his story.  Just as the rainbow is a rare and magical treat, the rainbow in the story is a rare and magical symbol of love, hope, the end of a journey, and a bridge-- between the past and the future, a bridge between cultures, between this world and another.

AWARDS:

Caldecott Honor Book 1995

Boston Globe-Horn Book Award 1994

ALA Notable Book for Children 1995

Parents Magazine Best Book 1995

REVIEW EXCERPTS:

Publishers Weekly: “A great American hero comes fully to life in this epic retelling filled with glorious, detailed watercolors. From his momentous birth, when all the animals come to see him and the sun won't go to bed, John Henry works wonders. As a child he helps his father by adding "a wing onto the house with an indoor swimming pool and one of them jacutzis"-and that's just before lunch. Other episodes trace the growth of his generous spirit. His greatest feat is, of course, in his battle against the steam drill, as he races the machine to cut through "a mountain as big as hurt feelings." He dies ("he had hammered so hard and so fast and so long that his big heart had burst"), but the onlookers understand that "dying ain't important.... What matters is how well you do your living." This carefully crafted updating begs to be read aloud for its rich, rhythmic storytelling flow, and the suitably oversize illustrations amplify the text. As only one example, the animal witnesses of his birth reappear throughout, most notably to watch John Henry's funeral train pass by. This may not supplant more traditional retellings, such as Terry Small's The Legend of John Henry, but it is a triumph of collaboration from the creators of the noted Uncle Remus retellings.”

School Library Journal: “Another winning collaboration from the master storyteller and gifted artist of Tales of Uncle Remus (Dial, 1987) fame. Based on several well-known versions of an African American folk ballad, Lester's tale is true to the essence of the steel-driving man; yet, it allows room for touches of whimsy and even includes some contemporary references that tie the hero to our own times. Told with just a trace of dialect, the story moves along briskly toward the climax. Its moral message of the importance of a well-lived life is clearly stated, and the ending is uplifting. Pinkney's marvelous watercolors, abundantly rich in detail, convey both the superior strength and the warm sense of humanity that make John Henry perhaps a more down-to-earth character than some other tall-tale figures. The paintings' muted earth tones add a realistic touch to the text, bringing this John Henry alive. When viewed from a distance, however, figures and details sometimes blend together, making the book better suited to independent reading that group sharing. It will appeal to an older audience than Ezra Jack Keats's John Henry (Knopf, 1987) and is a fine addition to any folklore collection.”

CONNECTIONS:

Jerry Pinkney’s Website: http://www.jerrypinkneystudio.com/

Julius Lester’s Website: http://members.authorsguild.net/juliuslester/

West Virginia Archives and History: http://www.wvculture.org/history/africanamericans/henryjohn04.html

John Henry Folklore: http://en.wikipedia.org/wiki/John_Henry_(folklore)

Teacher’s Guide: http://www.nhptv.org/kn/itv/episodes.asp?ser_serial=14140

Lesson Plan: http://www.lessonplanet.com/search?keywords=john+henry+by+lester&media=lesson

 

 

Duke Ellington: The Piano Prince and His Orchestra

Duke Ellington: The Piano Prince and His Orchestra

By Andrea Davis Pinkney
Illustrated by Brian Pinkney

 

BIBLIOGRAPHY:

Pinkney, Andrea Davis. (1998). DUKE ELLINGTON: THE PIANO PRINCE AND HIS
       ORCHESTRA. Illus. by Brian Pinkney. New York: Hyperion Books for Children.
       ISBN 0-7868-0178-6.

PLOT SUMMARY:

This is a beautiful book that tells the story of one of the greatest composers and musicians of the 20^th century, Duke Ellington. It brings to life the early life and musical background of Edward Kennedy Ellington in Washington, D.C. and follows him through his nightclub start to his heyday in Harlem at the Cotton Club. His triumphant collaborations with his fellow musicians, Sonny Greer, Joe Nanton, Otto Hardwick, James Miley, and Billy Strayhorn would eventually lead to their performance at Carnegie Hall in New York City. The achievements and cultural heritage of African Americans is exemplified in this gorgeous tribute to the swing and jazz music of Duke Ellington.

CRITICAL ANALYSIS:

“Duke painted colors with his band’s sound.” This book is truly a vibrant celebration of color, music and words. The pages explode with sound and each illustration dances with movement, color, and rhythm.  Joe Nanton’s trombone music is described as “smooth melodic gold”. James Miley and his trumpet “wail like a man whose blues were deeper than the deep blue sea”. And Duke “slid his honey-colored fingertips across the ivory eighty-eights.”

The setting and illustrations takes us back to the early 20^th century, from his parents’ drawing room in Washington, D.C., to the stylish nightclub The Cotton Club in Harlem, and even into the homes of fans through the only source of entertainment, the old-time radio.                            

The language in the book is so lyrical and is so indicative of early 20^th century slang. “Cats”, “threads”, “Daddy-O”, “cuttin’ the rug”, and “ace” are all examples of Jazz Age slang that provides a sense of time and place in the book.

The back matter includes biographical background information and an extensive list of resources that indicate that the reader is getting an authentic cultural experience. The story of Duke Ellington is the story of how an African American musician impacted all of American culture through his musical innovation and genius. Duke Ellington tells the story of the man who brought to the forefront “the music of my people” and is forever an icon of American and African American culture.

AWARDS:

Coretta Scott King Award 1999

Caldecott Honor Book 1999

REVIEW EXCERPTS:

School Library Journal: “A royal introduction to the piano prince. Told in a swingy conversational tone and highlighting the musician's childhood, early ragtime days, and stellar rise to popularity, playing at the Cotton Club and, later, Carnegie Hall, this is a jazzy treat. It is rare to find text that describes music so well. Phrases such as "sassy ride on his cymbal," "musical stream," and "purple dash of brass" carry the auditory experiences of the Duke's music right off the page. Young readers will find more than just a few facts here. They will learn what Duke Ellington did for the jazz world, how his music was played, and the legacy he left behind. Brian Pinkney's distinctive scratchboard, gouache and oil paintings are a harmonious complement to Andrea Pinkney's text. Bright, wild colors on soft neon backgrounds are beautifully balanced with black-and-white highlights. It is the blending of words, symbols, and pictures that bring this subject to life. A page of biographical information and impressive source notes conclude the presentation. This book swings. Don't miss it.”

Kirkus Reviews: Addressing readers directly “You ever heard of the jazz-playin' man, the man with the cats who could swing with his band?'' the Pinkneys embark on a cool and vibrant tour of Duke Ellington's musical career, from the pool hall ragtime that  “set Duke's fingers to wiggling,'' to his 1943 Carnegie Hall concert, also giving some of the soloists that played with him, and songwriter Billy Strayhorn, a chance to step forward. Translated into color and visual forms, music floats and swirls through the scratchboard scenes, curling out of an antique radio, setting dancers to “cuttin' the rug'' at the elegant Cotton Club and, of course, trailing behind an  “A'' train. Like Chris Raschka's solos, Charlie Parker Played Be-Bop (1992) and Mysterious Thelonius (1997), this loving tribute temptingly evokes the sound and spirit of a jazz pioneer.

CONNECTIONS:

Coretta Scott King Award Website: http://www.ala.org/emiert/cskbookawards

Caldecott Medal Website: http://www.ala.org/alsc/awardsgrants/bookmedia/caldecottmedal/caldecottmedal

Official Duke Ellington Website: http://www.dukeellington.com/

Brian Pinkney’s Website: http://www.brianpinkney.net/

Biographical Information about Andrea Davis Pinkney: http://biography.jrank.org/pages/1624/Pinkney-Andrea-Davis-1963.html

       

I AM THE MESSENGER

I AM THE MESSENGER

by Markus Zusak

 

BIBLIOGRAPHY:
Zusak, Markus. (2002). I AM THE MESSENGER. New York: Alfred A. Knopf. ISBN
       0-375-83099-5.

PLOT SUMMARY:

 Ed Kennedy is a 19-year-old slacker who drives a cab for a living and doesn’t have ambition for much else. He lives in a modest home with his odiferous, coffee-drinking dog the Doorman. His free time is spent hanging out and playing cards with his best friends Marv, Ritchie, and Audrey (who he is desperately in love with). His life changes forever when he gets entangled in a bank robbery and becomes a local hero. That’s when playing cards start arriving in the mail with names, addresses, and other cryptic messages that he has to figure out. Ordinary Ed becomes Extraordinary when he impacts other people’s lives in positive ways. This book is a great testament to the power of helping one another and to how ordinary people can transform their lives and the lives of others.

CRITICAL ANALYSIS:
The author is from Australia and there are many cultural markers present in the novel to indicate the setting of the novel. On page 11, the narrator mentions “. . .it’s the most pathetic car in the Southern Hemisphere.” The novel is also populated with terms that are unique to other English-speaking countries other than the United States, such as: lad, best mate, bloke, arse, buggery, flog, bloody, whinger, bludger, and kilo. Another indication is that the big community game, called the Annual Sledge Game, is soccer. Other than these instances of specific language, this novel is universal in its themes of love, forgiveness, acceptance, living life to its fullest, family, and helping our fellow humans. What makes this novel so wonderful is its laugh-out-loud humor concerning a far from perfect protagonist. Although worlds apart, it gave me the same feeling as when I read The Absolutely True Diary of a Part Time Indian by Sherman Alexie. Both main characters rise above their situations and achieve something far greater than what life has planned for them. Plus, I don’t recall ever reading a novel where the protagonist talks to a smart-aleck dog, and the dog talks back! Ed is given a series of tasks to accomplish or messages to deliver, all written on playing cards. With the ace of diamonds, he changes the lives of three women: a lonely old woman waiting for her handsome soldier to return from the war; a teenage track runner who lacks confidence; and a woman and her daughter who suffer at the hands of an abusive husband. With the ace of clubs, he is directed to “say a prayer at the stones of home.” In these three cases he helps families to heal: he fills Father Thomas O’Reilly’s church and reconciles him to his brother Tony; the three children of Angie Carusso gain some understanding and concern for their mother; and the tough Rose brothers stand with each other instead of fight against one another. The ace of spades forces Ed to dig for the information he needs in the books of Graham Greene, Sylvia Plath, and Morris West. Once he uncovers the clues, he is able to bring Christmas joy to a struggling family; understand his own mother’s life and choices; and give joy to an old man running an empty movie theater. The last card, the ace of hearts, is the most personal. The people who need him are his own friends. He is able to reunite Marv with his long lost love; let Audrey truly give and receive love; and help Ritchie find motivation and meaning in his life. But wait, there’s one more card, the joker. And it has the messenger’s address on it. Change starts within.

AWARDS:
Michael L. Printz Award for Excellence in Young Adult Literature 2006 Honor Book
Publishers Weekly Best Books of the Year for Children 2005
CBCA Children’s Book of the Year Award: Older Readers 2003
Ethel Turner Prize for Young People’s Literature 2003

REVIEW EXCERPTS:
Booklist: *Starred Review* Gr. 9-12. “Ed is a 19-year-old loser only marginally connected to the world; he's the son that not even his mother loves. But his life begins to change after he acts heroically during a robbery. Perhaps it's the notoriety he receives that leads to his receiving playing cards in the mail. Ed instinctively understands that the scrawled words on the aces are clues to be followed, which lead him to people he will help (including some he'll have to hurt first). But as much as he changes those who come into his life, he changes himself more. Two particular elements will keep readers enthralled: the panoply of characters who stream in and out of the story, and the mystery of the person sending Ed on the life-altering missions. Concerning the former, Zusak succeeds brilliantly. Ed's voice is assured and unmistakable, and other characters, although seen through Ed's eyes, are realistically and memorably evoked (readers will almost smell Ed's odoriferous dog when it ambles across the pages). As for the ending, however, Zusak is too clever by half. He offers too few nuts-and-bolts details before wrapping things up with an unexpected, somewhat unsatisfying recasting of the narrative. Happily, that doesn't diminish the life-affirming intricacies that come before.” Ilene Cooper
Copyright © American Library Association. All rights reserved.

Kirkus Reviews: *Starred Review* "Elegant, philosophical and moving...Beautiful and important."

The Horn Book Magazine: *Starred Review* "Exquisitely written and memorably populated, Zusak's poignant tribute to words, survival, and their curiously inevitable entwinement is a tour de force to be not just read but inhabited."

CONNECTIONS:
The Michael L. Printz Award website: http://www.ala.org/yalsa/printz

Author’s website: http://www.randomhouse.com/features/markuszusak/

Other books by Markus Zusak:

The Book Thief.  ISBN 978-0-375-83100-3
Underdogs. ISBN 978-0545354424
Getting the Girl. ISBN 978-0439389501

 

The Shadows of Ghadames

The Shadows of Ghadames
by Joelle Stolz

 

 

Bibliography:
Stolz, Joelle. (2004). THE SHADOWS OF GHADAMES. Translated by Catherine
       Temerson.  New York: Random House. eISBN 978-0-307-49078-0.

Plot Summary:
A delightful tale of a young Berber girl named Malika who lives with her father Mahmud, her mother Meriem, her father’s second wife Bilkisu, and her half-brother Jasim in late 19^th century Ghadames, Libya. Malika is destined for the traditional role of a woman amidst the rooftops of Ghadames, or is she? Fate brings a stranger named Abdelkarim into their home while Mahmud is off on a caravan journey in the Sahara to trade and do business. The women must hide this injured young preacher because it is forbidden for a man to be in their home in the father’s absence. Eleven-year-old Malika’s great desire is learn how to write and to read, a very difficult desire in a world where women are confined to very traditional roles and are not educated like boys. But, the  stranger has great affection for Malika and wishes to teach her Arabic. Bilkisu agrees and even states that her father would approve. The first lesson teaches her the word bâ-boun, the door, and a door to the world is truly opened to Malika as she learns to write and read.

Critical Analysis:
This beautifully written story gives the western reader a glimpse into life in the Middle East during the late 19^th century. Some of the descriptions could very well apply to life for a young girl in Africa or the Middle East in our own time. The cultural markers are abundant in this novel and transport the reader to another time and place.

The women are not allowed to walk freely in the city of Ghadames. They are confined to their homes and to the rooftops and are not allowed to interact with men who are not family members. It is on the rooftops where the women meet, talk, socialize, and trade their goods.

Young Malika is not allowed to see her father off on his journey because she is not allowed at the entrance of the city. Her brother Jasim is permitted. He is also permitted to learn to read and write, while Malika must perform the traditional duties of a girl.

The clothing is explained in detail, such as Mahmud’s camel-hair burnoose and turban and the women’s veils and lack of jewelry during Mahmud’s absence. Malika wears a malafa which is a piece of embroidered wool tied under the chin that covers her head. She will wear this until marriage.

The different tribes and clans are mentioned, such as the Iforhas-the Tuareg nomads who take the men of Ghadames to the Sahara. The injured stranger is of the Beni Ulid clan. The main characters in the story speak the Berber dialect, but the servant Ladi can also speak her native Hausa language.

The religious traditions of Muslims are included such as the different brotherhoods, or religious groups and the Koran. The older traditions such as the goddess Tanit and the jinn, or spirits, are part of the women’s lives. This is most evident in the character of Aïshatou who is a wise woman and healer. There is also the explanation of the symbolism of Meriem’s bluish tattoos that adorn her face and body.

Finally, the names of the characters are appropriate for a novel set in Libya. The descriptions of the baths, the food preparation and the storage of the wheat, barley and salt in earthenware jars, and the description of their daily lives which consists of working at the loom, grinding grain into flour, and washing the laundry are all excellent cultural markers that will give a young reader some insight into life in another country and details about another culture. But hopefully they will also see universal themes as well that can connect children from any part of the world—family love, sibling rivalry, a young girl’s crush on an older boy, conflict with mother, among others.

Review Excerpts:
Kirkus: “Setting her tale at the end of the 19th century, Stolz not only weaves the sights, sounds, and daily rhythms of life in Ghadames into a vivid tapestry, she creates a cast of distinct characters, each of which displays a unique blend of strengths and weaknesses, as well as sometimes unexpected intelligence and compassion.”

School Library Journal: “This quiet story is notable for the intimate picture of the traditional Muslim world that it conveys; unfortunately, not until the author's note at the end is the time period made evident. The imprecise use of language may make it difficult for readers to visualize this distant world and to understand the characters' motivations. Still, this novel would be useful in schools studying this part of the world.”

Awards:
Mildred L. Batchelder Award (2005) for the most outstanding children’s book published in a language other than English in a country other than the United States, and subsequently translated into English for publication in the United States.

Connections:                                                                                       
The Batchelder Award Home Page: http://www.ala.org/alsc/awardsgrants/bookmedia/batchelderaward

King County Library System Read Alikes page for The Shadows of Ghadames: http://www.kcls.org/goodreads1/kids/view_book_detail.cfm?read_id=6352

Information about modern Libya: http://travel.nationalgeographic.com/travel/countries/libya-facts/

Information and links to websites about Libya: http://www.kidskonnect.com/subject-index/26-countriesplaces/405-libya.html

Flickr page showing beautiful photographs of the city of Ghadames: http://www.flickr.com/photos/24151047@N05/sets/72157625812924461/

 

 

 

 

The Midnight Palace

The Midnight Palace
by Carlos Ruiz Zafon

 

 

 

 

BIBLIOGRAPHY:
Zafon, Carlos Ruiz. 1994. THE MIDNIGHT PALACE. Translated by Lucia Graves.
       New York: Little, Brown and Company. ISBN 978-0-316-04473-8.

PLOT SUMMARY: The Midnight Palace is told by Ian, a now elderly narrator who recounts the adventures of his group of friends in the secret club The Chowbar Society. Roshan, Michael, Isobel, Siraj, Seth, Ben and Ian were all orphans at St. Patrick’s in Calcutta in 1932. In their sixteenth year, their world turns upside down with the arrival of the evil and mysterious Jawahal. Aryami Bose is the other narrator of the story who recounts the events of 1916 that include her, her daughter Kylian, and Kylian’s husband Lahawaj Chandra Chatterghee. The story begins with Lt. Michael Peake saving newborn twins from the evil Jawahal. Why does he want them? How are their lives connected to his? For their safety they are separated, until 16 years later when Ben and Sheere are brought together by the danger and terror instigated by Jawahal.

CRITICAL ANALYSIS:
Ben and Sheere’s story has many cultural markers that connect the story to 1930s Calcutta. In The Midnight Palace, we have characters who have Bengali and English names that reflect the multicultural atmosphere of Calcutta under British control. The orphanage is called St. Patrick’s and is run by Mr. Thomas Carter. The young lieutenant who is in love with Kylian and saves the newborns Ben and Sheere is Michael Peake. The children from the orphanage are also a mixture of cultures: Michael, Isobel, Seth, Ian, and Ben; and Roshan and Siraj. Reflecting the native inhabitants of Calcutta are Aryami Bose, Kylian, Lahawaj Chandra Chatterghee, and Bankim.

The descriptions of the city itself offer another example of the mixture of English and Bengali terms. The White Town part of Calcutta is inhabited mostly by British and Europeans, while the Black Town is the district inhabited by Bengali people. Grey Town is inhabited by Muslims. There is mention of the ancient name of Calcutta, Kalighat, named after the goddess Kali. In addition to Chowringhee Road, Jatindra Mohan, and Acharya Prafulla, we have Cotton and Brabourne Streets. There is mention of two bazaars in the city, Shyambazar and Machuabazar.

The energy and inventiveness of the early 20^th century is exemplified in the work of Chandra Chatterghee: the first telegraph, the first electric power grid, and the first rail network in Calcutta that would modernize the city and free it from British rule.

The mythology and deities of Hindu are represented in Chandra’s story collection called Shiva’s Tears and in the many instances of the mention of Kali. Kali, the goddess of time and change, represents the inevitability of both. The story itself marches forth from 1916 to a time when the young characters are either dead or elderly. At one point in the story, a young Seth meets a street beggar who gives him valuable information. Seth wants to know what he can do in return. “The beggar’s eyes shone and he smiled bitterly.  ‘Can you make time go backward, Seth?’” (p.201).  Ian tells of the night of horror and how it impacted Ben. He says, “. . .in the book of life it is perhaps best not to turn back pages. . .” (p.225). There is no going back, only forward, wherever the path of life, destiny leads.

The Midnight Palace is an engaging adventure, historical, and horror story that could be about any group of friends in any location, but Zafon's masterful use of cultural markers give this novel a unique sense of time and place in 1930s Calcutta.

REVIEW EXCERPTS:

Publishers Weekly: “Zafon delivers an often creepy adventure, first published in Spain in 1994, populated with some wonderful characters. . . Zafon adeptly establishes his characters (including some fun and believable teenage repartee) and makes good use of his setting. His Calcutta has many of the mystical elements that many writers associate with the city, but it also shows the political strain of a city subject to years of hostile colonization and ready to break free. Just as importantly, Zafon delivers moments of genuine horror, as well as expert plot twists that move the story along.”

USA Today: “This novel’s plot is as dark and threatening as the Calcutta night that envelops the opening scenes, in which the lives of newborn twins are at risk . . . The Spanish author best known in the U.S. for translations of his mystically informed novels, including The Shadow of the Wind, also writes wonderful books for teens. The Midnight Palace should not be overlooked by adults in search of literary excellence.”

Note: book reviews from: http://www.carlosruizzafon.co.uk/midnightpalace/reviews.aspx

AWARDS:
USBBY-United States Board on Books for Young People, Outstanding International Books (OIB) List for 2012, Grades 9-12.
http://www.usbby.org/list_oibl.html

CONNECTIONS:

The website for the book and the author: http://www.carlosruizzafon.co.uk/midnightpalace/index.aspx

A brief history of Calcutta: http://www.lonelyplanet.com/india/kolkata-calcutta/history

More detailed history of Calcutta: http://en.wikipedia.org/wiki/History_of_Kolkata

Other books by Carlos Ruiz Zafon:
THE ANGEL’S GAME. ISBN 978-0767931113.
THE PRINCE OF MIST. ISBN 0316044776.
THE PRISONER OF HEAVEN. ISBN 978-0062206282.
THE SHADOW OF THE WIND. ISBN 978-0143034902.