The Pinata Maker/ El Pinatero

The Piñata Maker/ El Piñatero

By George Ancona

 

BIBLIOGRAPHY:

Ancona, George. (1994). THE PIÑATA MAKER/ EL PIÑATERO. San Diego:
       Harcourt Brace & Company. ISBN 0-15-261875-9.

PLOT SUMMARY:

This nonfiction children’s picture book is a photo essay about the craft of piñata maker Don Ricardo Nuñez Gijón from Ejutla de Crespo, Oaxaca, Mexico. It is told in both English and Spanish with many pictures that accompany the words on the pages. Not only does Don Ricardo make piñatas for birthday parties and Christmas festivities, he makes larger than life puppets as well. The details of each step in the piñata-making process are beautifully explained and shown in the photographs.

CRITICAL ANALYSIS:

The text of the picture book is in both English and Spanish. The English paragraphs are interspersed with some Spanish words that are natural and appropriate for the setting of the book. Some of the Spanish terms are: Buenos dias, Ay, fiesta, sombreros, Señora, and Doña. Where no translation is given, the accompanying photographs help to tell the story. In other instances, the author does provide the translation: puppets for monos and star for piñata de picos.

The photographs of  77 year-old Tio Rico and the people of his town give the reader great insight into the daily life and culture of the Mexican people in Oaxaca. There are several descriptions to indicate that this craftsman is working in Mexico and not in the United States: he uses rolls of dried banana leaves and traditional clay pots to form his piñatas; the village children are barefoot in some of the photos; and, the puppets, masks, and piñatas are used to celebrate at parties, birthday parties, and other celebrations through the year. The puppets are put on and the children do traditional folk dances.

The piñatas in this humble Oaxacan village are filled with oranges, apples, tangerines, peanuts, walnuts, peaches, pieces of sugarcane, small toys, sweets and confetti. In the United States they are filled with candy, toys, and sometimes coins.

This is an amazing testimony to the time, skill and effort of the traditional handicrafts of Mexico. Tio Rico puts so much into his beautiful creations, knowing that they will be broken. “As Tio Rico takes his leave, he turns to look at the remnant of his beautiful piñata, and he smiles, knowing that it is proof of a very happy birthday fiesta.”

 

AWARDS:

Texas Library Association Bluebonnet Award 1994

Parents Choice Award 1994

REVIEW EXCERPTS:

Booklist: “A delightful introduction to the subject and a memorable glimpse of one Mexican village and its people.”

School Library Journal: “Ancona has once again created a photo essay that brings his subject into lively and vibrant focus. A day in the life of Don Ricardo Nuñez Gijon, or Tio Rico, a piñata maker, is a busy round of artistry blended with practicality. The step-by-step creation of a swan, a star, and a carrot is described. The balance between text and illustration is masterful, and both the English and Spanish narratives have an easy flow. Tio Rico is a matter-of-fact yet charming character; along with illuminating his craft, Ancona shows the man's place in his village. By the end of the book, children will understand more about Mexican culture and values. A loving introduction to Hispanic customs, lifestyles in Mexico, and the art of piñata production.”

CONNECTIONS:

Author’s website: www.georgeancona.com

Mexican Folk Art: http://en.wikipedia.org/wiki/Mexican_handcrafts_and_folk_art

Piñata history: http://www.mexconnect.com/articles/459-history-of-the-pi%C3%B1ata

Information about Ejutla de Crespo, Oaxaca: http://en.wikipedia.org/wiki/Ejutla_de_Crespo

Piñata making website: http://www.pinataboy.com/index.html

 

Delicious Hullabaloo/ Pachanga deliciosa

Delicious Hullabaloo/ Pachanga deliciosa

By Pat Mora
Illustrated by Francisco X. Mora

BIBLIOGRAPHY:

Mora, Pat. (1998). DELICIOUS HULLABALOO/PACHANGA DELICIOSA.
        Illustrated by Francisco X. Mora. Translated by Alba Nora Martinez and Pat Mora.
        Houston, Texas: Arte Publico Press. ISBN 1-55885-246-8.

PLOT SUMMARY:

Tonight, young and old
dance to moon and starlight too,
join in the fiesta,
the delicious hullabaloo.

This delightful, bilingual picture book is a roaring good time! The lizards, armadillos, bees, bird, and fish enjoy each other’s company along with good music and good food.  Some prepare the food, some play the music, some talk about plans for the future, and some reminisce about past times—but all enjoy the celebration of food, friends, and togetherness.

 

CRITICAL ANALYSIS:

The desert southwest is portrayed in this colorful picture book with geometric designs on not only the pages and the table, but on the animals as well. The animals portrayed are the lizards, the armadillos, as well as bees, a bird, and a fish. The desert environment is evident in the light brown shade of the sand and the bright green of the cactus. The Hispanic flavor of the poem shows in the instruments the animals play during the party: the maracas and guitars. The choice of party foods is also indicative of the Hispanic culture: salsa made of chiles, tomatoes, and cilantro in a molcajete; a variety of pan dulce, sweet bread; the steaming hot chocolate is in an olla de barro para chocolate, a clay chocolate pot, and the molinillo used for frothing the chocolate is seen sticking out; and finally, the variety of fruits include mangoes, bananas, oranges, cherries, pears and apples.

The animals get together to play music, sing songs, dance, eat good food, and tell cuentos, stories. This is a great example of Hispanic get-togethers where family and friends spend the night talking, laughing, singing, and enjoy being with one another.

The text of the picture book has the poem first presented in English and then the Spanish translation at the bottom of the page. The English verse is interspersed with some Spanish words such as: amigos, lagartijas, musica, cerezas dulces, salsa, cuentos, and fiesta. There is no English translation for the above words, but the context of the poem and the accompanying pictures let the reader know what the words mean. For example, the word lagartijas means lizards. The picture on the opposite page clearly shows the lizards eating the delicious fruit. There is no glossary provided, but again, this is not a necessity since the pictures and the poem itself do a good job of helping the reader figure out the meaning of the Spanish words.

The alliteration is especially delightful in this poem. Some examples are: “pluck and play,” “soon start to sway,” “red roundness,” “plot and plan,” “sassy salsa splashing,” “birds bring blooms,” and “bees buzz”.

AWARDS:

Pat Mora’s Literary Awards:

Loretto Legacy Award for Arts and Literature, 200th Jubilee on the Border, Sisters of Loretto, El Paso, Texas, September, 2012

Con Tinta Achievement for Literary Activism, Association of Writers & Writing Programs (AWP), Chicago Il, March, 2012

Literary Legacy Award, El Paso Community College, 2010

Luis Leal Award for Distinction in Chicano/Latino Letters, University

            of California at Santa Barbara, 2008

The University of Southern Mississippi Medallion for Outstanding

           Contributions to Children's Literature, Hattiesburg,

           Mississippi, 2008 (photo at right)

Roberta Long Medal for Distinguished Contributions to Celebrating

             the Cultural Diversity of Children, University of Alabama at

             Birmingham, 2007

National Hispanic Cultural Center Literary Award, Albuquerque, NM, 2006

"Literary Lights for Children," Associates of the Boston Public

             Library, 2002

"100 Library Champions," Texas Library Association Centennial, 2002

Ohioana Award in Children's Literature, Ohioana Library Association, (for body of work and contributions to children's literature), 2000

Pellicer-Frost Bi-national Poetry Award, Ford Foundation, FEMAP Foundation, and Museo de Arte e Historia del INBA-Cd.  Juárez, 1999

Poetry Award, Conference of Cincinnati Women, 1990

Authors of the Pass: El Paso Herald-Post Writers Hall of Fame, 1988

Texas Institute of Letters, 1987 (Elected to)

Literary Award, Harvey L. Johnson Book Award, Southwest Council of Latin American Studies, 1984

Creative Writing Award, National Association for Chicano Studies, Ypsilanti, Michigan, 1983

Poetry Award, New America: Women Artists and Writers of the Southwest, Albuquerque, New Mexico, 1982

 

REVIEW EXCERPTS:

Publishers Weekly: "Poetic Fiesta. Colorful Southwestern motifs add spice to the starlight feast of reveling lizards and armadillos … The fun, lilting text praises hot food, summer nights and good amigos."

Booklist: "Lime lizards and purple armadillos sashay to the music and rhyming text in this simple story of a desert dinner party. Presented bilingually with a Spanish translation  … this western frolic is winsomely illustrated  … Serve this one up with salsa and mariachi music."

Ohioana Quarterly: "Some lizards have a colorful fiesta eating fruit, making salsa, and drinking moonlight on a wonderful evening in this delightful English and Spanish poetic tale. So much fun you’ll wish you could join them."

San Antonio Express-News: "Lively and colorful illustrations of dancing armadillos and salsa making lizards abound in this savory book. Mora’s poetic language and the sun-washed colors of the character animals and their food make this book a delight for the senses—it’s hard not to cha-cha while reading it aloud."

Jacob Angel, first grader, review in the Albuquerque Journal: "I liked it when the armadillo said, "Quick! Call our amigos." Did you know amigos means friends in Spanish? This book was written in English and Spanish. My nana who lives with me read me this book. She speaks Spanish real good. The animals are having a party, the Spanish part is pachanga. The lagartijas (small lizards) like mangoes and the pajartias (little birds) ate sweet cherries. The armadillos ate salsa and the small lizards played música with guitarras. This book was fun to read. Bailaban after all the animals ate. That means they danced."

CONNECTIONS:

Author’s website: www.patmora.com

Curriculum activities: http://www.patmora.com/ideas.htm#hullabaloo

Study guide for the book:  http://www.latinoteca.com/code/artePublicoPress/Publications/arte-publico-press/educational-resources/teacher-guides/pinatabooks-for-children/Delicious%20Hullabaloo%20Study%20Guide.pdf/view

 

 

 

 

Buried Onions

Buried Onions

By Gary Soto

Bibliography:

Soto, Gary. (1997). BURIED ONIONS. Orlando: Harcourt, Inc. ISBN 0-15-206265-3.

Plot Summary:

Nineteen-year-old, Mexican-American Eddie is ready to break free of the violence and gang life in Fresno, California. He has suffered through the deaths of his father, his uncles, his best friend Juan, and his cousin Jesus. Drowning in sorrow, Eddie imagines that there are giant onions buried beneath the city that causes the never ending tears. His aunt wants Jesus’s death avenged, but he is determined to avoid trouble and to do something with his life. He works hard, but the trouble in Fresno seems to follow him. Will Eddie ever rise above the gang violence and despair and escape the buried onions by joining the military? Will he be trapped and eventually taken in by the pull of his environment, by situations beyond his control? Read Buried Onions to find out if there is hope for Eddie, a future beyond the gang-filled violence of Fresno.

Critical Analysis:

Soto sets the scene of the novel by describing the poor, run-down neighborhood that Eddie lives in. In this part of Fresno, the fences sag and the houses are covered with peeling paint. The laundry hangs from the lines “the faded flags of poor, ignorant, unemployable people. Some guys, all of them Mexican like me, worked on their cars . . .” (p.2). In contrast, the white neighborhoods have deep green lawns, bright flowerbeds and the people keep to themselves (p.4). On page 101, Eddie describes his bus ride to the north side of Fresno: “We went north toward the newer houses, where it was Fresno yet not Fresno. It was another place altogether, foreign and scrubbed. I felt like I was walking inside the pages of Sunset magazine. It was pretty cool, yet scary. Everyone was blond.”

Spanish words are interspersed throughout the text of the novel and are not necessarily translated. The meaning of the word is implied through context or provided in a glossary that is included at the end of the novel. The use of the Spanish words is natural and completely appropriate in the conversations of the characters. Coming from a Mexican-American background, I can attest to the frequent code-switching between English and Spanish amongst friends and family.

Soto points out the cultural difference of the Mexican-American characters, especially in the gang culture by describing the many spider-like tattoos covering the arms of the young men and the teardrop tattoos adorning the faces of the cholas. The young boys and young men wear the “uniform” of the gang member which includes a hair net, bandana, and Dickies cut off at the knees. Angel who is a gang member and even young Samuel are described as wearing this type of clothing. The depiction of this type of clothing is not a stereotype, but a true depiction of some Mexican American gang members. This comes from my own experiences growing up and from the author’s background as well.

Soto peppers the text with references to Eddie’s skin color. On page 130, Eddie is sneaking into Angel’s yard and the dog stops barking because he looks like Angel, “brown as dirt”. On page 5 Eddie says, “My face was no different from the face of a brown person lucky enough to hold down a city job.” And on page 10, the kids are described as “all shiny brown”.

 The book is sad and the reader can feel Eddie’s hopelessness, “For me, there wasn’t much to do except eat and sleep, watch out for drive-bys . . .” (p. 3), for his world is one of guns hidden in sock drawers, gang violence by those who still wear a crucifix around their necks, and hiding out—afraid of the phone and afraid of who might be at the door. But Eddie is different. He wants another life, he wants to start a new life and leave the drugs and violence behind. While some may criticize this depiction of a Mexican American character for being stereotypical and indicating that all young Mexican American men are gang members, drug users, and violent, I found it to be a realistic and gritty picture of what life is like for some Mexican Americans who live in barrios in the city. It’s not a pretty picture, but it is reality for some. This book is so important in that it can give an urban Latino teen a connection to literature if they see some part of their life or some part of their experiences in it. Quoting Frida Kahlo, Gary Soto has “painted his own reality” and it is the reality of many Hispanic teens.

 

Awards:

A New York Public Library Book for the Teen Age

An ALA Best Book for Young Adults

An ALA Quick Pick for Reluctant Young Adult Readers

Americas Award Commended Book

Recommended by the Consortium of Latin American Studies Program

Review Excerpts:

Kirkus Reviews: “Unrelenting . . . a valuable tale . . . one that makes no concessions.”

School Library Journal: “A powerful and thought-provoking read.”

Booklist: “Soto’s clear, finely honed poet’s voice shines in this tale of barrio life.”

Connections:

The author’s website: www.garysoto.com

A blog promoting Latino authors and literacy: http://www.latinabookclub.com/

A website dedicated to Hispanic Heritage: http://hispanicheritagemonth.gov/

Young Adult Latino Literature:  http://ccb.lis.illinois.edu/Projects/Additions%20on%209-20-07/CCB/CCB/mhommel2/youngadult.htm

Austin Public Library Hispanic Teen Literature: http://www.connectedyouth.org/books/index.cfm?booklist=hispanicteen

 

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