Genre 2 - Traditional Literature Pio Peep! Traditional Spanish Nursery Rhymes

1. BIBLIOGRAPHY

Ada, Alma Flor and F. Isabel Campoy. Selectors. 2003. PĺO PEEP! TRADITIONAL SPANISH NURSERY RHYMES. Ill. by Viví Escrivá. New York, NY: Harper Collins. ISBN 0688180190

2. PLOT SUMMARY
A collection of twenty-nine Spanish folktales with English translations or close “re-creations”.

3. CRITICAL ANALYSIS
The author’s intent of this book was to “stimulate children to read” and that’s exactly what it will do. The poems are fun and whimsical and children will gravitate towards them. Because these poems are from an oral folktale background, the rhyming “bounce” to them will keep children and adults entertained. Some of them should also be easy for young readers to tackle independently.
The authors collected these rhymes and songs from all the nineteen Spanish-speaking countries in Latin America. They purposely selected well known rhymes so many generations can share the book together. The authors also note the selections are personal to them because they selected rhymes that they cherished in their own childhood.
The book contains an informative author’s note, table of contents and introduction page. The author’s note and introduction should definitely be read because they explain the purpose of the book. The authors chose to create a “poetic re-creation” and not just translate the Spanish rhyme into English. Their explanation is helpful and guides the reader into deeper appreciation of the dual language rhyme sets.
“Here the Bird Laid the Egg / Aqui puso la pajarita el huevo” (pg 18-19) will be a favorite for students. The plot is simple and easy to understand. The sequence of events is laid out in a timely fashion. With the ending, “and this fat rascal gobbled it up!” kids will cheer because of the simple joke. Students will be able to relate to Escrivá’s watercolor illustrations because the faces look like they do. Like the small nest on page 19, the little details added will delight young readers.
“The Elephants / Los elefantes” (pg 32-35) involves simple actions and easily understood humor. Students will quickly grasp that elephants can’t swing from a spider’s web and that there will be some kind of consequence. The anticipation will build and students will have fun deciding what exactly happens next. Escrivá’s large illustrations will appeal to children because the elephants look playful and childlike.

4. REVIEW EXCERPT(S)

SCHOOL LIBRARY JOURNAL: “Deeply rhythmic verses, compelling rhyme schemes, and words that "play trippingly on the tongue" characterize every verse. Schertle's excellent English adaptations are not literal translations but poetic re-creations. They retain the rhythm, meter, and general meaning of the originals, making the rhymes as memorable and memorizable in English as they are in Spanish.”

BOOKLIST: “Even adult readers with a rudimentary knowledge of Spanish will see some of the differences, but both versions have a sweet, rhythmic simplicity that will get children singing, clapping, and perhaps making some forays into a new language.”

5. CONNECTIONS
* Read along with other nursery rhyme books, like THE NEIGHBORHOOD MOTHER GOOSE by Nina Crews and compare.
* Have bilingual classes read the Spanish folktale and the “re-creation” and see if they can find the differences between the original rhyme and the “re-creation”.
* Have adults share any personal stories of using these rhymes when they were young with students.

Genre 2 - The Greatest of All: A Japanese Folktale

1. BIBLIOGRAPHY

Kimmel, Eric. Adaptor. 1991. THE GREATEST OF ALL: A JAPANESE FOLKTALE. Ill. by Giora Carmi. New York, NY: Holiday House. ISBN 0823412032

2. PLOT SUMMARY
A mouse father searches for the greatest husband for his daughter. He approaches the emperor, the sun, the clouds, the wind and a stone wall before realizing the perfect candidate was a lowly field mouse.

3. CRITICAL ANALYSIS
Kimmel’s retelling of the Japanese traditional tale, THE WEDDING MOUSE, is told with kindness and understanding. The story’s simple plot revolves around a protective father, Father Mouse, seeking the best for his daughter. Many adult readers will be able to relate to that feeling of wanting only the best for their children. Kimmel says, “Because he lived in an emperor’s palace, and dined off crumbs from the emperor’s table, and dressed in silk from the emperor’s wardrobe, he thought himself a splendid mouse indeed!” Readers might be turned off by Father Mouse because he appears to be snobby and stuck up. Carmi’s excellent illustration showing Father’s fine attire and large piece of cheese are further evidence to this fact.
The personification of the sun, cloud, wind and wall are incorporated nicely into the story. Carmi’s friendly faces of these objects make the reader feel like they are kind characters. It is easy to see why Father Mouse takes their advice.
The plot involves a traditional quest when Father Mouse travels to see the various suitors. Illustrations showing Father Mouse in the plains and on the mountains help describe the long journey. An especially vivid illustration is when Father Mouse is hanging onto the branch to talk to the wind.
Very few traditional Japanese cultural elements are included in the story. Besides the mentioning of an emperor and haiku, this story could be set anywhere. More cultural elements should be added for students to have specific cultural connections with the material.

4. REVIEW EXCERPT(S)
PUBLISHERS WEEKLY: “Kimmel concisely retells this pleasant if low-key tale of a self-important mouse who lives in the emperor’s palace and dresses in fine silk. Warm colors and distinctive texture mark Carmi’s illustrations, which include effective renderings of the anthropomorphic natural elements. ”

KIRKUS REVIEWS: "Carmi uses tall frames and details of dress to suggest a Japanese setting; her style is lively and accessible but undistinguished, the illustrations’ muted tomato-soup borders more distracting than harmonious. Still, an acceptable setting for a good story.”

5. CONNECTIONS
*Read THE WEDDING MOUSE in Yochiko Uchida’s collection of Japanese stories, THE DANCING KETTLE. This was Kimmel’s source for THE GREATEST OF ALL. Make comparisons between the two stories.
*As recommended in the author’s note, read STONECUTTER by Gerald McDermott to see more similarities and differences.

Genre 2 - Little Gold Star

1. BIBLIOGRAPHY
San Souci, Robert. 2000. LITTLE GOLD STAR. Ill. by Sergio Martinez. New York, NY: Harper Collins. ISBN 0688147801

2. PLOT SUMMARY
The Spanish American retelling of the traditional Cinderella tale. In this version, the Virgin Mary replaces the traditional fairy godmother and the gold star replaces the glass slipper.

3. CRITICAL ANALYSIS
San Souci writes the tale of Cinderella with a Southwestern flair. The book’s heroine, Teresa, has the traditional mean stepmother and stepsisters and is asked to do chores for the family. When Teresa meets and helps a stranger woman in blue, many of her problems are over. The woman turns out to be Blessed Mary and Teresa is rewarded for her generosity with a gold star on her forehead. The magical star helps Teresa against her mean stepfamily.
Students will enjoy making predictions about the Blessed Mary character after seeing Martinez’s initial illustration on page five. The curses that fall on the stepsisters will also be enjoyed by young students. The pictures of the stepsisters twisting their horns and hiding their donkey ears are whimsical and encourage the reader to cheer for Teresa.
Traditional magical elements are included in this version. Animals perform heroic deeds to help Teresa in her time of need. In addition, the gold star on Teresa’s forehead also performs magic. Finally, the family cat helps Don Miguel identify Teresa by talking to him.
The story also includes the traditional use of the number three. In addition to there being three stepfamily members, Teresa is also made to do three chores.
Some Hispanic cultural elements are included in the story. For example, the stepsisters wear traditional mantillas to cover their heads and the traditional ball is a fiesta for the town’s patron saint. Some lines of dialogue are also said in Spanish.
Like many traditional tales, the ending comes quickly. “Realizing that Teresa had been blessed, the woman sent Miguel a letter agreeing to the marriage,” sums up all the problems between Teresa and her stepmother. Adults might sense the abruptness in this transition but children will always cheer for Teresa.

4. REVIEW EXCERPT(S)
BOOKLIST: “In Sergio Martinez's elegant Hispanic settings, Teresa and her beau, Don Miguel, are slender, graceful figures, comically juxtaposed against Teresa's lumpish, elaborately dressed stepmother and stepsisters, who are portrayed with exaggerated expressions of dismay or annoyance. Mary reappears to help Teresa secure her stepmother's permission to marry, and by the unalloyed happy ending, horns and hairy ears have vanished, too. Cinderella fans have to be rapid readers to keep up with the steady stream of new renditions, but this consolidation of old and new published versions mixes laughter and romance in pleasing proportion--and features an unusual (to say the least) fairy godmother.”

LIBRARY SCHOOL JOURNAL: “San Souci's telling is smooth and fluid. Martinez's lovely, luminous watercolor illustrations are a perfect match for the text. His accomplished sense of extended line gives all of his figures a romantic, elongated look, and his command of expression is exceptional. A noteworthy addition to an already impressive crop of Southwestern "Cinderella" stories.”

5. CONNECTIONS
· Share other versions of Cinderella and find similarities and differences.
· Share other picture books by San Souci, like CINDRILLON and CINDERELLA SKELETON and give opinions.
· With younger students, discuss vocabulary. For example, haughty, vain, and penance are great words to discuss.
· Students can write their own version of Cinderella and design its setting using their own cultural influences.

Genre 1- Picture Books A Caldecott Celebration: Six Artists and Their Paths to the Caldecott Medal

1. BIBLIOGRAPHY

Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL. New York, NY: Walker and Company. ISBN 0802786561

2. PLOT SUMMARY

Profiles six Caldecott award-winning books and their authors, including Robert McCloskey’s MAKE WAY FOR DUCKLINGS, Marcia Brown’s CINDERELLA, Maurice Sendak’s WHERE THE WILD THINGS ARE, William Steig’s SYLVESTER AND THE MAGIC PEBBLE, Chris Van Allsburg’s JUMANJI, and David Wiesner’s TUESDAY.

3. CRITICAL ANALYSIS
Mr. Marcus does a superb job describing the steps these Caldecott award recipients went through to create their winning picture books. All of the authors describe their unwavering focus and attention to detail. For example, McCloskey’s thoroughness required him to own sixteen ducks for live models. Young readers will appreciate the hard work their authors went through to create these beloved books.
The level of revision and drafting will impress even the most seasoned professional. Pen and pencil sketches help illustrate the many changes that occurred. A larger lesson about not giving up can be applied here too. It took Ms. Brown six times as a Caldecott runner-up to finally win the grand prize. No reader will be able to walk away from this book thinking picture books are just children’s business.

4. REVIEW EXCERPT(S)

Starred review in PUBLISHER’S WEEKLY: ““Filled with witty anecdotes and pithy observations, Marcus’s approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers.”

Starred review in BOOKLIST: ““A lively, informative introduction to each book and its maker. A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/ illustrator studies.”

5. CONNECTIONS
*Read this book while students are drafting and revising their own written pieces for inspiration. *Share the picture books that are mentioned in the story and ask for opinions.
*Use the book to encourage kids to write about what they know, like McCloskey, or to use their imagination, like Sendak.
*Read the most recent Caldecott winner and research the author.

Genre 1 - Picture Books Big Jabe

1. BIBLIOGRAPHY
Nolen, Jerdine. 2000. BIG JABE. Ill. by Kadir Nelson. New York, NY: Lothrop, Lee and Shepard Books. ISBN 0688136621

2. PLOT SUMMARY

A tale of a larger-than-life slave, Jabe, who helps other slaves on the Plenty Plantation. Jabe does not have an ordinary man’s strength or heart. When slaves disappear from the plantation some begin to wonder if Jabe is responsible.

3. CRITICAL ANALYSIS
BIG JABE is an original tall tale about a slave with a heart of gold and the strength of Paul Bunyan or John Henry. Jabe arrives in dramatic fashion in a wicker basket floating down the river. This Moses-like entrance quickly introduces the reader to the overall tone of the book. As Jabe gets older, his strength increases and his admirers believe he is responsible for helping slaves disappear. Besides the Moses reference, examples of Abraham Lincoln and Harriet Tubman also come to mind with this character. Jabe’s uplifting attitude lifted the spirits of slaves and inspires readers to hope for goodness in people.
Nelson’s watercolor-and-gouache illustrations are vivid and dramatic. When the overseer’s body fills the doorway, the mood of the story grows somber. As Jabe hunches over the trees, the reader gets an idea of his hulking size. The proportions between animal and man are unusual. For example, the corn rises higher than the horses and heads are not in proportion to the rest of the body. This technique allows the reader to focus on Jabe and makes all the other scenery fade into the background.

4. REVIEW EXCERPT(S)
HORN BOOK: “Part magical savior, part tall-tale hero, Big Jabe personifies the triumph of African Americans who (miraculously it must sometimes have seemed) escaped from slavery. Kadir Nelson's gouache-and- watercolor illustrations are lovely: full-bleed spreads pull readers into a lush summer when every plant and creature is vibrant with health. Yet he also effectively conveys the rigorous life of the slaves via their leanness, their clothing, and even in the way he depicts a meal when, thanks to Jabe, there is enough fish for all: dark earth tones predominate in the firelit scene while heaps of well-cleaned fish bones bespeak the hunger that usually prevailed.”

SCHOOL LIBRARY JOURNAL: “The author uses traditional folklore motifs to good effect in creating this larger-than-life hero. Nelson's watercolor-and-gouache paintings bring the characters fully to life and provide a realistic and historically accurate setting for the fantastic events. The illustrations, particularly the cover of Jabe striding tall above the trees and the scenes around the plantation, highlight the fantasy even as they make the story real.”

5. CONNECTIONS
*Discuss the concept of inference. Why would Jabe’s actions anger the overseer, Mr. Sorenson?
*Discuss the concept of symbolism. Is there more meaning behind the pear tree or the fact that Jabe arrived in river basket?
*Discuss why slaves would tell tall tales and stories like this. Would this story provide hope to slaves?

*Compare story with other books written by Nolen and illustrated by Nelson. Use THUNDER ROSE to discuss similarities and differences between the main characters in these tall tales.

Genre 1 - Picture Books Kitten's First Full Moon

1. BIBLIOGRAPHY
Henkes, Kevin. 2005. KITTEN’S FIRST FULL MOON. New York, NY: Greenwillow Books. ISBN 0060588284

2. PLOT SUMMARY
Kitten has a night of adventure when she sees the moon up in the sky. Thinking it is a bowl of milk, she jumps and reaches for it only to end up tired, wet and hungry.

3. CRITICAL ANALYSIS
Henkes’ writing is simple and sounds like the voice of a small kitten or young child: “There’s a little bowl of milk in the sky and she wanted it.” The challenges the kitten goes through are playful and daring. Henkes ends each misguided attempt with an easy repetitive line, “Poor kitten!” This is an easy line for children to join in saying aloud.
Henkes’ illustrations are very straightforward. He used only black charcoal for the night sky and white for the kitten, milk and moon. Many of the pictures are large and take up the majority of the page. This adds to the feeling of action and adventure. As the kitten leaps, the reader can sense the action. The use of shadowing also enhances the feeling of nighttime. The reader can feel that kitten is scared when she is stuck up in the tree by looking at the size of her eyes. Young readers’ eyes also open up wide while reading this page. Students are relieved when kitten arrives home to find a bowl of milk sitting on the porch. Readers will agree that the kitten is indeed a lucky kitten.

4. REVIEW EXCERPT(S)
Starred review in BOOKLIST: “Henkes creates another winner in this simple, charming story about a naive little kitten who mistakes a round, shining moon for a bowl of milk.”
SCHOOL LIBRARY JOURNAL: “The rhythmic text and delightful artwork ensure storytime success. Kids will surely applaud this cat's irrepressible spirit.”

5. CONNECTIONS
*For older students, highlight the use of action verbs Henkes uses. The cat does not just walk, she wiggles, tumbles and springs. This book could inspire students to use better descriptive verbs in their writing.
*Show a large picture of a full moon. Discuss theories early scientists believed about the moon.
*Have students write the next chapter of Kitten’s adventure. If she thought the moon was a bowl of milk, can other household things easily confuse her?