Module 6 Django: World's Greatest Jazz Guitarist

A. BIBLIOGRAPHY
Christensen, Bonnie. 2009. DJANGO: WORLD’S GREATEST JAZZ GUITARIST. New York, NY: Roaring Brook Press. ISBN 1596434228.

B. PLOT SUMMARY
Born into extreme poverty in a gypsy encampment, Django Reinhardt overcame tremendous obstacles, including debilitating injury, to become the world’s most acclaimed jazz guitarist.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
An interesting read about a persistent man who overcame his injury. Students will most likely not gravitate towards this book due to the muted illustrations and slow pace. If read aloud and discussed, the main character will look like a hero because of his courage and strong will. The writing style is very short and choppy. “Hard life everywhere. Work at this. Work at that. Hard life.” More description might have added to the overall story. Christensen’s illustrations are detailed. When Django is injured in the hospital room, the illustrations change to gray and black. This conveys the mood very well.
Django’s injury is depicted in a very caring and realistic way. When Django begins to play again, he is pitied by others. “Looks of pity cross the circle. Left hand’s useless. What’s he thinking?” Although others see his injury as a burden, Django continues to persevere. In addition to his injury, Django is also a gypsy. Gypsy life is discussed and pictures of tents and camping out are common. The illustrations show women wearing head scarves and dresses and the men in caps and pants. When the gypsies dance, the women carry tambourines and puffy sleeves on their shirts. This attire seems appropriate for gypsies. The artist takes special care to make the individuals have unique characteristics and not all look the same.
Christensen completes the tale of the guitarist's success with an author's note, a brief paragraph on the Roma people, and a bibliography/discography.

D. REVIEW EXCERPTS
2010 ALA Schneider Award Winner for Young Children’s Books

“Starred Review. …In stark colors, Christensen conveys the hopelessness of the musician's situation, trapped in his iron-railed hospital bed. He refused to give up, though, and the next page finds him rapt, guitar clasped to his chest, eyes closed in the effort of drawing forth music again. She includes enough detail to give perspective, but it is her lush paintings that so effectively give life to the man's effervescent charm and determined courage. This inspiring account of an individual overcoming tragedy and adversity should find a wide audience.” SCHOOL LIBRARY JOURNAL

“*Starred Review* … Christensen supports the inspirational story with rich, vibrant paintings that capture the texture and tone of the landscapes in Django’s life: burnt oranges and various shades of brown bring the Gypsy campfires to vivid life, while bright blues shimmering under the sharp yellows of stage footlights depict the electricity of the guitarist in performance. The art steals the show here, but the text works fine, too, describing the essence of Django’s story without overwhelming middle-graders with too much detail.” BOOKLIST

E. CONNECTIONS
Discuss how the illustrations change when Django is injured.
Learn more about the Roma culture and Django Reinhardt.

Module 6 Does My Head Look Big in This?

A. BIBLIOGRAPHY
Abdel-Fattah, Randa. 2005. DOES MY HEAD LOOK BIG IN THIS? New York, NY: Orchard Books. ISBN 439919479.

B. PLOT SUMMARY
Amal, a Muslim-Australian high school student, decides to wear the hijab, the Muslim head scarf full-time as a badge of faith. She encounters threats and warnings but learns a lot about herself too.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Australian 11th-grader Amal is smart, funny, outspoken, a good student and a loyal friend. Readers will relate to her boy crushes and drama with girl cliques at school. The stress she and her friends put on themselves to be thin and accepted is right on target. The only thing that sets Amal apart is that she’s a devout Muslim who decides to wear the hijab, or head covering, full-time.
Amal is also battling the misconceptions of non-Muslims about her religion and culture. She is asked by many people if her parents are forcing her to wear the hijab. “So your parents have made you wear the veil permanently now?” Amal is a strong character and she views the hijab as a personal choice and stands up to many bullies. “I feel independent and I know I’ve got the choice to be whoever I want to be.” Midway through the book, Amal does have a crisis of faith and get tired of explaining her choices. Her mother says, “Everybody’s scared of what they don’t know.”
Approriate use of Muslim details like Ramadan and fasting are used in the book. Amal struggles with parts of her faith, like people do in every religion. Prayer regimes and hijab techniques are also discussed.
The only stereotypical character that gets very old is the Greek neighbor, Mrs. Vaselli. Her Greek accent is way overdone. “My husband, you know, he get sick of factory. So we say why not open ze shop and sell ze fish and chips.” Abel-Fattah should stick to what she knows and leave Greek characters to others.

D. REVIEW EXCERPTS
“ …While the novel deals with a number of serious issues, it is extremely funny and entertaining, and never preachy or forced. The details of Amal's family and social life are spot-on, and the book is wonderful at showing the diversity within Muslim communities and in explaining why so many women choose to wear the hijab. Amal is an appealing and believable character. She trades verbal jibes with another girl, she is impetuous and even arrogant at times, and she makes some serious errors of judgment. And by the end of the story, she and readers come to realize that "Putting on the hijab isn't the end of the journey. It's just the beginning of it.” SCHOOL LIBRARY JOURNAL

“*Starred Review* …Without heavy preaching, the issues of faith and culture are part of the story, from fasting at Ramadan to refusing sex before marriage. More than the usual story of the immigrant teen's conflict with her traditional parents, the funny, touching contemporary narrative will grab teens everywhere.” BOOKLIST

E. CONNECTIONS
Research Abel-Fattah’s background and learn more about her choice to write this novel.
 

Module 6 Rainbow Road

A. BIBLIOGRAPHY
Sanchez, Alex. 2005. RAINBOW ROAD. New York, NY: Simon & Schuster. ISBN 68986565.

B. PLOT SUMMARY
While driving across the United States during the summer after high school graduation, three young gay men encounter various bisexual and homosexual people and make some decisions about their own relationships and lives.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Sanchez’s final book in the Rainbow series is a compelling read for high school readers. The three main characters are struggling with their identities as gay Americans, in addition to teenage angst like acne, athletics and prom.
The character, Kyle, is the one that’s overly stereotypically gay with his feminine glasses and pink hair and language like “Fabulous”. The other characters resent his behavior and it causes friction. When the trio encounters other anti-mainstream homosexuals, there is more conflict. “They’re not freaks, they’re just gay people like us.” The issue of acceptance definitely takes on more than one meaning.
Even though the main characters identify as being homosexual, they still question their sexual identity. “Her rose perfume brought back memories as she planted a tender kiss on his cheek.” Many readers will be able to relate to many of these confusing feelings.
Sexually transmitted diseases, like HIV, are also discussed. Nelson was in an intimate relationship with an HIV positive man. Discussion about condom use not being 100% failsafe is also mentioned. “Even with a condom, he might’ve had some disease besides HIV. Every day the news reports some new drug resistant STD.” These conversations are realistically portrayed and not overly dramatized.
This is a book for mature readers in a high school setting. In addition to sex scenes, transexuality is a major topic and the details of dressing like a woman. “Okay, now pull everything back between your legs.” As important as these topics are for the right audience, it is important to remember that this book was written for older readers.

REVIEW EXCERPTS
“… These boys are distinct personalities and genuine teens, searching for clarity and identity and acceptance, trying to make sense of themselves and a world that can be equally bright and dark. Sanchez writes with humor and compassion. Some mature romance scenes, occasional frank language, and an inclusion of transgender/transsexual/bisexual story lines translate into a tender book that will likely be appreciated and embraced by young adult readers.” SCHOOL LIBRARY JOURNAL

“…About halfway through the cross-country journey, however, Kyle begins questioning his relationship with bisexual Jason, and the story becomes more involving as characterization finally takes the driver's seat. Flamboyant Nelson remains annoyingly predictable, alas, but the other two boys are sympathetic charmers, and fans of Sanchez's first two Rainbow novels will certainly want to read this one.” BOOKLIST

D. CONNECTIONS
Read the other books in the Rainbow series and discuss the growth of the characters.

Module 5 Tea With Milk

A. BIBLIOGRAPHY
Say, Allen. 2006. TEA WITH MILK. New York, NY: Sandpiper. ISBN 0547237472.

B. PLOT SUMMARY
After growing up near San Francisco, a young Japanese woman returns with her parents to Japan but she feels foreign and out of place.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Say’s story is deeply personal because it is about his mother and father. His mother, Masako or May, is the central character who feels out of place when she moves back to Japan. Many immigrant people will relate to the feelings of May. Say adds Japanese details nicely. May is not accepted by her Japanese classmates and is called “gaijin” which means foreigner. She does not understand Japanese culture and traditions like the kimono or tea ceremony. She enjoys wearing American dresses and hats instead of the kimono. Being a “good Japanese wife” is very important to May’s parents and May revolts. The theme of acceptance is seen as May moves to the city of Osaka and gets a job.
Say’s illustrations add to the story by showing how May stands apart. When she dresses in bright red and the rest of the picture is muted, it clearly shows how different she is. Say attempts to differentiate the characters by their hairstyles and facial expressions. Primarily, May stands apart by her different attire.

D. REVIEW EXCERPTS
ALA Notable Book
SLJ Best Book
“Continuing the story he started in Grandfather's Journey (Houghton, 1993), Say explores familiar themes of cultural connection and disconnection. The pages are filled with detailed drawings featuring Japanese architecture and clothing, and because of the artist's mastery at drawing figures, the people come to life as authentic and sympathetic characters. This is a thoughtful and poignant book that will appeal to a wide range of readers, particularly our nation's many immigrants who grapple with some of the same challenges as May and Joseph, including feeling at home in a place that is not their own.” SCHOOL LIBRARY JOURNAL

“Say's masterfully executed watercolors tell as much of this story about a young woman's challenging transition from America to Japan as his eloquent, economical prose. His exquisite, spare portraits convey emotions that lie close to the surface and flow easily from page to reader: with views of Masako's slumping posture and mask-like face as she dons her first kimono, or alone in the schoolyard, it's easy to sense her dejection. Through choice words and scrupulously choreographed paintings, Say's story communicates both the heart's yearning for individuality and freedom and how love and friendship can bridge cultural chasms.” PUBLISHER’S WEEKLY

E. CONNECTIONS
Read Say’s GRANDFATHER’S JOURNEY and see how these characters began.
Study author Allen Say’s biography and learn more about his background.

Module 5 The Name Jar

A. BIBLIOGRAPHY
Choi, Yangsook. 2001. THE NAME JAR. New York, NY: Alfred Knopf. ISBN 375906134.

B. PLOT SUMMARY
After Unhei moves from Korea to the United States, her new classmates help her decide what her name should be.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Choi writes a book that most adolescent children will relate to because of the childhood themes of fitting in and acceptance by peers. When Unhei moves to the United States she wants to be a regular American child, like the ones she sees on her school bus. She feels like her Korean name is holding her back from fitting in. The setting is present day and depicted accurately by modern buildings and neighborhoods. Unhei experiences name calling like, “Oh, it’s Yoo-hey, like You, hey!” The ending of the story is poignant because the central character decides to accept her name and embrace the Korean culture within her.
Many Korean elements are seen throughout the book. The Korean name symbol is used extensively and is seen as a cherished possession to Unhei. The family cooks kimchi and shops at a Korean grocery. The mom says, “Just because we’ve moved to America doesn’t mean we stop eating Korean food.” The parents reinforce some of the stereotypical Asian stereotypes by stressing academics. “You must study hard, behave nicely, and get good grades to show that you’re a good Korean.”
The illustrations are in yellow and gold tones and depict a Korean American family. There is a Korean calendar on the wall and scenes with chopsticks. The American classmates are diverse looking with a variety of skin tones and hair color. All the Koreans look the same. Their eyes are the same size and eyebrows are identical.

D. REVIEW EXCERPTS
“…The bold, bright paintings that illustrate the story are realistic, warm, and appealing. Unfortunately, the text sags under the weight of its mission to describe how it might feel to immigrate. A well-meaning and visually attractive effort, but uninspired.” SCHOOL LIBRARY JOURNAL

“….The paintings are mostly in gold and earth tones, and the figures have both stature and simplicity--as does the story.” BOOKLIST

E. CONNECTIONS
Discuss different names among students. Many students have names that have traditional meaning.
Discuss if any students shop at specific markets when Unhei shops at the Korean grocery store. Ask them what ingredients they shop for. 

Module 5 Year of the Dog

A. BIBLIOGRAPHY
Lin, Grace. 2006. THE YEAR OF THE DOG. New York, NY: Little, Brown and Company. ISBN 316060003.

B. PLOT SUMMARY
A young Taiwanese American girl, Grace, sets out to apply the lessons of the Chinese Year of the Dog, make friends and achieve goals set for herself.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Grace is a sweet character that will be enjoyed by most young girl readers. She has many of the same struggles that most adolescents have with friends, boys and family members. In addition to the regular modern day struggles, Grace uses this year to figure out more about being Taiwanese American. This book is a good example of separating out the many different Asian cultures. Lin writes about the unique characteristics of being from Taiwan and getting lumped together with all other Asian cultures. “But I’m not really Chinese either. It’s kind of confusing. My parents came from Taiwan. Some people thought Taiwan was part of China.” Luckily Grace doesn’t get bogged down in the details, she is confident that she’s the right amount Taiwanese and the right amount American. One literary element that was overused was the retelling by Grace’s mom. Every retelling session began, “Did I ever tell you about the time I…” This was too formulaic and could have been handled better.
Many cultural elements are included in the book. The book starts with the New Year celebration. Chinese is spoken to relatives to share New Year greetings, “Gong xi-gong xi!” Lin also incorporates appropriate use of special foods for these celebrations. One unique part was where Grace visits a friend’s house and doesn’t recognize the Chinese food. “Are you sure this is Chinese food?” she asks. This is a very realistic depiction because every family has a different take on special food dishes. Grace also struggles to “American enough” to have a role in the school play, Wizard of Oz, because she knows there were no Asian munchkins. Grace also criticizes the famous Chinese book, The Seven Chinese Brothers, by stating, “Those aren’t real Chinese people, your brother doesn’t have a ponytail.” This realization leads Grace to write her own book with “people like us-Chinese Americans.” Other struggles as a Chinese American are relatable to many multicultural students when Grace wants a turkey for Thanksgiving but her parents prefer fried dumplings.
The illustrations are simple pen and ink sketches that are similar to what a preteen would have in a journal. Many of the drawings are helpful to the reader because they identify different foods, like the New Year’s Tray, rice porridge and Chinese symbols. Due to the simple nature of the illustrations, all facial features are similar and very linear.

D. REVIEW EXCERPTS
APAAL Honorable Mention in Text for Children and Young Adult Literature Award

“A lighthearted coming-of-age novel with a cultural twist. Readers follow Grace, an American girl of Taiwanese heritage, through the course of one year–The Year of the Dog–as she struggles to integrate her two cultures. Throughout the story, her parents share their own experiences that parallel events in her life. These stories serve a dual purpose; they draw attention to Graces cultural background and allow her to make informed decisions. She and her two sisters are the only Taiwanese-American children at school until Melody arrives. Small, captioned, childlike black-and-white drawings are dotted throughout. This is an enjoyable chapter book with easily identifiable characters.” SCHOOL LIBRARY JOURNAL

“*Starred Review*…Most of the chapters are bolstered by anecdotes from Grace's parents, which connect Grace (and the reader) to her Taiwanese heritage. Lin does a remarkable job capturing the soul and the spirit of books like those of Hayward or Maud Hart Lovelace, reimagining them through the lens of her own story, and transforming their special qualities into something new for today's young readers.” BOOKLIST

E. CONNECTIONS
Discuss different family traditions among students. Many students probably incorporate family cultures into the “traditional American” holidays.
Learn more about Taiwan and its history.

Module 4 Jingle Dancer

A. BIBLIOGRAPHY
Smith, Cynthia L. 2000. JINGLE DANCER. New York, NY: Morrow Junior Books. Illustrated by Cornelius Van Wright and Ying-Hwa Hu. ISBN 688162428.

B. PLOT SUMMARY
A young Muscogee Ojibway Indian, Jenna, borrows metal jingles from the dresses of several women in the community so she can perform the traditional jingle dance at the powwow.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Smith captures Jenna’s struggle to get enough jingles in a very honest and sincere fashion. Most students will relate to the themes of wanting something and being accepted as a young adult. Onomatopoeia like, tink tink and brum brum is used to enhance the sounds of the dancing. The book is a nice addition to any collection because it is the story of a modern day Native American child and family. Her relatives are professionals, like lawyers, in addition to dancers at a powwow. Jenna’s family lives in a suburban house that most students will be able to relate to.

Many Native American elements are seen throughout the story. Smith mentions many important Creek and Chippewa elements, like frybread, powwows, Indian taco and dancing regalia. Smith also uses phrases that incorporate nature into the story. For example, “As Sun fetched morning and as Sun arrived at midcircle” are used to help tell time. The importance of the celebratory powwow was also central to the story. Jenna was dancing to represent her family and her family members stressed this importance by saying, “Will you dance for me?” The number four is emphasized in the story. Jenna asks four women for help to create her dress.

The afterword by the author and the glossary are important for readers. She explains the significance for jingle dancing and the origin of jingle dresses. These explanations help the reader understand Ojibway culture better.

The illustrations are soft and muted with watercolorings. Native American elements are very abundant throughout the book. Jenna and her grandmother are dark skinned and their hair is very dark. When Jenna dances her dress and regalia are depicted accurately, according to the author’s note. Her hair is in one long braid and carries a feather and beaded belt.

D. REVIEW EXCERPTS“…Watercolor paintings in bright, warm tones fill each page. In scenes where she is dancing, backgrounds of blurred figures effectively represent both the large audience and the many generations whose tradition the gathering honors. Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life. An author's note and glossary tell more about the Muscogee (Creek) Nation, the Ojibway origins of jingle dancing, and the significance of the number four in Native American tradition. This picture book will not only satisfy a need for materials on Native American customs, but will also be a welcome addition to stories about traditions passed down by the women of a culture.” SCHOOL LIBRARY JOURNAL

“Smith, a mixed-blood member of the Muscogee (Creek) Nation, convincingly juxtaposes cherished Native American tradition and contemporary lifestyle in this smooth debut. Van Wright and Hu's (Jewels) lifelike renderings capture the genuine affection between Jenna and these caring older women. Their easy integration of Native and standard furnishings and clothing gracefully complement Smith's heartening portrait of a harmonious meshing of old and new.” PUBLISHERS WEEKLY

E. CONNECTIONS
Use media to view clips of jingle dancing.
Try to invoke legend into group writing assignment by telling time or phrases in the manner that Smith used.
Discuss the author's personal history and see the influences in the writing.

Module 4 Alice Yazzie's Year

A. BIBLIOGRAPHY
Maher, Ramona. 2003. ALICA YAZZIE’S YEAR. Berkeley, California: Tricycle Press. Illustrated by Shonto Begay. ISBN 582460809.

B. PLOT SUMMARY
An eleven year old Navajo girl narrates each month of a year in her life growing up in modern-day American on a reservation.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Maher captures the year of Alice, a Navajo eleven year old, in a slow moving format. The pace moves so slowly that most young readers will probably put this book down after reading a few pages. Instruction by teachers will be needed for students to gain a deeper understanding of the material. Many Native American elements are seen in Maher’s writing. She mentions many important Navajo elements, like sheepskin, pinyon wood and frybread. Alice also attends school off the reservation and goes on field trips to experience more culture, particularly white culture like Disneyland. Even though she enjoyed the trip, she was quick to point out that “nobody listened and the nicest thing was coming back here.”
Alice is proud of her Native American culture and wears squash blossom and turquoise jewelry. The coyote is also seen as a very important animal to Alice and her friends. When she adopts a coyote pup she writes, “It is her friend and is named for a friend.” The grandfather character incorporates traditional Native American role by riding a horse and wearing a headband but he also values education and wants the Navajo children to learn technology. The grandfather’s choices could be discussed by readers as whether he is evolving like other Native Americans have had to or feeling pressured to change by the white man.
Maher captures some of the Native American discontent with white people by her text. Some examples are, “Strip mined for power-the kind of power that white people know” and Alice is bothered by the white preacher’s wife pressuring her to attend Sunday school. The story of Thanksgiving and how it can mean something else to Native Americans is highlighted in the month of November. Alice tells her teacher, “We’d be glad to see Columbus sail away.”
Alice also embraces living in a modern world, as much as having traditional Navajo elements to her life. She dresses up as Australian 1980s tennis star, Evonne Goolagong, for Halloween and gives her grandfather Mickey Mouse ears. Fortunately, her grandfather seems to enjoy how Alice incorporates all cultures into their life by statements like, “Evonne Goolagong. I like that name.”
The afterword by Navajo educator Carl Gorman is important for readers. He explains the Navajo translations that are next to each month of the year. It is not a literal translation of the month like most readers probably assumed but more a little phrase about that time of the year. These explanations help the reader understand Navajo culture better.
Begay’s illustrations are vivid and bright. Native American elements are very abundant throughout the book. Alice and her grandfather are dark skinned and their hair is very dark, almost blue-black. Alice also wears her hair in traditional braids and her grandfather has a long ponytail. They both wear traditional Native American jewelry with silver and turquoise. Southwest American animals like buffalo, horses and coyote are also depicted.

D. REVIEW EXCERPTS“… Clearly meant for older readers despite the picture-book format, the book compares a buffalo's eyes to "a drunk bronc rider's," which may make the intended audience even less certain. Begay's illustrations are wonderfully textured and infused with the colors of the Southwest. For some children, the artwork may be more revealing of traditional Navajo lifestyles than the pared down, almost stream-of-consciousness text. Purchase where supplemental materials on Native American culture are needed.” SCHOOL LIBRARY JOURNAL

“…At times, Alice's perspective is political (she speaks out against Columbus in school); at other times it is lyrical (lightning is "ghosts chasing their tails"). Begay's paintings, impressionistic dabs and swirls of brilliant color, sometimes muddy faces and expressions, but like the words, the wild patterns and hues leave room for imaginations to fill in the spaces. Whether read alone or aloud, the poems tell an affecting story about contemporary Navajo life through an appealing young character with a strong sense of history and herself. Teachers will want to use this across the curriculum; a concluding section offers more background to Navajo language and culture.” BOOKLIST

E. CONNECTIONS
Visit Shonto Begay’s website, www.shontobegay.com and learn more about the artist’s background. Discuss how his life as a Native American shaped his art.
Pick out Native American terms and create a glossary for the book.

Module 4 Raccoon's Last Race

A. BIBLIOGRAPHY
Bruchac, Joseph and James Bruchac. 2004. RACCOON’S LAST RACE. New York, NY: Dial Books. ISBN 803729774.

B. PLOT SUMMARY
The retelling of an Abenaki legend of how Raccoon, the fastest animal on earth, loses his speed because he is boastful and breaks his promises.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Father and son team Joseph and James Bruchac team up once again to narrate the famous Raccoon tale. Raccoon’s Last Race is a good addition to a folklore collection and can be used to entertain children, as well as teach a lesson. The authors use repetition nicely when telling how Raccoon brags, “He would race Bear. Zip-zip! He would beat Bear. He would race Fox. Zip-zip! He would beat Fox.” Onomatopoeias like, “thump-thump, ka-boom, and splat!” are also used to add details to the action. This book is an excellent read-aloud story that has a meaningful message about discipline and the consequences of boastfulness and the failure to keep promises.

The Authors’ notes page is helpful to the reader because it provides background on the importance of the Raccoon to the Abenaki people. The Bruchacs also inform the reader that the word “Azebansoo” in Abenaki means “to act like a Raccoon or to play a trick.” The Native American motif of four is seen in this story when Raccoon races four other characters, the Bear, Fox, Rabbit and Big Rock. The illustrations provide detail about the characters and story plot but do not just an overtly obvious Indian American characteristics. The authors did not use any Abenaki language in the body of the story either. Other than the notes page, readers of this story would probably not realize they were reading a traditional Abenaki tale.

D. REVIEW EXCERPTS
“A solid retelling of an Abenaki legend. The text reads aloud smoothly and keeps the action moving quickly. Done in pen-and-ink, gouache, and pastel, the illustrations accentuate the humor of the tale. The boldly colored animals are set against softer backgrounds, and occasional close-ups add variety to the scenes. An authors' note provides some background for the story. A strong addition to picture-book collections.” SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Discuss with older readers whether or not the Bruchacs should have incorporated more Abenaki language into this story.
Compare this story to other folktales where bragging and boasting are themes, like How the Possum Lost His Beautiful Tail" as retold by Kathi Smith Littlejohn.

Module 3 Chato's Kitchen by Gary Soto

A. BIBLIOGRAPHY
Soto, Gary. 1995. CHATO’S KITCHEN. New York, NY: Putnam & Grosset Group. ISBN 698116003. Illustrated by Susan Guevara.

B. PLOT SUMMARY
When Chato, the hippest cat in East L.A., invites a family of mice to dinner, he and his friend Novio Boy expect a wonderful meal of chiles rellenos, enchiladas and chorizo con mice. But when the mice arrive, they bring a surprise that changes the course of the whole meal.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
This humorous tale of "cat and mouse," eventually brings the diverse barrio together for an outstanding dinnner party. Gary Soto and illustrator Susan Guevara are so clever in setting the stage for a sure disaster, but readers will be surprised to learn that all ends well. Students can learn the art of suspense from reading this story. Chato, the cat, is almost licking his lips with the mice as he prepares for their dinner. Once the guests arrive, every reader will be on the edge of their seats wanting to know what happens next.
The descriptive words add to the swagger of Chato. He is described as a “low-riding cat” that mambos his hips. Chato’s friend, Novio Boy, is also described in a larger-than-life way, with “soft green eyes, sleek fur, and the loveliest growl in the barrio. Novio Boy also wore the flashiest cat collar – a leather one with real gems that sparkled at night when cars passed in the street.” Soto also includes some cat puns, like “purrrfect.”
Many Hispanic cultural markers are included in this book. The book includes a glossary of Spanish words at the beginning and a description of the foods Chato prepares. Soto and Guevara’s dedication page is also Spanish. Chato uses a sprinkling of Spanish words and phrases, like “No problema” and “Chato welcomes you to the barrio.” Even though there is a glossary at the beginning of the book, sometimes the English translation is also right next to the Spanish in the text. For example, “That Chato cat seems muy simpatico, very nice, I’m sure.” This is a little frustrating to readers who have already looked in the glossary and then see the translation on the page. This also very inconsistent because the English is not always next to the Spanish.
Food is very abundant throughout the book. Chato cooks with arroz, tortillas and flan. Many of the ingredients are also seen in Guevara’s pictures, like avocados, tomatoes and corn.
Guevara’s illustrations also depict a Hispanic American lifestyle. Chato wears his baseball hat backwards and wears low-riding shorts. His house has burglar bars, hanging bougainvillea plants and a clothesline. The kitchen ingredients are labeled “arroz” and the calendar says “Mayo”. Novio Boy also looks like a stereotypical Hispanic gangster with his bandanna slung low on his head, cross necklace and plaid shirt.

D. REVIEW EXCERPTS
1996 Pura Belpre Award

1996 ALA Notable Children's Book

“These animal characters are very human: the mouse teenager talks on her mobile phone; Chato's friend mambos to his boom box. Best of all is the fun with scale, especially in a story where the small creatures win.” BOOKLIST

“A really cool book ... Soto adeptly captures the flavor of life in el barrio in this amusing tale. Guevara's striking illustrations enrich the text with delightful, witty details.” (Starred Review) SCHOOL LIBRARY JOURNAL

“…Guevara's cats are delicious send-ups of barrio characters, and Soto's words glisten with wit: "We brought Chorizo,' Mami mouse called./ Sausage! Chato and Novio Boy danced, and with clean paws they gave each other a 'low-four.'" Salud to this magical pairing of talents.” PUBLISHERS WEEKLY


E. CONNECTIONS
Discuss with older students the illustrations and depiction of Novio Boy.
Identify the Spanish words in the story and use the glossary to figure out their meaning.
Write a different ending the story and tell the story using the new ending.

Module 3 Gracias/Thanks by Pat Mora

A. BIBLIOGRAPHY
Mora, Pat. 2009. GRACIAS/THANKS. New York, NY: Lee & Low Books. ISBN 600602580. Illustrated by John Parra.

B. PLOT SUMMARY
A young multiracial boy celebrates family, friendship and fun by telling about some of the everyday things for which he is thankful.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Mora’s writing is full of descriptive words that will resonate with students and adults. Nice descriptive phrases like, “the ladybug that landed on my finger, a little red flying surprise” and “my uncle and his guitar that turns our dogs into howling singers” will entertain children of all ages. The theme of thanksgiving is a timeless theme that needs to be explored and discussed with young readers. The main character in the book is interested in classic pastimes, like baseball, the ocean and bugs. This book will be a good addition to any collection.
The bilingual format with Spanish wording on one page and the English counterpart on the opposite page is not a distraction.
The Hispanic cultural marker of family is particularly present. The boy gives thanks to his mom for finding his homework, his “abuelita” for special winks and money and his brother and sister for making him laugh. The only specific food mentioned is mashed peas so there are no specific cultural food references. Mora chooses to use the term “abuelita” the English page, as well as the Spanish as reference to the grandmother. This is the only Spanish word included on the English translation side. Special family times are highlighted throughout the book. The family goes on vacation to the beach, spends time outside and celebrates after a recital together.
Parra’s pictures accompany the text nicely. The characters have varied facial coloring. The young boy is brown and his father is a darker brown. A friend, Billy, appears to be African American. The mother is light skinned with blonde hair. There are no specific cultural references in the illustrations, other than the skin color.

D. REVIEW EXCERPTS
2010 ALA Notable Book

2010 Belpré Illustrator Honor Book

“*Starred Review* …The bilingual format features Spanish on the left-hand page and English on the right, and the dedication and author’s note are also printed in both languages. Books of thanks can run toward clichés, but the originality and liveliness of language and art in this one will inspire children to consider their own blessings.” BOOKLIST

“…Multicultural characters are revealed page by page, but unless readers are paying close attention, they might not pick up on the boy’s Mexican-American heritage. This delightful bilingual book has universal appeal and would be a wonderful choice for library storytimes or classroom read-alouds as the “giving thanks” theme lends itself to holidays and social topics. The author’s endnote challenges readers to list the things for which they are thankful. A must buy for all libraries looking to add to their children’s Spanish collections.”–SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Discuss with students the things they are thankful for and have them write them down.
Engage in a read-aloud with someone reading the Spanish text and someone else reading the English.
Visit Pat Mora and John Parra’s personal websites and learn more about the author and illustrator.

Module 3 My Abuelita

A. BIBLIOGRAPHY
Johnston, Tony. 2009. MY ABUELITA. New York, NY: Harcourt Children’s Books. ISBN 9780152163303. Illustrated by Yuyi Morales

B. PLOT SUMMARY
A child’s grandmother is a lively, exuberant character who tells stories, eats “huevos estrellados” and works as a storyteller.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Johnston’s book is full of lively descriptive words to characterize a unique and special grandmother. She is “as old as the hills” and “round like a pumpkin” but it is clearly obvious that her grandson loves and respects her. Like most children, the grandson is confused by the ways of adults. When the grandmother yodels and stretches her body all children will find this humorous. Food is one recurring Mexican American theme seen in the book. Grandmother eats “huevos estrellados, starry eggs, queso, cheese, and tortillas.” Johnston chooses to put the English word directly next to the Spanish word and does not include a glossary in the back. The only stereotypical use of Spanish observed was, “Ay!” when the grandmother made a mistake. It felt more like a statement Bart Simpson would have made and not a grandmother. Overall, the incorporation of Spanish words is done appropriately and it does not make the wording choppy or disjointed.

Morales’ illustrations are another highlight of the book. They were created with polymer clay, wire, felting wool, acrylic paints, fabric, wood, metals and Mexican crafts and then digitally manipulated. The bright colors used are traditional of Hispanic culture. Mexican craft elements like a black and white skeleton and food images of tortilla and queso are seen in the background. An Aztec pyramis is also a prop the grandmother uses as she tells stories. The illustrator’s dedication is to “grandmothers of all shapes and colors” and his designs are respectful. Even abuela’s large size is comically exaggerated and not mean spirited. Besides the bright colors on the pages and the brown skin of the characters, the illustrations take on a fantasy perspective due to the digital manipulation and not an overly Hispanic cultural interpretation. All grandmothers and grandchildren could enjoy this book.

D. REVIEW EXCERPTS“…The book lacks a glossary and pronunciation guide, but the many Spanish terms are well defined within the boy's engaging and poetic narrative, in which he conveys his admiration and affection for his appealingly peppy grandmother. Some of the verbal imagery may be a bit esoteric for younger or more literal readers, but the eye-catching, mixed-media illustrations, sparked with bright patterns, textures, and color, will help reinforce the meaning in the words. A charming tribute to family and the joys and inspiration that storytelling can bring.” BOOKLIST

“…The story follows the boy narrator as he helps his adored grandmother, a professional storyteller, get ready for a performance at a local school. Johnston conjures up a senior citizen of enormous creativity and indomitable spirit—Abuelita exercises her voice with deep, boggy, froggy notes and wraps herself in a striped towel that makes her look and hum like a great big bee. But Morales is already conveying all that through her impishly expressive puppets (in a scene where the rotund grandmother describes herself as being round like a calabaza, her reflection in the mirror envisions her as a pumpkin), unpredictable perspectives (including a bird's-eye view of a bathroom) and a glowing palette drawn from Mexican folk art. The vignettes seamlessly knit together realism and fantasy, giving every spread a dreamy physicality.” PUBLISHERS WEEKLY

“…Characters molded from polymer clay are dressed in brightly patterned fabrics and placed among images that evoke Mexican art. Abuelita's mirror is framed by traditional metalwork, and her storytelling props include a winged serpent and a Day of the Dead skeleton. While the story is firmly placed in a Mexican context, children of all ethnic and racial backgrounds will be drawn to the eye-catching illustrations and the universal story of a loving intergenerational relationship.” SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Discuss students’ relationships with their grandparents. What kinds of foods to they fix? What types of stories do they share with their grandchildren?
What did students notice about Morales’ illustrations? Many details in the pictures need to be seen close up to catch.

Module 2 Sing to the Sun

A. BIBLIOGRAPHY
Bryan, Ashley. 1992. SING TO THE SUN. New York, NY: Harper Collins. ISBN 060208295.
B. PLOT SUMMARY
A collection of poems and paintings celebrating the ups and downs of life. African American culture is highlighted in the original illustrations.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Bryan’s poetry is easy to read and follow for young readers. He writes in free verse style, with few words on each line. Fortunately, the brightly colored illustrations add more depth.
African American culture is a large focal point in Mr. Bryan’s work. Cultural markers include describing skin color “dark as cloves and cocoa brown” and hair “the braided beaded lady.” One entire poem, Beaded Braids, is written in admiration of braids, “Beaded lady, smiles, colors glow, through quiet grays – remarkable.”
The strength of family is seen with specific poems about Granny, Mom and Dad. Bryan’s grandmother comes alive with a vivid description of her selling fruit and putting baskets on her head. Language patterns like, “Want a lickin’? Mash me down, nuh, You t’ink me name chicken!” sound foreign and maybe from an island, like the Bahamas. Elements of nature, like rain and flowers, are also appreciated. “I’ll feed my little children, ‘cause they knows what feeds my soul.” Bryan notices the little things in the world and sees the beauty in all of it.
Bryan’s illustrations are also full of African American cultural markers. For example, his characters have strong facial features and various shades of brown skin tone. Tribal elments, like drums and headdresses are also seen in the illustrations.

D. REVIEW EXCERPTS
Lee Bennett Hopkins Poetry Award
“…Bryan does a magnificent job of conveying an evocative and palpable message to young listeners and readers. Illustrations in his distinguished style depict characteristics of African-American culture combined with flowers, birds, fish, rising suns, and full moons to create a splendid artistic work with wide appeal. SCHOOL LIBRARY JOURNAL
"The words are simple but they dance." BULLETIN OF THE CENTER FOR CHILDREN’S BOOKS

E. CONNECTIONS
Compare this book to others by Bryan like, LET IT SHINE and BEAUTIFUL BLACKBIRD.
Bryan’s somewhat autobiographical poem, The Artist, is a great poem for kids to discuss the therapeutic value of writing.

Module 2. Locomotion by Jacqueline Woodson

A. BIBLIOGRAPHY
Woodson, Jacqueline. 2003. LOCOMOTION. New York, NY: G. P. Putnam’s Sons. ISBN 399231153.

B. PLOT SUMMARY
African American eleven year old Lonnie writes poetry to grieve after the death of his parents and family upheaval. His school teacher encourages his writing as a therapy to deal with living in a foster family and not being near his sister.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Woodson’s writing style will have both young adults and adults enjoying this book. Lonnie is a complex character with heart and soul. Woodson’s sparse free verse style is simple and clean. The reader can envision a young boy writing this way and feeling so much emotion in all these words. Lonnie lost his parents in a house fire and lost his younger sister as a result of not having relatives able to take care of them both. It is a refreshing change to read a book about loss from a boy’s point of view. Many authors would write emotional topics like this only from a girl’s point of view. Readers will also appreciate that these poems do not rhyme and are not catchy and upbeat.

Woodson’s writing will be appreciated by the African American community because it portrays strong characters with high character and depth. Lonnie struggles with being a black young adult by saying, “Ms. Marcus don't understand some things even though she's my favorite teacher in the world. Things like my brown, brown arm.” At first, Lonnie sees many differences between him and a new student, Clyde, who is from the country. The reader does not know Clyde’s race but can sense that he is viewed as an outsider. Fortunately, Lonnie gets to know him better and they realize they both lived in Georgia and have more in common. It was a nice touch by Woodson to allow the characters to get to know each other and not continue to judge one another. Other cultural markers include an importance of church and family bonds. Lonnie goes to church with his foster mother and goes with his sister’s new family. He realizes the importance of impressing his sister’s new mother by showing piety at church. Woodson also uses African American names as characters. For example, LaTenya and Lamont. The predominantly African American genetic disease, sickle cell anemia, is also discussed when a classmate gets it. The dialect and Lonnie’s writing style are not overly African American and not stereotypical. Slang shortcuts like, ‘cause and fo’ are used sparingly. Most readers will see this as being modern and present day and not trying too hard to be from a certain culture.

D. REVIEW EXCERPTS“…Woodson, through Lonnie, creates (much as Sharon Creech did with the boy narrator in Love That Dog) a contagious appreciation for poetry while using the genre as a cathartic means for expressing the young poet's own grief.” PUBLISHERS WEEKLY

“…Despite the spare text, Lonnie's foster mother and the other minor characters are three-dimensional, making the boy's world a convincingly real one. His reflections touch on poverty and on being African American when whites seem to have the material advantages, and return repeatedly to the pain of living apart from his younger sister. Readers, though, will recognize Lonnie as a survivor. As she did in Miracle Boys (Putnam, 2000), the author places the characters in nearly unbearable circumstances, then lets incredible human resiliency shine through. "I sneak a pen from my back pocket,/bend down low like I dropped something./The chorus marches up behind the preacher/clapping and humming and getting ready to sing./I write the word HOPE on my hand." SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Discuss the poetry of Langston Hughes and Richard Wright, two poets Lonnie mentions studying in the book. Which poems of Hughes and Wright would Lonnie have enjoyed?

Discuss sickle cell anemia after reading about Lonnie’s classmate having the disease. Discuss the impact of this disease on the African American community.

Module 2. John Henry by Julius Lester, illustrated by Jerry Pinkney

A. BIBLIOGRAPHY
Lester, Julius. 1994. JOHN HENRY. New York, NY: Dial Books. ISBN 803716060.

B. PLOT SUMMARY
The story of John Henry, a legendary folk hero, is retold by Mr. Lester. John Henry is a larger-than-life man who uses a sledge hammer to drill through a mountain to lay railroad tracks.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Lester’s version of the famous African American folktale is well crafted. John Henry’s story is full of folktale fantasy, like animals that visit and care for humans and a sun and moon that cheer and cry. The use of descriptive writing is nicely done. Students will enjoy imagery like, “the boulder shivered like you do on a cold winter morning” and “the air seemed to be dancing to the rhythm of his hammers.”
Lester also uses an appropriate amount of country dialect so readers realize the setting. “I need light to do ‘em by” and “it scurried from behind the moon’s skirts” are two examples of regional dialect. The dialect is done in a positive and upbeat manner and not demeaning to the culture in any way. John Henry’s physical attributes are described as being strong and growing and being able to physically compete against modern machines. Besides John Henry’s physical attributes, his hard work and ability to get along with others are highlighted in the book. He makes compromises with others to end arguments and keep the peace. John Henry’s ability to care for others is seen as his biggest asset in the story.
Pinkney’s illustrations are helpful to the reader to visualize the action. The pictures of John Henry as a young baby, he looks like a bright eyed young African American child with tight ringlet hair and bright eyes. His parents are also pictured as two different shades of black, which is a nice feature of the artist to include. There are too many stories where all the characters the same shade of color. As John Henry grows, Pinkney’s illustrations continue to evolve too. John Henry’s facial features look like many African American men with a strong, distinctive nose and full set of lips. This is done in an appropriate manner and not in a satirical fashion. Pinkney uses muted colors and a lot of color blending. His pictures are best viewed by the reader in a close setting instead of a large read aloud.

D. REVIEW EXCERPTS“…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.” PUBLISHERS WEEKLY

“…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.” SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Use map skills to identify the Allegheny Mountains in West Virginia, the setting of the fictional race between John Henry and the steam drill.
Listen to one of the musical ballads of John Henry and compare it to the book’s version.
Read stories about Paul Bunyan and Baby the Ox and note similarities and differences.
Read other stories written by Julius Lester and illustrated by Jerry Pinkney, like The Tales of Uncle Remus: The Adventures of Brer Rabbit and Sam and the Tigers.

Module 1 The Cat or How I Lost Eternity

A. BIBLIOGRAPHY
Richter, Jutta. 2007. THE CAT OR HOW I LOST ETERNITY. Minneapolis, MN: Milkweed Editions. ISBN 1571316760. Translated by Anna Brailovsky.
Originally published: Munich: Carl Hanser Verlag, 2006 under the title, Die Katze.

B. PLOT SUMMARY
Young girl Christine is an imaginative girl who likes to spend the day talking to an alley cat. The cat gets her into trouble by making her late to school and tries to teach her to be spiteful and pitiless.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
This is a complex read that few children will fully grasp or enjoy. The title and summary are misleading because it is not a playful book about a girl with an active imagination and an imaginary cat. The main character, Christine, is a lonely child who has found it easier to communicate with an imaginary cat instead of interact with the real world. Christine is a balanced character because she struggles with many decisions all humans make. For example, Christine is not sure whether to befriend a dog or a new neighbor. By listening to the cat, she chooses to ignore both. The cat takes on the role of playing the universal theme of good vs. evil. Luckily, Christine does mature by the end and is more comfortable making her own decisions independently. The theme of coming of age is a theme that all cultures can appreciate and relate.

This selection is void of any cultural detail and most readers would not know it was originally published in Germany unless they read the bibliography. The story could have taken place in any street in any city in the world. It has so few details that it makes it a very cold and sparse read. The setting is also unclear on whether it is a historic or contemporary time. The illustrations are modern and cold. They do not add to the story or help the reader visualize the character development.

I would recommend libraries pass on purchasing this book for their children or young adult collection.

D. REVIEW EXCERPTS
Eight-year-old Christine is late for school every day because she is stopped by a white alley cat that insists on talking to her. They discuss math and loneliness and eternity. While at first Christine feels an affinity with the cat, it later repulses her. The conversations eventually come to an end once Christine stops believing that the feline has anything wise or useful to say to her. It acts the role of The Serpent, trying to lure the Eve-like Christine into doing and being what she knows is not right. There is even a discussion about the Tree of Knowledge and Original Sin at the end to hammer home the point. There is an abundance of unpleasant food imagery (starting with the fish smell that the cat leaves on Christine's hand whenever she touches it), male characters who are either incompetent or unfeeling, and an eclipse that represents the end of the world. It is hard to imagine a broad audience for this book. SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Discuss the values and character themes (willfulness, friendship, and compassion) witnessed in the book.
Discuss the theme of coming of age and losing one’s imagination and imaginary friends.

Module 1 Hello Baby!

A. BIBLIOGRAPHY
Fox, Mem. 2009. HELLO BABY! New York, NY: Simon & Schuster. ISBN 416985136.

B. PLOT SUMMARY
A baby encounters a variety of young animals, including a monkey, elephant, owl and hippopotamus in search for learning more about themselves and the lively animals.

C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Fox’s rhyming text will be a hit with the intended toddler audience. Animals are always a popular subject and Fox creates vivid images with her use of strong of action phrases, like “twitching its nose and wielding a tusk.” Adults will also appreciate this use of advanced vocabulary because it is a nice break from picture books that only use easy reader vocabulary. This book will appeal to children across the world because of its universal topic and “feel-good” nature. Readers will delight in the ending when they realize that they are their parents’ special gift. There are no easily identifying markers that would lead a US reader to think the author was foreign. This book’s appealing format will work with all young readers and will endure the test of time.

Jenkins’ paper illustrations also enhance this book. The illustrations are large and typically cover over one page. Young children will be able to notice tiny details like the elephant’s eyelashes or the crocodile’s sharp teeth.

D. REVIEW EXCERPTS
Starred Review. While Fox is cooing as only she can, Jenkins works his usual magic with cut paper. In many of his large-scale closeups—the images spill across and off the spreads—his subjects' big, expressive eyes seem locked in a gaze with the reader. Ingeniously stylized shapes (like the coils of gray paper that form an elephant's trunk) combine with sumptuous detailing that brings alive the parade of scales, fur and feathers. PUBLISHERS WEEKLY

Fox's rhyming text is pure fun. In a layout reminiscent of Bill Martin, Jr.'s Brown Bear, Brown Bear, What Do You See? (Holt, 1983), an unseen narrator says, "Hello, baby!/Who are you?" and the speculated answers range from the familiar elephant to an exotic gecko. "Are you a zebra/sipping a drink?/Perhaps you're an owl/with a wicked wink." A spread near the end of the book provides an opportunity to name the baby animals by looking at their silhouettes. Jenkins's beautifully shaded and textured collages are stand-alone works of art, each of which holds its own with Fox's engaging cadences. This collaboration results in a lovely read-aloud for preschool storytimes or a perfect selection for one-on-one sharing. SCHOOL LIBRARY JOURNAL

E. CONNECTIONS
Create your own unique paper illustrations like the ones that are in the book.
Read other stories by Mem Fox, like WHERE IS THE GREEN SHEEP? and compare the similarities and differences.
Examine other books illustrated by Steve Jenkins, like WHAT DO YOU DO WITH A TAIL LIKE THIS? and compare.
Try writing in Fox’s style by using action verbs with animals.

Module 1 Shadow of Ghadames

A. BIBLIOGRAPHY Stolz, Joelle. 2004. THE SHADOWS OF GHADAMES. New York, NY: Delacorte Press. ISBN 385731043.
(originally published in France in 1999 by Bayard Editions Jeunesse(Les Ombres de Ghadames), translation by Catherine Temerson)

B. PLOT SUMMARY
Eleven year old Malika is growing up in Libya during the nineteenth century. She experiences many restrictions due to her gender. A stranger enters her life and helps her rethink some of the traditional views.
C. CRITICAL ANALYSIS (INCLUDLING CULTURAL MARKERS)
Malika’s story is an interesting read about an area of the world that is not very well known to many Americans. The story’s setting in Ghadames is central to the book. Women were not allowed to walk the streets freely and therefore socialized on the rooftops only with other women. Stolz uses these women only conversations as a way to communicate to the reader what life was like. It was probably very accurate that the women were not unhappy and did not seem to mind the status quo. It would have been unrealistic if the women characters were all acting like women’s liberation members. Women’s rights or lack thereof is only exhibited when Malika and her second mother sneak out of the house. The story’s mood changes because the reader realizes the danger of women leaving the house alone.

Much of the story surrounds Malika’s coming of age. She is learning from her elders that she is almost the age to become a wife. This will probably surprise young readers today because she is only eleven years old. Malika is more interested in seeing the world like her brother and learning to read. The brother character, Jasim, is an important character because it allows the reader to compare and contrast the freedoms allowed to young boys and girls. Stolz is very consistent is showing that Jasim is learning to read and use business skills, while Malika is doing housework and cooking.

Muslim culture and religious practices are also highlighted in the story. Malika and her family have daily prayer, strict diet and rituals of specialized bathing. Readers will see how all aspects of her life are intertwined with her religion.

THE SHADOW OF GHADAMES is an interesting look into the female Muslim world that few experience.

D. REVIEW EXCERPTS
Batchelder Award 2005
“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.” SCHOOL LIBRARY JOURNAL
“Starred Review. The story of an outsider who unsettles a household and helps a young person to grow is certainly nothing new, and some of the lessons here are purposeful. But Stolz invigorates her tale with elegant prose and a deft portrayal of a girl verging on adolescence. The vivid backdrop is intoxicating, but the story's universal concerns will touch readers most: sibling jealously, confusion about adult customs, and a growing interest in a world beyond family. BOOKLIST
E. CONNECTIONS
Readers might like to discuss how their families would deal with difficult family decisions and who makes family decisions.
Female readers would enjoy comparing and contrasting their home life and role to Malika’s.
Use nonfiction materials to learn more about Libya and the city of Ghadames.