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.