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.