Monday, June 21, 2010
book by Yoshiko Uchida, #518
"The Magic Purse" by Yoshiko Uchida is the comforting re-telling of an old Japanese story. It is about a poor young man who secures a fortune for himself, quite by accident. While on a journey to a shrine, he meets a girl who begs him to deliver a letter to her parents in the evil Red Swamp. She explains that she is kept prisoner by the ruler of the swamp. In return for his altruistic help, she gives him a small red purse that has an infinite amount of gold inside.
I like the author's descriptions. For example, she writes about the evil Red Swamp, "Vapors of steam rose from whirlpools, and giant snakes and crocodiles slithered about in the muddy waters."
It is a simple and unadulterated story but rich with meaning and values. It teaches kids about kindness, helping someone in need and courage. It is about selfless sacrifice.
I like the author's descriptions. For example, she writes about the evil Red Swamp, "Vapors of steam rose from whirlpools, and giant snakes and crocodiles slithered about in the muddy waters."
It is a simple and unadulterated story but rich with meaning and values. It teaches kids about kindness, helping someone in need and courage. It is about selfless sacrifice.
Dr. Seuss book 2 of 2, The Lorax, #518
I really did not like this book. It amazes me to learn that "The Lorax" was the author's favorite book.
Here is what I disliked. First, part of the author's charm was in his ability to SUBTLY convey morals and meanings to kids through his books. "The Lorax" is hardly nuanced, hardly subtle. It practically screams environmentalism over capitalism! Whether you agree or disagree with the political overtones, the fact remains: this book has a loud, and not-so-subtle, political message directed at children. Second, the book has a kind of an ivory-towered, didactic, holier-than-thou tone. It just isn't likable. The book's didactic tone comes across as slightly irritating. Third, I felt that the author's writing was circuitous; he doesn't get to the point. I think that most kids would be confused by the plot and slightly suspicious of his uncharacteristic tangential ramblings.
I felt discontent after reading this book; perhaps it is because I am used to Dr. Seuss's subtle, fun style--rather than his overt, serious tone that this book conveys. In addition, I hated the title. I mean, "The Lorax" sounds like an old-fashioned children's medicine that you would find in your grandma's musty linen closet...like a bitter throat lozenge that she would slide down your throat when you are sick!
After finishing the book, I felt the same mild annoyance that I feel when I read that Irish rock star Bono has pontificated, on the international scene, about globalism or American politics. It is perfectly acceptable for private citizens, and that includes artists of all kinds, to speak their minds. However, I want Bono--who is an uneducated entertainer--to sing great Irish songs, and I want Dr. Seuss--a children's writer--to write whimsical children's books. Is that so wrong?
Here is what I disliked. First, part of the author's charm was in his ability to SUBTLY convey morals and meanings to kids through his books. "The Lorax" is hardly nuanced, hardly subtle. It practically screams environmentalism over capitalism! Whether you agree or disagree with the political overtones, the fact remains: this book has a loud, and not-so-subtle, political message directed at children. Second, the book has a kind of an ivory-towered, didactic, holier-than-thou tone. It just isn't likable. The book's didactic tone comes across as slightly irritating. Third, I felt that the author's writing was circuitous; he doesn't get to the point. I think that most kids would be confused by the plot and slightly suspicious of his uncharacteristic tangential ramblings.
I felt discontent after reading this book; perhaps it is because I am used to Dr. Seuss's subtle, fun style--rather than his overt, serious tone that this book conveys. In addition, I hated the title. I mean, "The Lorax" sounds like an old-fashioned children's medicine that you would find in your grandma's musty linen closet...like a bitter throat lozenge that she would slide down your throat when you are sick!
After finishing the book, I felt the same mild annoyance that I feel when I read that Irish rock star Bono has pontificated, on the international scene, about globalism or American politics. It is perfectly acceptable for private citizens, and that includes artists of all kinds, to speak their minds. However, I want Bono--who is an uneducated entertainer--to sing great Irish songs, and I want Dr. Seuss--a children's writer--to write whimsical children's books. Is that so wrong?
book to movie 3 of 3, The Tale of Despereaux, #518
"The Tale of Despereaux" by Kate DiCamillo was the recipient of the Newbery Medal. DiCamillo has a talent for creating whimsical characters. There is Despereaux Tilling, a mouse with giant ears who is a misfit among the other mice. There is a rat called Roscuro, who is a kind of a pirate-rat; he ends up in a dungeon, where he doesn't fit in with the other rats. In the dungeon, he craves light. There is the radiant Princess Pea, who is full of "longing"--according to Despereaux. And there is a homely servant girl named Miggery Sow who dreams of "living in the castle and being a princess." DiCamillo takes this disparate bunch and throws them together such that their lives intersect in a meaningful way.
Both the book and the movie have the essential ingredients of a classic fairy tale, but with a twist. It is a mouse--not a prince--who falls for the princess and vows to "honor her" and ultimately rescues her. There is a rat that is not a bad rat, though he does a very bad thing and then makes amends for it. This story takes the basic fairy tale premise and adds some variation on the classic genre.
Both the book and the movie have subtle meanings and messages for children. One theme is forgiveness. Another involves the idea of marching to the beat of one's own drum. Both the rat and the mouse are misfits, and the two humans--Princess Pea and the servant Miggery--are sad. DiCamillo offers a hopeful message to kids who feel out of place, who harbor secret dreams.
I like DiCamillo's writing style in that she addresses the reader. She starts one chapter with, "Reader, you did not forget about our small mouse, did you?" The movie tries to incorporate this narrative effect as well. Also, the author divides the book into four sections: the first tells about the mouse, the second tells about the rat, the third tells of the servant girl and the last melds all the characters together and tells how their lives intertwine.
I liked the book better than the movie but the movie did a decent job in telling the story. Overall, it is an enchanting story. There is just the right mix of entertainment value--for the kids--and substance--for the adults.
Both the book and the movie have the essential ingredients of a classic fairy tale, but with a twist. It is a mouse--not a prince--who falls for the princess and vows to "honor her" and ultimately rescues her. There is a rat that is not a bad rat, though he does a very bad thing and then makes amends for it. This story takes the basic fairy tale premise and adds some variation on the classic genre.
Both the book and the movie have subtle meanings and messages for children. One theme is forgiveness. Another involves the idea of marching to the beat of one's own drum. Both the rat and the mouse are misfits, and the two humans--Princess Pea and the servant Miggery--are sad. DiCamillo offers a hopeful message to kids who feel out of place, who harbor secret dreams.
I like DiCamillo's writing style in that she addresses the reader. She starts one chapter with, "Reader, you did not forget about our small mouse, did you?" The movie tries to incorporate this narrative effect as well. Also, the author divides the book into four sections: the first tells about the mouse, the second tells about the rat, the third tells of the servant girl and the last melds all the characters together and tells how their lives intertwine.
I liked the book better than the movie but the movie did a decent job in telling the story. Overall, it is an enchanting story. There is just the right mix of entertainment value--for the kids--and substance--for the adults.
Monday, June 14, 2010
book to movie, 2 of 3, #518
"Cloudy with a Chance of Meatballs" by Judi Barrett is a best-selling children's book; her plot is simple: it is about a grandfather who tells his two grandkids a fanciful bedtime story about a place called Chewandswallow, a tiny town whose weather provided the residents with food thrice a day. It rained orange juice and eggs one day. Another day's fair was a gusty wind of hotdogs! Everything was great; people didn't have to buy food. Then something went wrong. The food stopped coming out right, the broccoli was overcooked and there were violent storms of bread. So the residents sailed to a new town. End of story...and Grandpa tucks the kids in goodnight.
The movie, having to fill a lot more time, has a more involved plot-but sticks to the basic premise of the book. The movie's protagonist is a dreamer, a sort of would-be scientist. His father owns a fishing supply store and does not understand his son's dreams to pursue science and inventions. To date, the son's inventions have been a bust. Then one day, his weather/food machine actually works! All is well until the greedy and overzealous mayor, who is a limelight seeker, convinces the boy to overwork the machine. Naturally, that causes disaster. And the plot thickens. There is a love interest and plenty of double-entendres for the adults. Entertaining movie for the kids and adults.
Obviously, the movie had a more sophisticated plot than the book since the book is a fairly short and simple picture book. Hollywood had to add plot elements to keep movie-goers' attention for 90-plus minutes. However, I wasn't disappointed with the movie.
The movie, having to fill a lot more time, has a more involved plot-but sticks to the basic premise of the book. The movie's protagonist is a dreamer, a sort of would-be scientist. His father owns a fishing supply store and does not understand his son's dreams to pursue science and inventions. To date, the son's inventions have been a bust. Then one day, his weather/food machine actually works! All is well until the greedy and overzealous mayor, who is a limelight seeker, convinces the boy to overwork the machine. Naturally, that causes disaster. And the plot thickens. There is a love interest and plenty of double-entendres for the adults. Entertaining movie for the kids and adults.
Obviously, the movie had a more sophisticated plot than the book since the book is a fairly short and simple picture book. Hollywood had to add plot elements to keep movie-goers' attention for 90-plus minutes. However, I wasn't disappointed with the movie.
Thursday, June 10, 2010
book by Julius Lester, 1 of 1, #518
"The Hungry Ghosts" by Julius Lester is a creative story about a boy named Malcom David, who hears ghosts outside his bedroom window at night. With a curious bone, he sneaks out of his house the next night and into the cemetery. There he sees the ghosts and learns that they are hungry. He tries to help them in their quest for food. Turns out, they were not people ghosts; they were actually fruit ghosts!
I like Lester's writing. I like his verbs and the fact that he uses adverbs sparingly. For instance, I saw powerful verbs like "rippled", "rolled", "sparkled", "flattened" and "swelled".
This is a fun book for kids. I like that it has no social agenda, no subtle political bone to pick. It's just sheer fun. Books like this encapsulate childhood at its best.
Lester's whimsical writing stimulates a young child's imagination. For instance, when describing the ghosts' departure toward the end of the book, he writes, "The shaft of light shrank and rolled itself into a ball. The disc flattened and rose into the air and began spinning around and around. The sparkling lights danced toward Malcolm David. They covered him, and he sparkled like he was covered in diamonds." Now how's that for a dramatic exit?
Excellent story. I can't imagine how any young child wouldn't be completely enthralled by this.
I like Lester's writing. I like his verbs and the fact that he uses adverbs sparingly. For instance, I saw powerful verbs like "rippled", "rolled", "sparkled", "flattened" and "swelled".
This is a fun book for kids. I like that it has no social agenda, no subtle political bone to pick. It's just sheer fun. Books like this encapsulate childhood at its best.
Lester's whimsical writing stimulates a young child's imagination. For instance, when describing the ghosts' departure toward the end of the book, he writes, "The shaft of light shrank and rolled itself into a ball. The disc flattened and rose into the air and began spinning around and around. The sparkling lights danced toward Malcolm David. They covered him, and he sparkled like he was covered in diamonds." Now how's that for a dramatic exit?
Excellent story. I can't imagine how any young child wouldn't be completely enthralled by this.
book illustrated by Jerry Pinkney, 1 of 1, #518
The book "John Henry" by Julius Lester and illustrated by Jerry Pinkney is a Caldecott Honor book. Apparently, this project was not their first collaboration; Pinkney and Lester completed a four-volume collection of "The Tales of Uncle Remus".
Pinkney, a three-time Caldecott Honor artist, did gorgeous watercolors for "John Henry". The watercolors use achromatic neutrals: like gray, black and brown--which makes the occasional use of a vivid color, like red, stand out even more. For example, the cover shows the protagonist, John Henry, sitting down. He wears dark clothing, the background is a combination of dark greens and grays; his tools are gray. However, he wears a red scarf around his neck. The red in contrast with the potpourri of muted neutral dark tones seems more vivid. I noticed this technique throughout the book, where most everything is cast in neutral tones and then one or two images are painted with an attention-grabbing color like turquoise, red or orange.
The book is based on ballad about an African-American folk hero named John Henry; scholars doubt his authenticity. The Big Bend Tunnel, built in the 1870s, in the Allegheny Mountains of West Virginia is the site of the folk ballad. John Henry, the folk hero, was a hard working man who--according to the story--almost single-handedly built the tunnel. As a result of his hard work, he died.
The crux of the story can be summed up in a quote from the book; one character said about John Henry, "Dying ain't important. Everybody does that. What matters is how well you do your living." It's a good story for kids since it introduces them to the idea of folklore. Good moral, decent story, vivid watercolors.
Pinkney, a three-time Caldecott Honor artist, did gorgeous watercolors for "John Henry". The watercolors use achromatic neutrals: like gray, black and brown--which makes the occasional use of a vivid color, like red, stand out even more. For example, the cover shows the protagonist, John Henry, sitting down. He wears dark clothing, the background is a combination of dark greens and grays; his tools are gray. However, he wears a red scarf around his neck. The red in contrast with the potpourri of muted neutral dark tones seems more vivid. I noticed this technique throughout the book, where most everything is cast in neutral tones and then one or two images are painted with an attention-grabbing color like turquoise, red or orange.
The book is based on ballad about an African-American folk hero named John Henry; scholars doubt his authenticity. The Big Bend Tunnel, built in the 1870s, in the Allegheny Mountains of West Virginia is the site of the folk ballad. John Henry, the folk hero, was a hard working man who--according to the story--almost single-handedly built the tunnel. As a result of his hard work, he died.
The crux of the story can be summed up in a quote from the book; one character said about John Henry, "Dying ain't important. Everybody does that. What matters is how well you do your living." It's a good story for kids since it introduces them to the idea of folklore. Good moral, decent story, vivid watercolors.
book turned movie, 1 of 3, #518
The New York Times Bestseller "The Sisterhood of the Traveling Pants" by Ann Brashares is the story of four different girls who share one thing in common: a pair of magical jeans. The book--using the pants as a conduit--follows the summer adventures of: Lena, Tibby, Bridget and Carmen. It is the first book in the series.
It is agreed that, upon summer break, the pants will first go to Lena, a strikingly beautiful girl and a promising artist. She spends the summer in Greece with her grandparents.
Lena sends the pants to Tibby, who spends the summer at home, working at a local grocery store. She befriends a twelve-year-old girl named Bailey, who has leukemia.
Tibby send the pants to Carmen, who is in South Carolina for the summer to visit her divorced dad. Much to her surprise, he reveals that he is getting married to a woman who also has children from another marriage.
Carmen sends the pants to Bridget, a seemingly fearless girl whose mother died some years earlier. She is a soccer camp for the summer.
As a result of the pants, and the four disparate girls' friendship, each character gains an insight into the problem/adventure faced that summer.
The movie was fairly close to the book--with some minor plot changes. For instance, in the book, Lena had a sister. Also, in the book, the four girls do not attend Carmen's dad's wedding.
I liked the book better than the movie. The movie was fine but it just does not compare to Brashares' insightful writing.
It is agreed that, upon summer break, the pants will first go to Lena, a strikingly beautiful girl and a promising artist. She spends the summer in Greece with her grandparents.
Lena sends the pants to Tibby, who spends the summer at home, working at a local grocery store. She befriends a twelve-year-old girl named Bailey, who has leukemia.
Tibby send the pants to Carmen, who is in South Carolina for the summer to visit her divorced dad. Much to her surprise, he reveals that he is getting married to a woman who also has children from another marriage.
Carmen sends the pants to Bridget, a seemingly fearless girl whose mother died some years earlier. She is a soccer camp for the summer.
As a result of the pants, and the four disparate girls' friendship, each character gains an insight into the problem/adventure faced that summer.
The movie was fairly close to the book--with some minor plot changes. For instance, in the book, Lena had a sister. Also, in the book, the four girls do not attend Carmen's dad's wedding.
I liked the book better than the movie. The movie was fine but it just does not compare to Brashares' insightful writing.
a book by Laurence Yep, 1 of 1, #518
"Auntie Tiger" by the author Laurence Yep is an insightful retelling of "Little Red Riding Hood." It is a colorful picture book for young readers. Set in China, the book's main characters are a pair of argumentative sisters: Big Sister and Little Sister, respectively. While their mother leaves them alone in the house and instructs them not to open the door, a tiger comes to their house and pretends to be their Auntie. The wiser older girl is suspicious but the younger sister, greedy for treats, falls prey to the tiger's tricks and ultimately lets him in. She is eaten by the animal. The elder girl tricks the tiger by climbing up a tree, convincing him to fetch her some water and a bamboo stick. She tells him that she is coming down, and then pours the water on him while he has the stick in his mouth. She kills him and retrieves her younger sister. Once the mother comes home, all is well. The sisters stop fighting as a result of their ordeal with the beast and order is restored.
Obviously, the book instructs children to obey their parents, to minimize sibling arguments, to be on guard for those who would do you harm and to use your wits.
One insight that I has while reading this was the idea that the plots in children's literature can be really simple. I don't mean that disparagingly at all. Simple doesn't mean bad. Not at all. But this plot was nothing more than a simple retelling of an old classic.
Yep is a prolific writer. His genres include: historical fiction, speculative fiction, nonfiction, autobiography and picture books. He has written the "Golden Mountain Chronicles"--of which there are nine books to date, two of which were Newbery Honor books. He has written four books in his "Dragon" series and three books in his "Chinatown Mysteries" series. He has also written nine picture books.
Obviously, the book instructs children to obey their parents, to minimize sibling arguments, to be on guard for those who would do you harm and to use your wits.
One insight that I has while reading this was the idea that the plots in children's literature can be really simple. I don't mean that disparagingly at all. Simple doesn't mean bad. Not at all. But this plot was nothing more than a simple retelling of an old classic.
Yep is a prolific writer. His genres include: historical fiction, speculative fiction, nonfiction, autobiography and picture books. He has written the "Golden Mountain Chronicles"--of which there are nine books to date, two of which were Newbery Honor books. He has written four books in his "Dragon" series and three books in his "Chinatown Mysteries" series. He has also written nine picture books.
Wednesday, June 9, 2010
Dr. Seuss book 1 of 2, The Cat in the Hat, #518
Years after its first publication, "The Cat in the Hat" still charms. Several factors make it appealing to kids. First, it is not difficult for a new reader. For instance, most words used in the book are monosyllabic. Only one word--another--has three syllables. Only 14 words use two syllables, and the rest--some 221 words--contain one syllable. Second, it has a kind of sing-songy rhythm to it. The cadence is attractive to a new reader. Third, its plot is appealing since it uses imagination and it paints a portrait of utter mischief. There is a kind of tension in the book that all children feel; there is the fish (the adult voice of reason) and then there is the cat (the childish, fun, devil-may-care attitude). The book balances out that tension in an entertaining way. The book ends with asking a subtly moralistic question regarding whether the children should tell their mother the truth. Dr. Seuss's books seem like nuanced moralism; they certainly are not overt, which is another appeal for kids.
I don't know of another children's author who is like Dr. Seuss. Each author has his of her unique style of writing, and I don't know of anyone who emulates Dr. Seuss.
I don't know of another children's author who is like Dr. Seuss. Each author has his of her unique style of writing, and I don't know of anyone who emulates Dr. Seuss.
Monday, June 7, 2010
comparison of the Newbery and the Caldecott, #518
One important difference between the two awards is that: the Caldecott Medal is awarded to the most distinguished picture book, while the Newbery Medal is given to the author of most distinguished contribution to American literature for children. So, the Caldecott rewards pictures and graphics, while the Newbery is more literature based.
Both medals are given by the American Library Association. Both medals are the most prestigious within their field.
The Caldecott gets its name from an English illustrator from the 1800s named Randolph Caldecott. It is the highest honor that an artist can get for children's book illustration. The annual award has been granted every year since 1938.
The Newbery gets its name from John Newbery, an English children's book publisher; the annual award has been granted since 1922.
There is some controversy about the committees who pick the books; some researchers argue that the books are too hard for children. One researcher pointed out that there is a less than 5% overlap between the Children's Choice Awards (International Reading Association) and the Notable Children's Books (ALA). That is food for thought. I lack an opinion about that, at present, since I feel that I have not read enough Newbery's or Caldecott's to comment.
In terms of comparing the two awards against each other, one award is not better than the other--in my opinion. They are equally prestigious and convey the same thing: that the recipients have achieved the highest within their realm--whether that is literature or illustrations.
Both medals are given by the American Library Association. Both medals are the most prestigious within their field.
The Caldecott gets its name from an English illustrator from the 1800s named Randolph Caldecott. It is the highest honor that an artist can get for children's book illustration. The annual award has been granted every year since 1938.
The Newbery gets its name from John Newbery, an English children's book publisher; the annual award has been granted since 1922.
There is some controversy about the committees who pick the books; some researchers argue that the books are too hard for children. One researcher pointed out that there is a less than 5% overlap between the Children's Choice Awards (International Reading Association) and the Notable Children's Books (ALA). That is food for thought. I lack an opinion about that, at present, since I feel that I have not read enough Newbery's or Caldecott's to comment.
In terms of comparing the two awards against each other, one award is not better than the other--in my opinion. They are equally prestigious and convey the same thing: that the recipients have achieved the highest within their realm--whether that is literature or illustrations.
Coretta Scott King Award, book 1 of 1, #518
"Copper Sun" by Sharon Draper is a winner of the Coretta Scott King Award. It takes place in the 1770s. The protagonist is Amari, a fifteen-year-old girl, who is the "golden girl" of her village. She has it all: a handsome fiancee and a loving family. But her life changes forever when she is captured in her African village and is sold into slavery. She is headed to the Carolinas. In the ship, headed to a foreign land, Amari meets Afi, who acts as a mentor to the girl, telling her to stay hopeful--despite the dire circumstances.
Once in America, Amari is sold to a plantation owner, who gives the girl to his son for a birthday present. Amari meets a white girl named Polly, who is also a servant. The two girls become fast friends. Later, they (along with a small boy) escape to Florida.
This book is intense. It leaves little to the imagination in terms of the subjugation of women by men and spares no details. It is written for a teen audience and I wonder if perhaps it is a bit too intense for a teen audience? I really don't know. I think that it might have been too heavy for me as a teen. I would love to ask a teenager who has read it, if it was too much or just right. It is certainly a powerful book based on the very nature of the subject matter.
Once in America, Amari is sold to a plantation owner, who gives the girl to his son for a birthday present. Amari meets a white girl named Polly, who is also a servant. The two girls become fast friends. Later, they (along with a small boy) escape to Florida.
This book is intense. It leaves little to the imagination in terms of the subjugation of women by men and spares no details. It is written for a teen audience and I wonder if perhaps it is a bit too intense for a teen audience? I really don't know. I think that it might have been too heavy for me as a teen. I would love to ask a teenager who has read it, if it was too much or just right. It is certainly a powerful book based on the very nature of the subject matter.
Sunday, June 6, 2010
Newbery, book 2 of 2, #518
"Crispin: the Cross of the Lead" by the one-word author, Avi, was the recipient of the 2003 Newbery Medal. It only took about two pages into the book, before I was hooked. However, I had my doubts based on the terrible cover. The cover is a drab brown with a graphic that shows a surprised looking boy. The cover did absolutely nothing to grab my interest. I almost did not check it out at my local library due to the dull cover! It didn't say, "hey, this is a fantastic adventure book with lots of plot twists and turns, on par with the Harry Potter series or the Artemis Fowl series or the Rick Riordan books."
Despite the misleading and disappointing cover, the book thrills! It is historical fiction--taking place in 1377. Crispin is a thirteen-year-old boy who lives under feudalism. He lives and works with his mother at Lord Furnival's manor. However, the Lord has been gone for years (fighting wars) and the steward of the manor, John Aycliffe, is in charge. Aycliffe loathes poor Crispin and serves as the book's main antagonist.
Like any good adventure, the book thrusts the reader into action early on. His mother dies and his one friend, the village priest, is murdered. Crispin is falsely accused of theft and Aycliffe declares him "a wolf's head", meaning that he is a marked person--anyone who kills him will be rewarded with riches. Suddenly, Crispin can trust no one. His world is turned upside down. He is on the run--and is hunted by many. Having almost no resources, it's incredible that he survives.
Another mark of a good book is that it raises "story questions" early on to entice the reader. Avi does this with aplomb. For example, before the priest is murdered, he tells Crispin that his father is an important man, a noble. Crispin's mother told her son that the father was dead, killed by the Bubonic Plague. Also, the priest intimates that Crispin's seemingly illiterate mother could read. Crispin doesn't believe it, still reeling from his mother's death and his "wolf's head" status. Like a good writer, Avi entices his readers with such morsels of information to keep us reading.
Avi's book has many elements of the whole mythical hero plot subgenre. For instance, Crispin is a reluctant hero. He has nothing, is nothing, has no status, no father, no riches--so he thinks. Later, his father is revealed. Second, Crispin has a helper, a wise person, who helps him. This could be either the priest or a man named Bear. Bear is a circus performer whom Crispin meets later in his journey; they have a complicated relationship. At first, Bear demands that Crispin be his slave, but later they help each other. Third, Crispin goes on a journey (though by force) to leave home in order to restore order.
Avi writes in the first person with Crispin as our narrator. His language is true to the Old English way of speaking, which may be difficult for some child readers. However, the action sequences help to nullify difficult language. Words like "blight", "sustenance", "pillaged", "thrushes", "hamlet", and "crone" may be hard for some child readers, which is something a teacher should be mindful of.
Avi's writing is poignant and apt. For instance, there is one scene (around page 59) where Crispin--still alone, scared, tired and hungry--stops at a village to look for food. He realizes that the villagers have been killed by the plague from several years before. There is no one in the village. Pondering the plague's toll on the village people, Crispin muses, "Here, not one person appeared to have remained alive. The profound stillness that embraced all was its own sad and lonely sermon." Beautiful and poignant writing indeed.
Despite the differences in time, Crispin reminded me--oddly--of the 1993 movie The Fugitive, probably because Crispin is a hunted person--like Dr. Richard Kimble. Also, the action scenes are as fast and furious as that movie's were.
Crispin is an excellent story; I think it would appeal to boy readers especially. As a piece of historical fiction, it has the added benefit of teaching kids what it was like to live within the feudal system of the 12th century, which opens to floor to a discussion of basic human freedoms that we take for granted today.
Despite the misleading and disappointing cover, the book thrills! It is historical fiction--taking place in 1377. Crispin is a thirteen-year-old boy who lives under feudalism. He lives and works with his mother at Lord Furnival's manor. However, the Lord has been gone for years (fighting wars) and the steward of the manor, John Aycliffe, is in charge. Aycliffe loathes poor Crispin and serves as the book's main antagonist.
Like any good adventure, the book thrusts the reader into action early on. His mother dies and his one friend, the village priest, is murdered. Crispin is falsely accused of theft and Aycliffe declares him "a wolf's head", meaning that he is a marked person--anyone who kills him will be rewarded with riches. Suddenly, Crispin can trust no one. His world is turned upside down. He is on the run--and is hunted by many. Having almost no resources, it's incredible that he survives.
Another mark of a good book is that it raises "story questions" early on to entice the reader. Avi does this with aplomb. For example, before the priest is murdered, he tells Crispin that his father is an important man, a noble. Crispin's mother told her son that the father was dead, killed by the Bubonic Plague. Also, the priest intimates that Crispin's seemingly illiterate mother could read. Crispin doesn't believe it, still reeling from his mother's death and his "wolf's head" status. Like a good writer, Avi entices his readers with such morsels of information to keep us reading.
Avi's book has many elements of the whole mythical hero plot subgenre. For instance, Crispin is a reluctant hero. He has nothing, is nothing, has no status, no father, no riches--so he thinks. Later, his father is revealed. Second, Crispin has a helper, a wise person, who helps him. This could be either the priest or a man named Bear. Bear is a circus performer whom Crispin meets later in his journey; they have a complicated relationship. At first, Bear demands that Crispin be his slave, but later they help each other. Third, Crispin goes on a journey (though by force) to leave home in order to restore order.
Avi writes in the first person with Crispin as our narrator. His language is true to the Old English way of speaking, which may be difficult for some child readers. However, the action sequences help to nullify difficult language. Words like "blight", "sustenance", "pillaged", "thrushes", "hamlet", and "crone" may be hard for some child readers, which is something a teacher should be mindful of.
Avi's writing is poignant and apt. For instance, there is one scene (around page 59) where Crispin--still alone, scared, tired and hungry--stops at a village to look for food. He realizes that the villagers have been killed by the plague from several years before. There is no one in the village. Pondering the plague's toll on the village people, Crispin muses, "Here, not one person appeared to have remained alive. The profound stillness that embraced all was its own sad and lonely sermon." Beautiful and poignant writing indeed.
Despite the differences in time, Crispin reminded me--oddly--of the 1993 movie The Fugitive, probably because Crispin is a hunted person--like Dr. Richard Kimble. Also, the action scenes are as fast and furious as that movie's were.
Crispin is an excellent story; I think it would appeal to boy readers especially. As a piece of historical fiction, it has the added benefit of teaching kids what it was like to live within the feudal system of the 12th century, which opens to floor to a discussion of basic human freedoms that we take for granted today.
Newbery, book 1 of 2, #518
"The Higher Power of Lucky" by Susan Patron was the recipient of the 2007 Newbery Medal. It is the insightful (and controversial) story of a ten-year-old girl named Lucky. At times heartfelt and sad, it is not a depressing book. It balances genuine humor with serious topics--like death, parental abandonment, parental imprisonment, and addiction.
I loved Patron's writing style. She nailed her main character's "voice" and "point of view." She writes in the third person point of view, yet--unless you are paying attention--you almost think she is writing in the first person, because she just completely nails Lucky's voice! She is a stunning writer. Like the truly gifted storyteller that she is, Patron does not get in the way of her story. She does not allow her own voice, her own psyche, her own ego to interfere. It is as if you--the reader--are being told the story by Lucky herself. And again: Patron manages this bit of magic without writing in the first person.
Patron's writing dazzled me. In addition to her deft use of voice and point of view, she is equally skilled with character development. There is an age old question among writers: which is more important, plot or character? Clearly, Patron is a master in the character department. Her characters come alive. My favorite character was Miles, a sympathetic five-year-old boy and a friend of Lucky's. One of his quirks involves cookie-hunting. The author writes, "Miles had done a thorough cookie-availability check with everyone in town at one time or another. He was an expert on who had what kind of cookies, who would give him one, and where they stored them. He made his cookie rounds every day." If that doesn't paint a picture of being five, then I don't know what does!
Another great character is Brigitte, Lucky's Guardian. Brigitte also happens to be Lucky's father's first wife; she is from France and comes to California to care for poor Lucky, whose mother died and whose father wants nothing to do with her. You get the sense that Lucky thinks of her Guardian as a foreign, ethereal goddess. Lucky likes Brigitte but fears that she will leave and return to France, since she only agreed to care for the child temporarily.
Lincoln, another lovably quirky character, is Lucky's best friend...and possible crush. Lincoln has a quirky penchant for tying knots. In fact, at age 10, he is a member of the International Guild of Knot Tyers. He reads their monthly newsletter cover to cover and is perpetually engaged in tying and untying knots. Later, Lucky sees Lincoln's knot tying talents as a kind of art, as a special way of seeing.
On the topic of character development, Patron is fearless with her protagonist. What I mean is this: she is not afraid to show Lucky's faults. At one point in the story, she makes Lucky be extremely mean to one of the more sympathetic characters. Many authors, I think, would be afraid of doing that, thinking that it may alienate readers.
Unfortunately, Patron's stellar writing talents have been overshadowed by the controversial use of the word of "scrotum". Lucky hears that her friend's dog gets bitten on his scrotum. Patron writes, "Scrotum sounded to Lucky like something green that comes up when you have the flu and cough too much. It sounded medical and secret, but also important."
Although the word is one part of a beautiful and complicated story, some librarians are banning it from their libraries. I understand the controversy; however, the story is too gorgeous, too important not to be told--just because it uses a highly clinical, anatomical word for a body part. In my view, Patron is not some writer-version of Lady Gaga or Madonna. What they lack in talent, they make up for in churning contoversy. On the contrary, Patron is a remarkable writer who happened to use the word "scrotum".
And the use of that word is part of Patron's story. But it isn't the whole story.
To deny children the chance to read this stellar book because of the use of the word "scrotum" smacks of censorship.
I loved Patron's writing style. She nailed her main character's "voice" and "point of view." She writes in the third person point of view, yet--unless you are paying attention--you almost think she is writing in the first person, because she just completely nails Lucky's voice! She is a stunning writer. Like the truly gifted storyteller that she is, Patron does not get in the way of her story. She does not allow her own voice, her own psyche, her own ego to interfere. It is as if you--the reader--are being told the story by Lucky herself. And again: Patron manages this bit of magic without writing in the first person.
Patron's writing dazzled me. In addition to her deft use of voice and point of view, she is equally skilled with character development. There is an age old question among writers: which is more important, plot or character? Clearly, Patron is a master in the character department. Her characters come alive. My favorite character was Miles, a sympathetic five-year-old boy and a friend of Lucky's. One of his quirks involves cookie-hunting. The author writes, "Miles had done a thorough cookie-availability check with everyone in town at one time or another. He was an expert on who had what kind of cookies, who would give him one, and where they stored them. He made his cookie rounds every day." If that doesn't paint a picture of being five, then I don't know what does!
Another great character is Brigitte, Lucky's Guardian. Brigitte also happens to be Lucky's father's first wife; she is from France and comes to California to care for poor Lucky, whose mother died and whose father wants nothing to do with her. You get the sense that Lucky thinks of her Guardian as a foreign, ethereal goddess. Lucky likes Brigitte but fears that she will leave and return to France, since she only agreed to care for the child temporarily.
Lincoln, another lovably quirky character, is Lucky's best friend...and possible crush. Lincoln has a quirky penchant for tying knots. In fact, at age 10, he is a member of the International Guild of Knot Tyers. He reads their monthly newsletter cover to cover and is perpetually engaged in tying and untying knots. Later, Lucky sees Lincoln's knot tying talents as a kind of art, as a special way of seeing.
On the topic of character development, Patron is fearless with her protagonist. What I mean is this: she is not afraid to show Lucky's faults. At one point in the story, she makes Lucky be extremely mean to one of the more sympathetic characters. Many authors, I think, would be afraid of doing that, thinking that it may alienate readers.
Unfortunately, Patron's stellar writing talents have been overshadowed by the controversial use of the word of "scrotum". Lucky hears that her friend's dog gets bitten on his scrotum. Patron writes, "Scrotum sounded to Lucky like something green that comes up when you have the flu and cough too much. It sounded medical and secret, but also important."
Although the word is one part of a beautiful and complicated story, some librarians are banning it from their libraries. I understand the controversy; however, the story is too gorgeous, too important not to be told--just because it uses a highly clinical, anatomical word for a body part. In my view, Patron is not some writer-version of Lady Gaga or Madonna. What they lack in talent, they make up for in churning contoversy. On the contrary, Patron is a remarkable writer who happened to use the word "scrotum".
And the use of that word is part of Patron's story. But it isn't the whole story.
To deny children the chance to read this stellar book because of the use of the word "scrotum" smacks of censorship.
Caldecott, book 5 of 5, #518
"So You Want to be President" by author Judith St. George and illustrator David Small was the 2001 recipient of the Caldecott Medal. It combines historical facts in a fun way. For instance, St. George writes that there were six presidents with the first name of James and that eight presidents grew up in log-cabins. She also compares the presidents' sizes--Lincoln was the tallest and Madison was the smallest. She discusses musical talents, who went to college and who didn't, who was in the army, who had pets, had siblings, who was good-looking and who wasn't.
The book is a fun compilation of presidential traits. The point being: however similar or dissimilar the presidents may have been (or may be), they share one thing and that is service to the people of this great nation.
This book does a terrific job of being both educational and fun. It teaches children about presidential history. The drawings are funny and appropriate. The whole tone of the book is like, "let me teach you some cool things about these old dead guys who you may have heard of." It makes history come alive for kids. For instance, they heard of Lincoln, but did they know that he was tall and somewhat homely and poor--and happened to unify the nation during the Civil War?
Anything that educates children while balancing the aspect of fun gets a high approval from me. I am big believer that education CAN be fun. If we don't try to make it interesting to children, they will tune us out. The author and the illustrator succeeded in their aim.
When I was ten, there was a book on the U.S. Presidents that I checked out (and renewed) for weeks at my school library. It was the only book of its kind in my library. It was more old-school, didactic and instructional--which was fine but I wish that THIS book had been around back then. It would have been one of my regulars!
The book is a fun compilation of presidential traits. The point being: however similar or dissimilar the presidents may have been (or may be), they share one thing and that is service to the people of this great nation.
This book does a terrific job of being both educational and fun. It teaches children about presidential history. The drawings are funny and appropriate. The whole tone of the book is like, "let me teach you some cool things about these old dead guys who you may have heard of." It makes history come alive for kids. For instance, they heard of Lincoln, but did they know that he was tall and somewhat homely and poor--and happened to unify the nation during the Civil War?
Anything that educates children while balancing the aspect of fun gets a high approval from me. I am big believer that education CAN be fun. If we don't try to make it interesting to children, they will tune us out. The author and the illustrator succeeded in their aim.
When I was ten, there was a book on the U.S. Presidents that I checked out (and renewed) for weeks at my school library. It was the only book of its kind in my library. It was more old-school, didactic and instructional--which was fine but I wish that THIS book had been around back then. It would have been one of my regulars!
Caldecott, book 4 of 5, #518
"Flotsam" by David Wiesner was the 2007 recipient of the Caldecott Medal. "Flotsam" was similar to Wiesner's other book, "The Three Pigs", in that the story is a visual one. While "The Three Pigs" did contain words, "Flotsam" does not. Other than 28 words on the front flap of the book, there are no actual words at all. It is richly drawn--and his illustrations are quite apt. They do tell the story.
Like "The Three Pigs", this is a book that I can imagine a child wanting "alone time" with. It would be excellent for a struggling reader. It could engage him or her in the story and get interested in books, as a starting point on literature. It would also be appropriate for a beginning reader, or for anyone who enjoys the visual aspect of storytelling.
It is an imaginative story about a boy who finds something incredible along the shore. What he finds he must give back, so that another child can use it and then give it back and so on. It's the story of a kind of childhood reciprocity that extends to generations. There is something really beautiful about that idea.
It reminded me of childhood, of summer vacations along the milky beaches of Charleston, South Carolina, playing along the shore with my family.
Like "The Three Pigs", this is a book that I can imagine a child wanting "alone time" with. It would be excellent for a struggling reader. It could engage him or her in the story and get interested in books, as a starting point on literature. It would also be appropriate for a beginning reader, or for anyone who enjoys the visual aspect of storytelling.
It is an imaginative story about a boy who finds something incredible along the shore. What he finds he must give back, so that another child can use it and then give it back and so on. It's the story of a kind of childhood reciprocity that extends to generations. There is something really beautiful about that idea.
It reminded me of childhood, of summer vacations along the milky beaches of Charleston, South Carolina, playing along the shore with my family.
more cool book quotes:
"The true university these days is a collection of books."
-Thomas Carlyle
"To add a library to a house is to give that house a soul."
-Cicero
"Libraries are as the shrine where all the relics of the ancient saints, full of true virtue, and that without delusion or imposture, are preserved and reposed."
-Bacon
-Thomas Carlyle
"To add a library to a house is to give that house a soul."
-Cicero
"Libraries are as the shrine where all the relics of the ancient saints, full of true virtue, and that without delusion or imposture, are preserved and reposed."
-Bacon
Friday, June 4, 2010
Caldecott, book 3 of 5, #518
"The Three Pigs" by author David Wiesner is the 2002 recipient of the Caldecott Medal. He takes a new twist on the old classic three pigs story. The idea is: if we let the pigs decide what happens to them in the story, let's see how they play it out.
While creative and fun, I kind of miss the old classic and feel a bit fussy about someone messing with it. I realize that it is all in good fun but I miss the sage lessons from the ancient and honorable classic. In asking myself why the tinkering of the original bothers me, I think it's because the story was such a familiar one. It was a favorite among my childhood pile of books.
To me, messing with a classic tale is like drawing a mustache on the Mona Lisa. It's meant in jest but it comes across as a nice try that doesn't quite meet the mark.
While creative and fun, I kind of miss the old classic and feel a bit fussy about someone messing with it. I realize that it is all in good fun but I miss the sage lessons from the ancient and honorable classic. In asking myself why the tinkering of the original bothers me, I think it's because the story was such a familiar one. It was a favorite among my childhood pile of books.
To me, messing with a classic tale is like drawing a mustache on the Mona Lisa. It's meant in jest but it comes across as a nice try that doesn't quite meet the mark.
Caldecott, book 2 of 5, #518
"My Friend Rabbit" by Eric Rohmann is the 2003 recipient of the Caldecott Medal. It's a laconic book--the idea being that pictures can tell a story as well as words. The illustrations are wonderful and they would definitely appeal to a young reader.
The book is about friendship, loyalty, patience, teamwork and good-old fashioned mischief.
Because the book is more visual than verbal, I had an odd reaction to it. I didn't dislike it; it was more a feeling of, "where are the words?" However, the visual aspect of the book would capture the imagination of a young reader--and that's really the point, isn't it?
It's a unique book in this way: I can imagine a child "reading" it to himself at night or in a school library, rather than asking to be read to. The idea of a child spending time alone with a book, allowing it to work its magic on him are the very seeds of literacy--and who can argue with that?
The book is about friendship, loyalty, patience, teamwork and good-old fashioned mischief.
Because the book is more visual than verbal, I had an odd reaction to it. I didn't dislike it; it was more a feeling of, "where are the words?" However, the visual aspect of the book would capture the imagination of a young reader--and that's really the point, isn't it?
It's a unique book in this way: I can imagine a child "reading" it to himself at night or in a school library, rather than asking to be read to. The idea of a child spending time alone with a book, allowing it to work its magic on him are the very seeds of literacy--and who can argue with that?
Caldecott book 1 of 5: The Man who Walked between the Towers, #518
"The Man who Walked between the Towers" by author Mordicai Gerstein is a 2004 recipient of the Caldecott Medal. It is the true story of Frenchman Philippe Petit's incredible, mind-blowing trek on mere rope between the two towers of the World Trade Center in 1974.
Petit was a street performer in New York during the 1970s. His repertoire was of the standard variety: juggling balls, juggling torches and the like. However, his favorite thing was to "walk and dance on a rope he tied between two trees." He got a notion to do the same thing, except instead of two trees, he wanted to walk between the behemoth towers.
Operating in secret, he and some friends hid in the buildings until night. Then they began the difficult (some might say crazy) business of securing the rope to the two towers, which were 140 feet away from each other. Incredibly, he and his friends did secure the rope between the two towers; the rope was a mere five-eighths of an inch thick.
He succeeded in his trek--without injury.
This book took me by surprise. It captured me somehow. I started out with a typical adult attitude of, "he sounds nuts." But the story was about more than that. First, I think the book--through Petit's story--demonstrates to children the idea of not being afraid to do what you like. For instance, when describing the moments before Petit's first steps on the rope, the book says, "Philippe put on his black shirt and tights. He picked up his twenty-eight-foot balancing pole. All his life he had worked to be here; to do this." Midway through his journey (which I can imagine as being the most terrifying part), the book says, "He could feel the towers breathing. He was not afraid. He felt alone and happy and absolutely free." One theme of the book is: have the courage to be who you are.
Not only is the book a testament to Petit's courage, independence and sense of whimsy, it is also a testament to the memory of the towers. There is a poignant section of the book that simply says, "Now the towers are gone."
The book had a special meaning for me. I was at the World Trade Center as a five-year-old in 1979--a mere five years after Petit's journey. My family and I were eating in the top-floor restaurant on one of the towers (I think it was called Windows) and I remember practically sitting at my mom's knee--attention rapt--as she told me of the time she saw a man walk on a rope between two towers. Even as a five-year-old, I thought she was kidding. Turns out, she wasn't.
Petit was a street performer in New York during the 1970s. His repertoire was of the standard variety: juggling balls, juggling torches and the like. However, his favorite thing was to "walk and dance on a rope he tied between two trees." He got a notion to do the same thing, except instead of two trees, he wanted to walk between the behemoth towers.
Operating in secret, he and some friends hid in the buildings until night. Then they began the difficult (some might say crazy) business of securing the rope to the two towers, which were 140 feet away from each other. Incredibly, he and his friends did secure the rope between the two towers; the rope was a mere five-eighths of an inch thick.
He succeeded in his trek--without injury.
This book took me by surprise. It captured me somehow. I started out with a typical adult attitude of, "he sounds nuts." But the story was about more than that. First, I think the book--through Petit's story--demonstrates to children the idea of not being afraid to do what you like. For instance, when describing the moments before Petit's first steps on the rope, the book says, "Philippe put on his black shirt and tights. He picked up his twenty-eight-foot balancing pole. All his life he had worked to be here; to do this." Midway through his journey (which I can imagine as being the most terrifying part), the book says, "He could feel the towers breathing. He was not afraid. He felt alone and happy and absolutely free." One theme of the book is: have the courage to be who you are.
Not only is the book a testament to Petit's courage, independence and sense of whimsy, it is also a testament to the memory of the towers. There is a poignant section of the book that simply says, "Now the towers are gone."
The book had a special meaning for me. I was at the World Trade Center as a five-year-old in 1979--a mere five years after Petit's journey. My family and I were eating in the top-floor restaurant on one of the towers (I think it was called Windows) and I remember practically sitting at my mom's knee--attention rapt--as she told me of the time she saw a man walk on a rope between two towers. Even as a five-year-old, I thought she was kidding. Turns out, she wasn't.
Thursday, June 3, 2010
two quotes for fellow booklovers:
"I have always imagined that paradise will be a kind of library."
-Jorge Luis Borges
"I cannot live without books."
-Thomas Jefferson to John Adams, 1815
-Jorge Luis Borges
"I cannot live without books."
-Thomas Jefferson to John Adams, 1815
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