Bibliographic Data
Sierra, Judy. 1988. Schoolyard Rhymes: Kids’ own rhymes for rope skipping, hand clapping, ball bouncing and just plain fun. Ill. Melissa Sweet. New York: Alfred A. Knopf. ISBN 0-375-92516-3
Plot Summary
A collection of silly rhymes that children have sung on the playground in one form or another for longer than is remembered.
Critical Analysis
There are many rhymes in this book, but there is no indication of how they are often used or what some of the variations are. While some teachers and students may enjoy creating their own hand motions or activities for the rhymes, it might be fun to learn how other children use these rhymes in play.
Sweet’s illustrations are colorful and fun. They frequently interact with the text, such as the poem that is nestled between the bow-legged sailor’s legs, or the line of rhyme that becomes “Anna Banana’s” jump rope.
Review
From School Library Journal:
“Sweet's animated watercolor-and-collage illustrations fill the pages with expressive faces, thin lines of verse shaped into jump ropes and borders, and hilarious interpretive scenes from the rhymes. This is a definite winner, as it will be enormously popular with children.” –Lee Bock, Glenbrook Elementary School, Pulaski, WI ; Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Connections
Because there are so many concerns about the rise in children’s obesity rates, this book provides teachers with the perfect opportunity to introduce extra activity into their students’ day. Students can have jump-roping competitions, play badminton, or march while singing these fun songs. The book might also serve as a springboard for the teacher to introduce a unit on poetry.
*****
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Monday, September 24, 2007
Her Seven Brothers, by Paul Goble
Bibliographic Data
Goble, Paul. 1988. Her Seven Brothers. New York: Bradbury Press. ISBN 0-02-737960-4Plot
Summary
A girl who excels at needlework has vision of seven brothers. She creates a fine wardrobe for each of them, and leaves her family to become their sister. They happily accept her, and when their new family is threatened, they protect her by running away to the skies. This is the Cheyenne story of how the Big Dipper came into being.
Critical Analysis
Goble’s retelling of the Cheyenne story is calm, straightforward, and respectful. He does not embellish the tale or try to modernize it in any way. His illustrations, on the other hand, are detailed and rich in color.
This story will be a departure for students who are used to the excitement or lush drawings of newer stories, but is excellent for introducing Native American folklore.
Review
From Publishers Weekly:
“This is a spry telling, dignified but lively. Thickly applied watercolors give the pictures intense hues, and an earthy but bright palette is set off with sky tones: slate blue mingles with sage green, brick orange and rich brown.“ -- Copyright 1988 Cahners Business Information, Inc.
From School Library Journal:
“Goble's adaptation is distinguished by its restraint; he resists the temptation to dramatize the tale, choosing instead the quiet, matter-of-fact voice of the traditional Indian storyteller. The illustrations, by contrast, are boldly graphic, with dynamic patterns, brilliant color, and strong line dramatically imposed on the white of the page. While the elements are all from the natural world, Goble stylizes and idealizes them, creating fields of texture, merging from realistic foliage and animals to abstract, flattened shapes. Like the story, the characters are never particularized. Goble keeps the human characters at a distance and flattens their faces, removing all individuality. At the same time he lingers over the design of the clothing and the painted tipis. Once again Goble's admiration for the Plains Indians has been combined with his considerable gifts as a painter to produce a seamless whole.” -- Eleanor K. MacDonald, Palos Verdes Library District, Calif. ; Copyright 1988 Cahners Business Information, Inc.
Connections
This book would be a good read-aloud during a unit on Native Americans, but would also work well on a unit discussing stars and the explanations different cultures give for their presence.
On a piece of black construction paper, the teacher can randomly stick several metallic stars. Student can connect the stars with a white crayon, and then create their own legend about the constellation.
*****
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Goble, Paul. 1988. Her Seven Brothers. New York: Bradbury Press. ISBN 0-02-737960-4Plot
Summary
A girl who excels at needlework has vision of seven brothers. She creates a fine wardrobe for each of them, and leaves her family to become their sister. They happily accept her, and when their new family is threatened, they protect her by running away to the skies. This is the Cheyenne story of how the Big Dipper came into being.
Critical Analysis
Goble’s retelling of the Cheyenne story is calm, straightforward, and respectful. He does not embellish the tale or try to modernize it in any way. His illustrations, on the other hand, are detailed and rich in color.
This story will be a departure for students who are used to the excitement or lush drawings of newer stories, but is excellent for introducing Native American folklore.
Review
From Publishers Weekly:
“This is a spry telling, dignified but lively. Thickly applied watercolors give the pictures intense hues, and an earthy but bright palette is set off with sky tones: slate blue mingles with sage green, brick orange and rich brown.“ -- Copyright 1988 Cahners Business Information, Inc.
From School Library Journal:
“Goble's adaptation is distinguished by its restraint; he resists the temptation to dramatize the tale, choosing instead the quiet, matter-of-fact voice of the traditional Indian storyteller. The illustrations, by contrast, are boldly graphic, with dynamic patterns, brilliant color, and strong line dramatically imposed on the white of the page. While the elements are all from the natural world, Goble stylizes and idealizes them, creating fields of texture, merging from realistic foliage and animals to abstract, flattened shapes. Like the story, the characters are never particularized. Goble keeps the human characters at a distance and flattens their faces, removing all individuality. At the same time he lingers over the design of the clothing and the painted tipis. Once again Goble's admiration for the Plains Indians has been combined with his considerable gifts as a painter to produce a seamless whole.” -- Eleanor K. MacDonald, Palos Verdes Library District, Calif. ; Copyright 1988 Cahners Business Information, Inc.
Connections
This book would be a good read-aloud during a unit on Native Americans, but would also work well on a unit discussing stars and the explanations different cultures give for their presence.
On a piece of black construction paper, the teacher can randomly stick several metallic stars. Student can connect the stars with a white crayon, and then create their own legend about the constellation.
*****
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Bubba the Cowboy Prince
Bibliographic Data
Ketteman, Helen. 1997. Bubba the cowboy prince: a fractured Texas tale. Ill by James Warhola. New York: Scholastic Press. ISBN 0-590-25506-1
Plot Summary
Bubba is made to do all the work around the ranch by his stepfather and stepbrothers, and never gets to have fun, including going to Miz Lurleen’s ball. His fairy godcow saves the day by providing Bubba with fancy clothes and a white steed to take him to the dance. In the end though, it’s Bubba’s true self that win’s Miz Lurleen’s heart, and they live happily ever after.
Critical Analysis
As in any Cinderella tale, the main character of Bubba is fundamentally good, and is severely oppressed by his evil family members. He has no one to stick up for him, and he performs his chores without complaint. Unlike the traditional heroine though, this Cinderella is happy to perform his chores because he loves ranching. This is a modern, realistic note that will strike a chord with today’s children, who might wonder why Bubba would stay under such harsh conditions otherwise. This departure also provides a meaningful reason for Bubba and Lurleen to marry, because she too has a love for ranching.
Unlike most Cinderella tales, this one is funny! Ketterman doesn’t shy away from explaining just how bad a true cowboy smells, and the idea of a fairy godcow is extremely silly. She also uses a stereotypical Texas voice which would ring false in many stories, but in this fantastic context, it’s exactly right. Ketterman even answers the question of what would happen if the clock struck midnight before Cinderella leaves the ball. In this case, it proves to Miz Lurleen that she has fallen in love with a true cowboy, and she knows she must find him.
Ketterman’s story is entertaining, but Warhola’s illustrations are what makes this story click. Miz Lurleen’s big hair, the big Texas sky, and the sparkle of Bubba’s outfit are perfect, and if you look closely you’ll notice a romance brewing between Bubba and Miz Lurleen’s dogs. Most remarkable are the expressions on the characters’ faces, because Warhola has made it perfectly clear what they are thinking, even down to the surprise on the faces of the livestock when they meet the fairy godcow.
Review
From Publishers Weekly:
“While spoofing Cinderella is not a new idea, Ketteman and Warhola's (Aunt Hilarity's Bustle) well-matched flair for hyperbole gives both the narrative and illustrations a one-two punch. Just the ticket for buckaroos lookin' fer a good read.” --Copyright 1997 Cahners Business Information, Inc.
Connections
This book would be a fun read for students during a unit on Texas, but would also work well for discussing story elements, such as plot, characters, and setting.
*****
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Ketteman, Helen. 1997. Bubba the cowboy prince: a fractured Texas tale. Ill by James Warhola. New York: Scholastic Press. ISBN 0-590-25506-1
Plot Summary
Bubba is made to do all the work around the ranch by his stepfather and stepbrothers, and never gets to have fun, including going to Miz Lurleen’s ball. His fairy godcow saves the day by providing Bubba with fancy clothes and a white steed to take him to the dance. In the end though, it’s Bubba’s true self that win’s Miz Lurleen’s heart, and they live happily ever after.
Critical Analysis
As in any Cinderella tale, the main character of Bubba is fundamentally good, and is severely oppressed by his evil family members. He has no one to stick up for him, and he performs his chores without complaint. Unlike the traditional heroine though, this Cinderella is happy to perform his chores because he loves ranching. This is a modern, realistic note that will strike a chord with today’s children, who might wonder why Bubba would stay under such harsh conditions otherwise. This departure also provides a meaningful reason for Bubba and Lurleen to marry, because she too has a love for ranching.
Unlike most Cinderella tales, this one is funny! Ketterman doesn’t shy away from explaining just how bad a true cowboy smells, and the idea of a fairy godcow is extremely silly. She also uses a stereotypical Texas voice which would ring false in many stories, but in this fantastic context, it’s exactly right. Ketterman even answers the question of what would happen if the clock struck midnight before Cinderella leaves the ball. In this case, it proves to Miz Lurleen that she has fallen in love with a true cowboy, and she knows she must find him.
Ketterman’s story is entertaining, but Warhola’s illustrations are what makes this story click. Miz Lurleen’s big hair, the big Texas sky, and the sparkle of Bubba’s outfit are perfect, and if you look closely you’ll notice a romance brewing between Bubba and Miz Lurleen’s dogs. Most remarkable are the expressions on the characters’ faces, because Warhola has made it perfectly clear what they are thinking, even down to the surprise on the faces of the livestock when they meet the fairy godcow.
Review
From Publishers Weekly:
“While spoofing Cinderella is not a new idea, Ketteman and Warhola's (Aunt Hilarity's Bustle) well-matched flair for hyperbole gives both the narrative and illustrations a one-two punch. Just the ticket for buckaroos lookin' fer a good read.” --Copyright 1997 Cahners Business Information, Inc.
Connections
This book would be a fun read for students during a unit on Texas, but would also work well for discussing story elements, such as plot, characters, and setting.
*****
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Monday, September 10, 2007
Flotsam, by David Wiesner
Bibliographic Data
Wiesner, David. 2006. Flotsam. New York: Clarion Books. ISBN 978-0-618-19457-5
Summary
A boy, spending the day on the beach with his family, finds an old camera washed up on the shore. When he develops the film, he discovers the wonders of undersea life, as well as a glimpse of the camera’s many previous owners. After securing his place in the camera’s history, he returns it to the sea, to again chronicle more adventures and captivate another child.
Critical Analysis
Though there are no words, this book clearly tells a story. Wiesner’s illustrations are amazingly vivid and realistic. He not only captures details in objects such as a crab or a pair of shorts, but his large scenes are just as detailed. This book is reminiscent of a comic book in its layout and the way that the eye flows seamlessly from one scene to the next. There is never any confusion about what the reader should look at next. More than once, Wiesner draws our attention to what he wants us to take note of, whether it is a clerk giving the boy a replacement roll of film to load in the camera, the boys impatience at waiting for the developing, or the boy’s amazement at what he sees in the photo of the camera’s previous owners.
Though there are beautiful and interesting pictures in this book, not all children are going to grasp what’s going on. I shared this book with my children, ages 8 and 10, and while my younger daughter thought the book was really “neat”, my older daughter was confused. I think she would have preferred the structure of text. Once we discussed the plot, she looked at the book again, and was then impressed by the story and art.
Reviews
From Publisher’s Weekly:
“Masterfully altering the pace with panel sequences and full-bleed spreads, [Wiesner] fills every inch of the pages with intricate, imaginative watercolor details. New details swim into focus with every rereading of this immensely satisfying excursion." - Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal:
“Filled with inventive details and delightful twists, each snapshot is a tale waiting to be told. Pair this visual adventure with Wiesner’s other works, Chris Van Allsburg’s titles, or Barbara Lehman’s The Red Book (Houghton, 2004) for a mind-bending journey of imagination." –Joy Fleishhacker, Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Connections
This book is a great starting point for creating writing samples. Students can use the entire book to create a short story, or just one picture to practice writing descriptively.
**********
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Wiesner, David. 2006. Flotsam. New York: Clarion Books. ISBN 978-0-618-19457-5
Summary
A boy, spending the day on the beach with his family, finds an old camera washed up on the shore. When he develops the film, he discovers the wonders of undersea life, as well as a glimpse of the camera’s many previous owners. After securing his place in the camera’s history, he returns it to the sea, to again chronicle more adventures and captivate another child.
Critical Analysis
Though there are no words, this book clearly tells a story. Wiesner’s illustrations are amazingly vivid and realistic. He not only captures details in objects such as a crab or a pair of shorts, but his large scenes are just as detailed. This book is reminiscent of a comic book in its layout and the way that the eye flows seamlessly from one scene to the next. There is never any confusion about what the reader should look at next. More than once, Wiesner draws our attention to what he wants us to take note of, whether it is a clerk giving the boy a replacement roll of film to load in the camera, the boys impatience at waiting for the developing, or the boy’s amazement at what he sees in the photo of the camera’s previous owners.
Though there are beautiful and interesting pictures in this book, not all children are going to grasp what’s going on. I shared this book with my children, ages 8 and 10, and while my younger daughter thought the book was really “neat”, my older daughter was confused. I think she would have preferred the structure of text. Once we discussed the plot, she looked at the book again, and was then impressed by the story and art.
Reviews
From Publisher’s Weekly:
“Masterfully altering the pace with panel sequences and full-bleed spreads, [Wiesner] fills every inch of the pages with intricate, imaginative watercolor details. New details swim into focus with every rereading of this immensely satisfying excursion." - Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal:
“Filled with inventive details and delightful twists, each snapshot is a tale waiting to be told. Pair this visual adventure with Wiesner’s other works, Chris Van Allsburg’s titles, or Barbara Lehman’s The Red Book (Houghton, 2004) for a mind-bending journey of imagination." –Joy Fleishhacker, Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Connections
This book is a great starting point for creating writing samples. Students can use the entire book to create a short story, or just one picture to practice writing descriptively.
**********
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Sunday, September 9, 2007
Don’t Let the Pigeon Drive the Bus, by Mo Willems
Bibliographic Data
Willems, Mo. 2003. Don’t Let the Pigeon Drive the Bus. New York: Hyperion Books for Children. ISBN: 078681988X
Summary
When the bus driver takes a break, he asks the reader to keep an eye on things – and “don’t let the pigeon drive the bus!” The pigeon begs, bribes, tricks, and even throws a fit, trying everything he can think of to convince the reader to let him drive the bus. He’s dejected when he realizes the bus driver has returned and he’s lost his chance, until he turns and sees a big truck. A new dream is born!
Critical Analysis
The reader is immediately drawn into the book by the bus driver, and remains involved because the pigeon continues to address him directly throughout the book. The pigeon is very childlike, saying things such as, “No fair!”, which amuses both children and adults. Although we are used to seeing farfetched occurrences like animals driving cars in children’s literature, the device of bringing the reader into the text seems to also bring in a dose of reality, and highlights the silliness of the notion that a pigeon should expect to drive a bus. The dialogue is realistic enough, however, to allow us to suspend disbelief long enough to have this conversation. Parents and children alike are sure to recognize some of the words and behavior the pigeon uses to get his way.
Though Willems’ drawings are simple, he conveys the pigeon’s emotions well, primarily through changes in body language, but also by positioning and size. Willems’ illustrations also set the speed of the story, slowing down with negative space, and speeding up with multiple illustrations on a double-page spread. Because the entire book is in dialogue, this story begs to be read aloud, and Willems’ gives us clues on how to read the text, sometimes using bold print, other times using a wiggly line on the conversation bubble, or making the bubble very small. When the pigeon throws a temper tantrum, it’s obvious, from the feathers flying across the page, the way he throws himself around, his red, beady eye, and the very large, messy, yellow and black upper-case printing.
My youngest daughter and I first read this book four years ago, when it was published. She was four at the time, and we both laughed hard and thoroughly enjoyed this silly book. She recently read it again, as I was preparing for this review, and couldn’t resist reading it aloud, still laughing along the way.
Reviews
From Publishers Weekly:
“The premise of this cheeky debut is charmingly absurd. … Readers will likely find satisfaction in this whimsical show of emotions and, perhaps, a bit of self-recognition.” Copyright 2003 Reed Business Information, Inc.
From Booklist, 9/1/2003
"In his winning debut, Willems finds the preschooler in a pigeon: a cajoling, tantrum-throwing, irresistible bird. … Willems is a professional animator, and each page has the feel of a perfectly frozen frame of cartoon footage--action, remarkable expression, and wild humor captured with just a few lines. Preschoolers will howl over the pigeon's dramatics, even as they recognize that he wheedles, blows up, and yearns to be powerful just like they do.” - GillianEngberg, Copyright © American Library Association
Connections
This is such a fun book to read aloud, so I would highly recommend it when teaching students to read with emotion, or to use for fluency.
The pigeon’s behavior gives the teacher a springboard for discussing wants and needs or appropriate behavior. Should the pigeon be allowed to drive the bus? Why or why not? Did the pigeon act appropriately?
**********
Reviews found at the Carrollton Public Library website, http://cityofcarrollton.com/library/
Picture this: How Pictures Work, by Molly Bang
Bibliographic Data
Bang, Molly. 1991. Picture This: How Pictures Work. New York: SeaStar Books. ISBN 1587170302
Summary
In the first half of this book, illustrator Molly Bang analyzes the decisions she makes when creating illustrations for “Little Red Riding Hood” using simple geometric figures. As she uses different shapes in varying colors and sizes, she discusses the emotions each evokes within the reader, and how the choices add or detract from the story. The second half of the book is devoted to Bang’s ten principles relating to structure of illustrations, further explaining how size, placement and other style decisions affect how the reader interprets a picture.
Critical Analysis
This is the rare book that can be understood and appreciated by a variety of age and learning levels. While younger children may need the teacher to summarize lessons, older students can easily understand and still learn from the text. Bang’s conversational writing style draws the reader in, and we eagerly turn the page to learn the story of how she makes a red triangle turn into a scared little girl.
It’s clear that the star of this book is the pictures. In all but a few instances, the text takes less than half of the page, and is either balanced by a picture or a large area of negative space. All of the pictures are, with margins, half of the page, and are present on every two-page spread other than the first and last few pages of the book. The text portion is black, on a medium gray background. While the text is easily read, choosing a background in the same color family as the text slightly deemphasizes the words, and visually highlights the pictures.
Reviews
Journal of Aesthetic Education says “…its illustrations would be useful in opening up the formal aspects of art to those whose understandings are more or less limited to the content and context of masterworks. In that connection, Ms. Bang does more in a few pages of text and designs than I have achieved in whole chapters of exposition. So, it is with some envy that I recommend this tiny volume to anyone involved in the teaching or practice of graphic design or illustration.” - John Adkins Richardson
[Review refers to an earlier edition of this book.]
Connections
In a 1st grade classroom, the teacher can recreate some of Bang’s illustrations using shapes on a felt board, discussing with children how the different shapes make them feel. After the class discussion, the children can form small groups to use colored geometric shapes to illustrate a sentence the teacher has given them, such as, “Playing with my dog is fun!” or “I felt sad when my toy broke.”
Bang, Molly. 1991. Picture This: How Pictures Work. New York: SeaStar Books. ISBN 1587170302
Summary
In the first half of this book, illustrator Molly Bang analyzes the decisions she makes when creating illustrations for “Little Red Riding Hood” using simple geometric figures. As she uses different shapes in varying colors and sizes, she discusses the emotions each evokes within the reader, and how the choices add or detract from the story. The second half of the book is devoted to Bang’s ten principles relating to structure of illustrations, further explaining how size, placement and other style decisions affect how the reader interprets a picture.
Critical Analysis
This is the rare book that can be understood and appreciated by a variety of age and learning levels. While younger children may need the teacher to summarize lessons, older students can easily understand and still learn from the text. Bang’s conversational writing style draws the reader in, and we eagerly turn the page to learn the story of how she makes a red triangle turn into a scared little girl.
It’s clear that the star of this book is the pictures. In all but a few instances, the text takes less than half of the page, and is either balanced by a picture or a large area of negative space. All of the pictures are, with margins, half of the page, and are present on every two-page spread other than the first and last few pages of the book. The text portion is black, on a medium gray background. While the text is easily read, choosing a background in the same color family as the text slightly deemphasizes the words, and visually highlights the pictures.
Reviews
Journal of Aesthetic Education says “…its illustrations would be useful in opening up the formal aspects of art to those whose understandings are more or less limited to the content and context of masterworks. In that connection, Ms. Bang does more in a few pages of text and designs than I have achieved in whole chapters of exposition. So, it is with some envy that I recommend this tiny volume to anyone involved in the teaching or practice of graphic design or illustration.” - John Adkins Richardson
[Review refers to an earlier edition of this book.]
Connections
In a 1st grade classroom, the teacher can recreate some of Bang’s illustrations using shapes on a felt board, discussing with children how the different shapes make them feel. After the class discussion, the children can form small groups to use colored geometric shapes to illustrate a sentence the teacher has given them, such as, “Playing with my dog is fun!” or “I felt sad when my toy broke.”
**********
Bang, Molly. Picture This: How Pictures Work. New York: SeaStar Books, 1991.
Richardson, John Adkins. "Picture This: Perception and Composition [review]." Journal of Aesthetic Education 28, no. 1 (Spring 1994): 118-119.
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