Friday, June 24, 2011

Genre 2: Traditional Literature- SWAMP ANGEL

Swamp AngelBook cover accessed from: goodreads.com
Bibliographic data:

Isaacs, Anne. 1994. SWAMP ANGEL. Ill. by Paul O. Zelinsky. New York: Dutton Children’s Books. ISBN 0-525-45271-0.


Summary:

Swamp Angel is a fictional tall tale of frontier and pioneer life in Tennessee. Angelica Longrider, also known as Swamp Angel, grows up to be larger than life and the greatest woodswoman in Tennesse. She saves settlers all on her own, from a formidable bear known as Thundering Tarnation. In her quest to capture Thundering Tarnation, Swamp Angel wields a tornado like a lasso and drinks a lake dry. Both characters leave a lasting impression from the Great Smokey Mountains to the star filled heavens above.

Critical analysis:


Swamp Angel is a fictional tall tale of frontier and pioneer life in Tennessee. The characters in Swamp Angel are larger than life. Swamp Angel is symbolic of human traits and an exaggerated strong female character. The plot is full of action involving a quest to capture a larger than life bear. The resolution is very satisfying, yet not realistic. The setting helps us to understand the context for our protagonist, is in the distant past, and time passes quickly (in a few sentences).The theme revolves around good triumphing over evil; it is strongly moral, and ends happily. The style is culturally specific, American wilderness in Tennessee, with motifs of supernatural exaggerated sizes. The style captures the sound of spoken language in print. The illustrations complement and extend the story reflecting the cultural heritage that creates the mood, pacing, and tension. Paul O. Zelinsky's folksy oil illustrations are painted on cherry, maple, or birch veneers, with old-fashioned frames; the extravagant and fanciful paintings have garnered the distinguished illustrator yet another Caldecott Honor. [1] The cultural markers are an authentic cultural representation, with a bit of exaggeration. The language and images are true, helping the reader gain insight into culture and customs.


Awards: [3]

  • 1995 Caldecott Honor Book
  • 1995 Boston Globe-Horn Book Honor Book
  • 1994 ALA Notable Book
  • New York Public Library, 100 Books Every Child Should Read
  • New York Times Best Illustrated Books of 1994
  • School Library Journal Best Books of 1994
  • Booklist Children's Editors Choices 1994
  • Publisher's Weekly Best Books of 1994
  • Time Magazine's 8 Best Children's Books, 1994
  • Parenting Magazine Reading-Magic Award, 10 Best Books of 1994
  • 1995 Notable Trade Book in Language Arts, National Council of Teachers of English
  • Book of the Month Club featured selection
  • Japanese and Korean editions
  • Featured on Storytime, PBS
  • Starred reviews: Horn Book, Booklist, Kirkus, Bulletin, Publisher's Weekly, School Library Journal
Review excerpt(s):


Horn Book Magazine, 1995
Move over, Paul Bunyan, you are about to meet Swamp Angel, an original creation in the tall-tale tradition whose exploits are guaranteed to amaze and amuse a wide swath of readers. Born Angelica Longrider on August 1, 1815, she gives little indication of her future accomplishments. As her chronicler reports, "The newborn was scarcely taller than her mother and couldn't climb a tree without help." This tongue-in-cheek style is skillfully maintained throughout a rip-roaring narrative which tells of the circumstances under which Angelica is transformed into Swamp Angel, summarizes her developing abilities, and relates her greatest triumph: the defeat of a marauding bear nicknamed "Thundering Tarnation" whose thieving ways threaten the settlers' winter supplies. And that is not all. After the great contest, Swamp Angel moves to Montana and spreads the bear's pelt in front of her cabin, where it becomes the Shortgrass Prairie. The rest of Thundering Tarnation is immortalized among the constellations — a fitting conclusion to a truly remarkable tale by a first-time author. To complement the narrative, Zelinsky, working on cherry and maple veneers, employs an elegant palette, adapting elements of American folk art. His sense of line matches the exuberance of the text. Visually exciting, wonderful to read aloud, this is a picture book to remember. [5]

School Library Journal, 12/01/1994
K-Gr 3-Newborn Angelica Longrider, ``scarcely taller than her mother,'' was a ``full two years old before she built her first log cabin.'' Thus begins Isaacs's original tall tale, and she captures the cadence of the genre perfectly with its unique blend of understatement, exaggeration, and alliteration. Set in Tennessee, it is the story of a resourceful young woman who rescued wagon trains ``mired in Dejection Swamp.'' Now she has set her sights on saving settlers from an enormous black bear named Thundering Tarnation and beating the lineup of male competitors in the process. Zelinsky paints his primitive views of Americana with oil on veneer, a choice that gives each page a grainy border, well suited to this backwoods tale. A master of composition, he varies readers' perspectives by framing the portrait of the newborn and, later, the series of male hunters with small ovals. He uses double-page lunettes to depict the massive bear and woman sprawled across the pages, and places the menacing beast lunging over the frame in another memorable scene. The pictures and words cavort across the page in perfect synchronization, revealing the heroine's feisty solution. Buy for a great guffaw in small groups or one-on-one. It's an American classic in the making.-Wendy Lukehart, Dauphin County Library, Harrisburg, PA[6]

BookList, 10/15/1994
/*STARRED REVIEW*/ Ages 5-9. Forget those images of angelic maidens, ethereal and demure. Angelica Longrider is the greatest woodswoman in Tennessee. She can lasso a tornado. She can toss a bear into the sky so hard that it is still on the way up at nightfall. She snores like a locomotive in a thunderstorm. Isaacs tells her original story with the glorious exaggeration and uproarious farce of the traditional tall tale and with its typical laconic idiom--you just can't help reading it aloud. The heroine was nothing special as a newborn baby ("scarcely taller than her mother and couldn't climb a tree without help . . . She was a full two years old before she built her first log cabin"). Zelinsky's detailed oil paintings in folk-art style are exquisite, framed in cherry, maple, and birch wood grains. They are also hilarious, making brilliant use of perspective to extend the mischief and the droll understatement. Sweetfaced Angelica wears a straw bonnet and a homespun dress, but she's a stalwart savior who comes tramping out of the mist on huge bare feet to lift a wagon train from Dejection Swamp. She is bent over in many of the pictures as if too tall to fit in the elegant oval frames. Pair this picture book with Lester and Pinkney's John Henry for a gigantic tall-tale celebration. ((Reviewed October 15, 1994)) -- Hazel Rochman. Booklist, published by the American Library Association. [6]

Publishers Weekly, 10/03/1994
Zelinsky's (Rumpelstiltskin) stunning American-primitive oil paintings, set against an unusual background of cherry, maple and birch veneers, frankly steal the show here. Their success, however, does not diminish the accomplishment of Isaacs, whose feisty tall tale marks an impressive picture-book debut. Her energy-charged narrative introduces Angelica Longrider. ``On August 1, 1815,'' Isaacs begins, ``when [she] took her first gulp of air on this earth, there was nothing about the baby to suggest that she would become the greatest woodswoman in Tennessee. The newborn was scarcely taller than her mother and couldn't climb a tree without help.... She was a full two years old before she built her first log cabin.'' The story continues in this casually overstated vein, explaining how Angelica got the appellation Swamp Angel at the age of 12 after rescuing a wagon train mired in the mud. But the larger-than-life girl's reputation grows to truly gargantuan proportions when she bests an even larger bear, throwing him up in the sky, where "he crashed into a pile of stars, making a lasting impression. You can still see him there, any clear night." This valiant heroine is certain to leave youngsters chuckling-and perhaps even keeping a close watch on the night sky. Ages 5-9. (Oct.) [6]

Kirkus Reviews, 09/15/1994
This Tennessee tall tale concerns Angelina Longrider, who even as a child was a real big gal; in fact, and without being too gender-specific, she strongly resembles another wonderkid by the name of Paul Bunyan -- and she's just as much fun. Angelina -- a late bloomer -- builds her first log cabin when she's two, rescues a wagon train from Dejection Swamp (hence Swamp Angel), even tangles with wily Thundering Tarnation, a bear bent on pillaging the winter stores of all Angelina's neighbors. In an epic struggle, Angelina lays Thundering Tarnation low, stocks the whole state's larders from the bear's bounteous flanks, and creates Montana's Shortgrass Prairie from his pelt. It is impossible to convey the sheer pleasure, the exaggerated loopiness, of newcomer Isaacs's wonderful story. Matching the superb text stride for stride are Zelinsky's (The Wheels on the Bus, 1990) altered-state, American primitive paintings -- gems that provide new pleasures, reading after reading. To say that you are entering Caldecott land doesn't begin to do this book justice. Copyright 2003, VNU Business Media, Inc. All Rights Reserved[6]


Connections:

Related Book:       

Dust Devil (New York: Atheneum, 2006), is a sequel set in Montana, where Swamp Angel goes when she is too big for Tennessee. [2]
Activities:

  • Write your own tall tale.  Brainstorming as a class, develop a basic tall tale idea, then assign students to write it down, working in pairs or singly. Older students can develop the idea themselves, making sure to include elements from the following checklist: amazing abilities seen at birth and early childhood; real-life landforms such as canyons or lakes explained by fictional actions of hero/heroine; basic theme of underdog beating out forces of nature that are normally impossible to stop (thunderstorms, hurricanes, tidal waves, earthquakes, etc.) [3]

  • Compare Swamp Angel to another tall tale book about a traditional hero such as Paul Bunyan or Pecos Bill. Draw up lists of similarities and differences. Discuss the differences and talk about how they reflect the times in which the tales were written or developed. What is a tall tale? What is folklore? [3]

  • Read a true account of the hardships of breaking the land for farms in the American wilderness. All tall tales have in common certain elements, such as one person battling a force of nature much bigger than himself, yet beating it. . How are tall tales a response to these hardships? How were tall tales designed to bring comfort and courage to settlers? [3]




Bibliographies:

Amazon Review, Amazon.com.  www.amazon.com (accessed June 24, 2011).

Isaacs, Anne. AnneIsaccs.com (accessed June 24, 2011).

Burns, Mary M. 1995. "Swamp Angel." Horn Book Magazine 71, no. 2: 184. Library, Information Science & Technology Abstracts with Full Text, EBSCOhost (accessed June 24, 2011).

Isaacs, Anne, and Paul O Zelinsky. 1994. Swamp Angel. Dutton Children's Books, 1994. Book Index with Reviews, EBSCOhost (accessed June 24, 2011).





[1] Amazon Review, Amazon.com

[2] Ibid.

[3] Anne Isaacs. AnneIsaccs.com

[4] Ibid.

[5] Mary M. Burns. 1995. "Swamp Angel." Horn Book Magazine 71, no. 2: 184

[6] Anne Isaacs and Paul O. Zelinsky. 1994. Swamp Angel.

Genre 2: Traditional Literature: TURTLE KNOWS YOUR NAME

Turtle Knows Your NameBook cover accessed from: goodreads.com
Bibliographic data: (variant)

Bryan, Ashley. 1993. Turtle Knows Your Name. New York: Aladdin Books. ISBN 0-689-71728-8.


Summary:

A little boy, by the name of Upsilimana Tumpalerado has a hard time making friends with children and with animals because of his long name. Everyone has a difficult time remembering it, because it is so long. His grandmother challenges him to find out her name while at the same time she tells him his name is not the longest name there is. Of course, grandma does not think he will find out her name. Upsilimana Tumpalerado sets out on a quest to find out his grandma’s name and in his journey he meets turtle and she helps him to find out grandma’s name. Both Upsilimana Tumpalerado and grandma learn that it is not important how long your name is, but that what is important is that you know who you are and you value yourself and if you do, others will value you too.


Critical analysis:

  • Upsilimana Tumpalerado, his grandma, and the turtle are the characters in the story. They are symbolic of basic human traits and are not dynamic or complicated.
  • The plot is simple, episodic, and full of action while the resolution is very satisfying if not realistic. Upsilimana Tupalerado is on a quest to find out his grandmother’s name, the crucial conflict of the plot.
  • The story takes place in a village by the sea, which can be anywhere and far away in a distant past.  The setting is vague, established quickly, as well as time passes quickly, it is very important because it helps us to understand the context for our protagonist.  The story takes place in a village by the sea, which can be anywhere and far away in a distant past.  
  • The theme is big and global, strongly moral, ethical, and universal. It ends happily, as both grandchild and grandmother learn that everything is not in a name, but in who you are.
  • The style the repetitive rhythmic patterns capture the sounds of spoken language in print and maintain the integrity of the early retellings of the story. The style is also culturally specific with a motif of magic represented by the turtle.
  • The painted water color illustrations by Mr. Bryant are very cheerful and vibrant complementing and extending the story. The design and style are appropriate and it reflects the heritage of the story.  The vibrant illustrations create a peaceful, yet exciting mood, pace, and tension that keeps the reader hooked wanting to get to the part where the story is resolved.
  • The cultural markers are authentic of the cultural representation of the story. The languages, as well as the images are true, helping the reader gain insight into the culture and customs of the African American culture.

Awards:

I didn't find any.


Review excerpt(s):

School Library Journal, 10/01/1989
Gr 2-4-- Bryan shows his love of word patterns, sounds, and repetition in his retelling of this West Indian folktale. In addition to the boy named Upsilimana Tumpalerado and his Granny, Mapaseedo Jackalindy Eye Pie Tackarindy, Bryan uses animals sounds, whistles, chants and phrases such as ``. . .she hugged him once, she kissed him twice, she swung him around, wheee, three times!''to create a rhythmic text which celebrates the pride of two people who learn to honor their names and their identities, and expect others to do the same. Turtle plays the role of a benevolent supernatural figure--listening, observing, and recording names in shells at the bottom of the sea--validating their importance even though others are unable or unwilling to do so. By the end the names are kept as a secret power by Granny and Son, who do not need the recognition of others, since they know and value themselves. The art is beautifully patterned, like the text, with vibrant images in the full-page, watercolor paintings. The handsome and loving black grandmother and her grandson inhabit a radiant, tropical world and should bring delight to young children and storytellers, who will recognize their proud and loving spirits, and will enjoy chanting the very long names over and over again. --Marilyn Iarusso, New York Public Library [1]

Kirkus Reviews, 09/15/1989
Retold from Parsons' Folklore of the Antilles (1936), a story about delight in the sounds of words and the warm relationship between a boy and his Granny. Upsilimana Tumpalerado has a time learning his own name; when he masters it, he proudly confides in all the animals--especially old Turtle, who lives nearby in the sea. Then it turns out that Granny has a name unknown to the boy: a secret name--even longer than his own--that he eventually learns from Turtle. Full of dancing rhythms and mild humor, the story's message about the value of the inner lives of those we take for granted is quietly understated. Bryan's lovely paintings, in light, bright island colors, swirl with joyous patterns; Granny and her boy are full of love and life. Fine for reading, telling, and sharing; just right to pair with Mosel's Tikki Tikki Tembo. Copyright 2003, VNU Business Media, Inc. All Rights Reserved[1]

Publishers Weekly, 07/28/1989
``Upsilimana Tumpalerado, / That's my name. / I took my time to learn it, / Won't you do the same?'' is the song of a boy, performing the name dance with Granny by the edge of the sea. While they dance, Turtle learns the boy's name, as he is the keeper of names. After Upsilimana Tumpalerado is unable to make friends with the other children or the animals, Granny challenges him to find out her true name. Turtle is the one who reveals it; her real name is even longer than the boy's, and she and her grandson agree on simpler appellations hence. With the funny names, abundant dialogue and animal noises, Bryan's lively retelling of this English Antillean story is well-suited to reading out loud. The festive paintings are a visual treat, complementing the text with jewel-like colors and fluid lines. Ages 5-8. (Sept.) [1]





Connections:
  • Children create puppets to retell the story.
  • Have children create a flipbook illustrating the beginning, middle, and end of the story.
  • Readers Theater
Official publisher’s page for Ashley Bryan: http://authors.simonandschuster.com/Ashley-Bryan/706174

Books by Ashley Bryan:


*      beautiful blackbird
*      ashley bryan words to my life song
*      the ox of the wonderful horns
*      the adventure of aku
*      beat the story-drum, pum-pum
*      wlak together children
*      i’m going to sing
*      the dancing granny
*      the cat’s purr
*      lion and the ostrich chicks
*      what a morning!
*      sh-ko and his eight wicked brothers
*      all things bright and beautiful



Bibliographies:

Bryan, Ashley. Turtle knows your name. Atheneum, 1989. Book Index with Reviews, EBSCOhost (accessed June 24, 2011).

[1] Ashley, Bryan. Turtle knows your name.

Genre 2- Traditional Literature-The Three Pigs/Los Tres Cerdos: Nacho, Tito, and Miguel

Los Tres Cerdos = The Three Little PigsBook cover accessed from: goodreads.com


Bibliographic data:

Salinas, Bobby. Translated by Amapola Frazen and Marcos Guerrero. 1998. THE THREE PIGS/LOS TRES CERDOS: NACHO, TITO, AND MIGUEL. California: Piñata Publications. Hardback: ISBN 0-934925-05-4

Summary:

Once upon a time, a mother sow watches sadly as her three boys Nacho, Tito, and Miguel decide to take the money they had saved and leave home to seek new adventures and make new friends. As each pig makes its way in search of adventure and new friends, somewhere in the Southwest, their travel takes them to the perfect spot where each pig builds his home with supplies bought from other animals they meet as they travel. Once the houses are built the tricky wolf José, comes along and blows two of the houses in leaving the first two pigs with nowhere to live. José takes them and stashes them away to eat them as pork rinds or carnitas. Nacho, the cleverest pig of the three pigs, is the only one that sees through the wolf’s artificially sugared tricks, and ultimately destroys the wolf’s power to deceive others. The story exposes how those in positions of power are often less strong and frightening than we are led to believe. [5]

Critical analysis:

  • THE THREE PIGS/LOS TRES CERDOS: NACHO, TITO, AND MIGUEL is a non-violent, retold, cumulative tale and Latin American variant of THE THREE PIGS. The characters are the mother sow (at the very beginning of the story), the three pigs: Nacho, Tito, and Miguel and the wolf José. The pigs are archetypes of good and the wolf José of evil. They are symbolic of basic human traits and not dynamic or complicated.
  • The plot is simple, direct, episodic, and full of action. The conflict is crucial to the plot and the resolution is very satisfying. There is a journey with definite obstacles to overcome. [1] The story moves forward logically with a quick ebb and flow of action, in a formulaic pattern where the resolution is predictable, but not necessarily realistic. [2]
  • The setting takes place somewhere in the Southwest, it is vague and established quickly, the time passes rapidly (in a few sentences), and helps us to understand the context for our protagonist.
  • The theme is big and contains a global message where good triumphs over evil. It is universal, ethical, and moral with a happy ending. There is rarely any ambivalence or subtlety. [3] This is a cautionary tale that sees through the wolf’s artificially sugared tricks, and ultimately destroys the wolf’s power to deceive others. The story exposes how those in positions of power are often less strong and frightening than we are sometimes led to believe. [4]
  • The reteller’s style, Ms. Salinas, demonstrates her unique voice in print and maintains integrity of the early retellings of the folktale. It has a formalized opening and closing, it is culturally specific revealing attributes valued within Hispanic/Latin culture. [6] In addition the style contains a strong sense of rhythm and repeated elements. The motif contained in the folktale is one of adversaries and trickery. This variation offers help for understanding a Spanish dialect/language through the idiomatic expressions used in the story and reads well aloud. [7]
  • The illustrations are by Ms. Salinas and they complement and extend the story. Her attention to detail in the visual elements creates an image that serves to complement and extend the narrative. Her illustrations reflect the cultural heritage of the tale. In her pictures we get the clearest indications of the context of the story, the setting, the clothing, the foliage, etc. [8] She definitely reflects the cultural heritage of the story creating mood, pacing, and tension. If you take a look at Miguel’s books on pages 16-17 of the book you would see some of the author’s favorite titles and heroes who challenge some commonly accepted ways of viewing reality. [9]The illustrations are very entertaining, funny, and offer many jokes as well as cross-cultural references to the likes of Elvis Presley, Firda Kahlo, César Chávez, and Cantiflas. [11]
  • The cultural markers are authentic cultural representations, the language and images are true and they help the reader gain insight into the culture and customs. The pigs eat fresh tortillas and roast corn, and they cook green chile stew. The pigs dress in zoot suits, cowboy hats, and guayaberas (a traditional men's shirt) and landscape they live in is Southwestern. [12]

Awards:

Ms. Salinas’ first children’s picture book, The Three Pigs: Nacho, Tito and Miguel received the Tomas Rivera Award in 1999. [10]


Review excerpt(s):

School Library Journal, 02/01/1991


Gr K-2-Winner of the 1998 Tom s Rivera Mexican American Children's Book Award, this book offers a spicy retelling of the familiar tale of the three little pigs. In this version, they are named Nacho, Tito, and Miguel. They eat fresh tortillas and roast corn. They cook green chile stew (recipe included) and prefer to dress in zoot suits, cowboy hats, and guayaberas (a traditional men's shirt). The landscape they inhabit is definitely Southwestern, as are their speech patterns. Violence has been toned down from the original folk tale. Although the wolf, José, still dreams of eating the pigs ("Chicharrones and carnitas sound good!") the most violent scene shows the wolf getting bowled over by a runaway barrel. The excellent illustrations are entertaining, intelligent, and witty, offering lots of visual jokes and cross-cultural references to the likes of Elvis Presley, Frida Kahlo, César Chávez, and Cantinflas. The moderate use of Spanglish in the English text will irritate some readers and delight others. This book is meant to be read out loud. Aside from the recipe for green chile stew, it also offers costume ideas for classroom plays, a glossary, and biographical notes about the author. Highly recommended for all bookstore and library collections. M.O.B. Copyright 2001 Cahners Business Information.[13]

Connections:
  • Students will read two versions of The Three Little Pigs. Students will then identify characters, setting and plot of story. Finally, students will compare/contrast the both versions.
  • Create a Bingo game using the some of the Spanish words listed in the glossary of the book.
  • Review cause and effect and have the students create a flipbook where they illustrate two of their favorite scenes of cause and effect.
  • Playacting-Students and teacher can create the costumes on the back of the book to act out the story.

Other books by Bobbi Salinas:

Cinderella Latina/La Cenicienta Latina


Bibliographies:

Vardell, Sylvia M. 2008. CHILDREN’S LITERATURE IN ACTION. Libraries Unlimited. Paperback: ISBN13: 9781591585572 Hardback: ISBN13: 9781591586579

Salinas, Bobby. Translated by Amapola Frazen and Marcos Guerrero. 1998. THE THREE PIGS/LOS TRES CERDOS: NACHO, TITO, AND MIGUEL. California: Piñata Publications. Hardback: ISBN 0-934925-05-4


Feria del Libro. A Family Bookfair. http://www.feriadellibro.net/. http://www.feriadellibro.net/web2005/authors/auth04_bsalinas.htm  (accessed June 24, 2011).

Publishers Weekly Children’s Review. http://www.publishersweekly.com/978-0-934925-05-1 (accessed June 24, 2011).

Salinas-Norman, Bobbi, Amapola Franzen, and Marcos Guerrero. 1998. The three pigs : Nacho, Tito, and Miguel. Piñata Publications, 1998. Book Index with Reviews, EBSCOhost (accessed June 24, 2011).



[1] Sylvia M Vardell. 2008. CHILDREN’S LITERATURE IN ACTION. Libraries Unlimited.

[2] Ibid.

[3] Ibid.

[4] Bobby Salinas. 1998. THE THREE PIGS/LOS TRES CERDOS: NACHO, TITO, AND MIGUEL.

[5]Ibid.

[6] Sylvia M. Vardell. 2008. CHILDREN’S LITERATURE IN ACTION. Libraries Unlimited,

[7] Ibid.

[8] Ibid.

[9] Bobby Salinas. Translated by Amapola Frazen and Marcos Guerrero. 1998. THE THREE PIGS/LOS TRES CERDOS: NACHO, TITO, AND MIGUEL.

[10] Feria del Libro. A Family Bookfair. http://www.feriadellibro.net/.  http://www.feriadellibro.net/web2005/authors/auth04_bsalinas.htm  (accessed June 24, 2011).

[11] Publishers Weekly Children’s Review. http://www.publishersweekly.com/978-0-934925-05-1 (accessed June 24, 2011).

[12] Ibid.

[13] Bobbi Salinas-Norman, Amapola Franzen, and Marcos Guerrero. 1998. The three pigs : Nacho, Tito, and Miguel. Piñata Publications, 1998. Book Index with Reviews, EBSCOhost (accessed June 24, 2011).

Tuesday, June 14, 2011

Genre 1: Picture Books-ALL THE WORLD

All the WorldBook cover accessed from: goodreads.com
Bibliographic data:
Scanlon, Liz Garton. 2009. ALL THE WORLD. Ill. by Marla Frazee. New York: Beach Lane Books. ISBN 978-1-4169-8580-8

Summary:
The book begins with two children, brother and sister, making connections to nature as they interact with the world around them (the beach and a shell, a garden, climbing a tree, on a boat, in a storm). The summer shower is a transition of the children’s connection with the adults in a cozy restaurant where they eat dinner. A closer look at the characters in the story is evident as the illustrator focuses more on the people we have seen in the background of previous illustrations. At this point, people of different cultures are together eating, working (in the restaurant kitchen), and end playing musical instruments in the home of the children who are the main characters of the story.
Critical analysis:
The characters are credible and their behavior is consistent with age. They seem to have a strong sense of self and a unique way of seeing the world. The plot consists of logical series of happenings and situations that are relevant to young children. It can capture a child’s vivid imagination in many ways that can enrich their understanding of the world. Connections are made by adults and children and all the things that are meaningful in the world. The illustrations move the plot along. In the setting he author indicates time through the activities and places the children visit moving from one location to another. As the children travel from one location to the other the illustrator has drawn the new location in the distance. The children begin their journey in the early morning and end at night. The people transition from daily activities and landscapes during the day and end with those associated with evening. The setting can be universal; the children can be anywhere in the world. The theme has deeper meanings that are gleaned subtly and implicitly through the understanding of how the world works and how people behave. It explores the themes of nature, change, and new beginnings. The style devices it features are imagery, symbolism, and word play. The features of sound that are part of the story are rhythm and rhyme. The illustrations are rendered in black Prismacolor pencil. [1] They complement the story creating a mood and a pace adding to the story design and layout as a whole. The illustrations move the plot along and depict many things that a child can discover by taking a closer look. How culture is depicted does not override the interesting plot and it does not embarrass or offend any audience.
Awards and Recognitions [2]:
Winner of 2010 Caldecott Honor
A New York Times Best Book of 2009
A Publisher's Weekly Best Book of 2009
A Kirkus Best Book of 2009
A School LIbrary Journal Best Book of 2009
Parents' Choice Gold Award
A 2010 Indies Choice Honor Award
Featured in General Mills’ Cheerios Spoonfuls of Stories campaign

Review excerpts:
"Beyond the literal story, the text and art together connote diversity and commonality, the connection between the local and the global, in ways that will be quietly suggestive but not obtrusive to kids. It's an idyllic and hopeful picture, and it makes its argument compellingly by rooting it in family specifics that will allow kids from all kinds of families to recognize bonds similar to their own. In short, it's a moving and accessible celebration of the poetry of ordinary human life." –Deborah Stevenson, Bulletin of the Center for Children's Books [4]
"Scanlon's text has a child-friendly simplicity reminiscent of Margaret Wise Brown—‘Rock, stone, pebble, sand/ Body, shoulder, arm, hand/ A moat to dig, a shell to keep/ All the world is wide and deep’—around which Frazee's illustrations build a satisfying narrative. . . . The West Coast seaside setting showcases not only Frazee's affectionate mix of people but also her familiar skyscapes, glowing with color and shaded with horizontal lines that lend a sense of both movement and endless connection. While the rolling hills, criss-crossed by roads and dotted with trees and houses, bring to mind Virginia Lee Burton, Frazee's palette is all her own: fresh-feeling pastels that make everything look rain-washed, faded and softened by the sun. . . . All the World will win audiences with a sensibility both timeless and thoroughly modern." –Jennifer M. Brabander, The Horn Book [5]
"‘All the World,’ [Scanlon's] second book, weaves a sumptuous and openhearted poem of 18 couplets over 38 pages, all revolving around the title's singsong refrain. . . . Beautifully illustrated by Maria Frazee, who won a Caldecott Honor this year for ‘A Couple of Boys Have the Best Week Ever,’ it's the kind of book that will be pulled off the shelf at bedtime over and over again." –Andrew Bast, The New York Times Book Review [6]

Connections:
TAKE A BOOK WALK
Show the front cover of All the World, pointing out the title, author and illustrator. Ask students what the children on the cover are doing and where they are. Have students share their own beach experiences. Flip through the pages and ask what’s happening in the story. Can the students spot the children from the front cover in other pages of the book? Have the students done any of the activities shown in the book?
*Understand and identify simple literary terms: title, author, and illustrator.
*Use prior knowledge to anticipate meaning and make sense of texts. [3]
Vocabulary Boost
The vocabulary below [or any you feel] might be new for students. Guide them in using either text or pictures to decipher meanings….
…from the text
…or from the illustrations
pebble, hum
moat, hive, husk, cob, track, stumble, flour, kin, harp

*Discuss meanings of words and develop vocabulary through meaningful/concrete experiences. [3]

Bibliographical Data:
Scanlon, Liz Garton. 2009. ALL THE WORLD. Ill. by Marla Frazee. New York: Beach Lane Books. ISBN 978-1-4169-8580-8
Liz Garton Scanlon Children’s Author, “All the World” http://lizgartonscanlon.com/All-the-World.html (accessed June 13, 2011)
Liz Garton Scanlon Children’s Author, “All the World” Activity guide: http://lizgartonscanlon.com/All%20The%20World%20Curriculum%20Guide%202010.pdf (accessed June 13, 2011).
Stevenson, Deborah. 2009. "[All the World]." Bulletin of the Center for Children's Books 63, no. 2: 57-8, 81. Article Citation, WilsonWeb (accessed 14 June 2011).
Brabander, Jennifer M.. 2009. "[All the World]." The Horn Book 85, no. 5: 546-7. Article Citation, WilsonWeb (accessed 14 June 2011).

[1] Scanlon, Liz Garton. 2009. ALL THE WORLD. Ill. by Marla Frazee. New York: Beach Lane Books. ISBN 978-1-4169-8580-8
[2] Liz Garton Scanlon Children’s Author, “All the World” http://lizgartonscanlon.com/All-the-World.html (accessed June 13, 2011).
[3] Liz Garton Scanlon Children’s Author, “All the World” Activity guide: http://lizgartonscanlon.com/All%20The%20World%20Curriculum%20Guide%202010.pdf (accessed June 13, 2011).
[4] Stevenson, Deborah. 2009. "[All the World]." Bulletin of the Center for Children's Books 63, no. 2: 57-8, 81. Article Citation, WilsonWeb (accessed 14 June 2011).
[5] Brabander, Jennifer M. 2009. "[All the World]." The Horn Book 85, no. 5: 546-7. Article Citation, WilsonWeb (accessed 14 June 2011).
[6] Bast, Andrew. 2009. "Family Circle." The New York Times Book Review 114, no. 45: 19. Article Citation, WilsonWeb (accessed 14 June 2011).

Genre 1: Picture Books-THE POKY LITTLE PUPPY

The Poky Little PuppyBook cover accessed from: goodreads.com


Bibliographic data:

Lowrey, Janette Sebring. 1975. THE POKY LITTLE PUPPY. Ill. by Gustaf Tenggren. Wisconsin: Golden Press Western Publishing Company, Inc. ISBN 0-307-10418-4


Summary:

The Poky Little Puppy decides not to follow his siblings when they decide to sneak out and play. The puppies had all dug a hole underneath the fence to escape from their yard. Instead he takes his time exploring the world around him and only his siblings get caught. At the start of the story, he is rewarded for being independent. Poky Little Puppy does not get in trouble because he is off exploring and investigating while his mother gets after his siblings, he comes home alone after everyone is asleep. He then eats the rice pudding that his mother had planned to give all the puppies if they had not dug under the fence. The pattern repeats itself, but instead with chocolate custard in place of rice pudding. At the end, fate catches up with Poky Little Puppy, when the puppies are sent to bed without dessert for a third time. The puppies wait for mom to be asleep, sneak out of bed and fill in the hole dug under the fence. Their mother sees them doing this and rewards them with strawberry shortcake. The Poky Little Puppy does not get any strawberry shortcake because he arrives late because he had to squeeze through the fence boards since the hole has been filled in. “So poky little puppy had to go to bed without a single bite of shortcake, and he felt very sorry for himself.”[1]


Critical analysis:


The protagonist in the story is the Poky Little Puppy. As the characters, Poky and his siblings are credible and their behavior is consistent with their age. Poky has a unique way of seeing the world and wants to explore it. In the plot, some conflict grows from a believable situation that would be relevant to a young child or a child of any age. It has a logical series of happenings and the climax and resolution are clear. The illustrations are part of the movement of the plot. The author indicates time by taking the characters through the events of their day as they go out to play and end their day by going to bed. The setting has universal implications as the character explores the world and its surroundings. The Poky Little Puppy teaches children how to behave by not dallying or ignoring boundaries. The author uses repetition through the repeated misbehavior of the main character. The illustrations are soft and complement the story creating a mood and pace that allows the reader to follow the story closely and not feel threatened. Each page features a picture that shows good details focused on what is going on at that time. Small background images are visible, but they do not take over the action in the story. The vibrant and well used color throughout the illustrations is visible and the drawings clearly illustrate the puppies and their surroundings without going overboard. The author does not override the interesting plot through cultural markers. This story can be read anywhere and by anyone.


Review excerpt(s):


The beginning sentence of a 1942 Little Golden Book has been read millions of times by parents. Publishers Weekly reports the book "The Poky Little Puppy" is the best-selling children's book of all time with sales of more than 15 million. That's more than "Tales of Peter Rabbit," "Green Eggs and Ham," or any one Harry Potter book. [2]

The #1 bestselling children's book of all time. This classic tale about a curious little puppy has been enjoyed by children for over 50 years. Look for all new Poky & Friends videos in stores everywhere. One of the original 12 Little Golden Books, The Poky Little Puppy has sold nearly 15 million copies since 1942, making it one of the most popular children’s books of all time. Now this curious little puppy is ready to win the hearts and minds of a new generation of kids. [3]


Awards:
Emmy Awards for Outstanding Commercials 2006 – Hallmark Cards Required Reading [4]
Publishers Weekly All-Time Bestselling Children's Book [5]


Connections:


Social Studies-Geography- Wide, Wide World!
The puppies went for a walk in the wide, wide world. Using a map or globe of the world, show your student where you live. If you have family members who live in other states or countries, show them those places on the map as well. This exercise is for exposing your student to the concept of the world and that there are different places beyond where he lives. [6]
________________________________________
Language Arts-Vocabulary
Discuss where the puppies went walking.
meadow- a grassy field used for hay or for grazing animals
road- a street used by travelers and vehicles to get from one place to another
grass- a plant with slender leaves
hill- a heap or mound
bridge- a structure crossing over a gap or barrier and providing passage, such as a river or roadway [6]
________________________________________
Math - Counting
Count the puppies.
Count the different types of flowers throughout the story. [6]
________________________________________
Science- Animal Grouping
Using these animal cards, have your student sort the animals in various groups. This is a very basic introduction to animal classification; it will teach your student critical thinking and observation skills that he will need later.
puppy
fuzzy caterpillar
green lizard
black spider
brown hop-toad
grass snake
grasshopper


Ideas for sorting-
legs (animals with four legs/animals with more than four legs)
antennae (animals that have antenna/animals that don’t)
eggs (animals that lay eggs/animals that don’t)
pets (animals your student would/wouldn’t want to keep inside your house as a pet)


Senses
Discuss the five senses with your student (what can he hear, see, taste, touch, and smell?)
What do the puppies smell?
What do the puppies hear?
What do the puppies see?
What do the puppies taste?
Can you find something the puppies touch? [6]
________________________________________
Cooking


Rice Pudding


Ingredients:
2 c. cooked rice
½ c. sugar
2 eggs, slightly beaten
2c. milk
½ tsp. vanilla
¼ c. raisins
½ tsp. powdered cinnamon
Preparation:
Place rice in bowl, add all ingredients, stir to mix. Pour into greased baking dish or pan. Bake about 25 minutes in a 350 degree oven


Chocolate Custard


Ingredients:
¼ c. milk
3 tb. sugar
1 lg egg yoke
3 oz. bittersweet chocolate, finely chopped, plus shaved chocolate, for serving
Pinch of salt
2 tb. unsalted butter, softened
½ c. heavy cream
Pinch of ground cinnamon
Preparation:
In a small saucepan, combine the milk and 2 tablespoons of the sugar and heat until steaming and the sugar is dissolved. Put the egg yolk in a small bowl and gradually whisk in the hot milk. Return the mixture to the saucepan and cook over moderate heat, whisking constantly, until slightly thickened, about 2 minutes.
Off the heat, add the chopped chocolate and salt and whisk until smooth. Whisk in the butter. Pour the custard into 2 shallow bowls and refrigerate briefly, about 5 minutes.
Meanwhile, in a medium bowl, beat the heavy cream with the cinnamon and the remaining 1 tablespoon of sugar until softly whipped. Dollop the cream on the custards, sprinkle the chocolate shavings on the cream and serve. [6]


Strawberry Shortcake


Ingredients:
3 pints fresh strawberries
½ c. sugar
2 ¼ c. all-purpose flour
4 tsp. baking powder
2 tb. sugar
¼ tsp. salt
⅓ c. shortening
1 egg
⅔ c. milk
2 c. whipped heavy cream
Preparation:
Slice the strawberries and toss them with 1/2 cup of white sugar. Set aside.
Preheat oven to 425 degrees F (220 degrees C). Grease and flour one 8 inch round cake pan.
In a medium bowl combine the flour, baking powder, 2 tablespoons white sugar and the salt. With a pastry blender cut in the shortening until the mixture resembles coarse crumbs. Make a well in the center and add the beaten egg and milk. Stir until just combined.
Spread the batter into the prepared pan. Bake at 425 degrees F (220 degrees C) for 15 to 20 minutes or until golden brown. Let cool partially in pan on wire rack.
Slice partially cooled cake in half, making two layers. Place half of the strawberries on one layer and top with the other layer. Top with remaining strawberries and cover with the whipped cream. [6]

Bibliographic Information:
Lowrey, Janette Sebring. 1975. THE POKY LITTLE PUPPY. Ill. by Gustaf Tenggren. Wisconsin: Golden Press Western Publishing Company, Inc.
Margaret Toal, “Orange native wrote 'Poky Little Puppy,' the best-selling kids' book of all time.” Beaumont Enterprise, December 21, 2008, http://www.beaumontenterprise.com/news/article/Orange-native-wrote-Poky-Little-Puppy-the-700129.php#ixzz1PD6cA96i.
Hallmark. “Hallmark Cards Required Reading.” Television advertisement. Institute for the Development of Enhanced Perceptual Awareness, created and directed by David Harner, 2006. Accessed from http://theinspirationroom.com/daily/2006/hallmark-cards-required-reading/ . (June 13, 2011).
LibraryThing. Accessed from http://www.librarything.com/bookaward/Publishers+Weekly+All-Time+Bestselling+Children%27s+Book .(June 13, 2011).
Homeschool Share. http://www.homeschoolshare.com/poky_little_puppy.php . (June 13, 2011).
[1] Lowrey, Janette Sebring. 1975. THE POKY LITTLE PUPPY. Ill. by Gustaf Tenggren. Wisconsin: Golden Press Western Publishing Company, Inc.
[2] Margaret Toal, “Orange native wrote 'Poky Little Puppy,' the best-selling kids' book of all time.” Beaumont Enterprise, December 21, 2008, http://www.beaumontenterprise.com/news/article/Orange-native-wrote-Poky-Little-Puppy-the-700129.php#ixzz1PD6cA96i. (June 13, 2011).
[3] Borders. http://www.borders.com. (June 13, 2011).
[4] Hallmark. “Hallmark Cards Required Reading.” Television advertisement. Institute for the Development of Enhanced Perceptual Awareness, created and directed by David Harner, 2006. Accessed from http://theinspirationroom.com/daily/2006/hallmark-cards-required-reading/ . (June 13, 2011).
[5] LibraryThing. Accessed from http://www.librarything.com/bookaward/Publishers+Weekly+All-Time+Bestselling+Children%27s+Book .(June 13, 2011).
[6] Homeschool Share. http://www.homeschoolshare.com/poky_little_puppy.php . (June 13, 2011).