1. Bibliography -
Simonds, Nina & Swartz, Leslie & The Children’s Museum, Boston. 2002. MOONBEAMS, DUMPLINGS & DRAGON BOATS: A TREASURY OF CHINESE HOLIDAY TALES, ACTIVITIES & RECIPE. Ill. by Meilo So. San Diego, CA: Gulliver Books, Harcourt, Inc. ISBN 0-15-201983-9
2. Plot Summary –
The book - MOONBEAMS, DUMPLINGS & DRAGON BOATS: A TREASURY OF CHINESE HOLIDAY TALES, ACTIVITIES & RECIPE is a wonderful compilation of traditional stories and folklore, recipes, crafts and activities that are centered on China’s most important holidays and festivals. The holidays that are highlighted in this book are: Chinese New Year and the Lantern Festival, Qing Ming and the Cold Food Festival, The Dragon Boat Festival, and the Mid-Autumn Moon Festival.
3. Critical Analysis –
a. Characters:
Since this book is really a collection of many smaller traditional stories and folklore, each traditional story has its own characters. For example, in the first story, The Story of the Kitchen God - the characters were the Jade Emperor, the Kitchen God, the Star God and the people on Earth. In the next story, Dongfang and the Festival of Lanterns - the characters are Dongfang Shuo, the people of the city of Chang’an, the Fire Goddess, the Emperor of the city of Chang’an, the court maiden Yuan Xiao, and the Jade Emperor. And (so on and so forth) this is the case for the following stories.
b. Plot:
Each story has its own plot – most of them deal with the traditions and tales that surround the holidays. Some even help explain why people celebrate these holidays and in what ways, including why they eat certain traditional foods on that day. “This sumptuous family treasury offers stories, recipes, and activities in celebration of the major Chinese holidays” (BarnesandNoble, 2009).
c. Setting:
Each story in the book has its own setting – usually a city or town, but all of the stories are set in the country of China. Most of the stories also take place many years ago – as they are old tales passed down from generation to generation and concern the traditions and rituals that they observe.
d. Theme:
Some of the themes for the stories in this book deal with strong moral and ethical lessons (i.e. how the Jade Emperor rewards or punishes), but most of the stories’ themes are just explanations and fun stories to help clarify why these holidays are celebrated each year. This book “presents background information, related tales, and activities for celebrating the Chinese festivals--Chinese New Year, the Lantern Festival, Qing Ming and the Cold Foods Festival, the Dragon Boat Festival, and the Moon Festival” (BarnesandNoble, 2009).
e. Style:
The stories in this book each capture the “Chinese” traditions and culture. The motifs of magic, usually from the Gods (ie. The Star God, River God, Jade Emperor, etc.) resonates throughout the book. In one of the stories, The Story of Chang E and Hou Yi, they begin with a “once upon a time” with “Many moons ago…”, and establish the main character’s challenge and background. The story ends with the “happily ever after” in the words – “And on this one evening every month, some say, the moon shines brighter because of the force of their love”.
f. Illustrations:
The watercolour illustrations are beautiful and illustrate foods, lanterns, dragons, and people with such wonderment. “This brightly illustrated, large-format book introduces Chinese New Year and the Lantern Festival, Qing Ming and the Cold Foods Festival, the Dragon Boat Festival, and the Mid-Autumn Moon Festival. Each section explains the holiday, tells stories related to it, and offers at least one activity and one recipe” (Apples4Teachers, 2009). The calligraphy in the book also shows the prominent Chinese symbols and writings that add flavour to the stories and the entire book.
“Each section begins with a one-page description of the history and customs of the festival and is followed by a four- to six-page story, from one to three recipes, and two or three crafts or games. The headings on each page appear in both English typeface and Chinese calligraphy; a guide to Chinese pronunciation is included. The ample white space surrounding the text is filled with small, whimsical watercolor illustrations” (Apples4Teacher, 2009).
“Each of the four sections is introduced by a dynamic, detailed watercolor painting on a double-page spread. They include a dragon parade complete with fireworks, kites flying above a family honoring ancestors at a grave, a dragon boat race, and preparations for a moon ceremony” (Apples4Teachers, 2009).
g. Cultural Markers:
The cultural markers in this book reflect the Chinese culture – and explain in detail, in the beginning, the difference between the lunar calendar (which follows the moon’s cycle around the earth) and the calendar that we normally use which is the solar calendar (which marks dates by the earth’s movement around the sun). The Chinese New Year falls on the second new moon after the winder equinox, and their year is shorter than the 365¼ days in the year we follow” (Simonds, N., 2002).
This book is “filled with delectable recipes, hands-on family activities, and traditional tales to read aloud, this extraordinary collection will inspire families everywhere to re-create the magic of Chinese holidays in their own homes. They can feast on golden New Year's dumplings and tasty moon cakes, build a miniature boat for the Dragon Boat Festival and a kite at Qing Ming, or share the story of the greedy Kitchen God or the valiant warrior Hou Yi” (Apples4Teachers, 2009).
“This stunning compilation from bestselling cookbook author Nina Simonds and Leslie Swartz of the Children's Museum, Boston, is the perfect gift for families that have embraced Chinese holidays for generations--and for those just beginning new traditions (Apples4Teachers, 2009)”.
h. Anthologies:
This book is great for families to read together, and provides activities and recipes, that even those who have never celebrated these traditions will have fun with together and maybe even embrace these holidays. Some children who already celebrate in the Chinese Holidays and Festivals may be familiar with the stories in this book; but also may really enjoy learning why they eat certain foods at this special time - these stories may provide the background information and answers to their actions.
“A two-page resource section is divided into three parts: of interest to adults, of interest to young readers, and Internet sources. Most books for young readers about Chinese holidays stress Chinese New Year; only two others feature the full range of annual festivals” (Apples4Teachers, 2009).
i. Awards & Recognitions:
This book, MOONBEAMS, DUMPLINGS & DRAGON BOATS: A TREASURY OF CHINESE HOLIDAY TALES, ACTIVITIES & RECIPE has been recognized by the following awards:
** NCTE Notable Children’s Trade Book in the Language Arts
** Parents’ Choice Silver Honor
** Smithsonian Magazine Notable Book for Children
** Storytelling World Award Honor
4. Review Excerpt(s) –
** “Gr. 4-6. Attractively designed, the pages include plenty of white space, creating a fine background for So's brilliantly colored, stylized paintings. The recipes, some of which require the use of food processors and hot woks, are often beyond the culinary skills of the average child, though interested adults can use them to broaden their children's experience of Chinese culture.” - Booklist
** “The authors--Simonds, who has studied and written about Chinese culture and cooking for 30 years, and Swartz, the vice-president of The Children's Museum, Boston--have collaborated to present a rich and eclectic collection of Chinese traditions…No library should be without this well-designed, beautiful, and informative resource.” - Kirkus Reviews
** “Moonbeams is a useful, visually appealing addition to any holiday collection.” - School Library Journal
** “Written with special care by best-selling cookbook author Nina Simonds along with a vice president of The Children's Museum, Boston, the elegant book sparkles with authenticity and grace. The myths offer intrigue, festival explanations provide riveting detail, and the how-to projects encourage hands-on participation to make the core material come alive.” - Gulliver Books
5. Connections –
Teachers, parents, and students can make many connections with this book. For teachers, not just the introduction of Chinese cultural holidays, but a whole slew of activities, crafts and food is provided to make one super fun unit of study!
Some of the curriculum themes that would connect with this book could be:
“Crafts and hobbies, cultural diversity, family relationships, fantasy (creatures of myth and legend – dragons), food and cooking, holidays and festivals, people and places” (Gulliver Books, 2009).
Other connections through other books would include:
“Carol Stepanchuk's RED EGGS & DRAGON BOATS (Pacific View, 1994) is a shorter book with a similar scope, but fewer recipes and crafts/activities. Judith Karen Gee's A Book of Chinese Festivals (Steam RR, 1989; o.p.) offers a brief description of each holiday but no recipes or other activities” (Apples4Teachers, 2009).
References
Gulliver Books, (2000-2007). Book catalogs, retrieved on September 29, 2009, from http://www.harcourtbooks.com/bookcatalogs/bookpages/9780152019839.asp
Barnes and Noble, (1997-2009). Children’s fairy, tales myths & fables, retrieved on September 29, 2009, from http://search.barnesandnoble.com/Moonbeams-Dumplings-Dragon-Boats/Nina-Simonds/e/9780152019839
Apples4Teachers, (1999-2009). Chinese new year, retrieved on September 29, 2009, from http://www.apples4theteacher.com/holidays/chinese-new-year/kids-books/moonbeams-dumplings-and-dragon-boats.html
Simonds, Nina & Swartz, Leslie & The Children’s Museum, Boston. 2002. MOONBEAMS, DUMPLINGS & DRAGON BOATS: A TREASURY OF CHINESE HOLIDAY TALES, ACTIVITIES & RECIPE. Ill. by Meilo So. San Diego, CA: Gulliver Books, Harcourt, Inc. ISBN 0-15-201983-9
Tuesday, September 29, 2009
Monday, September 28, 2009
Genre #2 - Book Review #2 : Robert D. San Souci - SOOTFACE: AN OJIBWA CINDERELLA STORY
1. Bibliography -
San Souci, Robert D., Reteller. 1994. SOOTFACE: AN OJIBWA CINDERELLA STORY. Ill. by Daniel San Souci. New York, NY: Bantam Doubleday Dell Publishing Group Inc. ISBN: 0-385-31202-4
2. Plot Summary –
“A spellbinding Native American version of the well-loved Cinderella story” (Infibeam, 2009), this retold folktale introduces us to Sootface, whose mother has died and whose father doesn’t know that her two older sisters treat her badly and make her do all the work and chores. Sootface is named that after she singes her hair and burns her skin in the fire while cooking and cleaning. Sootface longs for a husband and when a chance to marry the mighty warrior hunter presents itself, Sootface tries to accomplish the task of describing the invisible warrior hunter and his bow.
Many women from her village try their luck and fail at this task; and even though her sisters and the entire village make fun of her for wanting to try (as she looks ugly in her tattered clothing, singed hair and sooty facial appearance), she does not falter but keeps going and gives it her all. Not only does Sootface pass the test, which is to see the invisible mighty warrior hunter (since only the true of heart will be able to see him); but he happily changes her name to Dawn-Light, has his sister help her clean the soot off of her face, change her into new beautiful clothes, fix and braid her singed hair, then marries her - living happily ever after.
3. Critical Analysis –
a. Characters:
The characters in this story are Sootface, her two older, lazy and mean sisters, the villagers, the mighty invisible hunter or warrior, and the hunter’s sister.
b. Plot:
“Although she is mocked and mistreated by her two older sisters, an Ojibwa Indian maiden wins a mighty, invisible warrior for her husband with her kind and honest heart” (Infibeam, 2009).
c. Setting:
This story takes place in the village of the Indian tribe called the Ojibwa (beside a lake, deep in a forest of birch), as well as across the lake in the wigwam lodge, where the mighty invisible warrior hunter lives with his sister.
d. Theme:
The basic “Cinderella” theme is present – the triumph of good versus evil - selfish versus selfless; one where lazy, egotistical and mean lose out to the hard-working, kind, innocent and pure of heart. Also the theme of living “happily ever after” is present in this story.
e. Style:
This story begins (formalized opening) with a version of “Once upon a time” in the words, “Once, an Ojibwa man whose wife had died raised three daughters alone” and ends with a “they all lived happily ever after” in the words, “Everyone was pleased, except Dawn-Light’s two older sisters, who had to do all the cooking and cleaning themselves now”. It also introduces us to the family and establishes the conflict right away.
There was also a sense of repetition or repeated elements when Sootface chanted near the beginning of the story:
“Oh, I am thinking,
Oh, I am dreaming,
That even ugly as I am,
I will someday find a husband.”
Then, in the middle of the story, her chant became:
“Soon, I am thinking,
Soon, I am dreaming,
That I will find a husband.
I am sure it will be so.”
Until near the end of the story, her chant became:
“Now, I am happy,
Now, I am certain,
That I have found my husband,
My new sister and hew home.”
The motif of the role of magic plays out in this story through the mighty warrior hunter who can make himself invisible and can only be seen by one who has a kind and honest heart. This is the test he sets up to see who he will choose for his wife. The event and token he uses to make sure that his future wife is really able to see him, is one of a magical invisible bow and bowstring – the maiden that can describe his magical invisible bow and bowstring will be his wife.
f. Illustrations:
The illustrations are very well done! They show the facial features of Sootface and her sisters and other characters which help convey emotion and body language. The landscape is also beautiful, but what I really thought was amazing was the attention to the small details in the clothing that was worn by the characters, the houses, and the environment.
“The full-page watercolors are dramatic and convey the natural woodland setting surrounding the Great Lakes and Northeast tribes, the jeers of Sootface's sisters, and the serenity and kindness of the warrior and his sister. Sootface's dazed expression remains rather similar throughout-until the end, when she is transformed by love into a beautiful girl” (JustforKids, 2009).
g. Cultural Markers:
This book is full of cultural markers – from the words and names used for the different characters (Sootface, Dawn-Light) and everyday items (skins, bows, wigwam) to the way in which the characters dress (braided hair, moccasins) and activities they do (fetching water, cooking deer meat on the fire). “The illustrations are based on extensive research at the Anthropology Library of the University of California at Berkeley. Details of clothing, traditional design, and setting reflect mid-eighteenth-century Ojibwa village life” (Souci, R., 1994).
h. Anthologies:
There are so many “Cinderella” books available from all over the world. Teachers can build their own collections – at the Just for Kids Bookstore -http://www.justforkidsbookstore.com/bookcase/cinderellastories/index.html one can order the “Cinderella Starter Library - which features eleven culturally unique adaptations from cultures all over the world, bundled together to help you begin or expand your own Cinderella collection”.
i. Awards & Recognitions:
This story, SOOTFACE: AN OJIBWA CINDERELLA STORY has been awarded the following honors:
**An NCSS-CBC Notable Children’s Trade Book in the Field of Social Studies
**Awarded “Children’s Book of the Year” by Bank Street Child Study Children’s Book Committee
4. Review Excerpt(s) –
** “This Cinderella variant should be in your library as it shows how self-reliance, honesty and goodness eventually prevail. Definitely recommended. – Confetti Books
** “A satisfying picture book for reading aloud or alone, and a good choice for classes studying Native Americans.” - Booklist
** “Altogether a refreshing and rewarding "Cinderella" variant.” – School Library Journal
5. Connections –
Teachers can use this book as part of a multicultural theme dealing with “Cinderella Stories from Around the World Unit”, or on a “Unit of Native American folklore”, or even on a Unit that concentrates on the author and illustrator. “This title is by the award-winning author and illustrator team of many popular books for young readers, including THE LEGEND OF SCARFACE and SONG OF SEDNA, also based on Native American folklore. Robert D. San Souci has contributed to SOOTFACE: AN OJIBWA CINDERELLA STORY as an author, and is the author of many award-winning retellings of legends and folktales for children. He also wrote the screen story for the Walt Disney animated feature "Mulan." Daniel San Souci has contributed to SOOTFACE: AN OJIBWA CINDERELLA STORY as an illustrator. San Souci has illustrated nearly 50 books for young readers” (Infibeam, 2009).
References
Infibeam, (2007-2009). Infibeam.com and Affiliates, retrieved on September 27, 2009, from http://www.infibeam.com/Books/info/Robert-D-San-Souci/Sootface-An-Ojibwa-Cinderella-Story/061302186X.html
JustForKids, (2009). Confetti Enterprises, retrieved on September 27, 2009, from http://www.justforkidsbookstore.com/bookcase/cinderellastories/index.html
San Souci, Robert D., Reteller. 1994. SOOTFACE: AN OJIBWA CINDERELLA STORY. Ill. by Daniel San Souci. New York, NY: Bantam Doubleday Dell Publishing Group Inc. ISBN: 0-385-31202-4
San Souci, Robert D., Reteller. 1994. SOOTFACE: AN OJIBWA CINDERELLA STORY. Ill. by Daniel San Souci. New York, NY: Bantam Doubleday Dell Publishing Group Inc. ISBN: 0-385-31202-4
2. Plot Summary –
“A spellbinding Native American version of the well-loved Cinderella story” (Infibeam, 2009), this retold folktale introduces us to Sootface, whose mother has died and whose father doesn’t know that her two older sisters treat her badly and make her do all the work and chores. Sootface is named that after she singes her hair and burns her skin in the fire while cooking and cleaning. Sootface longs for a husband and when a chance to marry the mighty warrior hunter presents itself, Sootface tries to accomplish the task of describing the invisible warrior hunter and his bow.
Many women from her village try their luck and fail at this task; and even though her sisters and the entire village make fun of her for wanting to try (as she looks ugly in her tattered clothing, singed hair and sooty facial appearance), she does not falter but keeps going and gives it her all. Not only does Sootface pass the test, which is to see the invisible mighty warrior hunter (since only the true of heart will be able to see him); but he happily changes her name to Dawn-Light, has his sister help her clean the soot off of her face, change her into new beautiful clothes, fix and braid her singed hair, then marries her - living happily ever after.
3. Critical Analysis –
a. Characters:
The characters in this story are Sootface, her two older, lazy and mean sisters, the villagers, the mighty invisible hunter or warrior, and the hunter’s sister.
b. Plot:
“Although she is mocked and mistreated by her two older sisters, an Ojibwa Indian maiden wins a mighty, invisible warrior for her husband with her kind and honest heart” (Infibeam, 2009).
c. Setting:
This story takes place in the village of the Indian tribe called the Ojibwa (beside a lake, deep in a forest of birch), as well as across the lake in the wigwam lodge, where the mighty invisible warrior hunter lives with his sister.
d. Theme:
The basic “Cinderella” theme is present – the triumph of good versus evil - selfish versus selfless; one where lazy, egotistical and mean lose out to the hard-working, kind, innocent and pure of heart. Also the theme of living “happily ever after” is present in this story.
e. Style:
This story begins (formalized opening) with a version of “Once upon a time” in the words, “Once, an Ojibwa man whose wife had died raised three daughters alone” and ends with a “they all lived happily ever after” in the words, “Everyone was pleased, except Dawn-Light’s two older sisters, who had to do all the cooking and cleaning themselves now”. It also introduces us to the family and establishes the conflict right away.
There was also a sense of repetition or repeated elements when Sootface chanted near the beginning of the story:
“Oh, I am thinking,
Oh, I am dreaming,
That even ugly as I am,
I will someday find a husband.”
Then, in the middle of the story, her chant became:
“Soon, I am thinking,
Soon, I am dreaming,
That I will find a husband.
I am sure it will be so.”
Until near the end of the story, her chant became:
“Now, I am happy,
Now, I am certain,
That I have found my husband,
My new sister and hew home.”
The motif of the role of magic plays out in this story through the mighty warrior hunter who can make himself invisible and can only be seen by one who has a kind and honest heart. This is the test he sets up to see who he will choose for his wife. The event and token he uses to make sure that his future wife is really able to see him, is one of a magical invisible bow and bowstring – the maiden that can describe his magical invisible bow and bowstring will be his wife.
f. Illustrations:
The illustrations are very well done! They show the facial features of Sootface and her sisters and other characters which help convey emotion and body language. The landscape is also beautiful, but what I really thought was amazing was the attention to the small details in the clothing that was worn by the characters, the houses, and the environment.
“The full-page watercolors are dramatic and convey the natural woodland setting surrounding the Great Lakes and Northeast tribes, the jeers of Sootface's sisters, and the serenity and kindness of the warrior and his sister. Sootface's dazed expression remains rather similar throughout-until the end, when she is transformed by love into a beautiful girl” (JustforKids, 2009).
g. Cultural Markers:
This book is full of cultural markers – from the words and names used for the different characters (Sootface, Dawn-Light) and everyday items (skins, bows, wigwam) to the way in which the characters dress (braided hair, moccasins) and activities they do (fetching water, cooking deer meat on the fire). “The illustrations are based on extensive research at the Anthropology Library of the University of California at Berkeley. Details of clothing, traditional design, and setting reflect mid-eighteenth-century Ojibwa village life” (Souci, R., 1994).
h. Anthologies:
There are so many “Cinderella” books available from all over the world. Teachers can build their own collections – at the Just for Kids Bookstore -http://www.justforkidsbookstore.com/bookcase/cinderellastories/index.html one can order the “Cinderella Starter Library - which features eleven culturally unique adaptations from cultures all over the world, bundled together to help you begin or expand your own Cinderella collection”.
i. Awards & Recognitions:
This story, SOOTFACE: AN OJIBWA CINDERELLA STORY has been awarded the following honors:
**An NCSS-CBC Notable Children’s Trade Book in the Field of Social Studies
**Awarded “Children’s Book of the Year” by Bank Street Child Study Children’s Book Committee
4. Review Excerpt(s) –
** “This Cinderella variant should be in your library as it shows how self-reliance, honesty and goodness eventually prevail. Definitely recommended. – Confetti Books
** “A satisfying picture book for reading aloud or alone, and a good choice for classes studying Native Americans.” - Booklist
** “Altogether a refreshing and rewarding "Cinderella" variant.” – School Library Journal
5. Connections –
Teachers can use this book as part of a multicultural theme dealing with “Cinderella Stories from Around the World Unit”, or on a “Unit of Native American folklore”, or even on a Unit that concentrates on the author and illustrator. “This title is by the award-winning author and illustrator team of many popular books for young readers, including THE LEGEND OF SCARFACE and SONG OF SEDNA, also based on Native American folklore. Robert D. San Souci has contributed to SOOTFACE: AN OJIBWA CINDERELLA STORY as an author, and is the author of many award-winning retellings of legends and folktales for children. He also wrote the screen story for the Walt Disney animated feature "Mulan." Daniel San Souci has contributed to SOOTFACE: AN OJIBWA CINDERELLA STORY as an illustrator. San Souci has illustrated nearly 50 books for young readers” (Infibeam, 2009).
References
Infibeam, (2007-2009). Infibeam.com and Affiliates, retrieved on September 27, 2009, from http://www.infibeam.com/Books/info/Robert-D-San-Souci/Sootface-An-Ojibwa-Cinderella-Story/061302186X.html
JustForKids, (2009). Confetti Enterprises, retrieved on September 27, 2009, from http://www.justforkidsbookstore.com/bookcase/cinderellastories/index.html
San Souci, Robert D., Reteller. 1994. SOOTFACE: AN OJIBWA CINDERELLA STORY. Ill. by Daniel San Souci. New York, NY: Bantam Doubleday Dell Publishing Group Inc. ISBN: 0-385-31202-4
Sunday, September 27, 2009
Traditional Literature - Book Review #1: Daniel San Souci - IN THE MOONLIGHT MIST
1. Bibliography -
San Souci, Daniel, Reteller. 1999. IN THE MOONLIGHT MIST: A KOREAN TALE. Ill. by Eujin Kim Neilan. Honesdale, PA: Boyds Mill Press. ISBN-10: 1-56397-754-0 / ISBN-13: 978-1-56397-754-1
2. Plot Summary –
This retold folktale story of an ancient Korean tale is about a woodcutter, who lives with his mother, and longs for a family (wife and children) of his own. One day while in the woods, he spares the life of a deer who grants him a wish of a celestial bride. The woodcutter consults with his mother about this. Unfortunately, the woodcutter forgets to follow the deer’s instructions, as he was to hide her celestial robe until the birth of their second child. He feels sorry that his wife is missing her home after the birth of their first child, and gives her back her robe too early. Both his wife and first-born child float upwards and return to heaven, much to the woodcutter’s dismay.
After the deer re-appeared in the woods before him, he is given another chance for happiness. Unfortunately, events unfold and the woodcutter sacrifices his chances to go to heaven and allows his mother, who has lived a full life, to go in his place. The heavenly king, hearing about the woodcutter’s sacrifice, sends the woodcutter a magical dragon-horse that will bring him to heaven to be reunited with his whole family (wife, child and elderly mother).
3. Critical Analysis –
a. Characters:
The characters in this story are the woodcutter, his mother, the enchanted deer, the woodcutter’s celestial wife and child, the hunters, the beautiful maidens, a talking hare, and the magical flying dragon-horse.
b. Plot:
The woodcutter saves an enchanted deer from some hunters and is rewarded with a wish of a wife and child of his own. But he has a few decisions to make, which he talks about with his elderly mother. One of his toughest decisions, that has to make, is to go up to heaven to be with his wife and child, or to sacrifice his chance to be reunited with his family and let his elderly mother go in his place; as she has lived a full life.
c. Setting:
This story takes place in the forest, around the magical lake, in the moonlight mist, in the woodcutter’s home and garden, and up in the heavenly kingdom above.
d. Theme:
The themes of family importance (respect for one’s elders), character, value, and self-sacrifice are all stressed in this book through the woodcutter’s dilemma, choices and life.
e. Style:
This story begins (formalized opening) with a version of “Once upon a time” in the words, “One spring afternoon” and ends with a “they all lived happily ever after” in the words, “Their joy gave the moon and stars a luster that caused no end to the wonder on the earth below”. The motif of magic and wishes are also evident in the story.
f. Illustrations:
The illustrations were very amazing! The colours and details were rich and reflective of the magical celestial settings. Eujin Kim Neilan tried to capture the essence of the Chosun Dynasty with her illustrations. With the brush strokes in the illustrations, your eyes are drawn to the important images - whether it is highlighting the woodcutter’s celestial’ wife’s heart on one page or the heaven’s above on another.
Others commented on the illustrations: “With a texture reminiscent of scratchboard, the acrylic paintings are beautiful” (Parents’ Choice, 1999). “The path of the brush stroke is fully visible in Neilan’s gray tones, and her models are taken from Korea’s Chosun dynasty” (Booklist, 2009).
g. Cultural Markers:
The cultural markers in this story can be seen both in the illustrations and in the story itself. The characters are dressed in clothing reminiscent of the Chosun Dynasty era and the lifestyle and personal decisions regarding family and choices echo the Korean culture. “Folktales like this one often illustrate culturally-related family dilemmas – in this case, the woodcutter is faced with what he feels he must do for his wife and what he must also do for his aged mother” (Papertigers, 2009).
h. Anthologies:
One anthology for Korean stories is:
** So-un, Kim. 2004. KOREAN CHILDREN’S FAVORITE STORIES. Ill. by Jeong Kyoung-Sim. Boston, MA: Turtle Publishing. ISBN: 0-8048-3591-8
i. Awards & Recognitions:
This story, IN THE MOONLIGHT MIST won the Parents' Choice Award for 1999 - Picture Books.
4. Review Excerpt(s) –
"An evocative tale with a dulcet message." – Booklist
A tender and inspirational retelling of a magical Korean tale of goodness and sacrifice. When a young woodcutter saves a deer from a hunter, the deer offers to grant him a wish. The woodcutter wants a loving wife and family more than anything, but believes he is too poor to marry. The enchanted deer grants him a heavenly maiden of a wife and before long the happy couple is blessed with a child. But soon, homesick and seduced by the heavens, the wife and child return to life among the stars, leaving the poor woodcutter earthbound and alone. The deer takes sympathy on the woodcutter and offers him a passage to the heavens, which he gives instead to his ailing, elderly mother. The gods finally step in, reuniting the selfless man with his entire family in paradise. San Souci's retelling is captivating, but Neilan's vibrant use of line and emotional expressions furnish the enchantment. —Kirkus Reviews
“The acrylic paintings extend the well-told text and add cultural details." - The Horn Book
Daniel San Souci retells one of Korea's most beloved stories in shimmering prose that conjures new magic from this ancient tale. Eujin Kim Neilan, who researched the tale in Korea, sets the story at the time of the Chosun Dynasty. She captures that long-ago world in breathtaking illustrations. Together they have created a storybook treasure. Winner of the Parents Choice Award. – Asia Bookroom
“Neilan’s paintings are wonderfully expressive and amplify the deep emotion of the situation. Her palette of yellows and browns shows people who are swathed in moonlight yet avoids the dimness that night scenes sometimes have.” – School Library Journal
5. Connections –
Teachers can use this book as part of a multicultural theme when learning about different countries (like Korea) or even different customs from different cultures. If you are looking for other books that reflect Korean culture, consider looking at the following books:
** Park, Linda Sue. 2004. THE FIREKEEPER’S SON. Ill. by Julie Downing. New York, NY: Clarion Books. ISBN: 0-618-13337-2
** Uk-Bae, Lee & Yi, Ok-Pae. 1999. SORI’S HARVEST MOON DAY: A STORY OF KOREA. Ill. by Lee Uk-Bae. Norwalk, CT: Soundprints. ISBN-10: 1-568-99687-X / ISBN-13: 978-1568996875
** Stickler, John. 2003. LAND OF MORNING CALM: KOREAN CULTURE THEN AND NOW. Ill. by Soma Han. Walnut Creek, CA: Shen’s Books. ISBN-10: 1-885-00822-8 / ISBN-13: 978-1885008220
References
Papertigers, (2009). Papertigers blog, retrieved on September 25, 2009, from http://www.papertigers.org/wordpress/books-at-bedtime-in-the-moonlight-mist/
Parents’ Choice Foundation, (1999). Children’s media and toy reviews, retrieved on September 23, 2009, from http://www.parents-choice.org/product.cfm?product_id=185&award=xx&from=Boyds%20Mills%20Press
San Souci, Daniel, Reteller. 1999. IN THE MOONLIGHT MIST: A KOREAN TALE. Ill. by Eujin Kim Neilan. Honesdale, PA: Boyds Mill Press. ISBN-10: 1-56397-754-0 / ISBN-13: 978-1-56397-754-1
2. Plot Summary –
This retold folktale story of an ancient Korean tale is about a woodcutter, who lives with his mother, and longs for a family (wife and children) of his own. One day while in the woods, he spares the life of a deer who grants him a wish of a celestial bride. The woodcutter consults with his mother about this. Unfortunately, the woodcutter forgets to follow the deer’s instructions, as he was to hide her celestial robe until the birth of their second child. He feels sorry that his wife is missing her home after the birth of their first child, and gives her back her robe too early. Both his wife and first-born child float upwards and return to heaven, much to the woodcutter’s dismay.
After the deer re-appeared in the woods before him, he is given another chance for happiness. Unfortunately, events unfold and the woodcutter sacrifices his chances to go to heaven and allows his mother, who has lived a full life, to go in his place. The heavenly king, hearing about the woodcutter’s sacrifice, sends the woodcutter a magical dragon-horse that will bring him to heaven to be reunited with his whole family (wife, child and elderly mother).
3. Critical Analysis –
a. Characters:
The characters in this story are the woodcutter, his mother, the enchanted deer, the woodcutter’s celestial wife and child, the hunters, the beautiful maidens, a talking hare, and the magical flying dragon-horse.
b. Plot:
The woodcutter saves an enchanted deer from some hunters and is rewarded with a wish of a wife and child of his own. But he has a few decisions to make, which he talks about with his elderly mother. One of his toughest decisions, that has to make, is to go up to heaven to be with his wife and child, or to sacrifice his chance to be reunited with his family and let his elderly mother go in his place; as she has lived a full life.
c. Setting:
This story takes place in the forest, around the magical lake, in the moonlight mist, in the woodcutter’s home and garden, and up in the heavenly kingdom above.
d. Theme:
The themes of family importance (respect for one’s elders), character, value, and self-sacrifice are all stressed in this book through the woodcutter’s dilemma, choices and life.
e. Style:
This story begins (formalized opening) with a version of “Once upon a time” in the words, “One spring afternoon” and ends with a “they all lived happily ever after” in the words, “Their joy gave the moon and stars a luster that caused no end to the wonder on the earth below”. The motif of magic and wishes are also evident in the story.
f. Illustrations:
The illustrations were very amazing! The colours and details were rich and reflective of the magical celestial settings. Eujin Kim Neilan tried to capture the essence of the Chosun Dynasty with her illustrations. With the brush strokes in the illustrations, your eyes are drawn to the important images - whether it is highlighting the woodcutter’s celestial’ wife’s heart on one page or the heaven’s above on another.
Others commented on the illustrations: “With a texture reminiscent of scratchboard, the acrylic paintings are beautiful” (Parents’ Choice, 1999). “The path of the brush stroke is fully visible in Neilan’s gray tones, and her models are taken from Korea’s Chosun dynasty” (Booklist, 2009).
g. Cultural Markers:
The cultural markers in this story can be seen both in the illustrations and in the story itself. The characters are dressed in clothing reminiscent of the Chosun Dynasty era and the lifestyle and personal decisions regarding family and choices echo the Korean culture. “Folktales like this one often illustrate culturally-related family dilemmas – in this case, the woodcutter is faced with what he feels he must do for his wife and what he must also do for his aged mother” (Papertigers, 2009).
h. Anthologies:
One anthology for Korean stories is:
** So-un, Kim. 2004. KOREAN CHILDREN’S FAVORITE STORIES. Ill. by Jeong Kyoung-Sim. Boston, MA: Turtle Publishing. ISBN: 0-8048-3591-8
i. Awards & Recognitions:
This story, IN THE MOONLIGHT MIST won the Parents' Choice Award for 1999 - Picture Books.
4. Review Excerpt(s) –
"An evocative tale with a dulcet message." – Booklist
A tender and inspirational retelling of a magical Korean tale of goodness and sacrifice. When a young woodcutter saves a deer from a hunter, the deer offers to grant him a wish. The woodcutter wants a loving wife and family more than anything, but believes he is too poor to marry. The enchanted deer grants him a heavenly maiden of a wife and before long the happy couple is blessed with a child. But soon, homesick and seduced by the heavens, the wife and child return to life among the stars, leaving the poor woodcutter earthbound and alone. The deer takes sympathy on the woodcutter and offers him a passage to the heavens, which he gives instead to his ailing, elderly mother. The gods finally step in, reuniting the selfless man with his entire family in paradise. San Souci's retelling is captivating, but Neilan's vibrant use of line and emotional expressions furnish the enchantment. —Kirkus Reviews
“The acrylic paintings extend the well-told text and add cultural details." - The Horn Book
Daniel San Souci retells one of Korea's most beloved stories in shimmering prose that conjures new magic from this ancient tale. Eujin Kim Neilan, who researched the tale in Korea, sets the story at the time of the Chosun Dynasty. She captures that long-ago world in breathtaking illustrations. Together they have created a storybook treasure. Winner of the Parents Choice Award. – Asia Bookroom
“Neilan’s paintings are wonderfully expressive and amplify the deep emotion of the situation. Her palette of yellows and browns shows people who are swathed in moonlight yet avoids the dimness that night scenes sometimes have.” – School Library Journal
5. Connections –
Teachers can use this book as part of a multicultural theme when learning about different countries (like Korea) or even different customs from different cultures. If you are looking for other books that reflect Korean culture, consider looking at the following books:
** Park, Linda Sue. 2004. THE FIREKEEPER’S SON. Ill. by Julie Downing. New York, NY: Clarion Books. ISBN: 0-618-13337-2
** Uk-Bae, Lee & Yi, Ok-Pae. 1999. SORI’S HARVEST MOON DAY: A STORY OF KOREA. Ill. by Lee Uk-Bae. Norwalk, CT: Soundprints. ISBN-10: 1-568-99687-X / ISBN-13: 978-1568996875
** Stickler, John. 2003. LAND OF MORNING CALM: KOREAN CULTURE THEN AND NOW. Ill. by Soma Han. Walnut Creek, CA: Shen’s Books. ISBN-10: 1-885-00822-8 / ISBN-13: 978-1885008220
References
Papertigers, (2009). Papertigers blog, retrieved on September 25, 2009, from http://www.papertigers.org/wordpress/books-at-bedtime-in-the-moonlight-mist/
Parents’ Choice Foundation, (1999). Children’s media and toy reviews, retrieved on September 23, 2009, from http://www.parents-choice.org/product.cfm?product_id=185&award=xx&from=Boyds%20Mills%20Press
Wednesday, September 16, 2009
Picture Books Review #3 : Pat Cummings - TALKING WITH ARTISTS: VOLUME THREE
Genre # 1 Picture Books:
Review #3
1. BIBLIOGRAPHY
Cummings, Pat. 1999. TALKING WITH ARTISTS: VOLUME THREE/CONVERSATIONS WITH PETER CATALANOTTO, RAUL COLON, LISA DESIMINI, JANE DYER, KEVIN HAWKES, G. BRIAN KARAS, BETSY LEWIN, TED LEWIN, KEIKO NARAHASHI, ELISE PRIMAVERA, ANNA RICH, PETER SIS, and PAUL O. ZELINSKY. Compiled and Edited by Pat Cummings. New York, NY: Clarion Books. ISBN 0-395-89132-9
2. PLOT SUMMARY
This book is a wonderful compilation of 13 popular artist’s and illustrator’s personal stories of their lives and glimpses of their childhood; specifically in regards to how they got their start in the business of illustrating children’s books, what inspired them, what medium or materials they use to make their pictures and illustrations, and what a typical day is like for them.
3. CRITICAL ANALYSIS
This book was not exactly what I envisioned in the picture book genre – only because you could not tell what the story was about by looking at the pictures. Also, when I looked at the worksheet for evaluating picture books, there is not a real plot – “a real conflict that grows from a believable situation that is relevant to young children”. The only plot I could analyze was the artist’s own stories of their childhood and what journeys they took to become illustrators. I felt it was a bit of a stretch.
What is great about this book, however, is that it would be a wonderful extention to any lessons in class that included a book that the author or illustrator was known for. The students would be able to learn more about who wrote or illustrated their favourite story and possibly supply them with more of a “real” connection to literature.
Another aspect that I liked about this book was the diverse group of illustrators that were represented. It was very interesting to hear about their different childhoods and unique beginnings; and yet ultimately, they all shared the common thread of wanting to tell stories to children though pictures!
a. Characters:
The characters in the book were the 13 artists that were interviewed; and occasionally you saw the characters they illustrated and were known for. According to Pat Cumming’s book TALKING WITH ARTISTS: VOL. 3 - The 13 artists’ information includes the following (the information was taken from the book itself):
Peter Catalanotto – (born March 21, 1959) Peter works at home in a New York studio above the garage, and has a wife, Jo-Ann, who also works at home as a photographer; he has a 2nd grade daughter, Chelsea, and a German shepherd named ChaCha. He paints his illustrations of animals, people, clouds and trees using light and shadows in watercolours. Some of his works are titled: DYLAN’S DAY OUT, ALL I SEE, AN ANGEL FOR SOLOMON SINGER, and THE PAINTER.
Raul Colon – (born December 17, 1952) He has a wife, Edie, and two boys, Brian and Brandon, and likes drawing people. Raul uses a special kind of paper called Fabriano watercolor paper. He uses yellowish watercolours to start, and then sketches in figures, after that, he builds up wash after wash to get the colours darker. Then he etches into the paper with a “scratcher” and finishes with coloured pencils. He works in his studio in the basement of his New York condominium. One of his pieces of work is ALWAYS MY DAD.
Lisa Desimini – (March 21, 1964) Lisa loves to draw houses and uses oil paint, collages and Sculpey material. She does not have any children or pets, but would like to have a few children someday, and a dog too! Lisa is known for the following works: THE GREAT PEACE MAKER, MY HOUSE, LOVE LETTERS, DOODLE DANDIES, and HERON STREET.
Jane Dyer – (March 7, 1949) Jane has three cats, a dog, two lovebirds, and a lily pond full of goldfish. She likes drawing children and animals and has even drawn her daughters, Brooke and Cecily, into her books. She works in a sun-filled studio and sketches her illustrations and then uses watercolours. She is known for her CHILD OF FAERIE, GOLDILOCKS AND THE THREE BEARS.
Kevin Hawkes – (August 25, 1959) Kevin likes to use acrylic paint and he likes to draw light and shadows (dramatic shadows) and large enormous objects flying through the air. His works include: THEN THE TROLL HEARD THE SQUEEK, MY LITTLE SISTER ATE ONE HARE, THE TURNIP. He has a wife, Karen, and three children – Spencer, Jessie and Ian.
G.Brian Karas – (September 27, 1957) Brian likes to draw funny looking dogs and ridiculous looking people. He has a wife and two boys, Bennett and Zachary, and a dog named Buddy. He uses “Gouache” (gwash) and acrylic paint and pencils for his illustrations. He works at home in a room that used to be half the garage and one of his works is: SLEEPLESS BEAUTY.
Betsy Lewin – (May 12, 1937) Betsy and her husband, Ted, (who is also an artist) have two cats and no children. She likes to draw animals and her books CAT COUNT, BOOBY HATCH, WHAT’S THE MATTER, HABIBI?, and CHUBBO’S POOL reflect that.
Ted Lewin – (May 6, 1935) Ted is from New York and has a wife, Betsy, and two cats. He had a lot of interesting animals growing up – a lion, chimp, and many kinds of monkeys. He uses Strathmore Bristol paper and watercolours for his illustrations and loves to draw animals and birds. His works include: TIGER TREK, SACRED RIVER, MARKET, FAIR and FAITHFUL ELEPHANT.
Keiko Narahashi – (January 20, 1959) Keiko was born in Tokyo, Japan but moved to the United States when she started first grade. She did not speak any English at that time. She loved to draw as it “helped her figure out who she was and to communicate with the world.” She has a husband, two children, two snakes and a guinea pig. Keiko loves to draw children and animals in her studio, in an old factory building in New York, as well as in her office at home. She uses watercolours and gouache paint on D’Arches paper for her illustrations. Her books include: I HAVE A FRIEND, and IS THAT JOSIE?
Elise Primavera – (May 19, 1955) Elise has always worked in a studio out of her home and likes to draw animals and people even though, she does not have any children or animals of her own. She also likes to draw mountains, snow and night scenes too with “scary and creepy stuff”. She likes to use a little bit of everything in her illustrations – pen, pencil, watercolours, pastels, acylic, charcoal and gesso mixed with pumice stone. Her books include: GRANDMA’S HOUSE, GRANDMA’S PROMISE, and RAISING DRAGONS.
Anna Rich – (July 2, 1956) Anna is a native New Yorker who lives on Long Island and works in her studio in her house. She used to use watercolours on Manila paper, but now sketches her illustrations in pencil and uses oil paint. Anna likes to draw people, but also landscapes and environments. She has a husband named Harry and a cat named Dinah. JOSHUA’S MASAI MASK and ANNIE’S GIFTS are two of her books.
Peter Sis – (May 11, 1949) Peter was born in Brno and grew up in Prague, Czechoslovakia (now the Czech Republic) and now lives in New York with his American wife, and two children, Madeleine and Matej. He used to work at home, but was worried that his children would get into the paints, so now he works in a studio about five blocks away. Peter likes to draw water and water scenes using paper, ink, pen, watercolours, and also acrylic paint with gold pigment in it. Some of Peter’s books are: HANSEL AND GRETEL, and A SMALL, TALL TALE FROM THE FAR, FAR NORTH.
Paul O. Zelinsky – (February 14, 1953) Paul was born in Chicago but lived in Kyoto, Japan for a year, when he was little – that is where he learned to draw geishas. He lives with his wife and two daughters in New York, and has a studio in a small apartment close to his home apartment. Paul likes to doodle, and to draw trees and monsters! He has books called: THE WHEELS ON THE BUS, SWAMP ANGEL, RUMPELSTILTSKIN, RAPUNZEL, and EMILY UPHAM’S REVENGE, OR HOW DEADWOOD DICK SAVED THE BANKER’S NIECE, A MASSACHUSETTS ADVENTURE; and has used watercolours, pastels, oil paints, gouache or opaque watercolours in his illustrations.
b. Plot:
The plot for this book involved how each diverse artist had a different route that they took to get to where they are now. Some knew right away that they wanted to draw illustrations for children’s books, and some stumbled into it unknowingly. One thing that all of the illustrators seemed to have in common was the need to tell children to follow their dreams and do not let anyone tell you that you cannot do something – if you want to do something, believe in yourself and do it!
C. Setting:
Each illustrator talked about their own personal histories and childhoods. The settings for all of these illustrators took place in their own individual story and those 13 artists’ stories were varied; however, they all did talk about their art studios, whether they were in their houses or they had to commute to them. Some of the artists live in New York, or New Jersey, others in Massachusetts, or Pennsylvania, etc.
d. Theme:
Even though this book compiles many different stories about the different illustrator’s styles, they all share the same passion about what they do and why. According to Pat Cummings, “the word illustrate comes from a Latin word that means to throw light on something. So an illustration has to communicate something.”
It was enjoyable to read the artists’ journey to becoming an illustrator and to know a little bit more about them as unique individuals. They all stressed the importance of being yourself, true to yourself, following your dreams, and always trying to give it your best. This book would be very encouraging to young children who are aspiring to be book writers or illustrators themselves.
e. Style:
Pat Cummings was very smart when she interviewed the 13 artists in this book. She was more concerned with what they had to say about their lives and their everyday happenings, than what she herself had to say. She even incorporated a quote from each of the artists and illustrators in this book, which you can see below:
“Don’t let anyone make you feel that you can’t draw. Remember, everyone draws differently!”
- Peter Catalanotto
“You don’t do art for the money. That’s the number one thing. And number two is, you do it because you love it.”
- Raul Colon
“Keep looking for what makes you happy. Draw what feels right. Eat what feels right.”
- Lisa Desimini
“Spend some time each day dreaming.”
- Jane Dyer
“Be patient with yourself. If your painting doesn’t look quite right, keep trying. And try different things.”
– Kevin Hawkes
“No work is so dismal that you have to throw it out and start over again. Try to fix it, or paint over it, or cut it in shreds and glue those together to make a great collage.”
- G. Brian Karas
“Draw in your own way, from your own heart.”
- Betsy Lewin
“Carry a sketchbook and draw.”
- Ted Lewin
“If you love to draw, draw a lot of what you love to draw. Look hard at the things that fascinate you and don’t pay too much attention to advice about drawing, especially from grownups, like me.”
- Keiko Narahashi
“Draw a lot and never worry about staying inside the lines.”
- Elise Primavera
“If you like to do this kind of thing, do it, because it can’t hurt you and it probably helps your brain develop.”
- Anna Rich
“Everyone starts somewhere. Even if the work is not perfect, everyone has something to say, some story to tell. Just keep on trying.”
- Peter Sis
“The more you draw, the more you learn about the visible world around you.”
-Paul o. Zelinsky
f. Illustrations:
There were a few examples of pictures from each of the illustrators known works and apparent style. Children would probably connect the illustrations with the artist more because of the visual examples. It was great to see how different the drawing styles were and how the artists used different kinds of paint, watercolour, pencils, etc. to achieve their goals. I also liked the photos of the artists as children and as they appear today! That is always great for children to see that the artists were children once too!
g. Cultural Markers:
Not only did Pat Cummings include a diverse group of artists in this book to interview; but the illustrations also represented different ages, races, and sexes in their examples from each artist.
h. Awards & Recognitions:
Pat Cummings book TALKING WITH ARTISTS - VOLUME ONE was a Boston Globe - Horn Book Award Winner in 1992 for Non-fiction.
Her third book TALKING WITH ARTISTS –VOLUME THREE is full of award winning illustrators (and authors)!
4. REVIEW EXCERPT(S)
BookList -
Cummings once again addresses kids' curiosity about the people behind the picture books they love. The look of this book is slightly different from her 1992 volume: typefaces have been changed, photos of the artists are now in color, and the jacket colors have been softened. The "My Story" section that introduced each profile in the first book remains a wonderful feature here, giving artists an opportunity to tell about themselves in a vivid, personal way; the general questions posed are the same as those in volume one; and there's still a fascinating glimpse of the artists' work as children. There are also some great, new features. Instead of a glossary of art terms, this book includes a simple, technical tip from each artist and a photo of the artist's workspace. Cummings' selection of artists is especially good this time, demonstrating a great diversity in artistic style and choice of media. Kevin Henkes, Floyd Cooper, Denise Fleming, and Vera B. Williams are among the 13 included. A special treat for budding artists and wonderful for teachers.
School Library Journal-
Gr. 3-8-Thirteen children's book illustrators discuss their lives and how they communicate their ideas. All of the profiles open with personal essays titled "My Story" revealing some biographical details but focusing on childhood dreams and ambitions, training, sources of inspiration, and feelings about their career choices. Following this section, a number of questions are posed-the same as those presented in the first two volumes-that explore the subject's personal and professional life. Then-and-now photos of the illustrators and reproductions of childhood and recent work accompany the narrative. The artists include Ra l Col n, Lisa Desimini, G. Brian Karas, Betsy Lewin, Keiko Narahashi, Peter S s, Paul O. Zelinsky, and others, and they represent a variety of styles and mediums. While many readers will find the artists' tips that conclude the volume useful, all will appreciate these insightful conversations.
-Daryl Grabarek, School Library Journal
Publishers Weekly -
Children's book illustrators discuss their craft in Talking with Artists: Volume Two, compiled and edited by Pat Cummings-as in the first book, interviews are accompanied by childhood and present-day photos of the subjects and examples of their work. Artists include Denise Fleming, Kevin Henkes, Maira Kalman, Floyd Cooper and nine others (Simon & Schuster, $19.95, ages 9-up ISBN 0-689-80310-9 Sept.).
5. CONNECTIONS
*If you would like to talk to children more about writing or illustrating books; the following books would be an additional read:
Carle, Eric. 2007. ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART. By Eric Carle Museum of Picture Book Art. New York, NY: Philomel Books. ISBN-10: 0399246002 / ISBN-13: 978-0399-24600-5
Aliki. 1988. HOW A BOOK IS MADE. Ill. by Aliki. New York, NY: HarperCollins Pub. ISBN 0-06-446085-1
Christelow, Eileen. 1999. WHAT DO ILLUSTRATORS DO? Ill. by Eileen Christelow. New York, NY: Clarion Books. ISBN 0-395-90230-4
*Gather other books compiled and edited by Pat Cummings:
Cummings, Pat. 1992. TALKING WITH ARTISTS: VOLUME ONE / CONVERSATIONS WITH VICTORIA CHESS, PAT CUMMINGS, LEO AND DIANE DILLION, RICHARD EGIELSKI, LOIS EHLERT, LISA CAMPBELL ERNST, TOM FEELINGs, STEVEN KELLOGG, JERRY PINKNEY, AMY SCHWARTZ, LANE SMITH, CHRIS VAN ALLSBURG, AND DAVID WIESNER. Compiled and edited by Pat Cummings. New York, NY: Simon & Schuster Children’s Publishing. ISBN 0-02-724245-5
Cummings, Pat. 1995. TALKING WITH ARTISTS: VOLUME TWO / CONVERSATIONS WITH THOMAS B. ALLEN, MARY JANE BEGIN, FLOYD COOPER, JULIE DOWNING, DENISE FLEMING, SHEILS HAMANAKA, KEVIN HENKES, WILLIAM JOYCE, MAIRA KALMAN, DEBORAH NOURSE LATTIMORE, BRIAN PINKNEY, VERA B. WILLIAMS, AND DAVID WISNIEWSKI. Compiled and Edited by Pat Cummings. New York, NY: Simon & Schuster Children’s Publishing. ISBN-10: 0689803109 / ISBN-13: 978-0689803109
Review #3
1. BIBLIOGRAPHY
Cummings, Pat. 1999. TALKING WITH ARTISTS: VOLUME THREE/CONVERSATIONS WITH PETER CATALANOTTO, RAUL COLON, LISA DESIMINI, JANE DYER, KEVIN HAWKES, G. BRIAN KARAS, BETSY LEWIN, TED LEWIN, KEIKO NARAHASHI, ELISE PRIMAVERA, ANNA RICH, PETER SIS, and PAUL O. ZELINSKY. Compiled and Edited by Pat Cummings. New York, NY: Clarion Books. ISBN 0-395-89132-9
2. PLOT SUMMARY
This book is a wonderful compilation of 13 popular artist’s and illustrator’s personal stories of their lives and glimpses of their childhood; specifically in regards to how they got their start in the business of illustrating children’s books, what inspired them, what medium or materials they use to make their pictures and illustrations, and what a typical day is like for them.
3. CRITICAL ANALYSIS
This book was not exactly what I envisioned in the picture book genre – only because you could not tell what the story was about by looking at the pictures. Also, when I looked at the worksheet for evaluating picture books, there is not a real plot – “a real conflict that grows from a believable situation that is relevant to young children”. The only plot I could analyze was the artist’s own stories of their childhood and what journeys they took to become illustrators. I felt it was a bit of a stretch.
What is great about this book, however, is that it would be a wonderful extention to any lessons in class that included a book that the author or illustrator was known for. The students would be able to learn more about who wrote or illustrated their favourite story and possibly supply them with more of a “real” connection to literature.
Another aspect that I liked about this book was the diverse group of illustrators that were represented. It was very interesting to hear about their different childhoods and unique beginnings; and yet ultimately, they all shared the common thread of wanting to tell stories to children though pictures!
a. Characters:
The characters in the book were the 13 artists that were interviewed; and occasionally you saw the characters they illustrated and were known for. According to Pat Cumming’s book TALKING WITH ARTISTS: VOL. 3 - The 13 artists’ information includes the following (the information was taken from the book itself):
Peter Catalanotto – (born March 21, 1959) Peter works at home in a New York studio above the garage, and has a wife, Jo-Ann, who also works at home as a photographer; he has a 2nd grade daughter, Chelsea, and a German shepherd named ChaCha. He paints his illustrations of animals, people, clouds and trees using light and shadows in watercolours. Some of his works are titled: DYLAN’S DAY OUT, ALL I SEE, AN ANGEL FOR SOLOMON SINGER, and THE PAINTER.
Raul Colon – (born December 17, 1952) He has a wife, Edie, and two boys, Brian and Brandon, and likes drawing people. Raul uses a special kind of paper called Fabriano watercolor paper. He uses yellowish watercolours to start, and then sketches in figures, after that, he builds up wash after wash to get the colours darker. Then he etches into the paper with a “scratcher” and finishes with coloured pencils. He works in his studio in the basement of his New York condominium. One of his pieces of work is ALWAYS MY DAD.
Lisa Desimini – (March 21, 1964) Lisa loves to draw houses and uses oil paint, collages and Sculpey material. She does not have any children or pets, but would like to have a few children someday, and a dog too! Lisa is known for the following works: THE GREAT PEACE MAKER, MY HOUSE, LOVE LETTERS, DOODLE DANDIES, and HERON STREET.
Jane Dyer – (March 7, 1949) Jane has three cats, a dog, two lovebirds, and a lily pond full of goldfish. She likes drawing children and animals and has even drawn her daughters, Brooke and Cecily, into her books. She works in a sun-filled studio and sketches her illustrations and then uses watercolours. She is known for her CHILD OF FAERIE, GOLDILOCKS AND THE THREE BEARS.
Kevin Hawkes – (August 25, 1959) Kevin likes to use acrylic paint and he likes to draw light and shadows (dramatic shadows) and large enormous objects flying through the air. His works include: THEN THE TROLL HEARD THE SQUEEK, MY LITTLE SISTER ATE ONE HARE, THE TURNIP. He has a wife, Karen, and three children – Spencer, Jessie and Ian.
G.Brian Karas – (September 27, 1957) Brian likes to draw funny looking dogs and ridiculous looking people. He has a wife and two boys, Bennett and Zachary, and a dog named Buddy. He uses “Gouache” (gwash) and acrylic paint and pencils for his illustrations. He works at home in a room that used to be half the garage and one of his works is: SLEEPLESS BEAUTY.
Betsy Lewin – (May 12, 1937) Betsy and her husband, Ted, (who is also an artist) have two cats and no children. She likes to draw animals and her books CAT COUNT, BOOBY HATCH, WHAT’S THE MATTER, HABIBI?, and CHUBBO’S POOL reflect that.
Ted Lewin – (May 6, 1935) Ted is from New York and has a wife, Betsy, and two cats. He had a lot of interesting animals growing up – a lion, chimp, and many kinds of monkeys. He uses Strathmore Bristol paper and watercolours for his illustrations and loves to draw animals and birds. His works include: TIGER TREK, SACRED RIVER, MARKET, FAIR and FAITHFUL ELEPHANT.
Keiko Narahashi – (January 20, 1959) Keiko was born in Tokyo, Japan but moved to the United States when she started first grade. She did not speak any English at that time. She loved to draw as it “helped her figure out who she was and to communicate with the world.” She has a husband, two children, two snakes and a guinea pig. Keiko loves to draw children and animals in her studio, in an old factory building in New York, as well as in her office at home. She uses watercolours and gouache paint on D’Arches paper for her illustrations. Her books include: I HAVE A FRIEND, and IS THAT JOSIE?
Elise Primavera – (May 19, 1955) Elise has always worked in a studio out of her home and likes to draw animals and people even though, she does not have any children or animals of her own. She also likes to draw mountains, snow and night scenes too with “scary and creepy stuff”. She likes to use a little bit of everything in her illustrations – pen, pencil, watercolours, pastels, acylic, charcoal and gesso mixed with pumice stone. Her books include: GRANDMA’S HOUSE, GRANDMA’S PROMISE, and RAISING DRAGONS.
Anna Rich – (July 2, 1956) Anna is a native New Yorker who lives on Long Island and works in her studio in her house. She used to use watercolours on Manila paper, but now sketches her illustrations in pencil and uses oil paint. Anna likes to draw people, but also landscapes and environments. She has a husband named Harry and a cat named Dinah. JOSHUA’S MASAI MASK and ANNIE’S GIFTS are two of her books.
Peter Sis – (May 11, 1949) Peter was born in Brno and grew up in Prague, Czechoslovakia (now the Czech Republic) and now lives in New York with his American wife, and two children, Madeleine and Matej. He used to work at home, but was worried that his children would get into the paints, so now he works in a studio about five blocks away. Peter likes to draw water and water scenes using paper, ink, pen, watercolours, and also acrylic paint with gold pigment in it. Some of Peter’s books are: HANSEL AND GRETEL, and A SMALL, TALL TALE FROM THE FAR, FAR NORTH.
Paul O. Zelinsky – (February 14, 1953) Paul was born in Chicago but lived in Kyoto, Japan for a year, when he was little – that is where he learned to draw geishas. He lives with his wife and two daughters in New York, and has a studio in a small apartment close to his home apartment. Paul likes to doodle, and to draw trees and monsters! He has books called: THE WHEELS ON THE BUS, SWAMP ANGEL, RUMPELSTILTSKIN, RAPUNZEL, and EMILY UPHAM’S REVENGE, OR HOW DEADWOOD DICK SAVED THE BANKER’S NIECE, A MASSACHUSETTS ADVENTURE; and has used watercolours, pastels, oil paints, gouache or opaque watercolours in his illustrations.
b. Plot:
The plot for this book involved how each diverse artist had a different route that they took to get to where they are now. Some knew right away that they wanted to draw illustrations for children’s books, and some stumbled into it unknowingly. One thing that all of the illustrators seemed to have in common was the need to tell children to follow their dreams and do not let anyone tell you that you cannot do something – if you want to do something, believe in yourself and do it!
C. Setting:
Each illustrator talked about their own personal histories and childhoods. The settings for all of these illustrators took place in their own individual story and those 13 artists’ stories were varied; however, they all did talk about their art studios, whether they were in their houses or they had to commute to them. Some of the artists live in New York, or New Jersey, others in Massachusetts, or Pennsylvania, etc.
d. Theme:
Even though this book compiles many different stories about the different illustrator’s styles, they all share the same passion about what they do and why. According to Pat Cummings, “the word illustrate comes from a Latin word that means to throw light on something. So an illustration has to communicate something.”
It was enjoyable to read the artists’ journey to becoming an illustrator and to know a little bit more about them as unique individuals. They all stressed the importance of being yourself, true to yourself, following your dreams, and always trying to give it your best. This book would be very encouraging to young children who are aspiring to be book writers or illustrators themselves.
e. Style:
Pat Cummings was very smart when she interviewed the 13 artists in this book. She was more concerned with what they had to say about their lives and their everyday happenings, than what she herself had to say. She even incorporated a quote from each of the artists and illustrators in this book, which you can see below:
“Don’t let anyone make you feel that you can’t draw. Remember, everyone draws differently!”
- Peter Catalanotto
“You don’t do art for the money. That’s the number one thing. And number two is, you do it because you love it.”
- Raul Colon
“Keep looking for what makes you happy. Draw what feels right. Eat what feels right.”
- Lisa Desimini
“Spend some time each day dreaming.”
- Jane Dyer
“Be patient with yourself. If your painting doesn’t look quite right, keep trying. And try different things.”
– Kevin Hawkes
“No work is so dismal that you have to throw it out and start over again. Try to fix it, or paint over it, or cut it in shreds and glue those together to make a great collage.”
- G. Brian Karas
“Draw in your own way, from your own heart.”
- Betsy Lewin
“Carry a sketchbook and draw.”
- Ted Lewin
“If you love to draw, draw a lot of what you love to draw. Look hard at the things that fascinate you and don’t pay too much attention to advice about drawing, especially from grownups, like me.”
- Keiko Narahashi
“Draw a lot and never worry about staying inside the lines.”
- Elise Primavera
“If you like to do this kind of thing, do it, because it can’t hurt you and it probably helps your brain develop.”
- Anna Rich
“Everyone starts somewhere. Even if the work is not perfect, everyone has something to say, some story to tell. Just keep on trying.”
- Peter Sis
“The more you draw, the more you learn about the visible world around you.”
-Paul o. Zelinsky
f. Illustrations:
There were a few examples of pictures from each of the illustrators known works and apparent style. Children would probably connect the illustrations with the artist more because of the visual examples. It was great to see how different the drawing styles were and how the artists used different kinds of paint, watercolour, pencils, etc. to achieve their goals. I also liked the photos of the artists as children and as they appear today! That is always great for children to see that the artists were children once too!
g. Cultural Markers:
Not only did Pat Cummings include a diverse group of artists in this book to interview; but the illustrations also represented different ages, races, and sexes in their examples from each artist.
h. Awards & Recognitions:
Pat Cummings book TALKING WITH ARTISTS - VOLUME ONE was a Boston Globe - Horn Book Award Winner in 1992 for Non-fiction.
Her third book TALKING WITH ARTISTS –VOLUME THREE is full of award winning illustrators (and authors)!
4. REVIEW EXCERPT(S)
BookList -
Cummings once again addresses kids' curiosity about the people behind the picture books they love. The look of this book is slightly different from her 1992 volume: typefaces have been changed, photos of the artists are now in color, and the jacket colors have been softened. The "My Story" section that introduced each profile in the first book remains a wonderful feature here, giving artists an opportunity to tell about themselves in a vivid, personal way; the general questions posed are the same as those in volume one; and there's still a fascinating glimpse of the artists' work as children. There are also some great, new features. Instead of a glossary of art terms, this book includes a simple, technical tip from each artist and a photo of the artist's workspace. Cummings' selection of artists is especially good this time, demonstrating a great diversity in artistic style and choice of media. Kevin Henkes, Floyd Cooper, Denise Fleming, and Vera B. Williams are among the 13 included. A special treat for budding artists and wonderful for teachers.
School Library Journal-
Gr. 3-8-Thirteen children's book illustrators discuss their lives and how they communicate their ideas. All of the profiles open with personal essays titled "My Story" revealing some biographical details but focusing on childhood dreams and ambitions, training, sources of inspiration, and feelings about their career choices. Following this section, a number of questions are posed-the same as those presented in the first two volumes-that explore the subject's personal and professional life. Then-and-now photos of the illustrators and reproductions of childhood and recent work accompany the narrative. The artists include Ra l Col n, Lisa Desimini, G. Brian Karas, Betsy Lewin, Keiko Narahashi, Peter S s, Paul O. Zelinsky, and others, and they represent a variety of styles and mediums. While many readers will find the artists' tips that conclude the volume useful, all will appreciate these insightful conversations.
-Daryl Grabarek, School Library Journal
Publishers Weekly -
Children's book illustrators discuss their craft in Talking with Artists: Volume Two, compiled and edited by Pat Cummings-as in the first book, interviews are accompanied by childhood and present-day photos of the subjects and examples of their work. Artists include Denise Fleming, Kevin Henkes, Maira Kalman, Floyd Cooper and nine others (Simon & Schuster, $19.95, ages 9-up ISBN 0-689-80310-9 Sept.).
5. CONNECTIONS
*If you would like to talk to children more about writing or illustrating books; the following books would be an additional read:
Carle, Eric. 2007. ARTIST TO ARTIST: 23 MAJOR ILLUSTRATORS TALK TO CHILDREN ABOUT THEIR ART. By Eric Carle Museum of Picture Book Art. New York, NY: Philomel Books. ISBN-10: 0399246002 / ISBN-13: 978-0399-24600-5
Aliki. 1988. HOW A BOOK IS MADE. Ill. by Aliki. New York, NY: HarperCollins Pub. ISBN 0-06-446085-1
Christelow, Eileen. 1999. WHAT DO ILLUSTRATORS DO? Ill. by Eileen Christelow. New York, NY: Clarion Books. ISBN 0-395-90230-4
*Gather other books compiled and edited by Pat Cummings:
Cummings, Pat. 1992. TALKING WITH ARTISTS: VOLUME ONE / CONVERSATIONS WITH VICTORIA CHESS, PAT CUMMINGS, LEO AND DIANE DILLION, RICHARD EGIELSKI, LOIS EHLERT, LISA CAMPBELL ERNST, TOM FEELINGs, STEVEN KELLOGG, JERRY PINKNEY, AMY SCHWARTZ, LANE SMITH, CHRIS VAN ALLSBURG, AND DAVID WIESNER. Compiled and edited by Pat Cummings. New York, NY: Simon & Schuster Children’s Publishing. ISBN 0-02-724245-5
Cummings, Pat. 1995. TALKING WITH ARTISTS: VOLUME TWO / CONVERSATIONS WITH THOMAS B. ALLEN, MARY JANE BEGIN, FLOYD COOPER, JULIE DOWNING, DENISE FLEMING, SHEILS HAMANAKA, KEVIN HENKES, WILLIAM JOYCE, MAIRA KALMAN, DEBORAH NOURSE LATTIMORE, BRIAN PINKNEY, VERA B. WILLIAMS, AND DAVID WISNIEWSKI. Compiled and Edited by Pat Cummings. New York, NY: Simon & Schuster Children’s Publishing. ISBN-10: 0689803109 / ISBN-13: 978-0689803109
Tuesday, September 15, 2009
Picture Books Review #2 : Susan Marie Swanson - THE HOUSE IN THE NIGHT
Genre # 1 Picture Books:
Book Review #2
1. BIBLIOGRAPHY
Swanson, Susan Marie. 2008. THE HOUSE IN THE NIGHT. Ill. by Beth Krommes. New York, NY: Houghton Mifflin Company. ISBN-13: 978-0-618-86244-3 / ISBN-10: 0-618-86244-7
2. PLOT SUMMARY
This book is about how a child sees the order of his or her world in regards to their bedtime routine – including the beloved storytime. This book highlights one’s nighttime ritual that is both comforting and exciting at the same time; as the story brings one out into the world beyond, using imagination to explore the order of the universe, and then arrive back home safely again.
3. CRITICAL ANALYSIS
a. Characters:
The main characters in this book are the little girl, her teddy bear and the bird from the book. The other characters are her companions - the dog and the cat with her two kittens; and her mother and father.
b. Plot
The plot for this story is a little girl’s bedtime ritual or routine that she follows before going to bed. Through her good night story book she is transported to the depths of her imagination – and out to the universe beyond! It is quite the fantasy, but one that children will find fascinating as everyone at one time or another wish they could fly out of their windows and up to the stars above!
c. Settings:
The setting is the little girl’s home – her safe bedroom and then the land, the world and the universe beyond her window!
d. Theme:
The theme for this story is about how books (especially nighttime story books) can transport you to far away places (with the help of your imagination) and return you safely home (or bed) - and that not only is there a circle of life but there is cyclical order in the universe around us with each passing day in our routine which is reassuring and familiar.
e. Style:
“Swanson’s reassuring story (inspired by a nursery rhyme that begins, ‘This is the key of the kingdom’) to create a world as cozy inside the house as it is majestic outside” (Booklist, 2009).
“A spare, patterned text and glowing pictures explore the origins of light that make a house a home in this bedtime book for young children. Naming nighttime things that are both comforting and intriguing to preschoolers—a key, a bed, the moon—this timeless book illuminates a reassuring order to the universe” (Amazon product review).
f. Illustrations:
The illustrations are of basic objects but with highly detailed etchings done in black and white and highlighted hints of gold.
g. Cultural Markers:
With this story and illustrations - you cannot really identify a certain race or cultural background; which in this case can actually help any child identify with the story. They could be the main character and it could be their mother and father, in the story with them, for all they know.
h. Awards & Recognitions:
2009 Caldecott Medal Winner
THE HOUSE IN THE NIGHT is an easy-to-read story book with simple sentences for the beginning reader or English Language Learner. Actually, one can understand the story by looking at the fascinating illustrations which is also great for those children that are pre-verbal.
The illustrations looked like they were etched – and are done in black and white. It is interesting how some of the objects are high-lighted in gold to stand out and draw your attention to them specifically. As far as picture books go, I feel that THE HOUSE IN THE NIGHT is a visual masterpiece. The illustrations are so beautiful that you get lost taking in all of the rich details!
Research shows that infants and young children are drawn to the black and white contrasts – hence children will be drawn to these illustrations! And then, Beth Krommes highlights some of the key objects or points by adding the precious hints of gold to her pictures. Her illustrations remind me of another favourite book of mine and my children called MILLIONS OF CATS by Wanda Ga’g, only Krommes’s illustrations have more detail in my opinion.
4. REVIEW EXCERPT(S)
Here are some other review highlights:
"Krommes’s widening perspective manages to exude both comfort and daring." -- New York Times Book Review
"Here the art is spectacular. Executed in scratchboard decorated in droplets of gold, Krommes’ illustrations expand on Swanson’s reassuring story (inspired by a nursury rhyme that begins, “This is the key of the kingdom”) to create a world as cozy inside a house as it is majestic outside."--Booklist, starred review
"Inspired by traditional cumulative poetry, Swanson weaves a soothing song that is as luminescent and soulful as the gorgeous illustrations that accompany her words. . . . It is a masterpiece that has all the hallmarks of a classic that will be loved for generations to come."--School Library Journal, starred review
"Krommes’s breathtaking scratchboard illustrations, in black and white with accents of yellow and gold, embody and enhance the text’s message that light and dark, like comfort and mystery, are not mutually exclusive, but integral parts of each other."--Kirkus Reviews, starred review
"This volume's artful simplicity, homely wisdom and quiet tone demonstrate the interconnected beauty and order of the world in a way that both children and adults will treasure."--Publishers Weekly, starred review
"...in another standout performance by an illustrator, Beth Krommes makes a case for The House in the Night with scratchboard images that are themselves a throwback, but with a welcome kind of familiarity... I can see a night-skittish child taking comfort in this story at bedtime."-- The Washington Post (online)
"[A] book of stunning visual simplicity . . . The pictures themselves seem to reach out from domesticity toward infinity."--Liz Rosenberg, Boston Sunday Globe
"It's Wanda Gag meets Virginia Lee Burton. And gorgeous. Did I mention gorgeous? Gorgeous."-- Fuse 8 Production (online), by Elizabeth “Betsy” Bird
"[Swanson] has a lyrical style all her own, complemented by Krommes' starkly stunning scratchpaper drawings."-- StarTribune
5. CONNECTIONS
*According to the jacket cover of the book, THE HOUSE IN THE NIGHT, another title by Susan Marie Swanson is:
THE FIRST THING MY MAMA TOLD ME – a Charlotte Zolotov Honor Book and New York
Times Best Illustrated Book.
*According to the jacket cover of the book, THE HOUSE IN THE NIGHT, other titles illustrated by Beth Krommes are:
THE LAMP, THE ICE AND A BOAT CALLED FISH – winner of the Golden Kite Award for
illustration and a Bulletin Blue Ribbon Book.
BUTTERFLY EYES AND OTHER SECRETS OF THE MEADOW – winner of the APSCA
Henry Bergh Children’s Book Award in both the Poetry and Illustration categories.
*If you are looking for other great bedtime stories like this one, THE HOUSE IN THE NIGHT, or that have similar illustrations to those of Beth Krommes - then you should check the following books out:
Brown, Margaret Wise. 1947. GOODNIGHT MOON. Ill. by Clement Hurd. New York, NY:
HarperFestival. ISBN-10: 0-694-00361-1 or ISBN-13: 978-0-694-00361-7
Boynton, Sandra. 1982. THE GOING-TO-BED BOOK. Ill. by Sandra Boynton. New York, NY:
Little Simon. ISBN-10: 0671449028 or ISBN-13: 978-0671449025
Ga’g, Wanda. 1956. MILLIONS OF CATS. Ill. by Wanda Ga’g. New York, NY: Scholastic Inc.
ISBN 0-590-40612-4
Book Review #2
1. BIBLIOGRAPHY
Swanson, Susan Marie. 2008. THE HOUSE IN THE NIGHT. Ill. by Beth Krommes. New York, NY: Houghton Mifflin Company. ISBN-13: 978-0-618-86244-3 / ISBN-10: 0-618-86244-7
2. PLOT SUMMARY
This book is about how a child sees the order of his or her world in regards to their bedtime routine – including the beloved storytime. This book highlights one’s nighttime ritual that is both comforting and exciting at the same time; as the story brings one out into the world beyond, using imagination to explore the order of the universe, and then arrive back home safely again.
3. CRITICAL ANALYSIS
a. Characters:
The main characters in this book are the little girl, her teddy bear and the bird from the book. The other characters are her companions - the dog and the cat with her two kittens; and her mother and father.
b. Plot
The plot for this story is a little girl’s bedtime ritual or routine that she follows before going to bed. Through her good night story book she is transported to the depths of her imagination – and out to the universe beyond! It is quite the fantasy, but one that children will find fascinating as everyone at one time or another wish they could fly out of their windows and up to the stars above!
c. Settings:
The setting is the little girl’s home – her safe bedroom and then the land, the world and the universe beyond her window!
d. Theme:
The theme for this story is about how books (especially nighttime story books) can transport you to far away places (with the help of your imagination) and return you safely home (or bed) - and that not only is there a circle of life but there is cyclical order in the universe around us with each passing day in our routine which is reassuring and familiar.
e. Style:
“Swanson’s reassuring story (inspired by a nursery rhyme that begins, ‘This is the key of the kingdom’) to create a world as cozy inside the house as it is majestic outside” (Booklist, 2009).
“A spare, patterned text and glowing pictures explore the origins of light that make a house a home in this bedtime book for young children. Naming nighttime things that are both comforting and intriguing to preschoolers—a key, a bed, the moon—this timeless book illuminates a reassuring order to the universe” (Amazon product review).
f. Illustrations:
The illustrations are of basic objects but with highly detailed etchings done in black and white and highlighted hints of gold.
g. Cultural Markers:
With this story and illustrations - you cannot really identify a certain race or cultural background; which in this case can actually help any child identify with the story. They could be the main character and it could be their mother and father, in the story with them, for all they know.
h. Awards & Recognitions:
2009 Caldecott Medal Winner
THE HOUSE IN THE NIGHT is an easy-to-read story book with simple sentences for the beginning reader or English Language Learner. Actually, one can understand the story by looking at the fascinating illustrations which is also great for those children that are pre-verbal.
The illustrations looked like they were etched – and are done in black and white. It is interesting how some of the objects are high-lighted in gold to stand out and draw your attention to them specifically. As far as picture books go, I feel that THE HOUSE IN THE NIGHT is a visual masterpiece. The illustrations are so beautiful that you get lost taking in all of the rich details!
Research shows that infants and young children are drawn to the black and white contrasts – hence children will be drawn to these illustrations! And then, Beth Krommes highlights some of the key objects or points by adding the precious hints of gold to her pictures. Her illustrations remind me of another favourite book of mine and my children called MILLIONS OF CATS by Wanda Ga’g, only Krommes’s illustrations have more detail in my opinion.
4. REVIEW EXCERPT(S)
Here are some other review highlights:
"Krommes’s widening perspective manages to exude both comfort and daring." -- New York Times Book Review
"Here the art is spectacular. Executed in scratchboard decorated in droplets of gold, Krommes’ illustrations expand on Swanson’s reassuring story (inspired by a nursury rhyme that begins, “This is the key of the kingdom”) to create a world as cozy inside a house as it is majestic outside."--Booklist, starred review
"Inspired by traditional cumulative poetry, Swanson weaves a soothing song that is as luminescent and soulful as the gorgeous illustrations that accompany her words. . . . It is a masterpiece that has all the hallmarks of a classic that will be loved for generations to come."--School Library Journal, starred review
"Krommes’s breathtaking scratchboard illustrations, in black and white with accents of yellow and gold, embody and enhance the text’s message that light and dark, like comfort and mystery, are not mutually exclusive, but integral parts of each other."--Kirkus Reviews, starred review
"This volume's artful simplicity, homely wisdom and quiet tone demonstrate the interconnected beauty and order of the world in a way that both children and adults will treasure."--Publishers Weekly, starred review
"...in another standout performance by an illustrator, Beth Krommes makes a case for The House in the Night with scratchboard images that are themselves a throwback, but with a welcome kind of familiarity... I can see a night-skittish child taking comfort in this story at bedtime."-- The Washington Post (online)
"[A] book of stunning visual simplicity . . . The pictures themselves seem to reach out from domesticity toward infinity."--Liz Rosenberg, Boston Sunday Globe
"It's Wanda Gag meets Virginia Lee Burton. And gorgeous. Did I mention gorgeous? Gorgeous."-- Fuse 8 Production (online), by Elizabeth “Betsy” Bird
"[Swanson] has a lyrical style all her own, complemented by Krommes' starkly stunning scratchpaper drawings."-- StarTribune
5. CONNECTIONS
*According to the jacket cover of the book, THE HOUSE IN THE NIGHT, another title by Susan Marie Swanson is:
THE FIRST THING MY MAMA TOLD ME – a Charlotte Zolotov Honor Book and New York
Times Best Illustrated Book.
*According to the jacket cover of the book, THE HOUSE IN THE NIGHT, other titles illustrated by Beth Krommes are:
THE LAMP, THE ICE AND A BOAT CALLED FISH – winner of the Golden Kite Award for
illustration and a Bulletin Blue Ribbon Book.
BUTTERFLY EYES AND OTHER SECRETS OF THE MEADOW – winner of the APSCA
Henry Bergh Children’s Book Award in both the Poetry and Illustration categories.
*If you are looking for other great bedtime stories like this one, THE HOUSE IN THE NIGHT, or that have similar illustrations to those of Beth Krommes - then you should check the following books out:
Brown, Margaret Wise. 1947. GOODNIGHT MOON. Ill. by Clement Hurd. New York, NY:
HarperFestival. ISBN-10: 0-694-00361-1 or ISBN-13: 978-0-694-00361-7
Boynton, Sandra. 1982. THE GOING-TO-BED BOOK. Ill. by Sandra Boynton. New York, NY:
Little Simon. ISBN-10: 0671449028 or ISBN-13: 978-0671449025
Ga’g, Wanda. 1956. MILLIONS OF CATS. Ill. by Wanda Ga’g. New York, NY: Scholastic Inc.
ISBN 0-590-40612-4
Wednesday, September 9, 2009
Picture Books Review #1 : Mo Willems - KNUFFLE BUNNY
Genre # 1 :
Picture Books
1. BIBLIOGRAPHY
Willems, Mo. 2004. KNUFFLE BUNNY: A CAUTIONARY TALE. Ill. by Mo Willems. New York, NY: Hyperion Books for Children. ISBN 078681870-0
2. PLOT SUMMARY
In this very comical picture book, the plot deals with one young girl’s frustration with losing her favourite bunny at the local laundromat. She is too young and cannot use words yet, but tries to convey to her father through babbling and ultimately her full fledged tantrum, the very real message of worry, loss and anxiety over leaving her favourite toy bunny behind.
3. CRITICAL ANALYSIS
Willems captures the essence of different feelings and emotions with his illustrations through his unique style; he uses real life backgrounds and mixes in his illustrations ingeniously. The words are easily read and understood, but one can understand the heart of the story through his wonderful drawings. He understands children and the importance they place on a favourite stuffed friend - and what would happen if they ever misplaced or LOST that friend!
The plot is a simple one, however it is one that every child has probably experienced at one time or another. Through his characters’ facial expressions and posture, he covers a wide range of emotions: happy, joyful, cheerful, sad, scared, annoyed, irritated, frustrated, anxious, nervous, uneasy, fretful, apprehensive, and then relieved and comforted.
Mo Willems’s style of illustration, as I have mentioned before, is unique. He uses black and white photos, (almost sepia coloured) for his backgrounds, which are taken from around his New York neighbourhood. He then places his colourful illustrations on top of them. According to Mo Willems’ book, Knuffle Bunny, it states, “The images in this book are a melding of hand-drawn ink sketches and digital photography in a computer (where the sketches were colored and shaded, the photographs given their sepia tones, and sundry air conditioners, garbage cans, and industrial debris expunged!)”
The characters in the book interact with the backgrounds and props wonderfully! But the way that Mo Willems captures the emotions through his characters’ facial expresions - eyes, mouths, movements and postures are truly amazing! He also incorporates diversity into his stories by adding background characters that reflect different ages as well as different races.
This is a wonderful book to share with a child of any age! Even my middle-school-aged and high-school-aged daughters enjoyed it! It is great for a read aloud or even a silent sustained reading activity time. I can see this book being a favourite of many for years to come! I know it is one of mine!
4. REVIEW EXCERPT(S)
KNUFFLE BUNNY is a Caldecott Honor Book.
Picture Books
1. BIBLIOGRAPHY
Willems, Mo. 2004. KNUFFLE BUNNY: A CAUTIONARY TALE. Ill. by Mo Willems. New York, NY: Hyperion Books for Children. ISBN 078681870-0
2. PLOT SUMMARY
In this very comical picture book, the plot deals with one young girl’s frustration with losing her favourite bunny at the local laundromat. She is too young and cannot use words yet, but tries to convey to her father through babbling and ultimately her full fledged tantrum, the very real message of worry, loss and anxiety over leaving her favourite toy bunny behind.
3. CRITICAL ANALYSIS
Willems captures the essence of different feelings and emotions with his illustrations through his unique style; he uses real life backgrounds and mixes in his illustrations ingeniously. The words are easily read and understood, but one can understand the heart of the story through his wonderful drawings. He understands children and the importance they place on a favourite stuffed friend - and what would happen if they ever misplaced or LOST that friend!
The plot is a simple one, however it is one that every child has probably experienced at one time or another. Through his characters’ facial expressions and posture, he covers a wide range of emotions: happy, joyful, cheerful, sad, scared, annoyed, irritated, frustrated, anxious, nervous, uneasy, fretful, apprehensive, and then relieved and comforted.
Mo Willems’s style of illustration, as I have mentioned before, is unique. He uses black and white photos, (almost sepia coloured) for his backgrounds, which are taken from around his New York neighbourhood. He then places his colourful illustrations on top of them. According to Mo Willems’ book, Knuffle Bunny, it states, “The images in this book are a melding of hand-drawn ink sketches and digital photography in a computer (where the sketches were colored and shaded, the photographs given their sepia tones, and sundry air conditioners, garbage cans, and industrial debris expunged!)”
The characters in the book interact with the backgrounds and props wonderfully! But the way that Mo Willems captures the emotions through his characters’ facial expresions - eyes, mouths, movements and postures are truly amazing! He also incorporates diversity into his stories by adding background characters that reflect different ages as well as different races.
This is a wonderful book to share with a child of any age! Even my middle-school-aged and high-school-aged daughters enjoyed it! It is great for a read aloud or even a silent sustained reading activity time. I can see this book being a favourite of many for years to come! I know it is one of mine!
4. REVIEW EXCERPT(S)
KNUFFLE BUNNY is a Caldecott Honor Book.
Starred review in SCHOOL LIBRARY JOURNAL: “Top 10 of the Top 100 Picture Books Poll Results (#10) - A brilliant and distinguished collaboration" On its Website, the School Library Journal states the following:
- The starred Booklist review (which is more than a little excellent) by Jennifer Mattson said, "This comic gem proves that Caldecott Medal-winner Willems, the Dr. Spock and Robin Williams of the lap-sit crowd, has just as clear a bead on pre-verbal children as on silver-tongued preschoolers . . . Even children who can already talk a blue streak will come away satisfied that their own strong emotions have been mirrored and legitimized, and readers of all ages will recognize the agonizing frustration of a little girl who knows far more than she can articulate."
- Said Horn Book, “There’s plenty here for kids to embrace. There are playful illustrations and a simple, satisfying story. This everyday drama will immediately register with even pre-verbal listeners.”
- The starred review from SLJ said of it, “Personalities are artfully created so that both parents and children will recognize themselves within these pages. A seamless and supremely satisfying presentation of art and text.”
5. CONNECTIONS
* Mo Willems has many other children’s books; from his PIDGEON series to his early reader series ELEPHANT AND PIGGIE books to many others. According to Wikipedia, his ELEPHANT AND PIGGIE won the Theodor Seuss Geisel Medal in 2008 and 2009.
* His illustrations alone can tell the story in most of his books; and are great for beginning readers, English-language learners and children who are just beginning to talk.
* Listed below is another fun book - after KNUFFLE BUNNY: A CAUTIONARY TALE is the follow up book for children from Mo Willems:
Willems, Mo. 2007. KNUFFLE BUNNY TOO: A CASE OF MISTAKEN IDENTITY. Ill. by Mo Willems. New York, NY: Hyperion Books for Children. ISBN-10: 142310299-1 / ISBN-13: 978-142310299-1
Tuesday, September 8, 2009
Welcome!
Welcome to my first blog!
Here you will find my book reviews for children's and young adult books that I will be reading for my Graduate level course at TWU. The class is LS5603 and we will be covering 6 different genres of books:
Here you will find my book reviews for children's and young adult books that I will be reading for my Graduate level course at TWU. The class is LS5603 and we will be covering 6 different genres of books:
- Picture Books
- Traditional Literature
- Poetry
- Nonfiction and Biography
- Historical Fiction
- Fiction, Fantasy & YA
I hope you enjoy my blog and that you find it helpful and amusing when thinking about books for you, your children or your students! :)
Subscribe to:
Posts (Atom)
