Yolen, Jane ill. John Segal. 1996. Little Mouse & Elephant: A Tale From Turkey. Simon & Schuster Books for Young Readers: New York.
Jane Yolen masterfully retells a Turkish tale about a boastful Little Mouse who believes he’s the strong animal around. Despite his grandfather’s warnings, Little Mouse, “whose pride was much greater than his sense”, begins a journey to find the elephant and teach him a lesson. Little Mouse meets animals along the way (a lizard, beetle, and dog) that find humor in his rants, for Little Mouse has never seen Elephant, but they have! When Little Mouse finds Elephant will he learn his lesson or be as prideful as ever? The answer is both humorous and surprising. This book is the perfect size for little hands, and the lovely watercolor illustrations add to the delight of this silly tale. Mandy Hooker (Written as an assignment for TWU SLIS)
Saturday, February 23, 2008
Book Review - Dona Flor: A Tall Tale About A Giant Woman With A Great Big Heart
Mora, Pat. ill. Raul Colon. 2005. Dona Flor:
A Tall Tale About A Giant Woman With A Great Big Heart. Alfred A. Knopf: New York.
This original tall tale about a giant woman whose heart is even bigger than her stature, is both humorous and heart-warming. Long ago, Dona Flor’s mother sang in a sweet voice that caused the corn plants and Dona Flor to grow and grow. When Dona Flor stopped growing, she built her own adobe with dirt, water, and straw, and stars from the sky to make it shine. Dona Flor is unique, not only for her height, but for her ability to speak ever animal language, even rattler. She helps her friends, the people of the village, by making them tortillas, which they sometimes used as boats, carrying them places on her large back, slowing a strong wind, trenching a river with her thumb, and befriending a small puma whose roar has been terrifying them for some time. Spanish words are scattered throughout the text giving the book a cultural feel. The illustrations were done with a combination of watercolor washes, etching, and colored and litho pencils. The warm colors radiate from Dona Flor’s skin, and beautifully complement the cool hues of the sky and water, creating an overall lovely effect. This book is a tall tale must for any library. Mandy Hooker (Written as an assignment for TWU SLIS)
A Tall Tale About A Giant Woman With A Great Big Heart. Alfred A. Knopf: New York.
This original tall tale about a giant woman whose heart is even bigger than her stature, is both humorous and heart-warming. Long ago, Dona Flor’s mother sang in a sweet voice that caused the corn plants and Dona Flor to grow and grow. When Dona Flor stopped growing, she built her own adobe with dirt, water, and straw, and stars from the sky to make it shine. Dona Flor is unique, not only for her height, but for her ability to speak ever animal language, even rattler. She helps her friends, the people of the village, by making them tortillas, which they sometimes used as boats, carrying them places on her large back, slowing a strong wind, trenching a river with her thumb, and befriending a small puma whose roar has been terrifying them for some time. Spanish words are scattered throughout the text giving the book a cultural feel. The illustrations were done with a combination of watercolor washes, etching, and colored and litho pencils. The warm colors radiate from Dona Flor’s skin, and beautifully complement the cool hues of the sky and water, creating an overall lovely effect. This book is a tall tale must for any library. Mandy Hooker (Written as an assignment for TWU SLIS)
Book Review - Raccoon's Last Race: A Traditional Abenaki Story
Bruchac, Joseph. 2004. Raccoon’s Last Race: A Traditional Abenaki Story. Dial Books for Young Readers: New York.
In this retelling of an Abenaki legend, Azban the Raccoon is the fastest of all animals, but he is also conceited. After alienating all of his friends due to his bad sportsmanship, Azban challenges a large boulder (Big Rock) to race. As Big Rock gains speed rolling down a hill, it overtakes the taunting Azban and smashes him flat! Only the ants offer to help the misshapen Azban on the condition that he would be their friend. Would he keep his promise? No! He disregarded them before they were even finished stretching him out, so the raccoon must live with its lumbering gait to this day. The lively, colorful illustrations, done in pen-and-ink, gouache, and pastel, add animation and humor to this story. This traditional tale which encourages friendship and loyalty, and warns against conceitedness and pride is a welcome addition to any collection. Mandy Hooker (Written as an assignment for TWU SLIS)
In this retelling of an Abenaki legend, Azban the Raccoon is the fastest of all animals, but he is also conceited. After alienating all of his friends due to his bad sportsmanship, Azban challenges a large boulder (Big Rock) to race. As Big Rock gains speed rolling down a hill, it overtakes the taunting Azban and smashes him flat! Only the ants offer to help the misshapen Azban on the condition that he would be their friend. Would he keep his promise? No! He disregarded them before they were even finished stretching him out, so the raccoon must live with its lumbering gait to this day. The lively, colorful illustrations, done in pen-and-ink, gouache, and pastel, add animation and humor to this story. This traditional tale which encourages friendship and loyalty, and warns against conceitedness and pride is a welcome addition to any collection. Mandy Hooker (Written as an assignment for TWU SLIS)
Book Review - The Little Red Hen
Pinkney, Jerry. 2006. The Little Red Hen. Dial Books for Young Readers: New York, NY.
The classic tale of the hen unable to get help from her fellow farm animals is revisited in this version by Jerry Pinkney. Although the story itself is familiar, the illustrations made with graphite, ink, and watercolor, truly set this one apart. Pinkney’s cast of characters pop with vivid colors and striking details against a subtle, sun-bleached background. Each of the animals’ names (rat, goat, dog, pig, and hen) appear in color-coded text, not only adding interest, but also making it easier for pre-readers to follow and “read” along. This retelling stays true to the classic story line with the animals refusing to help the hen as she plants, tends, and harvests the wheat. Important lessons like treating others as you would like to be treated, and reaping what you sew are delivered in this folktale rendition that should be on every library shelf. Mandy Hooker (Written as an assignment for TWU SLIS)
The classic tale of the hen unable to get help from her fellow farm animals is revisited in this version by Jerry Pinkney. Although the story itself is familiar, the illustrations made with graphite, ink, and watercolor, truly set this one apart. Pinkney’s cast of characters pop with vivid colors and striking details against a subtle, sun-bleached background. Each of the animals’ names (rat, goat, dog, pig, and hen) appear in color-coded text, not only adding interest, but also making it easier for pre-readers to follow and “read” along. This retelling stays true to the classic story line with the animals refusing to help the hen as she plants, tends, and harvests the wheat. Important lessons like treating others as you would like to be treated, and reaping what you sew are delivered in this folktale rendition that should be on every library shelf. Mandy Hooker (Written as an assignment for TWU SLIS)
Saturday, February 9, 2008
Book Review - Circle Unbroken, The Story of a Basket and Its People
Raven, Margot Theis, ill. E.B. Lewis. 2004. Circle Unbroken. Melanie Kroupa Books: New York.
A grandmother says to her granddaughter, “Now, you’ve asked me, child, how I come to sew,” and just as the grandmother’s fingers weave a sweetgrass basket, her words weave the story of generations before her. . . The granddaughter’s old timey grandpa learned to weave the baskets when he was a young man in Africa, and when the slave-men brought him across the ocean, he continue to weave them, “and he remembered from where he came.” When her old timey grandpa and grandma where married, they had children and taught them to weave the sweetgrass baskets. Now it was her turn to learn, “as new hands talked to old friends: the bulrush, the sweetgrass, palmetto, and pine.” The historical fiction genre is beautifully portrayed in this book, revealing how a skillful craft can truly be woven into the fabric of a people. The illustrations are works of art that complement the prose-like text. At the end of the book, more information is offered about sweetgrass baskets, as well as, a selected bibliography for further information about the baskets and the culture. This is a lovely book to share with older students, and would be a wonderful extension for social studies or history curriculum
A grandmother says to her granddaughter, “Now, you’ve asked me, child, how I come to sew,” and just as the grandmother’s fingers weave a sweetgrass basket, her words weave the story of generations before her. . . The granddaughter’s old timey grandpa learned to weave the baskets when he was a young man in Africa, and when the slave-men brought him across the ocean, he continue to weave them, “and he remembered from where he came.” When her old timey grandpa and grandma where married, they had children and taught them to weave the sweetgrass baskets. Now it was her turn to learn, “as new hands talked to old friends: the bulrush, the sweetgrass, palmetto, and pine.” The historical fiction genre is beautifully portrayed in this book, revealing how a skillful craft can truly be woven into the fabric of a people. The illustrations are works of art that complement the prose-like text. At the end of the book, more information is offered about sweetgrass baskets, as well as, a selected bibliography for further information about the baskets and the culture. This is a lovely book to share with older students, and would be a wonderful extension for social studies or history curriculum
Review of Caldecott Award-Winning, The Invention of Hugo Cabret
Selznick, Brian. 2007. The Invention of Hugo Cabret. Scholastic, Inc.: New York.
A unique marriage of both illustrations and text tells the story of orphan Hugo Cabret, because in this book, neither one can tell the story alone. After a brief introduction reveals the setting (Paris, 1931), the book opens with multiple illustrations that flow like a movie reel - the glowing moon overlooking Paris, Hugo creeping into a secret passageway in a train station, and then staring through the face of a wall clock at an old man in a booth selling toys. Then the text finally begins, “From his perch behind the clock, Hugo could see everything.” The mysterious plot unfolds at a lively pace as Hugo and his spunky companion Isabelle piece together the forgotten story of magician turned filmmaker George Melies, and an automaton that draws a picture of a scene from his first movie, A Trip to the Moon. Selznick combines his mesmerizing black and white pencil drawings with strong characters, a surprising plot, and twist ending, to make The Invention of Hugo Cabret an example of story-telling at its best. [By Mandy Hooker, written as an assignment for TWU SLIS]
A unique marriage of both illustrations and text tells the story of orphan Hugo Cabret, because in this book, neither one can tell the story alone. After a brief introduction reveals the setting (Paris, 1931), the book opens with multiple illustrations that flow like a movie reel - the glowing moon overlooking Paris, Hugo creeping into a secret passageway in a train station, and then staring through the face of a wall clock at an old man in a booth selling toys. Then the text finally begins, “From his perch behind the clock, Hugo could see everything.” The mysterious plot unfolds at a lively pace as Hugo and his spunky companion Isabelle piece together the forgotten story of magician turned filmmaker George Melies, and an automaton that draws a picture of a scene from his first movie, A Trip to the Moon. Selznick combines his mesmerizing black and white pencil drawings with strong characters, a surprising plot, and twist ending, to make The Invention of Hugo Cabret an example of story-telling at its best. [By Mandy Hooker, written as an assignment for TWU SLIS]
Friday, February 8, 2008
Book Review - Unlovable
Yaccarino, Dan. 2001. Unlovable. Scholastic, Inc: New York.
Feeling unlovable? So did Alfred. The cat always told him he was unlovable and the parrot and goldfish agreed. Even the neighborhood dogs would have nothing to do with him, but he couldn’t understand what made him so unlovable – “His snoring? The way he ate? His little curly tail?” One day, a new dog named Rex moved in next door. Alfred and Rex loved talking to each other through the fence and became fast friends, but would Rex still like Alfred when they met face- to- face? Absolutely! Rex was a true friend, and liked Alfred just the way he was, so Alfred would never feel unlovable again. All children can probably identify with Alfred’s feelings of being unlovable. This book delivers a heart-warming message of friendship and acceptance that even the youngest “reader” can understand. Unlovable is an eye-catching book with bold illustrations done with gouache on watercolor paper. The illustrations have few details, but vivid colors and interesting use of line and shape, make them pop. This is an adorable book with a wonderful message.
Feeling unlovable? So did Alfred. The cat always told him he was unlovable and the parrot and goldfish agreed. Even the neighborhood dogs would have nothing to do with him, but he couldn’t understand what made him so unlovable – “His snoring? The way he ate? His little curly tail?” One day, a new dog named Rex moved in next door. Alfred and Rex loved talking to each other through the fence and became fast friends, but would Rex still like Alfred when they met face- to- face? Absolutely! Rex was a true friend, and liked Alfred just the way he was, so Alfred would never feel unlovable again. All children can probably identify with Alfred’s feelings of being unlovable. This book delivers a heart-warming message of friendship and acceptance that even the youngest “reader” can understand. Unlovable is an eye-catching book with bold illustrations done with gouache on watercolor paper. The illustrations have few details, but vivid colors and interesting use of line and shape, make them pop. This is an adorable book with a wonderful message.
Book Review - Move Over, Rover!
Beaumont, Karen, ill. Jane Dyer. 2006. Move Over, Rover!. Harcourt, Inc.: New York.
Move over, Rover! It’s cold and rainy outside and all the animals want to share Rover’s warm doghouse. The cat, raccoon, squirrel, Blue Jay, and snake crowd inside, unaware that a skunk had the idea first! What a stinky surprise! The skunk has the whole doghouse to himself after all the other animals scatter to look for a different, less smelly place, to stay dry and warm. For each animal that enters the doghouse, a one line phrase is added to the text, then each is repeated on the pages that follow –e.g. “Squeeze in, Squirrel!”, “Make Room, Raccoon!”. The combination of rhyming lines and repeated phrases create a predictable read that children can enjoy on their own or as a read-aloud. The double-page watercolor and liquid acrylic illustrations help establish the mood of the story - bright and cheery when the sun is out, but dark and gloomy during the storm. Children will delight to see the skunk sneaking into the doghouse, before the unsuspecting animals pile in also. The illustrator zooms in on their sleeping faces, creating a detailed effect that draws readers into the story. So move over, Rover! Everyone will want to squeeze into this book. (This book review is an assignment for TWU SLIS)
Move over, Rover! It’s cold and rainy outside and all the animals want to share Rover’s warm doghouse. The cat, raccoon, squirrel, Blue Jay, and snake crowd inside, unaware that a skunk had the idea first! What a stinky surprise! The skunk has the whole doghouse to himself after all the other animals scatter to look for a different, less smelly place, to stay dry and warm. For each animal that enters the doghouse, a one line phrase is added to the text, then each is repeated on the pages that follow –e.g. “Squeeze in, Squirrel!”, “Make Room, Raccoon!”. The combination of rhyming lines and repeated phrases create a predictable read that children can enjoy on their own or as a read-aloud. The double-page watercolor and liquid acrylic illustrations help establish the mood of the story - bright and cheery when the sun is out, but dark and gloomy during the storm. Children will delight to see the skunk sneaking into the doghouse, before the unsuspecting animals pile in also. The illustrator zooms in on their sleeping faces, creating a detailed effect that draws readers into the story. So move over, Rover! Everyone will want to squeeze into this book. (This book review is an assignment for TWU SLIS)
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