Analysis of JUST A MINUTE by Yuyi Morales-Course Requirement

BIBLIOGRAPHY
Morales, Yuyi. 2003. JUST A MINUTE : A TRICKSTER TALE AND COUNTING BOOK.  San Francisco: Chronicle Books. ISBN 0-8118-3578-0.

PLOT SUMMARY
In this tale,  the character, Senor Calavera arrives at Grandma Beetle's door. He is ready to take her to the next life. After helping her count in English and Spanish as she makes her birthday preparations, he changes his mind and leaves only a note.

CRITICAL ANALYSIS
The rich colors of fall and southwester art detail the illustrations of this book. The jolly grandmother walks skeletal Senor Calavera through her chores as she puts off his goal of taking her to the next life. The cultural aspects of the Day of the Dead holiday and the folktales about death as a person are represented in this book. The font makes this book easy to read and readers are made aware of the bilingual counting lesson embedded in this lively story. Beautiful family and home scenes are vibrantly painted with acrylic strokes of lively color. The readers are taken through the traditions of Mexican culture as Grandma Beetle outwits and charms Senor Calavera into leaving her with her family.  

REVIEW EXCERPTS/AWARDS

BOOKLIST starred review: "What's an old woman to do when a skeleton pays her a birthday visit and beckons her to "come along"? Grandma Beetle, the heroine of this joyful book by the illustrator of Harvesting Hope [BKL Je 1 & 15 03], stalls for time. "Just a minute," she says; there's something she needs to do. One chore leads to another, but the skeleton can't mask his enthusiasm as Grandma cooks, fills pinatas, and performs other tasks, each one linked to a number from 1 to 10, uno to diez. Eventually nueve grandchildren arrive for Grandma's birthday party, and guess who else is invited? Even if children don't grasp the implications of the skeleton's visit, they'll enjoy seeing him join the fun, and when he extends Grandma's lease on life, the relieved, loving embrace she gives her grandchildren will satisfy young ones at a gut level. Like the text, the rich, lively artwork draws strongly upon Mexican culture, with hints of Diego Rivera in Grandma's robust form, and the skeleton resembling the whimsical figurines often seen in Day of the Dead folk art. The splendid paintings and spirited storytelling--along with useful math and multicultural elements--augur a long, full life for this original folktale."

KIRKUS starred review: "Winking and nodding as she goes, a Latino grandmother will charm readers as she charms Death Himself in this original counting-cum-trickster tale. When skeletal Senor Calavera appears at the door, Grandma Beetle bids him wait while she sweeps ONE house ('UNO'), makes TWO pots of tea ('DOS'), grinds THREE pounds of corn for tortillas ('TRES'), and so on, culminating in a festive birthday party at which Senor Calavera finds himself guest number TEN ('DIEZ'). As Grandma, round and brown, with sparkles in her eyes and gray hair both, bustles about, the expression on Senor Calavera's sugar-skull face grows more and more hilariously impatient -- but by party's end, he's departed, leaving a thank-you note promising to be back for Grandma Beetle's next birthday. Lit with dancing lines and warm colors, Morales' illustrations enhance the appeal of this winning story even further."

Pura Belpre Medal Book Illustrator Award
Tomás Rivera Mexican American Children's Book Award 2004

CONNECTIONS
I plan to share this book with my students, to introduce Dia de los Muertos and the cultural heritage tied to this holiday. An activity rich website for this book can be found at http://www.latinbabybookclub.com/2008/10/just-minute-trickster-tale-and-counting.html.

Analysis of RAPUNZEL by Paul O. Zelinsky-Course Requirement

BIBLIOGRAPHY
Zelinsky, Paul O. 1997. RAPUNZEL. New York: Scholastic, Inc. ISBN 978-0-590-38602-9.

PLOT SUMMARY
This beautifully illustrated retold folktale is of a beautiful girl with long golden hair imprisoned in a tall tower by a sorceress. She is lonely and isolated until a prince comes along and they fall in love. Tragedy ensues but readers are left with a fairy tale ending. 

CRITICAL ANALYSIS
The author/illustrator includes a note that shares the Italian, French, and German origins of the story. He discusses his decision to reflect the three countries' style of Italian Renaissance art in his illustrations. This visually stunning representation of this folktale with a deep history. The story has a mature tone and addresses the deeper storyline of punishment, cruelty, and the pursuit of happiness against adversity. The anguish in the characters faces evoke a sense of pity from the reader. The rich oil paintings, detailed pictures, and colors illuminated the pages of this timeless classic. Eventually, true love prevailed and readers get the warm conclusion to a tragic situation. The author does a wonderful job in sharing the rich history of this folktale.

 

REVIEW EXCERPTS/AWARDS

KIRKUS Review: "Exquisite paintings in late Italian Renaissance style illumine this hybrid version of a classic tale. As Zelinsky (The Wheels on the Bus, 1990, etc.) explains in a long source note, the story's Italian oral progenitor went through a series of literary revisions and translations before the Brothers Grimm published their own take; he draws on many of these to create a formal, spare text that is more about the undercurrents between characters than crime and punishment. Feeling ``her dress growing tight around her waist'' a woman conceives the desire for an herb from the neighboring garden--rendered in fine detail with low clipped hedges, elaborate statuary and even a wandering pangolin--that causes her to lose her child to a witch. Ensconced for years in a tower, young Rapunzel meets the prince, ``marries'' him immediately, is cast into the wilderness when her own dress begins to tighten, gives birth to twins, and cures her husband's blindness with her tears at their long-awaited reunion. Suffused with golden light, Zelinsky's landscapes and indoor scenes are grandly evocative, composed and executed with superb technical and emotional command."

SCHOOL LIBRARY JOURNAL Review: "An elegant and sophisticated retelling that draws on early French and Italian versions of the tale. Masterful oil paintings capture the Renaissance setting and flesh out the tragic figures."

Caldecott Medal Book

CONNECTIONS
The author's note about the history of this fairy tale and the details of his inspiration for the illustrations would enrich a lesson on the art of the Italian Renaissance. It would also provide a background explanation of how many fairy tales evolved from stories told long ago. Main idea, inferencing, and visual representations can be the focus of story element discussions. A cross curriculur lesson plan for this story can be viewed at the following link: http://www.teachervision.fen.com/childrens-book/lesson-plan/5238.html.  

Analysis of THE TRUE STORY OF THE 3 LITTLE PIGS by Jon Scieszka-Course Requirement

BIBLIOGRAPHY
Scieszka, Jon. 1989. THE TRUE STORY OF THE 3 LITTLE PIGS. Ill. by Lane Smith. New York: Scholastic, Inc. ISBN 0-590-44357-7

PLOT SUMMARY
This book provides an alternative point of view of the traditional fairy tale of THE THREE LITTLE PIGS. Readers are entertained by the Wolf's hard to believe version of what happened when he encountered the three little pigs.

CRITICAL ANALYSIS
The illustrations for this fractured fairy tale breathe new life into a traditional story. The wolf is represented as an intellectual with his spectacles and matter-of-fact explanation of his side. Deeply rich earth tones and muted illustrations are amplified and give action to the wolf's narrative. The comical innocence of the wolf is clear in the illustrations, while the events relating to the demise of the pigs' homes is slightly out of focus. The story is a refreshing take on the clearly misunderstood character of the wolf. Readers delight in wolf's reasoning in to why the whole situation with the pigs was just a misunderstanding and we are left with an image of poor wolf as a framed prisoner. Readers will also enjoy pondering the fate of "poor wolf." Jon Sciezka weaves a humorously entertaining fractured fairy tale that comes to life with Lane Smith's smart illustations.

REVIEW EXCERPTS/AWARDS

BOOKLIST starred review: "Jon Scieszka's The True Story of the Three Little Pigs (1989) turned the favorite porkers' story upside-down by allowing the grossly misjudged wolf to tell his side of the story. Wiesner's latest is a post-modern fantasy for young readers that takes Scieszka's fragmentation a step further: it not only breaks apart and deliciously reinvents the pigs' tale, it invites readers to step beyond the boundaries of story and picture book altogether."

SCHOOL LIBRARY JOURNAL Review: "Victim for centuries of a bad press, Alexander ("You can call me Al") T. Wolf steps forward at last to give his side of the story. Trying to borrow a cup of sugar to make a cake for his dear old Granny, Al calls on his neighbors--and can he help it if two of them built such shoddy houses? A couple of sneezes, a couple of dead pigs amidst the wreckage and, well, it would be shame to let those ham dinners spoil, wouldn't it? And when the pig in the brick house makes a nasty comment about Granny, isn't it only natural to get a little steamed? It's those reporters from the Daily Pig that made Al out to be Big and Bad, that caused him to be arrested and sent to the (wait for it) Pig Pen. "I was framed," he concludes mournfully. Smith's dark tones and sometimes shadowy, indistinct shapes recall the distinctive illustrations he did for Merriam's Halloween ABC (Macmillan, 1987); the bespectacled wolf moves with a rather sinister bonelessness, and his juicy sneezes tear like thunderbolts through a dim, grainy world. It's the type of book that older kids (and adults) will find very funny."

ALA Notable Children's Book (1990)

CONNECTIONS
In sharing this book with my students, it inspired a discussion into whose side they felt was more believable. It sparked quite a debate and lead to interesting justifications in their writing. This is also an excellent story to guide point of view discussions and lessons.

Analysis of GRACIAS by Pat Mora-Course Requirement

BIBLIOGRAPHY

Mora, Pat. 2009. GRACIAS. Ill. by John Parra. New York : Lee & Low Books. ISBN: 9781600602580.

PLOT SUMMARY

This book provides a colorful glimpse into a young boy’s ode to some of the everyday things for which he is thankful. The story is presented in English and Spanish.

CRITICAL ANALYSIS

Illustrated with vivid jewel tones, this book does a beautiful job of weaving Spanish and English text. Readers’ eyes will be drawn to the rich acrylic paintbrush strokes. The illustrations saturate full pages with warm pictures of family and nature. The illustrations bring to life thoughtful reflections of our thankful main character. The simple bilingual text provides a resource to enrich dual language learning. Readers of all ages can enjoy the simplicity of reflecting on the everyday joys of life.

REVIEW EXCERPTS/AWARDS

BOOKLIST starred review: "From the sun waking him up in the morning to a cricket chirping him to sleep at night, a young boy gives thanks for the many things and people who enrich his life. These blessings are remarkable for their childlike imagination and fresh imagery: 'Por mis piyamas viejos, tan suaves que me siento como si me estuviera poniendo aire, gracias. / For my old pajamas, so soft they feel like I'm putting on air, thanks.' … Books of thanks can run toward clichés, but the originality and liveliness of language and art in this one will inspire children to consider their own blessings."

SCHOOL LIBRARY JOURNAL Review: "A boy recounts the many things he is thankful for, like his time at the beach and the bees that don't sting him when he is outside playing. The poetic writing flows in both Spanish and English and carries a sense of happiness brought by the simple things in life. … his delightful bilingual book has universal appeal and would be a wonderful choice for library storytimes or classroom read-alouds as the "giving thanks" theme lends itself to holidays and social topics."

Texas Library Association 2X2 Reading List, 2010

CONNECTIONS

I am looking forward to sharing this book with my students as Thanksgiving nears.  The website, http://www.patmora.com/book_pages/gracias.htm, provides links to classroom book activities that match other Pat Mora titles.

Analysis of ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY by Judith Viorst-course requirement

BIBLIOGRAPHY

Viorst, Judith. 1972. ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY. Ill. by Ray Cruz. New York: Simon & Schuster. ISBN: 0590421441. 

PLOT SUMMARY

In this black and white picture book, a young boy has a day where everything goes wrong for him. The boy provides a detailed look into his bad day. He is finally consoled at the thought that everyone has bad days.

CRITICAL ANALYSIS

Everyone has bad days. This book provides insight to a bad day through the eyes of a child. The illustrator uses detailed black and white sketches.  The sketches provide the reader with the experience of seeing the range of emotions that Alexander feels throughout the story.

The illustrations also give the reader a humorous glimpse into the realistic personality of Alexander’s character. His cluttered bedroom, messy hair, and slouchy disposition help readers connect to his experience. The illustrations are timeless and the writing perfectly conveys the universal message of how a bad day feels for a kid. This is a classic for readers of all ages.

REVIEW EXCERPTS/AWARDS

ALA Notable Children's Books

Georgia Children's Book Award

CONNECTIONS

This book brought a smile to my students’ faces. It was a great first days of school book because it eased the anxieties of students in a light hearted approach. Students related to Alexander’s predicament and it paved the way for a discussion of how to cope when things don’t go our way.

Analysis of FLOTSAM by David Weisner - class requirement

BIBLIOGRAPHY

Weisner, David. 2006. FLOTSAM. New York : Clarion Books. ISBN: 9780618194575 . 

PLOT SUMMARY

In this colorful picture book, a young curious boy goes to the beach to collect objects on the beach. An underwater camera washes ashore that contains a collection of unusual pictures. The boy takes his own picture and then tosses the camera back into the ocean to be discovered by the next person.

CRITICAL ANALYSIS

This wordless picture book provides an opportunity to practice visual literacy and storytelling skills. The author used beautiful watercolor illustrations to provide a vivid setting for his story. The author's dedication and mention of his experiences at the Jersey Shore on his author page help give the reader insight to his story.  The main character, a young boy, is drawn with such great expression that readers are able to understand the character's actions and feelings. The contrast of muted beach scenes to the bright underwater scenes gave an added element of excitement as the boy reveals his imaginative findings on the camera.

The final action of throwing the camera back into the sea to be enjoyed by another is a reflective end to a powerfully timeless journey. This book would be a good resource to demonstrate inferencing and prediction skills. Readers will enjoy unraveling the mystery of this book.

REVIEW EXCERPTS

KIRKUS REVIEW starred review: "From arguably the most inventive and cerebral visual storyteller in children's literature comes a wordless invitation . . . not to be resisted."

SCHOOL LIBRARY JOURNAL starred review: "Filled with inventive details and delightful twists . . . a mind-bending journey of the imagination."

CONNECTIONS

I read this story to my fourth graders and they were amazed at their ability to recognize the story elements of characters, setting, and plot in a book without words. They loved taking turns making inferences from the details in the pictures and predicting the events in the story. The story was a wonderful resource to unlock the imagination of the students while practicing valuable reading skills. The students were engaged and actively involved in this book exploration.