Module 3

Poetry

BIBLIOGRAPHY

Woodson, J. (2014). Brown girl dreaming. New York: Penguin Group.

PLOT SUMMARY

Brown Girl Dreaming is a memoir, by Jacqueline Woodson, that tells the story of her childhood.  Shortly after her birth in Columbus, Ohio, Woodson’s parent’s stormy marriage ended, and her mother takes her and her two older siblings to live with their grandparents in Greenville, South Carolina.  It was here that Woodson developed a love for storytelling.  Although she and her siblings never quite felt at home in South Caroline, they had come to love the red dirt roads, the sound of crickets, and their grandparents.  However, this was not to last as their mother had gone to New York to make a life for them there.  When Woodson was finally old enough to attend school, they were uprooted once again and moved to Brooklyn, New York, with a new baby brother and some new challenges.  As her family struggled through tragedy, illness, and poverty, Woodson finds she has a passion for words and a talent for writing.

CRITICAL ANALYSIS

Woodson uses a first-person present tense voice coupled with free verse to give the reader a glimpse of how interpreted her world as a child.  Although written in free verse, she makes it easy for one to understand the people, places, and events of her life through the use of imagery, figurative language, similes, and metaphors.  While there are no illustrations in this book, the reader is provided family trees of both her parents at the beginning of the book and pictures of her family members at the end to tie the names and faces together.

REVIEW EXCERPTS

“You can read “Brown Girl Dreaming” in one sitting, but it is as rich a spread as the potluck table at a family reunion.  Sure, you can plow through the pages, grabbing everything in one go, like piling a plate high with fried chicken and ribs, potato salad and cornbread. And yes, it’s entirely possible to hold that plate with one hand while balancing a bowl of gumbo and a cup of sweet tea with the other.  But since the food isn’t going anywhere, you’ll make out just as well, maybe even a little better, if you pace yourself.” – New York Times

“The writer’s passion for stories and storytelling permeates the memoir, explicitly addressed in her early attempts to write books and implicitly conveyed through her sharp images and poignant observations seen through the eyes of a child.  Woodson’s ability to listen and glean meaning from what she hears leads to an astute understanding of her surroundings, friends, and family.” ­-Publisher’s Weekly, starred review

CONNECTIONS

This book can be used in writing lessons on free verse, imagery, or figurative language.

BIBLIOGRAPHY

Lewis, J. P. (2006).  Once upon a tomb: Gravely humorous verses. Ill. by Simon Bartram. Massachusetts: Candlewick Press.  ISBN 0763618373

PLOT SUMMARY

Once Upon A Tomb, by J. Patrick Lewis pokes fun at the death of different persons based on either their profession or personality.

CRITICAL ANALYSIS

Simon Bartram’s illustrations are so incredibly bold and detailed, it almost leaves one feeling as if the poems are there to support the artwork and not the other way around. Most of Lewis’ poems are in verse and have a distinctive rhythm.  His choice of language is fun but cumbersome at times.  I found the funniest poems to be those which described the profession of the deceased in one or two lines.  My personal favorite is the mailman’s epitaph. 

REVIEW EXCERPTS

“A couple of poems lack the instantly accessible images that make the others such winners, but overall these are a total scream.” -Publisher’s Weekly

“The devilishly deadpan acrylic paintings raise the dead to a higher humor level, infusing liveliness into the scenes and animating the hearse verse with visual puns.” -Kirkus Reviews

CONNECTIONS

The illustrations in this book can be used in an art lesson on shadow and light.

BIBLIOGRAPHY

McCall, G. G.  (2011). Under the mesquite. New York: Lee & Low Books.

PLOT SUMMARY

Under the mesquite, by Guadalupe Garcia McCall, is a story of a daughter’s resiliency in the face of death.  Fourteen-year-old Lupita just wants to be a normal teenager.  When her mother is diagnosed with cancer, Lupita struggles to maintain that normalcy and hold her family together as she navigates her way through high school.

CRITICAL ANALYSIS

Under the mesquite is a series of free verse poems that read like individual vignettes, which combined tell a story.  Although McCall uses a combination of imagery, similes, and metaphors in her writing, the emotions of the piece are palpable.  The author’s injection of Spanish from the beginning to the end of the text highlights her retention of her heritage.  And while many of the words used are defined in the text, there is a glossary of names, Spanish words, and cultural references at the end of the book.

REVIW EXCERPTS

"With poignant imagery and well-placed Spanish, the author effectively captures the complex lives of teenagers in many Latino and/or immigrant families.” -Kirkus Reviews, starred review­

“The Spanish words and phrases sprinkled liberally throughout Under the mesquite add an exotic flavor to the free verse, yet never inhibit the flow or clarity of the story.” -Mary Englefried, Common Sense Media

CONNECTIONS

This selection can be used in a diversity lesson or book talk for middle school students.

BIBLIOGRAPHY

Lewis, J. P. (2005). Heroes and she-roes: Poems of amazing and everyday heroes. Ill. By Jim Cooke.  New York: Dial Books for Young Readers.  ISBN 0803729251

PLOT SUMMARY

Heroes and she-roes is J. Patrick Lewis’ tribute to some culturally diverse heroes and heroines.  While many of those he chose to honor are famous, some represent a generalized group such as teachers and firefighters, and one of which is a dog. There is a brief annotation after each poem to provide some background on the person or profession being spotlighted.

CRITICAL ANALYSIS

J. Patrick Lewis effort to honor the efforts of a diverse group of individuals fell a somewhat flat with Heroes and she-roes.  Most of the poems are in verse and many of them feel contrived and off key.  The illustrations seem to fit the same pattern, some with features which border on caricature.

REVIW EXCEPTS

“The illustrations, oil paint on illustration board, feels ponderous.  Ghandi looks like Yoda…Cesar Chavez’s head floats in a migrant worker’s sky like the Wizard of Oz.” -Kirkus Reviews

“This is an important title that will inspire young people and perhaps encourage them to look more deeply into the lives of others as well as their own.” -School Library Journal

CONNECTIONS

This selection can be used to emphasize the culturally diverse humanitarian efforts men, women, and children from around the world

Module 2

Traditional Literature

BIBLIOGRAPHY

Kimmel, E. A. (2007). Rip Van Winkle’s return. Ill. by Leonard Everett Fisher. New York: Farrar, Straus and Giroux. ISBN 0374363080

PLOT SUMMARY

Rip Van Winkle’s Return, by Eric Kimmel, is an adaptation of the Washington Irving classic folktale Rip Van Winkle.  The title character is a lazy, ne’er-do-well, who lives in a Dutch village, situated between the Hudson River and the Catskill Mountains, in New York.  Rip is married and has a young son and daughter.  His wife, Dame Van Winkle is constantly nagging him to be a more responsible husband and father.   Her pleas fall on deaf ears as Rip seems to spend more time playing with the children in the village while his own offspring run wild.  One day, after being admonished by his wife in front of the other men at the inn, Rip and Wolf, head into the woods where he hears someone calling his name.  He sees a stranger, wearing old fashioned Dutch clothing, carrying a keg of liquor.  Rip helps the man carry the keg up the mountain were another unknown group of men, dressed like the stranger are bowling.  Although Rip finds the situation peculiar, he stays and serves the men while they bowl.  He also helps himself to some of their liquor and falls into a deep sleep.  When he awakens he remembers everything prior to falling asleep but he doesn’t understand why his rifle has rusted and his dog is gone. Rip returns to the village but doesn’t recognize anyone.  The American Revolution has taken place, as there’s a picture of George Washington hanging at the hotel where the inn once stood.  Rip discovers many of the people he knew have died, including his wife.  He’s saddened by her death and prays she’s at peace.  He’s reunited with his children and realizes he wasted his life.  He and his son rebuild their home and farm.

CRITICAL ANALYSIS

Kimmel’s version of Irving’s telling maintains most of the original storyline with some exceptions.  In Irving’s tale, Rip does not morn the passing of his wife nor does he change his ways.  This retelling is still a story of caution, which warns against laziness, but ends on a hopeful note, with the notion that it’s never too late to change one’s ways.  The illustrator, Leonard Everett Fisher, uses varying shades of color to reflect light and shadow. The trees and mountains of the Catskills are dappled with sunlight, shadow is enhanced on clothing, and the facial features of most of the characters are distinguishable, yet murky. 

REVIEW EXCERPTS
“Kimmel remakes the Washington Irving classic into a shorter, more moralistic episode, preserving major events but changing the original by having Rip, after his long sleep, suffer remorse for his lazy ways and go forth with his grown children to become an industrious farmer.” – Kirkus Review

"Fisher brings his dramatic painterly style to the large picture-book pages to enhance the read-aloud experience."-School Library Journal

CONNECTIONS

This story can be used in history to highlight the change in political attitudes in the American settlements before and after the American Revolution.

BIBLIOGRAPH Y

Schwartz, C. S. (2012). The three ninja pigs. Ill. by Dan Santat. New York: Penguin Young Readers Group.  ISBN 9780399255144

PLOT SUMMARY

This story, which is set in Japan, begins with the three little pigs being fed up by the wolf’s behavior.  The wolf is a bully who’d go around town blowing houses down.  The three pigs, two brothers and one sister, decided to enroll in ninja school to defeat the wolf.  Pig One begin training in aikido but quit in less than two weeks.  Pig Two took up jujitsu, but like Pig One, he quit after learning a few skills.  Pig Three learned the art of karate.  She practiced for months until she mastered her intended craft.  Eventually, the wolf visited Pig One at his straw hut.  Pig One was insufficiently prepared to do battle with the wolf and ran away to his brother, Pig Two.  Pig Two turned out to be equally unprepared and both pigs then ran to their sister, Pig Three.  It only took for Pig Three to demonstrate the depth of her skills to scare the wolf off.  All three pigs felt triumphant and went back to ninja school to complete their training.

CRITICAL ANALYSIS

In this laugh out loud version of The Three Little Pigs, Corey Schwartz combines rhyme with martial arts to defeat the notoriously bad wolf.  As with most other versions of this fairy tale, Schwartz makes the three pigs siblings, but assigns the dedicated, wolf tail kicking role to that of the sister.  The characters are somewhat stereotypical in this girl power tale.  Dan Santat’s illustrations provide an authentic setting with elements found in Japan such as bamboo, cherry blossoms, snow capped mountains, and bonsai trees.  The finishes with a brief glossary of Japanese words used in the story.

REVIEW EXCERPTS

“A fractured fairy tale to outcharm the original, “The Three Ninja Pigs” manages to one-up the well-worn story by setting it in Japan, sprinkling it with the language and discipline of martial arts. All in hilarious, impeccable rhyme.” — The New York Times Book Review

“While the idea of three gi-clad pigs fighting the big bad wolf is a winner, the subtle-as-a-karate-chop moral about not quitting puts a bit of a damper on the fun.” -Publisher’s Weekly

“Santat’s illustrations are done with Sumi brush on rice paper and finished in Photoshop. The colors, patterns and themes nicely incorporate those of Japanese art, and the setting, with its background mountains, cherry blossoms and traditional rooftops, is firmly Japanese.”-Kirkus Review

CONNECTIONS

This story can be used for teaching students about the importance of staying in school or showing students they can do anything if they try hard enough.  This story can also be used in a compare and contrast activity with the original version of The Three Little Pigs.

BIBLIOGRAPHY

Taback, S. (1999). Joseph had a little overcoat. New York: Penguin Putnam Books for Young Readers.

PLOT SUMMARY

The story begins with Joseph working outside in his old, worn, and patched overcoat.  He restyles the overcoat into various clothing items, each one smaller than the last. When Joseph lost the last item he produced from the remnants of the overcoat, a button, he decided to write a book it. 

CRITICAL ANALYSIS

This book was originally adapted in 1969 by Simms Taback from a Yiddish folk song.  The story itself is repetitious, much like a song, and easy to read.  The primary location of the story seems to be the countryside as there is livestock and crops.  The illustrations are colorful, fun, and include interesting details.  Every other page gives the reader with a context clue in the form of a pattern cut out as to what new clothing item Joseph is going to make.  The book ends with a copy of the sheet music and lyrics to the song, “I Had a Little Overcoat.”

REVIEW EXCERPTS

“Striking gouache, watercolor, and collage illustrations are chock-full of witty details-letters to read, proverbs on the walls, and even a fiddler on the roof.” -School Library Journal

“This diverting, sequential story unravels as swiftly as the threads of Joseph's well-loved, patch-covered plaid coat. A flip of the page allows children to peek through to subsequent spreads as Joseph's tailoring produces items of decreasing size.” -Publisher’s Weekly

CONNECTIONS

This book provides a refreshing outlook on recycling.  So often we hear of recycling cans and bottles, but next to nothing on recycling and reusing clothing.

BIBLIOGRAPHY

Wiesner, D. (2001). The three pigs. New York: Clarion Books.

PLOT SUMMARY

The Three Pigs, by David Wiesner, is a retelling of the folktale The Three Little Pigs. In this story, the three pigs set out in the world, each building his house. The wolf visits the first pig and blows down his house of straw. Unbeknownst to the wolf, he blew the pig out of the story and into the books white space. When the wolf goes to the home of the second pig, the first pig rescues him by telling him how to get away. They go to the house of the third pig and show him how to escape. The pigs then flip the script on the wolf by butting the story frames off the page. They fold the wolf into a story frame by making it into a paper airplane and fly away on it. The three pigs crash land near the nursery rhyme, Hey Diddle Diddle, by Mother Goose. As they walk into the story, their bodies change to match the artistic style of the other characters. They quickly decided to leave and the cat with the fiddle follows them. The pigs then go into a story of a dragon who’s guarding a golden rose. They saved the dragon from being killed by taking it with them into the book’s white space. The pigs decided to go home and take their new friends with them. They reset their story frames and pick up the where the originally left off. Before the wolf could huff and puff at the brick house, the dragon came out and scared him away. 

CRITICAL ANALYSIS

Wiesner uses his illustrations to extend the story. The most noticeable feature of the illustrations is although the actions of the characters change, the story text does not. The illustrations themselves provide the overarching theme of empowerment.  When given the opportunity the characters make their own choices, without regard as to how the story is written. The range of textures and colors Wiesner uses to mark the different illustration styles of each of the different stories represented in the book, pays homage to their respective authors and illustrators. 

REVIEW EXCERPTS

“On the last few pages, the final words of the text break apart, sending letters drifting down into the illustrations to show us that once we have ventured out into the wider world, our stories never stay the same.”-Kirkus Reviews

“Children will delight in the changing perspectives, the effect of the wolf's folded-paper body, and the whole notion of the interrupted narrative. Wiesner's luxurious use of white space with the textured pigs zooming in and out of view is fresh and funny.” -School Library Journal

CONNECTIONS

The illustrations of David Wiesner’s The Three Pigs could be used for creative writing.  This could be done using individual pages or specific story frames on a page.

Module 1

Picturebooks

BIBLIOGRAPHY 
Peña, M. D. (2017). Last stop on Market Street. Ill. By Christian Robinson. London: Puffin. ISBN 0399257748

PLOT SUMMARY 
Every Sunday, after church, CJ and his nana ride the bus to the last stop on Market Street. However, one rainy Sunday, CJ is full of questions about his life and the world around him, but Nana’s answers help him see things in a new way.

CRITICAL ANALYSIS 
The Last Stop on Market Street, by Matthew de la Peña, is a story told as much by it’s colorful, yet simple illustrations as it is by the dialogue and character interactions. The dialogue for CJ is written to reflect the speech pattern of a young boy of six or seven years old. His questions are direct, simply phrased, and often begin with the words, “how come”. While this story seems written to appeal to a child, the storyline and beautiful illustrations have the potential to become a timeless read aloud. The elements of the story are also strongly supported by Christian Robinson’s vivid illustrations. Robinson uses color to magnify the importance of the characters or setting, which serve to help the reader become engaged in the story. For example, the interior of the bus done in bland hues of sage green and grey, yet the passengers clothing and physical attributes are brightly colored, which make them stand out against the setting.

While most of the illustrations are run parallel to the story itself, there are some details require the keen eye of the reader make connections to the dialogue. This story has details which could easily become follow-up books based on some of the characters and actions of the book. Why does the old woman have a jar of butterflies? What do the blind man and his dog do all day? How did CJ and his nana start volunteering at the soup kitchen? On the other hand, these are questions I could pose to my second grade students as part of a creative writing assignment. This book quite literally tugged at my heartstrings because there was a time when I didn’t have a car. My oldest son (now 24) and I relied heavily on the bus for transportation for about three years. Although riding the bus wasn’t fun, I used the time between stops talking or reading books to my son.

REVIEW EXCERPTS 
The celebratory warmth is irresistible, offering a picture of community that resonates with harmony and diversity. - Thom Barthelmess Booklist Online Robinson’s exceptional artwork works with it to ensure that readers will fully understand CJ’s journey toward appreciation of the vibrant, fascinating fabric of the city. – Kirkus Reviews CONNECTIONS This book has a wealth of possibilities in the classroom ranging from introducing the concept of community to exploring diversity and differences.

BIBLIOGRAPHY 
Willems, M. (2013). I’m a frog! New York: Hyperion Books for Children

PLOT SUMMARY
Piggie, who is a pig, has decided to become a frog. Gerald, an elephant and Piggie’s best friend, is having difficulty understanding why she would want to do such a thing. When Piggie explains to Gerald she is just pretending, he can hardly believe it. Piggie eventually convinces Gerald to try being a frog, and although he decides play along with her, he does it his way.

CRITICAL ANALYSIS
Mo Willems’ portrayal of the distinct differences between Gerald and Piggie is simple and fun.  Piggie is boisterous and impulsive where Gerald is cautious and logical. Willems’ artistic approach to this series of books comes across as unimaginative, but it works. The characters are simply drawn on white paper with no background or obvious setting. One would have to use their imagination to determine where the story is taking place. The coloring of each character matches their personality, which is an integral element of this series. The illustrations also contain strokes to emphasize movement and convey emotion. The uncomplicated presentation of the illustrations is balanced by the character dialogue, in that each character generally speaks no more than one sentence at a time. I often use this series to present an idea or concept about friendship, imagination, and diversity to my students. Often times, my students make connections to Gerald and Piggie through the personality or actions of a parent or sibling.

REVIEW EXCERPTS 
“This is even slighter than most of the series’ previous books, but it does have a funny surprise ending, and kids get to consider just what it means to pretend. The familiar pictures get their action from Piggie hopping around and their humor from the droll expression on the elephant’s face. – Ilene Cooper - Booklist

CONNECTIONS 
This book can be easily adapted into a reader’s theater or used as a starter book for literature circles.

BIBLIOGRAPHY
Steig, W. (1969). Sylvester and the magic pebble. New York: Simon and Schuster Books for Young Readers.

PLOT SUMMARY 
A young donkey named Sylvester Duncan finds a magic, wish-granting pebble one day. On his way back home to show the pebble to his parents, Sylvester came upon a hungry lion. He was so frightened he wished he were a rock to keep the lion from eating him. Sylvester is unable to change himself back, leaving his friends and family unable to find him. After a long and lonely while, Sylvester, who has fallen into an sleep, is found by his parents.

CRITICAL ANALYSIS 
Sylvester and the Magic Pebble, by William Steig is fantasy-filled tale of talking animals and magic. Steig uses warm colored illustrations of the characters and setting to bring this story to life. Every illustration is anchored by the story’s text, telling what is happing at that moment. One of the most noticeable characteristics of the illustrations is most of the adults wear clothing, whereas the youth do not. The setting itself contains details such as fringe on a lampshade and shingles on a roof. Steig not only used tears, but slumped posture and dead flowers in a vase to express how unhappy Sylvester’s parents had become when he didn’t return home. He does the same to communicate, happiness as well. When Sylvester reunited with his family, Steig paints the sun’s rays expanding through most of the sky’s background, much like a heart bursting with joy.

 As much as I appreciate the lesson of being careful of what you wish for being taught in this tale, I have a hard time liking this book. The lessons of being careful what you wish for and appreciating family are admirable and worth teaching. Unfortunately, the mother in me is not impressed by thoughts of not knowing where one of my kids is over an extended period of time, even if it is just a children’s book.

CONNECTIONS
This is a book which can be used to teach children not only to appreciate what they have, but to be cognizant of their surroundings, especially when they are alone.

BIBLIOGRAPHY
Selznick, B. (2007). The invention of Hugo Cabret. New York: Scholastic Press.

PLOT SUMMARY
Hugo Cabret, orphaned by the untimely death of his father, is taken in and made an apprentice timekeeper and thief by his drunken uncle, who has disappeared. Prior to his death, his father had found an automaton at the museum where he worked. All Hugo had left of his father was a notebook he had given him detailing the inner workings of the automaton. The automaton had been largely forgotten about until Hugo found it in the burned-out shell of the museum. After taking it back to his uncle’s apartment in the train station, Hugo became obsessed with repairing the automaton. He began stealing wind-up toys for parts from an Papa Georges toy stall. After the man catches him stealing from him and takes his notebook away, Hugo becomes desperate to get it back.

In an effort to get his notebook back, Hugo grudgingly befriends the toy maker's goddaughter Isabelle, and works for Papa Georges to make up for the other toys he’d already stolen. After a stroke of bad luck, Hugo’s fingers are broken, leaving him unable to tend the clocks at the train station. He knows time is running out before he is found to be living alone in the train station. Hugo discovers Papa Georges isn’t who he appears to be, and he and Isabelle must uncover his secret in order to fully unravel the web of the automaton’s origins.

CRITICAL ANALYSIS 
The Invention of Hugo Cabret, by Brian Selznick, is a work of historical fiction set in Paris, France during the 1930s. Selznick combines his own illustrations with paintings and movie stills, which comprise over half the book, to weave the tale of Hugo Cabret. The book is divided into two parts, with twelve chapters in each. Each of Selznick’s illustrated sections read like a movie as they tend to move from a wide shot and then start to zero in on a smaller section or item, including people or inanimate objects. The setting primarily takes place in the train station and slowly fans out to several areas of Paris, but with less illustrated detail. The main characters are also illustrated in much the same way, with most minor characters only being acknowledged in text. Selzick’s illustrations also seem to impart messages not directly told in the text. For example, the illustration of Isabelle in the book store shows her surrounded by books, yet she looks lonely.

The illustrations also enhance the action of the plot such as sketches of a grasping hand, running feet, or a backwards glance. Oddly enough, I’ve read most of Brian Selznick’s books, I don’t know how I managed to miss this gem. My youngest son, who loves art but loathes reading, is interested in more of Selznick’s work. On a slightly down note, I wish the book contained more biographical information about Georges Méliès at the end of the book.

REVIEW EXCERPTS 
Selznick’s “novel in words and pictures,” an intriguing mystery set in 1930s Paris about an orphan, a salvaged clockwork invention, and a celebrated filmmaker, resuscitates an anemic genre—the illustrated novel—and takes it to a whole new level. The result is somewhat similar to a graphic novel, but experiencing its mix of silvery pencil drawings and narrative interludes is ultimately more akin to watching a silent film. -Jennifer Matteson, Booklist This is much more than a graphic novel: it is more like a silent film on paper. – John Schwartz, New York Times 

CONNECTIONS
This book can be used to teach a variety of STEAM lessons. The illustrations can be used to teach the concept of medium in art. The mechanical aspect can be a focus in science, technology, and/or math.