Picturebooks
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.
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.
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.
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.
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