Cendrillon

1. BIBLIOGRAPHIC DATA
Cenrillon--A Caribbean Cinderella

Written by Robert D. San Souci

Illustrated by Brian Pinkney

Published by Aladdin Paperbacks

ISBN 0-689-84888-9

2. PLOT SUMMARY
A Caribbean version of a classic fairy tale, this version of Cinderlla is told from the Fairy Godmother's point of view. The traditional aspects of Cinderella are included in this version--the wicked Stepmother, evil Stepsisters, a handsome elligible bachelor and a missing slipper. However, the use of French Creole words and phrases throughout the story, and Brian Pinkney's colorful woodcut illustrations make this version of a classic seem like a brand new story.

3. CRITICAL ANALYSIS:
This Caribbean version served two purposes for me. First, I was entertained with a fresh take on the classic Cinderella story, and second, I learned much about the traditions and language of the French Creole. I really enjoyed the story being told from the Fairy Godmother's point of view. Right away, I was interested, because I was seeing a familar story told through new "eyes." The use of the French Creole phrases throughout the book gave the story a nice voice that helped pull me into the setting. I liked the humor the Fairy Godmother brought to the retelling. For example, when one of the step sisters is trying to get the slipper on, it is the Fairy Godmother who suggests that maybe the step sister should, "...cut off those big toes...it would be a fine fit."

Brian Pinkney's woodcut illustrations help give this book an "island" feeling. His use of color makes the characters appear to be "moving" throughout the story. This book would be a fine example to use to show students the woodcut illustration.

4. REVIEW EXCERPTS:
*From Publisher's Weekly--"The lyrical cadences of the text spattered with French and Creole words combine with the sensuous paintings to bring the tropics to life."
*From Booklist--"A vital rendition of an old favorite."

5. CONNECTIONS:
*Students could create a Creole/English picture dictionary.
*Students could create a graphic organizer that compares this version of Cinderella with a more traditional version of the Fairy Tale."
*The colorful woodcut illustrations are a great example of the use of color and movement in drawing, students could use the illustrations to help them create a woodcut picture.

Adelita

1. BIBLIOGRAPHIC DATA
Adelita--A Mexican Cinderella Story

Written and Illustrated by Tomie dePaola

Published by G. P. Putnam's Sons

Published 2002

ISBN 0-399-23866-2

2. PLOT SUMMARY
The traditional story of Cinderella gets a spanish twist in Tomie dePaola's retelling of this classic tale. The basic storyline is the same--a young girl, Adelita, who is deeply loved by her father is left to live with his second wife and her two daughters after his death. The only friend Adelita has left is Esperanza, a woman who has known her since she was a baby. Instead of a fairy godmother to help her get to Senor Javier's fiesta, Adelita has Esperanza. Then, when the ball is over, it is not a glass slipper Senor Javier finds, but instead a memory of a red rebozo that leads Senor Javier back to Adelita.

3. CRITICAL ANALYSIS
I have always been captivated by Tomie dePaola's colorful illustrations, and this story did not disappoint me. The vibrant pictures aided in the retelling of this classic story. dePaola's use of color and space helped make the story come alive as I read.

I particularly liked the hispanic twist this version of Cinderella provided. The spanish phrases sprinkled throughout the story gave an authentic "voice" to the story, and helped add to the setting of the story. Also, I liked the fact that the "Fairy Godmother" was an important person in Adelita's life, and not a magical image that was conjured. Using Esperanza for that role helped me see the tight bond these two ladies shared, and how as long as they had each other, they would be all right. The use of the rebozo, a traditional Mexican shawl, instead of a glass slipper also gave this story a taste of Mexican culture and tradition.

I feel that any person who loves the story of Cinderella should read this version for another perspective of this tradtional fariy tale.

4. REVIEW EXCERPTS
*From Publisher's Weekly--"dePaola tweaks just enough details to make his version (of Cinderella) fresh."
*From School Library Journal--"Making perfect use of clear, warm hues, the full color acrylic illustrations are a feast for the eye."

5. CONNECTIONS
*This Cinderella version could be a great opening story for a unit on Mexico and their rich traditions.
*Students could create a graphic organizer that highlights the similarities and differences of Adelita with a more tradtional version of Cinderella.
*Adelita provides readers with a variety of spanish words and phrases--students could use those words to creat a Spanish/English Picture Dictionary.

Scary Stories to Tell in the Dark

1. SCARY STORIES TO TELL IN THE DARK

Written by Alvin Schwartz

Illustrated by Stephen Gammell

Published by Harper Collins Publishers

Publication Date: 1981

ISBN: 0-397-31926-6

2. PLOT SUMMARY
This collection of stories is a favorite among children. Divided into five sections, the stories in this book are a wide range of tales that are spine chilling as well as some humorous tales. All the tales are descriptive and conjure up images of the most ghastly of creatures. Also included are some scary rhymes and games sure to make any ghostly get together memorable.

3. CRITICAL ANALYSIS
While adults may find some of the stories in this collection silly and predicatable, children flock to this book. Stephen Gammel's eerie sketches that illustrate many of the tales help draw children's attention to this collection. Alvin Schwartz's stories are detailed, which is great to aid to allow readers to visualize many of the scary images described. Many traditional favorites are included, such as, "The Big Toe," (Which many readers will recognize as "The Golden Arm.") and "The Hook." Many of these stories have been around for years, and Schwartz's versions of them ensure us that they will live on. The notes at the end of the story collection provide interesting background information about many of the tales.

In a world full of violent and explicit horror films, these stories allow children to experience a good scary story, but without the disturing images that could linger in a child's mind. This book is definately for an older reader, as some of the stories and illustrations could be upsetting to younger readers.

4. REVIEW EXCERPT
From "Children's Books, 1981"
"A fine collection of short tales to chill the bones of young and old with interesting notes for folktale buffs."

5. CONNECTIONS
*Many of the stories in this collection would be a great way to introduce students to elements of storytelling. Students could practice how to tell a great story and how to build suspense and draw the listener in.
*Since several of the stories are short, students could use them as a model to write their own original scary stories.

The Man Who Walked Between The Towers

1. BIBLIOGRAPHIC DATA
THE MAN WHO WALKED BETWEEN THE TOWERS

Written and Illustrated by Mordicai Gerstein

Publisher: Roaring Book Press

Publication Date: 2003

ISBN: 0-7613-1791-0

2. PLOT SUMMARY
Philippe Petit, a daring young man who had already walked on a wire bwtween the steeples of the Notre Dame Cathedral, felt drawn to repeat this feat between the nearly completed World Trade Center in New York City. This true story is told by Mordicai Gerstein in his book, THE MAN WHO WALKED BETWEEN THE TOWERS. In a simple, but poetic style, Geristein tells how Petit dressed as a construction worker to gain access to the roof of the South Trade Center tower. During the night, with help from some friends, Petit strung a sturdy cable between the two buildings. As the sun rose in the sky, Petit began his walk a quarter of a mile above the streets below. After successfully completing this illegal act, police arrested Petit and he was later sentenced by a judge to perform in the park for children.

3. CRITICAL ANALYISIS:
Published after the horrific events of 9/11, this story is a reminder of all that was lost that day. Yet, it is surprisingly uplifting as the reader finds themselves being drawn into the story, rooting for Petit to successfully complete his task. Gerstein shares this story with the reader using few words, allowing his beautiful illustrations to pull the reader into the story. The different perspectives he uses in his drawings to re-create Petit's walk let the reader be on the wire with Petit. I am partial to the cover drawing, where all you see of Petit is his foot, gracefully balanced on the wire while far below, cars and trucks hurry along, oblivious to what is happening above them.

The opening illustration along with Gerstein's words, "Once there were two towers..." immediately caused me to think back to the time when the tall Trade Center Towers completed the New York City skyline. As I read the story and got wrapped up in Petit's brave goal, and wanting to see him succeed, I couldn't help but feel a sense of sadness knowing that the place where Petit successfully crossed the towers was forever gone. Yet, Gerstein's final drawing with the ghost-like image of the Twin Towers rising up into the clouds reminded me that those towers will always be there because of the memories they evoke in all of us. Whether it is thinking about Petit's brave walk, or the bravery hundreds showed that fateful day, this story reminds us that the Towers will always rise from the skyline.

4. REVIEW EXCERPTS:
From SCHOOL LIBRARY JOURNAL: "The vertiginous views paint the New York skyline in twinkling starlight and at breathtaking sunrise. Gerstein captures his subject's incredible determination, profound skill and sheer joy...With its graceful majesty and mythic overtones, this unique and uplifting book is at once a portrait of a larger-than-life and a memorial to the towers and the lives associated with them."

5. CONNECTIONS:
*Students can research for current information about Philippe Petit and find out how he reacted to the destruction of the World Trade Center.
*Create a scale model of the towers to give students an idea of how tall the buildings were, and how high up Petit was when he made his "walk" between them.
*If the playground is large enough, have students measure off a quarter of a mile.

Another Important Book

1. BIBLIOGRAPHY

ANOTHER IMPORTANT BOOK

Author: Margaret Wise Brown

Illustrator: Chris Raschka

Publisher: Joanna Cotler Books

Year Published: 1999

ISBN: 0-06-026282-6

2. PLOT SUMMARY:
The beloved author of the classic, THE IMPORTANT BOOK, brings us another great story, only this time the subject is YOU and how important YOU are. This rhyming story reminds the youngest of readers that they are important at any age, particularly ages one through six. Children will quickly join in the repeating reminders about how important they are. Accomplishments for each age are highlighted in words as well as Raschka's colorful and engaging illustrations.

3. CRITICAL ANALYSIS:
I must admit that I have been a huge fan of the orginal IMPORTANT BOOK for years, so when I discovered this companion book, I was thrilled! Margaret Wise Brown's delightful rhyming pattern engages the youngest reader and allows them to discover the importance of whatever age they are, and even when you have "just begun," you are still making important discoveries about you. This book focuses in on important traits in children themselves, and would make a wonderful addition to a character development lesson. It is easy to see why Margaret Wise Brown's books are classics. Her simple, yet to the point, rhymes stay with you long after you have closed the book.

Chris Raschka's wonderful watercolor illustrations are perfect for this book. His illustrations start off simple, just as we do at age one. As the children in the story get older, we see the illustrations "grow" as well. The pictures become busier and even more colorful just as children do when they get older. The flowing lines and shapes allow your eyes to take in the entire picture and not miss a thing. I almost expected to see the figures move and dance about on the page as there is that much "movement" in Raschka's lines. Raschka used his own young son to help inspire him while creating the illustrations for the book. The delightful illustrations along with the rhyming of the text work together to create a wonderful piece of literature that every child should be exposed to.

4. REVIEW EXCERPTS:
From: SCHOOL LIBRARY JOURNAL: Raschka has done a lovely job of creating illustrations that capture the look and feel of books published during Brown's era."

From: PUBLISHER'S WEEKLY: A master at conveying emotion with a simple sweep of his watercolor brush, he (Raschka) launches a succession of sprightly imps to cavort against backdrops of mustard yellow, brick red and Prussian blue."

5. CONNECTIONS:
*The predictable pattern for this book lends itself to be "borrowed" as a writing pattern for young authors. Students can write their own "Important Book" about their lives highlighting special events throughout the first six years of their lives.
*Students can research Margaret Wise Brown and discuss the question, "Why do you think Brown's books appeal to children?"

Talking With Artists

1. BIBLIOGRAPHY:
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. Zelinksy

Compiled and Edited By Pat Cummins

Publisher: Clarion Books Published: 1999

ISBN: 0-395-89132-9

2. PLOT SUMMARY:
In this captivating volume, thirteen children's book illustrators share personal stories, photographs and artwork. Each artist addresses how they came to illustrate children's books for a living. Editor Pat Cummins, an illustrator of children's books herself, asked each contributor a series of questions that included topics such as, what a typical work day is for the illustrator, if they have pets or a family, and if they used people that they knew in their illustrations. Each artist included an early piece of artwork from their childhood as well as personal photos and examples of their current work. Also included at the end of the book are art tips that some of the artists shared to help budding young illustrators.

3. CRITICAL ANALYSIS:
I was immediately drawn into the personal stories each artist shared. I had never really thought much about how an individual might come to illustrate children's books, and the stories these magnificent artists shared gave me new insights to the world of children's book illustrators. Having each artist "tell" their own story gave the book a personal touch. Children reading this book can connect to the ladies and gentlemen sharing their stories and hopefully gain inspiration from their stories. I believe children will enjoy seeing the photos of "art" these future illustrators created when they were young. Each artist responed to questions with thoughtful insights and encouragement for any young artist. The variety of mediums and styles shown in this book is a great way for students to see how various types of art infulence their work. The questions asked of each artist provide a look inside their daily lives, and what a typical work day is like for an illustrator. I felt like I had a good idea of each person's work style and daily life through these questions. Pat Cummings asks questions of the artists that children would want to know, and really gives the reader a good picture of that artist. Personal photos from each artist help create a connection with the artist as well.

4. REVIEW EXCERPTS:
From BOOKLIST: "A special treat for budding artists and wonderful for teachers."

From HORN BOOK: "Informative, enjoyable, and inspirational."

From SCHOOL LIBRARY JOURNAL: "While many readers will find the artists' tips that conclude the volume useful, all will appreciate these insightful conversations."

5. CONNECTIONS:
*Share books the featured artists illustrated. This allows students to be exposed to the artists' work.
*Provide some of the mediums the artists use to create their illustrations. Ask students to draw a picture with the materials. Discuss if they found the material easy or difficult to draw with.
*Use a map to locate where each artist lives. Ask students if they think their work is influenced by the area where they live.

September 2, 2006

This is a test post to see if I set everything up correctly.