Bibliography
Smith, Cynthia Leitich. 2000. Jingle Dancer. Illustrated by Cornelius Van Wright and Ying-Hwa Hu. New York, NY: Morrow Junior books. ISBN 0-688-16241-X
Plot Summary
This is the story of Jenna and her quest to perform the jingle dance at the powwow. She learns the steps and movements of the dance from her Grandma Wolfe. Then she goes to various other family members and friends to obtain jingles that will give her dress a voice. The story ends with Jenna dancing at the powwow. The author also includes background information on the Native American tribes represented in the story as well as some history of the jingle dance, dress, and tradition. A glossary of terms is also included.
Critical Analysis
Though the story seems to lack a natural flow, it contains some nice imagery. The author’s personification of Sun and Moon help to mark the time and jingles that sing “tink, tink, tink, tink” give a “voice” to the traditional jingle dress.
While these personifications allude to a Native American influence, it is really the central theme of the jingle dance that gives insight into the Native American culture. The description of the dress and the dance movements tell the reader a little about a Native American tradition. The reader learns that tin is rolled by hand and then sewn on the fabric in rows to create the jingle dress. Each character the main character Jenna meets with also provides insight into the culture. We learn from Jenna’s grandmother, aunt, and cousin that dancing the jingle dance in the powwow is a tradition among the women of the family. We learn from Jenna’s great aunt that the family must be from the Muscogee Creek people since she tells Jenna a story from that tradition. We learn from family friend, Mrs. Scott, that some traditional foods are fry bread and Indian tacos.
Some of the information given through the story can seem a little trivial at first but the background information given after the story is quite insightful. It provides more in depth information on the actual Native American groups represented in the story and the history behind those groups and their traditions mentioned in the story. This extended information helps to round out Jenna’s story.
Professional Reviews
From Connie Fletcher (Booklist, May 15, 2000 (Vol. 96, No. 18))
This contemporary Native American tale highlights the importance of family and community through a young girl's dream of joining the dancers at the next powwow. Jenna is a girl of Muscogee (Creek) and Ojibway (Chippewa/Anishinabe) descent. She has practiced the steps for the jingle dance by following her grandmother's moves on a video. Now she must get enough jingles (traditionally made of tin, aluminum, or gold canning lids rolled into cones) to sew on her dress to make a satisfying "tink, tink" as she dances. The way Jenna gathers her jingles (borrowing enough to make a row, but not so many that the lender's dress will "lose its voice"), and her promise to dance for the women who cannot dance for themselves illustrate the importance of family and community ties. The colorful, well-executed watercolor illustrations lend warmth to the story. A note explaining Jenna's heritage and a brief glossary are appended. Category: For the Young. 2000, Morrow, $15.95 and $15.89. Ages 4-7.
From Jan Lieberman (Children's Literature)
Brum! Brum! Brum! Hear the sound of the powwow drum as the women dance with tin jingles on their dresses making a rhythmic tinkling sound. Jenna dreams of dancing at the powwow but with no jingles to sew on her costume, there would be no sound. With bouncy enthusiasm, she convinces relatives to loan her theirs from their now silent dresses to sew on her costume. Jingle Dancer describes this dance of the Muscogee (Creek) Nation that is still performed today. 2000, Morrow, $15.95. Ages 4 to 8.
From Janice M. Del Negro (The Bulletin of the Center for Children's Books, July/August 2000 (Vol. 53, No. 11))
Jenna dreams about jingle dancing at the upcoming pow-wow, but she doesn’t have enough jingles (tin cones that ‘sing’ with each bounce-step) for her dress. Visits to her female friends and relations solve her problem, as the women lend Jenna the necessary jingles from their own regalia. Unable to dance at the pow-wow, each woman requests that Jenna dance for her, and Jenna does: “for Great-aunt Sis, whose legs ached, . . . for Mrs. Scott, who sold fry bread, . . . for Elizabeth, who worked on her big case, . . . and for Grandma Wolfe, who warmed like Sun.” This gently messagey family story is structured along the lines of a traditional tale, with Jenna as hero traveling to the four directions to gain her prize. The language, however, is stilted and somewhat formal, slowing the already deliberate pace. Watercolor illustrations show a modern Jenna and her loving circle of women in typical middle-class American housing, occasionally accented with a variety of American Indian art, such as baskets, moccasins, and the dance regalia itself. The human figures are disproportional (which is especially disappointing in the concluding images of Jenna dancing) and the compositions are somewhat static; still, the faces of the characters are often expressive and Jenna herself is a winning personality. Smith explains the importance of traditional dance regalia in an extensive author’s note. A short glossary is included.
Connections
This book would be helpful in teaching social customs, family relationships, and even occupations. It would also be useful in a lesson on personification as the book uses the sun and moon to help mark the sequence of the story.
Monday, July 19, 2010
How Turtle's Back was Cracked - Native American Literature
Bibliography
Ross, Gayle. 1995. How turtle’s back was cracked: a traditional Cherokee tale. Paintings by Murv Jacob. New York, NY: Dial Books for Young Readers. ISBN 0-8037-1728-8
Plot Summary
This is a traditional Cherokee tale of how Turtle’s back came to look cracked. In the time when animals still spoke the same language, Turtle took credit for killing a wolf. Considering himself a mighty hunter, he took a tribute from the wolf and flaunted his victory around town. The other wolves didn’t take kindly to Turtle’s arrogance and plotted to kill him. As in many traditional tales, the “lesser” animal, Turtle, was able to out-smart his adversaries but unfortunately at some expense to himself. Though Turtle was able to doctor himself, his back was forever cracked. At the end of the story, the author also includes some history about the Cherokee nation.
Critical Analysis
This is a well-written, fun book that not only tells a traditional Cherokee tale but also gives a little insight into the culture of the Cherokee people. The author tells the reader that she has taken a few liberties with the story but not enough to actually harm the authenticity of the story. She backs up her authenticity and respect for the story with a brief history of the Cherokee people at the end of the book. What is wonderful though is how much the reader can learn about the Cherokee from the story alone.
Similar to African tales and other traditional animal stories, we learn that this story takes place “in the time when animals spoke the same language” thus letting the reader know that it happened a long time ago. It also takes a similar theme of showing readers (or listeners as the stories were originally told orally) that brains can usually out maneuver brawn since Possum beats the first wolf at his own game and later Turtle must out-smart the wolves to save his life. Beyond these cultural traits though, the story tells us a few more customs. First, we learn that these people probably ate persimmons or at least lived in a land where persimmons grew. More insightfully though, the book teaches us that it is customary for a hunter to take a tribute from his prey. This tribute captures the spirit of the prey and transfers it to the hunter. We also learn that it is a custom of the people to keep a corn soup cooking or warming all day so that if a visitor should come, there will be food to offer him upon his arrival. In the end, we also learn that the Cherokee had secrets for using plants as healing agents and the author even threw in a Cherokee word to learn.
After the story, the author provides a brief history of the Cherokee nation which, if you read the information about the author on the book jacket, was told to her by family members as stories of their life, not as facts to be cited. That must be why the story itself taught me so much about the Cherokee people before reading the history the author provided at the end.
Professional Reviews
From Carolyn Phelan (Booklist, January 15, 1995 (Vol. 91, No. 10))
Gathering persimmons together, friends Possum and Turtle are joined by a thieving wolf who chokes to death on their fruit. Turtle, foolishly believing that he has killed the wolf, shows off the deed by making wolf-ear spoons and eating with them publicly. When the other wolves catch Turtle, they vow to kill him by roasting, boiling, or drowning him. He responds with, "Oh, no, not the river! Anything but the river." When they throw him in, he lands upside down on a rock, cracking his shell. He survives, but that's why the Turtle has cracks on his back today. Despite its echoes of the more familiar Brer Rabbit story ("born and bred in the briar patch"), this Cherokee pourquoi tale has a flavor all its own. Ross notes that she remembers the tale from her childhood, found a written source, and developed it through storytelling to its present form. Jacob's distinctive acrylic paintings illustrate the story's dramatic moments in scenes rich in colors and patterns. An entertaining picture book to read aloud. Category: For the Young. 1995, Dial, $14.99 and $14.89. Ages 5-8.
From Gisela Jernigan, Ph.D. (Children's Literature)
Turtle and possum are best friends because they are both slow and both love persimmons. When wolf tries to steal persimmons from turtle, that's when trouble starts. Turtle eventually manages to escape from the wolves using a trick similar to the one employed by Brer Rabbit, but in the process his smooth shell becomes cracked. Sprightly dialogue and touches of humor make the story fun to read aloud, while colorful watercolors and geometric borders add to the visual appeal of this pourquoi tale. Includes an author's note. 1995, Dial, $14.99, $14.89. Ages 3 to 9.
From CCBC (Cooperative Children's Book Center Choices, 1995)
A Cherokee legend from "the days when the people and the animals still spoke the same language" begins when Possum and Turtle search for persimmons. When a wolf spoils their feast, Possum retaliates, but it's vain Turtle who claims the credit. Turtle not only makes a pair of wolf-ear spoons, but then he shows off this "tribute," prevailing upon friends and even on strangers to respond with hospitality. After Turtle gorges himself on corn soup, the insulted wolves serve him a come-uppance for such bad behavior. This porquois tale is beautifully illustrated with Jacobs' detailed, intricately patterned artwork done in acrylics that suggest a dark forest full of an active community of talking creatures. Ross is an accomplished storyteller and a descendent of the principal chief of the Cherokee Nation during the time of the Trail of Tears. Her endnotes briefly summarize the history of that Indian Removal (1838-39) and also point out accomplishments of the Cherokee Nation. CCBC categories: FOLKLORE, MYTHOLOGY AND TRADITIONAL LITERATURE; PICTURE BOOKS; HISTORICAL PEOPLE, PLACES AND EVENTS. 1995, Dial, 32 pages, $14.89. Ages 6-9.
Connections
This book can be used in a unit on Porquois stories. It could also be used in a study of Native American history or specifically the Trail of Tears from the background information provided after the story. It could also be used in a study of animal adaptations.
Ross, Gayle. 1995. How turtle’s back was cracked: a traditional Cherokee tale. Paintings by Murv Jacob. New York, NY: Dial Books for Young Readers. ISBN 0-8037-1728-8
Plot Summary
This is a traditional Cherokee tale of how Turtle’s back came to look cracked. In the time when animals still spoke the same language, Turtle took credit for killing a wolf. Considering himself a mighty hunter, he took a tribute from the wolf and flaunted his victory around town. The other wolves didn’t take kindly to Turtle’s arrogance and plotted to kill him. As in many traditional tales, the “lesser” animal, Turtle, was able to out-smart his adversaries but unfortunately at some expense to himself. Though Turtle was able to doctor himself, his back was forever cracked. At the end of the story, the author also includes some history about the Cherokee nation.
Critical Analysis
This is a well-written, fun book that not only tells a traditional Cherokee tale but also gives a little insight into the culture of the Cherokee people. The author tells the reader that she has taken a few liberties with the story but not enough to actually harm the authenticity of the story. She backs up her authenticity and respect for the story with a brief history of the Cherokee people at the end of the book. What is wonderful though is how much the reader can learn about the Cherokee from the story alone.
Similar to African tales and other traditional animal stories, we learn that this story takes place “in the time when animals spoke the same language” thus letting the reader know that it happened a long time ago. It also takes a similar theme of showing readers (or listeners as the stories were originally told orally) that brains can usually out maneuver brawn since Possum beats the first wolf at his own game and later Turtle must out-smart the wolves to save his life. Beyond these cultural traits though, the story tells us a few more customs. First, we learn that these people probably ate persimmons or at least lived in a land where persimmons grew. More insightfully though, the book teaches us that it is customary for a hunter to take a tribute from his prey. This tribute captures the spirit of the prey and transfers it to the hunter. We also learn that it is a custom of the people to keep a corn soup cooking or warming all day so that if a visitor should come, there will be food to offer him upon his arrival. In the end, we also learn that the Cherokee had secrets for using plants as healing agents and the author even threw in a Cherokee word to learn.
After the story, the author provides a brief history of the Cherokee nation which, if you read the information about the author on the book jacket, was told to her by family members as stories of their life, not as facts to be cited. That must be why the story itself taught me so much about the Cherokee people before reading the history the author provided at the end.
Professional Reviews
From Carolyn Phelan (Booklist, January 15, 1995 (Vol. 91, No. 10))
Gathering persimmons together, friends Possum and Turtle are joined by a thieving wolf who chokes to death on their fruit. Turtle, foolishly believing that he has killed the wolf, shows off the deed by making wolf-ear spoons and eating with them publicly. When the other wolves catch Turtle, they vow to kill him by roasting, boiling, or drowning him. He responds with, "Oh, no, not the river! Anything but the river." When they throw him in, he lands upside down on a rock, cracking his shell. He survives, but that's why the Turtle has cracks on his back today. Despite its echoes of the more familiar Brer Rabbit story ("born and bred in the briar patch"), this Cherokee pourquoi tale has a flavor all its own. Ross notes that she remembers the tale from her childhood, found a written source, and developed it through storytelling to its present form. Jacob's distinctive acrylic paintings illustrate the story's dramatic moments in scenes rich in colors and patterns. An entertaining picture book to read aloud. Category: For the Young. 1995, Dial, $14.99 and $14.89. Ages 5-8.
From Gisela Jernigan, Ph.D. (Children's Literature)
Turtle and possum are best friends because they are both slow and both love persimmons. When wolf tries to steal persimmons from turtle, that's when trouble starts. Turtle eventually manages to escape from the wolves using a trick similar to the one employed by Brer Rabbit, but in the process his smooth shell becomes cracked. Sprightly dialogue and touches of humor make the story fun to read aloud, while colorful watercolors and geometric borders add to the visual appeal of this pourquoi tale. Includes an author's note. 1995, Dial, $14.99, $14.89. Ages 3 to 9.
From CCBC (Cooperative Children's Book Center Choices, 1995)
A Cherokee legend from "the days when the people and the animals still spoke the same language" begins when Possum and Turtle search for persimmons. When a wolf spoils their feast, Possum retaliates, but it's vain Turtle who claims the credit. Turtle not only makes a pair of wolf-ear spoons, but then he shows off this "tribute," prevailing upon friends and even on strangers to respond with hospitality. After Turtle gorges himself on corn soup, the insulted wolves serve him a come-uppance for such bad behavior. This porquois tale is beautifully illustrated with Jacobs' detailed, intricately patterned artwork done in acrylics that suggest a dark forest full of an active community of talking creatures. Ross is an accomplished storyteller and a descendent of the principal chief of the Cherokee Nation during the time of the Trail of Tears. Her endnotes briefly summarize the history of that Indian Removal (1838-39) and also point out accomplishments of the Cherokee Nation. CCBC categories: FOLKLORE, MYTHOLOGY AND TRADITIONAL LITERATURE; PICTURE BOOKS; HISTORICAL PEOPLE, PLACES AND EVENTS. 1995, Dial, 32 pages, $14.89. Ages 6-9.
Connections
This book can be used in a unit on Porquois stories. It could also be used in a study of Native American history or specifically the Trail of Tears from the background information provided after the story. It could also be used in a study of animal adaptations.
Saturday, July 10, 2010
Esperanza Rising – Hispanic/Latino Literature
Bibliography
Ryan, Pam Munoz. 2000. Esperanza Rising. New York, NY: Scholastic Press. ISBN 0-439-12041-1
Plot Summary
This fictional story is based on the story of the author’s grandmother who lived a life of comfort and leisure in Mexico but was moved into a life of hard work and hardship in the United States. The main character, Esperanza, loses her father and the life of priviledge he created for his family in Mexico. Through the help of faithful servants and friends, Esperanza and her mother move to a company farm in California where they must now live like the servants they once employed. For the thirteen year old, the transition is difficult but Esperanza rises to the occasion, “like the phoenix…rising again, with a new life ahead.”
Critical Analysis
This beautiful tale of hope for a better life gives a lot of insight into the Mexican American culture, especially the aspect of the culture rooted in the field work of the 1920 and 1930s. Each chapter title is given in Spanish with an English translation listed below. Also, much of the dialog is given in Spanish but translated in the next words or sentence. In fact, the book often reads like translated English which gives it a more authentic feel. The people are described as vaqueros and campesinos and even a Zapotec Indian woman from Oaxaca. The book describes men who wear straw hats and bandanas to protect them from the sun, dust, and spiders. Women braid their long black hair and have dark lashes and fair, creamy skin – when it isn’t covered in dust and sweat and tears. These men and women enjoy the treat of papayas and flan de almendras but typically have to settle for what they harvest and beans and rice and tortillas though they can drive quite a distance away to a store that stocks masa, chilies, and chorizo that can be bought without looks of disdain or prejudice.
In addition to describing the language, people and food of the culture, this story also gives the culture’s background. It begins with the separation of classes in Mexico that lead to the Mexican Revolution which drove many Mexicans to the United States in search of a life as something more than a servant. This story tells us about the hardships these Mexicans dealt with once they were in the United States; how despite their background in Mexico, many Americans saw Mexican Americans as “one big brown group who are good for only manual labor.” It describes the anger that grows within good and hard-working people when they are daily faced with injustice and malice. It also shows how loyalty to your work, to your family, and to the hope of something better can overcome the anger. Ultimately, this is a touching story of triumph that is set within the Mexican American culture but is relatable to any culture.
Professional Reviews
From Deborah Kaplan (KLIATT Review, November 2002 (Vol. 36, No. 6))
The day before her 13th birthday, Esperanza's life shatters. Her father dies, and Esperanza and her mother must leave their easy life on the lovely family ranch in Mexico. With the aid of former servants, they immigrate to Depression-era California to become farm laborers. For Esperanza, who has always had servants, dolls, and lovely clothes, the dirt, illness, and labor are unbearable. She wants to fit in, but the other women and children in the camp know that she doesn't know how to wash clothes, sweep a floor, or even bathe herself. When illness strikes, Esperanza must fight despair to become her family's provider. The underlying political situation in the camp is dangerous. The poverty of the Depression and the influx of refugees from the Dust Bowl lend themselves to terrible living conditions in the company farm camp, and troublemakers are always in danger from the government. Strikers agitate for better conditions, but for Esperanza and her friends, to strike is to lose the pittance they need to survive. Both the strikers and those who refuse to strike are shown making necessary and difficult choices in Esperanza's story. Despite the hardship of the farm work, Esperanza finds peace in the cycle of harvest and the heartbeat of the earth. In the midst of hunger, struggle, and terrifying collusion between the landowners and the government, Esperanza and her friends are still tied to the rhythms of the earth, and Esperanza--Spanish for "hope"--is rising. The rich metaphors and complex political issues in Esperanza's story never undercut the pleasure of this coming-of-age tale. Esperanza's first year in California makes for a delightful read; the added layers are a bonus. An ALA Best Book for YAs. Category: Paperback Fiction. KLIATT Codes: J--Recommended for junior high school students.
From School Library Journal
Grade 6-9-Ryan uses the experiences of her own Mexican grandmother as the basis for this compelling story of immigration and assimilation, not only to a new country but also into a different social class. Esperanza's expectation that her 13th birthday will be celebrated with all the material pleasures and folk elements of her previous years is shattered when her father is murdered by bandits. His powerful stepbrothers then hold her mother as a social and economic hostage, wanting to force her remarriage to one of them, and go so far as to burn down the family home. Esperanza's mother then decides to join the cook and gardener and their son as they move to the United States and work in California's agricultural industry. They embark on a new way of life, away from the uncles, and Esperanza unwillingly enters a world where she is no longer a princess but a worker. Set against the multiethnic, labor-organizing era of the Depression, the story of Esperanza remaking herself is satisfyingly complete, including dire illness and a difficult romance. Except for the evil uncles, all of the characters are rounded, their motives genuine, with class issues honestly portrayed. Easy to booktalk, useful in classroom discussions, and accessible as pleasure reading, this well-written novel belongs in all collections. Francisca Goldsmith, Berkeley Public Library, CA
Connections
This story lends itself to teaching Mexican and Mexican American history. It could also be used to describe the pattern of crops and agriculture. The book is a strong example of character development and foreshadowing as well.
Ryan, Pam Munoz. 2000. Esperanza Rising. New York, NY: Scholastic Press. ISBN 0-439-12041-1
Plot Summary
This fictional story is based on the story of the author’s grandmother who lived a life of comfort and leisure in Mexico but was moved into a life of hard work and hardship in the United States. The main character, Esperanza, loses her father and the life of priviledge he created for his family in Mexico. Through the help of faithful servants and friends, Esperanza and her mother move to a company farm in California where they must now live like the servants they once employed. For the thirteen year old, the transition is difficult but Esperanza rises to the occasion, “like the phoenix…rising again, with a new life ahead.”
Critical Analysis
This beautiful tale of hope for a better life gives a lot of insight into the Mexican American culture, especially the aspect of the culture rooted in the field work of the 1920 and 1930s. Each chapter title is given in Spanish with an English translation listed below. Also, much of the dialog is given in Spanish but translated in the next words or sentence. In fact, the book often reads like translated English which gives it a more authentic feel. The people are described as vaqueros and campesinos and even a Zapotec Indian woman from Oaxaca. The book describes men who wear straw hats and bandanas to protect them from the sun, dust, and spiders. Women braid their long black hair and have dark lashes and fair, creamy skin – when it isn’t covered in dust and sweat and tears. These men and women enjoy the treat of papayas and flan de almendras but typically have to settle for what they harvest and beans and rice and tortillas though they can drive quite a distance away to a store that stocks masa, chilies, and chorizo that can be bought without looks of disdain or prejudice.
In addition to describing the language, people and food of the culture, this story also gives the culture’s background. It begins with the separation of classes in Mexico that lead to the Mexican Revolution which drove many Mexicans to the United States in search of a life as something more than a servant. This story tells us about the hardships these Mexicans dealt with once they were in the United States; how despite their background in Mexico, many Americans saw Mexican Americans as “one big brown group who are good for only manual labor.” It describes the anger that grows within good and hard-working people when they are daily faced with injustice and malice. It also shows how loyalty to your work, to your family, and to the hope of something better can overcome the anger. Ultimately, this is a touching story of triumph that is set within the Mexican American culture but is relatable to any culture.
Professional Reviews
From Deborah Kaplan (KLIATT Review, November 2002 (Vol. 36, No. 6))
The day before her 13th birthday, Esperanza's life shatters. Her father dies, and Esperanza and her mother must leave their easy life on the lovely family ranch in Mexico. With the aid of former servants, they immigrate to Depression-era California to become farm laborers. For Esperanza, who has always had servants, dolls, and lovely clothes, the dirt, illness, and labor are unbearable. She wants to fit in, but the other women and children in the camp know that she doesn't know how to wash clothes, sweep a floor, or even bathe herself. When illness strikes, Esperanza must fight despair to become her family's provider. The underlying political situation in the camp is dangerous. The poverty of the Depression and the influx of refugees from the Dust Bowl lend themselves to terrible living conditions in the company farm camp, and troublemakers are always in danger from the government. Strikers agitate for better conditions, but for Esperanza and her friends, to strike is to lose the pittance they need to survive. Both the strikers and those who refuse to strike are shown making necessary and difficult choices in Esperanza's story. Despite the hardship of the farm work, Esperanza finds peace in the cycle of harvest and the heartbeat of the earth. In the midst of hunger, struggle, and terrifying collusion between the landowners and the government, Esperanza and her friends are still tied to the rhythms of the earth, and Esperanza--Spanish for "hope"--is rising. The rich metaphors and complex political issues in Esperanza's story never undercut the pleasure of this coming-of-age tale. Esperanza's first year in California makes for a delightful read; the added layers are a bonus. An ALA Best Book for YAs. Category: Paperback Fiction. KLIATT Codes: J--Recommended for junior high school students.
From School Library Journal
Grade 6-9-Ryan uses the experiences of her own Mexican grandmother as the basis for this compelling story of immigration and assimilation, not only to a new country but also into a different social class. Esperanza's expectation that her 13th birthday will be celebrated with all the material pleasures and folk elements of her previous years is shattered when her father is murdered by bandits. His powerful stepbrothers then hold her mother as a social and economic hostage, wanting to force her remarriage to one of them, and go so far as to burn down the family home. Esperanza's mother then decides to join the cook and gardener and their son as they move to the United States and work in California's agricultural industry. They embark on a new way of life, away from the uncles, and Esperanza unwillingly enters a world where she is no longer a princess but a worker. Set against the multiethnic, labor-organizing era of the Depression, the story of Esperanza remaking herself is satisfyingly complete, including dire illness and a difficult romance. Except for the evil uncles, all of the characters are rounded, their motives genuine, with class issues honestly portrayed. Easy to booktalk, useful in classroom discussions, and accessible as pleasure reading, this well-written novel belongs in all collections. Francisca Goldsmith, Berkeley Public Library, CA
Connections
This story lends itself to teaching Mexican and Mexican American history. It could also be used to describe the pattern of crops and agriculture. The book is a strong example of character development and foreshadowing as well.
Neighborhood Odes – Hispanic/Latino Literature
Bibliography
Soto, Gary. 1992. Neighborhood Odes. Illustrated by David Diaz. New York, NY: Harcourt, Inc. ISBN 0-15-256879-4
Plot Summary
This book is a collection of poems written by Gary Soto. The poems are about events or items commonly found in his neighborhood as he grew up. The poems cover subjects like 4th of July fireworks and the family dog. They describe the love of chicharrones and playing in the sprinkler. There are several illustrations provided throughout and at the end, there is a small list of Spanish words and phrases that were used in the poems and their English translations.
Critical Analysis
Gary Soto has lived up to his reputation of creative, descriptive writing in this wonderful collection of poems about summertime in his childhood neighborhood. While the themes of the poems are somewhat universal (eating favorite foods, playing with siblings and friends, etc.), the imagery created by his words make the poems specific to the Hispanic culture and therefore give insight into growing up among the Latino culture. Most poems incorporate Spanish words like ‘chicharrónes’ or ‘gato’ or are about characters with Hispanic names like ‘Señor Martinez’ or Lourdes.’ Soto describes characters with brown skin who listen and dance to mariachi music or hit a piñata at a birthday party. He tells of a Chihuahua whose bark is worse than his bite and a boy who likes to pretend he knows how to play the guitarrón. Ultimately, each poem though written from a Latino perspective, causes the reader to think back fondly of his or her own childhood experiences, not matter the cultural perspective.
Professional Reviews
From Publishers Weekly
The Hispanic neighborhood in Soto's 21 poems is brought sharply into focus by the care with which he records images of everyday life: the music of an ice cream vendor's truck, the top of a refrigerator where old bread lies in plastic, dust released into the air when a boy strums a guitar. The diverse voices include that of a 12-year-old girl "with hair that sings / like jump ropes" and a fourth-grade boy whose new teeth create the "racket / Of chicharron / Being devoured . . . ." The vocabulary sprinkled with Spanish (there is a glossary at the back of the book) remains consistent, as does the form of the poems, which fall in long vertical columns with short lines. The tight clumps of language reproduce the quality of rapid and playful conversation. Affectionate without being overly sentimental, the collection provides a good introduction to contemporary poetry as well as a fine homage to a Chicano community. Diaz's woodcuts complement the poems perfectly: the silhouettes are fanciful and dynamic but do not draw attention from the words on the page. Ages 8-12.
From School Library Journal
Grade 4 Up-- The rewards of well-chosen words that create vivid, sensitive images await readers of this collection of poems. Through Soto's keen eyes, they see, and will be convinced, that there is poetry in everything. The odes celebrate weddings, the anticipation of fireworks, pets, grandparents, tortillas, and the library. Although Soto is dealing with a Chicano neighborhood, the poetry has a universal appeal. A minor drawback is that the Spanish words are not translated on the page, but in a glossary; to consult it interrupts the reading. Still, children will surely recognize the joy, love, fear, excitement, and adventure Soto brings to life. It is the same sensitivity and clarity found in Baseball in April (HBJ, 1990), his collection of short stories. Black-and-white illustrations blend well with the astute verbal imagery. Each selection is an expression of joy and wonder at life's daily pleasures and mysteries. --Renee Steinberg, Fieldstone Middle School, Montvale, NJ
Connections
This collection of poems would be good inspiration for students to write their own poetry. The poems also contain many examples of similes, metaphors and just general descriptive writing and imagery that could be used in lessons that teach such concepts.
Soto, Gary. 1992. Neighborhood Odes. Illustrated by David Diaz. New York, NY: Harcourt, Inc. ISBN 0-15-256879-4
Plot Summary
This book is a collection of poems written by Gary Soto. The poems are about events or items commonly found in his neighborhood as he grew up. The poems cover subjects like 4th of July fireworks and the family dog. They describe the love of chicharrones and playing in the sprinkler. There are several illustrations provided throughout and at the end, there is a small list of Spanish words and phrases that were used in the poems and their English translations.
Critical Analysis
Gary Soto has lived up to his reputation of creative, descriptive writing in this wonderful collection of poems about summertime in his childhood neighborhood. While the themes of the poems are somewhat universal (eating favorite foods, playing with siblings and friends, etc.), the imagery created by his words make the poems specific to the Hispanic culture and therefore give insight into growing up among the Latino culture. Most poems incorporate Spanish words like ‘chicharrónes’ or ‘gato’ or are about characters with Hispanic names like ‘Señor Martinez’ or Lourdes.’ Soto describes characters with brown skin who listen and dance to mariachi music or hit a piñata at a birthday party. He tells of a Chihuahua whose bark is worse than his bite and a boy who likes to pretend he knows how to play the guitarrón. Ultimately, each poem though written from a Latino perspective, causes the reader to think back fondly of his or her own childhood experiences, not matter the cultural perspective.
Professional Reviews
From Publishers Weekly
The Hispanic neighborhood in Soto's 21 poems is brought sharply into focus by the care with which he records images of everyday life: the music of an ice cream vendor's truck, the top of a refrigerator where old bread lies in plastic, dust released into the air when a boy strums a guitar. The diverse voices include that of a 12-year-old girl "with hair that sings / like jump ropes" and a fourth-grade boy whose new teeth create the "racket / Of chicharron / Being devoured . . . ." The vocabulary sprinkled with Spanish (there is a glossary at the back of the book) remains consistent, as does the form of the poems, which fall in long vertical columns with short lines. The tight clumps of language reproduce the quality of rapid and playful conversation. Affectionate without being overly sentimental, the collection provides a good introduction to contemporary poetry as well as a fine homage to a Chicano community. Diaz's woodcuts complement the poems perfectly: the silhouettes are fanciful and dynamic but do not draw attention from the words on the page. Ages 8-12.
From School Library Journal
Grade 4 Up-- The rewards of well-chosen words that create vivid, sensitive images await readers of this collection of poems. Through Soto's keen eyes, they see, and will be convinced, that there is poetry in everything. The odes celebrate weddings, the anticipation of fireworks, pets, grandparents, tortillas, and the library. Although Soto is dealing with a Chicano neighborhood, the poetry has a universal appeal. A minor drawback is that the Spanish words are not translated on the page, but in a glossary; to consult it interrupts the reading. Still, children will surely recognize the joy, love, fear, excitement, and adventure Soto brings to life. It is the same sensitivity and clarity found in Baseball in April (HBJ, 1990), his collection of short stories. Black-and-white illustrations blend well with the astute verbal imagery. Each selection is an expression of joy and wonder at life's daily pleasures and mysteries. --Renee Steinberg, Fieldstone Middle School, Montvale, NJ
Connections
This collection of poems would be good inspiration for students to write their own poetry. The poems also contain many examples of similes, metaphors and just general descriptive writing and imagery that could be used in lessons that teach such concepts.
Yum! ¡MmMm! ¡Qué rico! Americas’ Sproutings – Hispanic/Latino Literature
Bibliography
Mora, Pat. 2007. Yum! ¡mmmm! ¡qué rico!: Americas’ sproutings. Illustrated by Rafael Lopez. New York, NY: Lee & Low Books, Inc. ISBN 978-58430-271-1
Plot Summary
This book is a collection of Haiku poems written by Pat Mora. Each poem is about some food indigenous to the Americas, mostly Latin America and originally enjoyed by the native people of the land. Accompanying each poem are interesting facts provided by scholars and experts in the fields of botany, anthropology, and the origins of food about the subject of the poem as well as colorful illustrations.
Critical Analysis
This delightful book not only teaches readers about haiku poetry but also about foods native to the Americas. The poems incorporate a couple of Spanish words and one mentions tortillas which are generally thought to be from a Latin American culture, but mostly the poetry identifies with no particular culture. It is through the illustrations and accompanying facts about the poem’s subject matter that the Latin American culture comes through.
First, the illustrations depict characters who look and dress in the Latin American style – darker skin, dark hair, scarves, skirts, and wide brimmed hats. The colors used in the illustrations are bright and vibrant blues, yellows, oranges, and reds – a reflection of a pallet often representing the Latin American culture. The animals and plants drawn also reflect those of the culture.
Also, the accompanying facts tell about foods native to Latin America and the native people who first enjoyed the foods. These paragraphs give the origins of the words used to describe the foods as well as how the foods were originally used. Generally, this is a wonderful book full of color and cultural information.
Professional Reviews
From Julie Cummins (Booklist, Dec. 1, 2007 (Vol. 104, No. 7))
Starred Review* This inventive stew of food haiku celebrates the indigenous foods of the Americas. Each of the 13 poems appears on a gloriously colorful double-page spread, accompanied by a sidebar that presents information about the origin of the food. From blueberries to prickly pears to corn, the acrylic-on-wood-panel illustrations burst with vivid colors and stylized Mexican flair. The poems capture the flavor of the item in a way children can easily understand Chocolate: Fudge, cake, pie, cookies. / Brown magic melts on your tongue. / Happy, your eyes dance; Pineapple: A stiff, spiky hat / on thick prickly skin, inside / hide syrupy rings. The print of the text in the sidebars is too small, but otherwise this will provide lots and lots of lip-smacking fun that teachers can use to supplement social studies and language arts units; they can also share one poem at a time, between other subjects. An author’s note, which addresses lingering scientific debate about the geographical origins of some of the featured foods, also includes a warm celebration of diversity: We do know that all these plants were grown and enjoyed . . . long before Christopher Columbus or any other Europeans had ever tasted such wonderful foods. The world’s variety is amazing and delicious. Grades 1-4
From Deborah Stevenson (The Bulletin of the Center for Children’s Books, December 2007 (Vol. 61, No. 4).)
Veteran poet Mora celebrates fourteen foods, alphabetically progressing from blueberries to vanilla, native to this hemisphere. Each foodstuff receives a haiku of tribute counterpointed by a sidebar of informative text; aside from prickly pear, they’re all likely to be at least conceptually familiar noshes to most kids, but their histories and industrial uses may hold a few surprises. Haiku seems a strange form for an American-centered collection, but Mora works the vivid imagery in lyrics that are pretty lip-smacking in their own sonorous right (the tomato squirts seedy, juicy splatter), making them tasty candidates for reading aloud. The intensity of Lopez’s acrylic illustrations is so unvaried as to make compositions unfocused, but the tactile element of the wood surface of the art and the crisp edges of the illustrative elements help balance the boldness of the hues and result in a pleasing culinary vision. While curricular connections are plentiful, some kids will just enjoy nibbling their way through the collection, snack in hand to quell the inevitable pangs of appetite Review Code: R -- Recommended. (c) Copyright 2006, The Board of Trustees of the University of Illinois. 2007, Lee & Low, 32p., $16.95. Grades 3-5.
Connections
This book could be used in a lesson about haiku poetry. It could also be used to discuss the origins and uses of foods (other than for eating). An art class could also use this book to teach the use of color in illustrations.
Mora, Pat. 2007. Yum! ¡mmmm! ¡qué rico!: Americas’ sproutings. Illustrated by Rafael Lopez. New York, NY: Lee & Low Books, Inc. ISBN 978-58430-271-1
Plot Summary
This book is a collection of Haiku poems written by Pat Mora. Each poem is about some food indigenous to the Americas, mostly Latin America and originally enjoyed by the native people of the land. Accompanying each poem are interesting facts provided by scholars and experts in the fields of botany, anthropology, and the origins of food about the subject of the poem as well as colorful illustrations.
Critical Analysis
This delightful book not only teaches readers about haiku poetry but also about foods native to the Americas. The poems incorporate a couple of Spanish words and one mentions tortillas which are generally thought to be from a Latin American culture, but mostly the poetry identifies with no particular culture. It is through the illustrations and accompanying facts about the poem’s subject matter that the Latin American culture comes through.
First, the illustrations depict characters who look and dress in the Latin American style – darker skin, dark hair, scarves, skirts, and wide brimmed hats. The colors used in the illustrations are bright and vibrant blues, yellows, oranges, and reds – a reflection of a pallet often representing the Latin American culture. The animals and plants drawn also reflect those of the culture.
Also, the accompanying facts tell about foods native to Latin America and the native people who first enjoyed the foods. These paragraphs give the origins of the words used to describe the foods as well as how the foods were originally used. Generally, this is a wonderful book full of color and cultural information.
Professional Reviews
From Julie Cummins (Booklist, Dec. 1, 2007 (Vol. 104, No. 7))
Starred Review* This inventive stew of food haiku celebrates the indigenous foods of the Americas. Each of the 13 poems appears on a gloriously colorful double-page spread, accompanied by a sidebar that presents information about the origin of the food. From blueberries to prickly pears to corn, the acrylic-on-wood-panel illustrations burst with vivid colors and stylized Mexican flair. The poems capture the flavor of the item in a way children can easily understand Chocolate: Fudge, cake, pie, cookies. / Brown magic melts on your tongue. / Happy, your eyes dance; Pineapple: A stiff, spiky hat / on thick prickly skin, inside / hide syrupy rings. The print of the text in the sidebars is too small, but otherwise this will provide lots and lots of lip-smacking fun that teachers can use to supplement social studies and language arts units; they can also share one poem at a time, between other subjects. An author’s note, which addresses lingering scientific debate about the geographical origins of some of the featured foods, also includes a warm celebration of diversity: We do know that all these plants were grown and enjoyed . . . long before Christopher Columbus or any other Europeans had ever tasted such wonderful foods. The world’s variety is amazing and delicious. Grades 1-4
From Deborah Stevenson (The Bulletin of the Center for Children’s Books, December 2007 (Vol. 61, No. 4).)
Veteran poet Mora celebrates fourteen foods, alphabetically progressing from blueberries to vanilla, native to this hemisphere. Each foodstuff receives a haiku of tribute counterpointed by a sidebar of informative text; aside from prickly pear, they’re all likely to be at least conceptually familiar noshes to most kids, but their histories and industrial uses may hold a few surprises. Haiku seems a strange form for an American-centered collection, but Mora works the vivid imagery in lyrics that are pretty lip-smacking in their own sonorous right (the tomato squirts seedy, juicy splatter), making them tasty candidates for reading aloud. The intensity of Lopez’s acrylic illustrations is so unvaried as to make compositions unfocused, but the tactile element of the wood surface of the art and the crisp edges of the illustrative elements help balance the boldness of the hues and result in a pleasing culinary vision. While curricular connections are plentiful, some kids will just enjoy nibbling their way through the collection, snack in hand to quell the inevitable pangs of appetite Review Code: R -- Recommended. (c) Copyright 2006, The Board of Trustees of the University of Illinois. 2007, Lee & Low, 32p., $16.95. Grades 3-5.
Connections
This book could be used in a lesson about haiku poetry. It could also be used to discuss the origins and uses of foods (other than for eating). An art class could also use this book to teach the use of color in illustrations.
Wednesday, June 23, 2010
Brown Angels – African American Literature
Bibliography
Myers, Walter Dean. 1993. Brown Angels: an album of pictures and verse. USA: HarperCollins Publishers. ISBN 0-06-022917-9
Plot Summary
A collection of poems written for or inspired by a collection of old photographs. The photos are all of black children posed professionally or just out at play and the accompanying poems match accordingly.
Critical Analysis
As expected, Myers’ poetry is moving and insightful. The poems occasionally use grammatical phrasing reflective of the African American culture like “He walk like his grandpa” or “Say you just smiling cause you don’t have nothing else to do.” Some poems could be paired with photographs of any children, dark, light, or other. Others specifically describe African American children as brown, dark, black, tan, and coffee and recognize the struggle and pride of those African Americans who have gone before.
The photographs in the book are of African American children of long ago. They are happy kids, posing for professional pictures though some seem to be more spontaneous in nature. As the author says in his preface, the children appear to be those of hard working people who took pride in their children and looking their “Sunday best.” Overall, this is a wonderful book celebrating our love of children and the hope of their future.
Professional Reviews
From Publishers Weekly
Myers ( Scorpions ; Now Is Your Time! ) gathers a stirring collection of turn-of-the-century photographs of black children and sets them to poetry, his verse alternating between the music of 19th-century hymns and that of plain talk. The arresting portrait of a truly angelic-looking child on the book's cover, for example, is accompanied by "Prayer": "Shout my name to the angels / Sing my song to the skies / Anoint my ears with wisdom / Let beauty fill my eyes." A series of pictures of smiling children illustrates a poem that mocks adults who are "so tizzy-busy / They don't remember / How good a grin feels / Ain't that something / How people forget that?" Myers's tone is sometimes sentimental--especially in the depiction of "sweet" or "precious" children, like the "pretty little tan girl / She knows all the tricks"--and sometimes didactic; he's best in his lightest moments. The design of the book, with its warm sepia-toned photographs and Victorian decorations, handsomely showcases the haunting and hopeful faces of the children, whose names have been lost along with those of the men and women who photographed them. All ages. Copyright 1993 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From School Library Journal
Grade 2 Up-A unique celebration of the continuum of human life and of childhood in all its robustness, fragility, and evanescent beauty. Motivated by a desire to share his pleasure in the old photographs of African-American children that he collects, Myers has created an exquisite album. The 42 superbly reproduced, black-and-white and sepia prints radiate intensely with the personalities of their subjects. The author's 11 original poems are in various forms and range from humorous to elegiac. The language is simple and reads aloud well. Although the pictures will not show up well enough at a distance for story programs, Brown Angels will have innumerable uses in the classroom, from family history projects to poetry writing. This is a book that children may not pick up on their own because of its old-fashioned appearance, but once they have discovered it, they will pore over the images and want to hear the verses again and again. The fact that the children are black adds poignancy, but the feelings that animate their faces are universal. Sue Norris, Rye Free Reading Room, NY
Connections
This book would be an excellent tool in a poetry unit as well as a lesson in using photographs as an inspiration for writing. Also, since the voice in Love that Dog uses Walter Dean Myers as an inspiration in his own poetry, pairing this book with Sharon Creech’s book would be a great connection.
Myers, Walter Dean. 1993. Brown Angels: an album of pictures and verse. USA: HarperCollins Publishers. ISBN 0-06-022917-9
Plot Summary
A collection of poems written for or inspired by a collection of old photographs. The photos are all of black children posed professionally or just out at play and the accompanying poems match accordingly.
Critical Analysis
As expected, Myers’ poetry is moving and insightful. The poems occasionally use grammatical phrasing reflective of the African American culture like “He walk like his grandpa” or “Say you just smiling cause you don’t have nothing else to do.” Some poems could be paired with photographs of any children, dark, light, or other. Others specifically describe African American children as brown, dark, black, tan, and coffee and recognize the struggle and pride of those African Americans who have gone before.
The photographs in the book are of African American children of long ago. They are happy kids, posing for professional pictures though some seem to be more spontaneous in nature. As the author says in his preface, the children appear to be those of hard working people who took pride in their children and looking their “Sunday best.” Overall, this is a wonderful book celebrating our love of children and the hope of their future.
Professional Reviews
From Publishers Weekly
Myers ( Scorpions ; Now Is Your Time! ) gathers a stirring collection of turn-of-the-century photographs of black children and sets them to poetry, his verse alternating between the music of 19th-century hymns and that of plain talk. The arresting portrait of a truly angelic-looking child on the book's cover, for example, is accompanied by "Prayer": "Shout my name to the angels / Sing my song to the skies / Anoint my ears with wisdom / Let beauty fill my eyes." A series of pictures of smiling children illustrates a poem that mocks adults who are "so tizzy-busy / They don't remember / How good a grin feels / Ain't that something / How people forget that?" Myers's tone is sometimes sentimental--especially in the depiction of "sweet" or "precious" children, like the "pretty little tan girl / She knows all the tricks"--and sometimes didactic; he's best in his lightest moments. The design of the book, with its warm sepia-toned photographs and Victorian decorations, handsomely showcases the haunting and hopeful faces of the children, whose names have been lost along with those of the men and women who photographed them. All ages. Copyright 1993 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From School Library Journal
Grade 2 Up-A unique celebration of the continuum of human life and of childhood in all its robustness, fragility, and evanescent beauty. Motivated by a desire to share his pleasure in the old photographs of African-American children that he collects, Myers has created an exquisite album. The 42 superbly reproduced, black-and-white and sepia prints radiate intensely with the personalities of their subjects. The author's 11 original poems are in various forms and range from humorous to elegiac. The language is simple and reads aloud well. Although the pictures will not show up well enough at a distance for story programs, Brown Angels will have innumerable uses in the classroom, from family history projects to poetry writing. This is a book that children may not pick up on their own because of its old-fashioned appearance, but once they have discovered it, they will pore over the images and want to hear the verses again and again. The fact that the children are black adds poignancy, but the feelings that animate their faces are universal. Sue Norris, Rye Free Reading Room, NY
Connections
This book would be an excellent tool in a poetry unit as well as a lesson in using photographs as an inspiration for writing. Also, since the voice in Love that Dog uses Walter Dean Myers as an inspiration in his own poetry, pairing this book with Sharon Creech’s book would be a great connection.
Locomotion – African American Literature
Bibliography
Woodson, Jacqueline. 2003. Locomotion. New York, NY: G. P. Putnam’s Sons. ISBN 0-399-23115-3
Plot Summary
This story, written as a collection of poems, is about a young man named Lonnie Collins Motion - Locomotion. Lonnie’s parents died in a house fire and he has to deal with their loss, being separated from his sister and adjusting to a new home with Miss Edna in addition to just regular growing pains. His teacher encourages him to use his words and his poems to work through his emotions.
Critical Analysis
This wonderfully written book not only shows us the power of poetry but also provides some insight into the African American culture. In the vernacular, “kicks” are shoes and your really good friend is a “Dog.” People named Lamont and LaTenya use ‘be’ instead of ‘is’ or ‘are’ and often use double negatives in their speech. Hair is done in braids or cornrows, sometimes using coconut hair grease, and lotion is applied so their skin doesn’t appear ashy. The reader also gets a feel for how the main character is often followed by a guard in a store like he was going to steal something and that sickle-cell anemia will be an unfortunate reality in his life. The reader also sees how those who are not African American, are not always comfortable with differences between the cultures as demonstrated when Ms. Marcus asks Lonnie why he included the word “white” in his description of a lady on television and missed Lonnie’s focus on throwing away good food.
In addition to telling readers a little about life as an African American boy, the story also gives some insight into the life of a foster child. Lonnie writes about being moved from family to family and then to a group home where he begins to feel like a “throwaway boy.” He is separated from his sister and eventually the two are settled into different homes where they only get to see each other when all the adults involved agree. The book shows us that life is hard and sometimes tragic but with stable, loving people to support us, things usually turn out ok in the end.
Professional Reviews
From Hazel Rochman (Booklist, Feb. 15, 2003 (Vol. 99, No. 12))
Lonnie is grieving and angry about the loss of his parents in a fire four years ago and about his subsequent separation from his beloved little sister, who is in foster care. He expresses his feelings in his fifth-grade poetry-writing class, encouraged by his wonderful teacher Ms. Marcus. In a series of free-verse poems and more formal verse, such as haiku and sonnets, he writes about his life and about the writing that "makes me remember." The framework of the story is fairy-tale idyllic--perfect family before the fire; happy-ever-after foster family by the end of the book--but the poetry is simple and immediate, true to the voice of the lost kid who finds himself with caring people and with words. The line breaks make for very easy reading, and Lonnie talks about those line breaks and about poetry forms, making this ideal for use in classrooms where students are reading and writing poetry. From rap to haiku, Woodson shows and tells that poetry is about who we are. Category: Books for Middle Readers--Nonfiction. 2003, Putnam, $15.99. Gr. 3-6.
From Kirkus (Kirkus Reviews, November 15, 2002 (Vol. 70, No. 22))
Count on award-winning Woodson (Visiting Day, p. 1403, etc.) to present readers with a moving, lyrical, and completely convincing novel in verse. Eleven-year-old Lonnie ("Locomotion") starts his poem book for school by getting it all down fast: "This whole book's a poem 'cause every time I try to / tell the whole story my mind goes Be quiet! / Only it's not my mind's voice, / it's Miss Edna's over and over and over / Be quiet! . . . So this whole book's a poem because poetry's short and / this whole book's a poem 'cause Ms. Marcus says / write it down before it leaves your brain." Lonnie tells readers more, little by little, about his foster mother Miss Edna, his teacher Ms. Marcus, his classmates, and the fire that killed his parents and separated him from his sister. Slowly, his gift for observing people and writing it down lets him start to love new people again, and to widen his world from the nugget of tragedy that it was. Woodson nails Lonnie's voice from the start, and lets him express himself through images and thoughts that vibrate in the different kinds of lines he puts down. He tends to free verse, but is sometimes assigned a certain form by Ms. Marcus. ("Today's a bad day / Is that haiku? Do I look / like I even care?") As in her prose novels, Woodson's created a character whose presence you can feel like they were sitting next to you. And with this first novel-in-verse for her, Lonnie will sit by many readers and teach them to see like he does, "This day is already putting all kinds of words / in your head / and breaking them up into lines / and making the lines into pictures in your mind." Don't let anyone miss this. 2003, Putnam, $15.99. Category: Fiction. Ages 9 to 13. Starred Review. © 2002 Kirkus Reviews/VNU eMedia, Inc. All rights reserved.
From Amy Alessio (VOYA, February 2003 (Vol. 25, No. 6))
Woodson makes every word meaningful in this narrative through the verse of Lonnie C. Motion. What begins as a class assignment to keep a poetry journal turns into the expression of four years of emotion built up after the death of Lonnie's parents in a fire. Through skillful free verse, haiku, and sonnets in a true, likeable teen voice, Woodson draws the reader into Lonnie's story of group and foster homes. Three-dimensional characters emerge through the verse--Lonnie's caring teacher, tough foster mother, and worried sister. Lonnie writes about his confusion over a bullying classmate who sings in a church choir and spends some time in the hospital with sickle cell anemia. The plot is moved forward by Lonnie's successful efforts to spend more time with his sister, who is in a separate foster home. As in Woodson's Hush (Putnam's, 2002/VOYA February 2002), troubled teens are treated with respect and sympathy, leaving readers with hope for their futures. Woodson continues to grow as an important writer in young adult fiction, showing that her poetic ability equals her considerable talent with fiction. A strong addition to the genre of novels in verse and recommended for public and school libraries, this title will appeal to most teens and would also be useful in conjunction with poetry groups and assignments. VOYA CODES: 5Q 4P M J S (Hard to imagine it being any better written; Broad general YA appeal; Middle School, defined as grades 6 to 8; Junior High, defined as grades 7 to 9; Senior High, defined as grades 10 to 12). 2003, Putnam's, 128p, $15.99. Ages 11 to 18.
Connections
This book would be great in a poetry unit, showing examples of different kinds of poems and how powerful just a few words can be. It would also be great in an author study of Jacqueline Woodson as an example of how an author can write in many different styles.
Woodson, Jacqueline. 2003. Locomotion. New York, NY: G. P. Putnam’s Sons. ISBN 0-399-23115-3
Plot Summary
This story, written as a collection of poems, is about a young man named Lonnie Collins Motion - Locomotion. Lonnie’s parents died in a house fire and he has to deal with their loss, being separated from his sister and adjusting to a new home with Miss Edna in addition to just regular growing pains. His teacher encourages him to use his words and his poems to work through his emotions.
Critical Analysis
This wonderfully written book not only shows us the power of poetry but also provides some insight into the African American culture. In the vernacular, “kicks” are shoes and your really good friend is a “Dog.” People named Lamont and LaTenya use ‘be’ instead of ‘is’ or ‘are’ and often use double negatives in their speech. Hair is done in braids or cornrows, sometimes using coconut hair grease, and lotion is applied so their skin doesn’t appear ashy. The reader also gets a feel for how the main character is often followed by a guard in a store like he was going to steal something and that sickle-cell anemia will be an unfortunate reality in his life. The reader also sees how those who are not African American, are not always comfortable with differences between the cultures as demonstrated when Ms. Marcus asks Lonnie why he included the word “white” in his description of a lady on television and missed Lonnie’s focus on throwing away good food.
In addition to telling readers a little about life as an African American boy, the story also gives some insight into the life of a foster child. Lonnie writes about being moved from family to family and then to a group home where he begins to feel like a “throwaway boy.” He is separated from his sister and eventually the two are settled into different homes where they only get to see each other when all the adults involved agree. The book shows us that life is hard and sometimes tragic but with stable, loving people to support us, things usually turn out ok in the end.
Professional Reviews
From Hazel Rochman (Booklist, Feb. 15, 2003 (Vol. 99, No. 12))
Lonnie is grieving and angry about the loss of his parents in a fire four years ago and about his subsequent separation from his beloved little sister, who is in foster care. He expresses his feelings in his fifth-grade poetry-writing class, encouraged by his wonderful teacher Ms. Marcus. In a series of free-verse poems and more formal verse, such as haiku and sonnets, he writes about his life and about the writing that "makes me remember." The framework of the story is fairy-tale idyllic--perfect family before the fire; happy-ever-after foster family by the end of the book--but the poetry is simple and immediate, true to the voice of the lost kid who finds himself with caring people and with words. The line breaks make for very easy reading, and Lonnie talks about those line breaks and about poetry forms, making this ideal for use in classrooms where students are reading and writing poetry. From rap to haiku, Woodson shows and tells that poetry is about who we are. Category: Books for Middle Readers--Nonfiction. 2003, Putnam, $15.99. Gr. 3-6.
From Kirkus (Kirkus Reviews, November 15, 2002 (Vol. 70, No. 22))
Count on award-winning Woodson (Visiting Day, p. 1403, etc.) to present readers with a moving, lyrical, and completely convincing novel in verse. Eleven-year-old Lonnie ("Locomotion") starts his poem book for school by getting it all down fast: "This whole book's a poem 'cause every time I try to / tell the whole story my mind goes Be quiet! / Only it's not my mind's voice, / it's Miss Edna's over and over and over / Be quiet! . . . So this whole book's a poem because poetry's short and / this whole book's a poem 'cause Ms. Marcus says / write it down before it leaves your brain." Lonnie tells readers more, little by little, about his foster mother Miss Edna, his teacher Ms. Marcus, his classmates, and the fire that killed his parents and separated him from his sister. Slowly, his gift for observing people and writing it down lets him start to love new people again, and to widen his world from the nugget of tragedy that it was. Woodson nails Lonnie's voice from the start, and lets him express himself through images and thoughts that vibrate in the different kinds of lines he puts down. He tends to free verse, but is sometimes assigned a certain form by Ms. Marcus. ("Today's a bad day / Is that haiku? Do I look / like I even care?") As in her prose novels, Woodson's created a character whose presence you can feel like they were sitting next to you. And with this first novel-in-verse for her, Lonnie will sit by many readers and teach them to see like he does, "This day is already putting all kinds of words / in your head / and breaking them up into lines / and making the lines into pictures in your mind." Don't let anyone miss this. 2003, Putnam, $15.99. Category: Fiction. Ages 9 to 13. Starred Review. © 2002 Kirkus Reviews/VNU eMedia, Inc. All rights reserved.
From Amy Alessio (VOYA, February 2003 (Vol. 25, No. 6))
Woodson makes every word meaningful in this narrative through the verse of Lonnie C. Motion. What begins as a class assignment to keep a poetry journal turns into the expression of four years of emotion built up after the death of Lonnie's parents in a fire. Through skillful free verse, haiku, and sonnets in a true, likeable teen voice, Woodson draws the reader into Lonnie's story of group and foster homes. Three-dimensional characters emerge through the verse--Lonnie's caring teacher, tough foster mother, and worried sister. Lonnie writes about his confusion over a bullying classmate who sings in a church choir and spends some time in the hospital with sickle cell anemia. The plot is moved forward by Lonnie's successful efforts to spend more time with his sister, who is in a separate foster home. As in Woodson's Hush (Putnam's, 2002/VOYA February 2002), troubled teens are treated with respect and sympathy, leaving readers with hope for their futures. Woodson continues to grow as an important writer in young adult fiction, showing that her poetic ability equals her considerable talent with fiction. A strong addition to the genre of novels in verse and recommended for public and school libraries, this title will appeal to most teens and would also be useful in conjunction with poetry groups and assignments. VOYA CODES: 5Q 4P M J S (Hard to imagine it being any better written; Broad general YA appeal; Middle School, defined as grades 6 to 8; Junior High, defined as grades 7 to 9; Senior High, defined as grades 10 to 12). 2003, Putnam's, 128p, $15.99. Ages 11 to 18.
Connections
This book would be great in a poetry unit, showing examples of different kinds of poems and how powerful just a few words can be. It would also be great in an author study of Jacqueline Woodson as an example of how an author can write in many different styles.
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