HOW CHIPMUNK GOT HIS STRIPES by Joseph Bruchac and James Bruchac

1.    BIBLIOGRAPHY

Bruchac, Joseph and James . 2001. HOW CHIPMUNK GOT HIS STRIPES.  Ill. By Jose Aruego and Ariane Dewey. New York, NY: Puffin Books. ISBN 0142500216

2.    PLOT  SUMMARY

World renowned father and son duo retells a pour quoi Native American folktale which focuses on the moral issues of bragging and teasing. Bear likes to brag that he can do anything. Brown Squirrel doesn’t believe him and challenges Bear to keep the sun from rising. The two wait, along with forest friends,  all night and see if the sun will rise. Of course, the sun does indeed rise and Brown Squirrel is so happy to prove Bear wrong that he teases Bear. Angry Bear, not liking the taunting, puts his clawed paw on Brown Squirrel to hold him down. When Brown Squirrel begs to be allowed to breath, Bear drags his claws down Brown Squirrels back. The claw mark becomes a permanent reminder of his bad behavior, therefore, Brown Squirrel becomes known as Chipmunk.

3.    CRITICAL ANALYSIS

A traditional Native American folktale is charmingly retold by a father and son duo, Joseph and James Bruchac. A moralistic story that teaches that bragging and teasing are not desirable characteristics. The story is written so that one understands the feelings of both Bear and Brown Squirrel and gain an easy understanding of how each feels when being threatened. The writing, simple and direct, gets the point across and the moral reperucussions of not following societal norms.

I was expecting more Native American style depictions with this tale, but was surprised by a more cartoon like illustration. The large vibrant watercolor illustrations fit the story very well.  Expressions and feelings are easily recognizable which adds to the overall story. Oversized, to dominate the pages, they draw in the readers attention.

4.    REVIEWS

SCHOOL LIBRARY review: In their introductory authors' notes, the Bruchacs indicate that the story is an amalgam of tales they have heard from Cherokee, Abenaki, and Mohawk sources, and has further been fleshed out through their own telling over the years. The result is polished, cohesive, and energetic. A priority purchase for most collections.

PUBLISHERS WEEKLY review: The dialogue is effective and invites audience participation--especially the repeated phrases with sound effects, as when the quarrelsome pair sit side by side all night chanting: "The sun will not come up, hummph!" and "The sun is going to rise, oooh!"

5.    CONNECTIONS

Author websites with additional informationon Native American Folktales and storytellers.
http://www.jamesbruchac.com/pages/bio/adult-oriented-biography.php
http://www.josephbruchac.com/

In the classroom, students could develop their own folktales of how things came to be.  Examples could include; Why the Giraffe has a long     neck, Why dogs turn around and around before laying down, How kissing was started, etc.

Have Students read and act out folktales from various Native American cultures.

THE THREE LITTLE PIGS: AN ARCHITECTUAL TALE by Steven Guarnaccia

1.    BIBLIOGRAPHY

Guarnaccia, Steven. 2010. THE THREE LITTLE PIGS: AN ARCHITECTUAL TALE. New York, NY. Abrams. ISBN: 9780810989412

2.    PLOT  SUMMARY

Although the book begins with the “Once upon a time…” predictable beginning, Guarnaccia’s version puts an unusual spin on the pigs, their homes and the big bad wolf. The three pigs in this case are illustrated to represent three famous architects- Frank Gehry, Phillip Johnson and Frank Lloyd Wright.  When the wolf shows up, huffing and puffing, Pig Gehry's house of scraps falls to shambles.  Pig Johnson's home of glass succumbs to a similar fate, as the aforementioned. Only Pig Wright's house, made of stone and concrete remains standing after the wolfs series of attempts to blow it down. This upsets the wolf and leads him to try a series of attempts to trap the pigs. When he is unsuccessful he chooses an alternative entrance- the chimney. The pigs just happen to have a fire going in which the wolf burns his tail and flees the scene.

3.    CRITICAL ANALYSIS

Steven Guarnaccia’s fresh retelling of this classic tale will delight parents for its modernized illustrations and children will find the humanized pigs something to giggle about! Guarnaccia’s cartoon-like illustrations are engaging and hold your interest.

Each of the three little pigs are protagonists for twentieth century architects and are illustrated in such a way that they are recognizable to anyone with an architectural background. Wright is depicted with long hair and hat just as the architect himself would wear. Genry is illustrated as balding and wearing tennis shoes and Johnson is easy to spot due to his rather large black glasses. The illustrator even took liberties with the end pages by providing drawn images of famous architectural buildings, furniture styles and home decor. Each labeled with the designer and dates.

The wolf, himself an original to the classic story, has become modernized with black sunglasses, a leather jacket, jeans and black boots. He moves from house to house by his motorcycle

Within the pages you find each pig architect has blueprinted their house before the actual construction of the home. Guarnaccia’s brought the planning element of each home thoughtfully into this classic tale by having those blueprints drawn onto the pages. The original tale's moral could be inference in the importance of good planning. and this message is carried through with the illustrated blueprints.

4.    REVIEW EXCERPTS

BOOKLIST  review:  Guarnaccia combines a delightfully fractured tale with an ultastylish, kid -friendly primer of 2oth century design.            -- Gillian Engberg

PUBLISHERS WEEKLY review:  He ( Guarnaccia) plays to design fans, decorating the pigs’ homes with objects by the likes of Noguchi and Starck, and his endpapers provide a visual index to the allusions. Without a background in “starchitects,” though, children will need a design history lesson to appreciate this retelling.

5.    CONNECTIONS

This would be a great book to introduce architectural aspects and designers to a group of students who are taking an interior design or housing class.

Collect Guarnaccia’s modern illustrations for display.

Collect other titles or retold/modernized tales for a lesson in comparing and contrasting.

THERE WAS AN OLD LADY WHO SWALLOWED A FLY by Simms Taback

1.    BIBLIOGRAPHY
Tabeck, Simms. 1997. THERE WAS AN OLD LADY WHO SWALLOWED A FLY. New York: Penguin Group.  ISBN: 067068938.

2.    PLOT SUMMARY
This version of THERE WAS AN OLD LADY WHO SWALLOWED A FLY, retold and illustrated by Simms Tabeck, is a favorite American folk poem/song. First heard sometime in the 1940’s, the true author remains unknown. This humorous story describes a lady that swallowed a fly, spider, bird, cat, dog, cow and a horse. As the little old lady devours one of the animals, the die cut hole in her stomach takes on the shape of what she has currently swallowed and expands her waist line. The tale ends with the lady’s death. The sing song iteration really makes it fun for children to get involved with the story.

3.    CRITICAL ANALYSIS
From the jacket of the book to the ending moral, this amazing illustrated book retells a most current folktale for children that they will simply fall in love with. Tabeck took the original folktale one step further. Each page is bursting with details and funny quips, from the different types of flies to directions on how to make spider soup, bringing the readers interest to a different level. The animals that have yet to become snacks make side comments that add a delightful spin to the tale. The little old lady, with her bloodshot eyes and silly smile, looks just zany enough to swallow the animal characters.

The book’s design, with the die cut holes, allows the readers to peer inside her rather growing stomach.  With the collage medium Tabeck uses to illustrate, torn colored paper on a black background, there is consistency throughout the retelling. The text appears to be handwritten on bright colored strips and placed haphazardly on to the page, giving the appearance of a ransom note. This style gives the book a feeling of fun, liveliness and makes it personal to the reader.

4.     REVIEW EXCERPTS
1998 Caldecott Honor Book

SCHOOL LIBRARY JOURNAL review: “All in all, this illustrator provides an eye-catching, energy filled interpretation that could easily become a classic in itself.”  -Martha Topol, MI

KIRKUS review: “it is good clean fun to watch the old lady bulge and bloat, and the sheer corniness of the verse continues to be deeply gratifying.”

5.    CONNECTIONS
Gather other works by Simms Tabeck to evaluate his art techniques.
Visit Simms Tabecks official website for videos and Tybeck discussing his own works.
http://www.simmstaback.com/Welcome_to_Simms_Taback.html

Recording artist, Cyndi Laupers lyrical version.  A nice alternative to hear it to music then just read out loud.
http://www.youtube.com/watch?v=LSlK5YTI3XY

WHERE THE WILD THINGS ARE by Maurice Sendak

1.     BIBLIOGRAPHY

Sendak, Maurice. WHERE THE WILD THINGS ARE.  1988. Harper Collins; 25th anniversary edition. ISBN 0060254920

2.     SUMMARY

Sendak's WHERE THE WILD THINGS ARE is a story of conflict. Max, the protagonist, is at odds with his mother and with his own anger.  After being sent to bed without supper for behaving wildly, Max imaginatively transforms his room into a far off place.  A place where wild things roam free and he fits in. Max becomes the king of all things wild and unruly and after some wild rumpus begins missing the feeling of love and security.  He journeys home to find dinner waiting for him.

3.    CRITICAL ANALYSIS

Sendak’s story and illustrations are timeless treasures.  Originally published in 1963, the book has traveled through the decades without dating itself.  The story and illustrations fit perfectly together and make the book flow seamlessly.  Using Max’s imagination to deal with his unhappiness of being sent to his room without supper, shows the reader coping skills one may us in dealing with conflict.

The pen and ink drawings are sometimes funny and sometimes serious depending on Max’s mood.  The full page Illustrations of the Wild Things with no text allows the reader to make their own predictions of exactly what type of craziness is going on.  The visual cues in the illustrations take the monsters from something scary, with their large teeth and claws to something more lovable with smiles and the common interest with Max and mischief.

4.    REVIEW EXCERPTS

1964 Caldecott Award Winner

1981 Boston Globe-Horn Book Award Winner

BOOKLIST review: “This simply written but subtle book became a classic not only because it legitimized children’s angry feelings—and their ability to use their imaginations to deal with those feelings—but also because it showed punishment and love coexisting in a parent-child relationship.”     — Stephanie Zvirin

5.    CONNECTIONS

Art:  Glue two googly eyes on a piece of construction paper and allow children to use their imagination and draw their own "Wild Thing” using the eyes as a starting point.

Character Education: Use this book, along with other selections to teach students about honesty, being respectful, dealing with emotions, etc.

Although this link leads you to a preschool website, the songs would be a delight to any elementary age child.

http://www.preschooleducation.com/smonster.shtml

TALKIN’ ABOUT BESSIE: THE STORY OF AVIATOR ELIZABETH COLEMAN by Nikki Grimes. Illustrations by E.B. Lewis

1.    BIBLIOGRAPHY
Grimes, Nikki. 2002. TALKIN' ABOUT BESSIE, THE STORY OF AVIATOR ELIZABETH COLEMAN. Ill. by E. B. Lewis. Scholastic Books. ISBN: 0439573422

2.    PLOT SUMMARY
Elizabeth Coleman is credited for being the first African American female to hold a pilot's license  Her story, from poverty to pilot is told through voices that were part of her life. From her estranged father to her pilot instructor, each play a part in Bessie’s desire to dream big.

3.  CRITICAL ANALYSIS
The saying, you can’t judge a book by its cover, has never been more true than with this book. The cover is beautifully illustrated, but for me it lacked some appeal to make me want to open it up. Once I did, I found a delightful story about Elizabeth Coleman’s life told by people who were attending her memorial service. Each person’s influence in Bessie’s life tells their part, in their own voice and free verse, with each having a page dedicated to their contribution in her life. This story is a wonderful example of overcoming obstacles and never giving up on your dreams. Making the connection that Bessie was part of my own state’s history was the connection I needed to keep reading.

The illustrations by E.B. Lewis depict a small portrait of the person telling their part of the story accompanied by a full-page watercolor illustration to reinforce what is being told. The illustrations fit the story beautifully as subtle contributions that do not over power the story.

4.    REVIEW EXCERPTS
2003 Coretta Scott King Illustrator Award
2003 Coretta Scott King Author Honor Book

“Relating the story of the African-American aviator noted for being the first woman of her race to become a licensed pilot, Grimes's text is accompanied by "painterly illustrations" that "deepen" the story.”
-- Ellen Feldman, New York Times

“Lewis' paintings, subdued in tone and color, reflect the spirit of the verse through telling details and sensitive, impressionistic portrayals. “
-- Carolyn Phelan, Booklist,

“Well conceived, well-executed, [and] handsomely illustrated.”
-- Harriett Fargnoli, School Library Journal

5.    CONNECTIONS
A wonderful book to use during Black History and Women’s History months.

http://www.infoplease.com/spot/womenshistory1.html

http://www.biography.com/blackhistory/

A good starter to use when having students write about hero’s.

The Man Who Walked Between The Towers by Mordicai Gerstein

1.    BIBLIOGRAPHY
Gerstein, Moridcai.2003. THE MAN WHO WALKED BETWEEN THE TOWERS. Square Fish. ISBN 031236878X

2.    PLOT SUMMARY
In 1974, as the World Trade Centers in New York City were being completed, French street performer, Phillippe Petit, came up with the idea to stretch a cable from each tower and walk between them. While still under construction, Petit and some friends snuck into the towers dressed as construction workers and waited until everyone was gone. With friends’ assistance on the opposite tower, they were able to connect the cable from one tower to the other. In the early morning hours of August 7, 1974, Petit spent almost an hour performing on his tightrope a quarter of a mile up from the ground. Once Petit is ready to venture off this tightrope, he is taken into police custody and is sentenced to performing in the park for the children of New York. The book comes to a close with a gut wrenching sentence, “The towers are now gone,” accompanied with a picture of today’s New York skyline without the towers, yet the story ends on a positive note that the memories of Petite’s dangerous feat and the reminder that the twin towers will always be imprinted in our memories.

3.    CRITICAL ANALYSIS
This is a story of two extreme events linked by the same historical pair of buildings, Petits’ walk on a cable between the towers and the events of September 11, 2001. Extreme can also be used to describe the poetic story and illustrations. The artwork is amazing, and this is seen in the way the book is designed. The accompanying foldout pages give readers a visual clue as to the impressive size of the buildings and the extraordinary tightrope walk.

The text is solid and holds the readers interest, yet I find the beauty of the story in the illustrations. Created in oil and ink, the author and illustrator Mordecai Gerstein creates a feeling of the breadth and depth of the tightrope walkers’ venture. Using visual cues, the policeman’s hat falling, the people gathered at the base and the birds flying about, Gerstein was able to pass on the grand scale of this performance. Along with the creation of panoramic views, you feel as if you are walking alongside Petit.

4.    REVIEW EXCERPTS
Caldecott Award Winner
ALA Notable Children's Book
Boston Globe-Horn Book Award Picture Book

"Gorgeous oil-and-ink paintings capture the aerialist's spirited feat and breathtaking perspectives high above Manhattan harbor."
--  School Library Journal

"Gerstein's ink and oil paintings of that "joyful morning" aren't for anyone with a fear of heights; the perspectives are dizzying enough to make the strongest stomach lurch."
-- Elizabeth Ward, Washington Post

"Here's a joyful true story of the World Trade Center from a time of innocence before 9/11."
-- Hazel Rochman, Booklist

5.    CONNECTIONS
This book would be great to add to a collection of performing arts genre.

The book could be used in connection with 9/11 events to give perspective to the buildings and to its history other than the attacks.

The book could be used in a math class.  The book references the width of the cable, the height of the buildings and the length of cable.

For fun, students could place the same width of rope on the ground and practice tightrope walking.

The book could be used in an art class as examples of perspective drawing.

Ethics can be discussed after reading the book.  Petit was breaking the law to complete his daredevil plan. Discuss with students the repercussions of Phillippe’s walks.