Mildred L. Batchelder Award

"This award, established in [Mildred L. Batchelder's] honor in 1966, is a citation awarded to an American publisher for a children's book considered to be the most outstanding of those books originally published in a foreign language in a foreign country, and subsequently translated into English and published in the United States." (ALA website)

For a list of current and past award and honor books, click the link below.

http://www.ala.org/ala/alsc/awardsscholarships/literaryawds/batchelderaward/batchelderaward.htm

Review of SAMIR AND YONATAN

Carmi, Daniella. 2000. SAMIR AND YONATAN. New York, NY: Scholastic Press. ISBN 9-780-4391-3504-7

PLOT SUMMARY
In this 2001 Batchelder Award winner, a young Palestinian boy must go to the Jewish hospital for surgery. Samir has shattered his knee and only through a connection with his mother’s employer is he able to get a “special permit for an operation at the Jews’ hospital.” Though he dreads going to the hospital, Samir has experiences unlike any he has had in his village. A fellow patient, Yonatan, teaches Samir about space and they develop a friendship which will impact Samir for the rest of his life.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
SAMIR AND YONATAN begins as a story about the Palestinian-Israeli conflict. A boy from the occupied West Bank, Samir fears Jews and blames them for his brother’s death. However, Samir takes a journey—not just a physical journey to the hospital, but also an emotional journey to a place of understanding, tolerance, and acceptance. Carmi uses setting and characterization to craft these journeys.

The setting varies in SAMIR AND YONATAN. Samir spends much of the book in a children’s ward in the Jewish hospital. This hospital is clean and quiet. Samir notes he would be able to concentrate better at school were it equally as quiet. This calm, bright atmosphere is juxtaposed with Samir’s village. As he lays in his hospital bed, Samir recalls the blackouts, curfew, hunger, and poverty of his home. Despite the difficulties, the familiarity comforts him, “If there’s a curfew I won’t…have to travel with Mom to the Jews’ hospital.”

Carmi’s use of characterization successfully shows Samir’s growth and acceptance of the people around him. He begins to draw connections between the people at the Jews’ hospital and his family and friends back home. This evolution can be seen in how Samir refers to the other characters. For example, a maternal figure in the story, his nurse is initially referred to as “the fat nurse.” Later, she is called Nurse Vardina. Finally, Samir refers to her simply as Vardina. Throughout the course of the story, Yonatan, an Israeli boy, becomes Samir’s friend. Often Samir does not understand Yonatan. However, the two develop a connection which has more to do with being boys than with the war-torn time in which they live.

The most drastic evolution is in Samir’s relationship with Tzahi. Tzahi is a rambunctious patient who runs around and boasts that his brother is a paratrooper. When given candies by his brother, Tzahi taunts the other children by eating them one by one and not sharing. He rarely looks at Samir, much less does he address him. Throughout the story, Samir’s view of Tzahi as “the other”—to be feared and mistrusted—evolves to a feeling of camaraderie. In the end, each boy accepts the other as a friend as together they share one last mischievous event before Samir is discharged from the hospital.

Carmi includes many cultural terms throughout the book. Originally published in Hebrew, the use of vocabulary such as pasha, dinars, kinnar, and narghile is to be expected. Inclusion of these words in the English translation keeps the cultural references in the forefront of the reader’s mind. A glossary defining non-English words is provided at the end of the book.

While this story is clearly set in Israel, the character growth could be generalized to cultural conflicts around the globe. Seeing groups as “the other” rather than inhabitants of the same planet allows fear and mistrust to fester. By living with each other, the children at the hospital discovered the common ground on which they stood. The frailty of human life is illustrated through the different ailments suffered by the patients in SAMIR AND YONATAN. Carmi’s facility for storytelling reveals that neither group is immune to this frailty nor are the children alone or forgotten in their suffering.

REVIEW EXCERPTS
Publisher’s Weekly notes, “A Palestinian boy comes to terms with his younger brother's death by an Israeli soldier in this slow-paced but affecting novel originally published in Hebrew in 1994.” (April 2002)
“The bitter suffering of a Palestinian family is at the center of this moving novel, eloquently translated from the Hebrew. ... {This is a} moving drama of individual kids who become friends and help each other through pain when they get a chance to know each other.” (Booklist, 2000)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24
and Book Review Digest Plus (an HW Wilson database).

CONNECTIONS
Other Batchelder Award Winners:
Delacorte Press for The Pull of the Ocean written by Jean-Claude Mourlevat and translated from the French by Y. Maudet. (2007)
Arthur A. Levine Books for An Innocent Soldier written by Josef Holub and translated from the German by Michael Hofmann (2006)
Delacorte Press/Random House Children's Books, for The Shadows of Ghadames by Joëlle Stolz, translated from the French by Catherine Temerson. (2005)

Children’s books on Israel & Judaism:
Waldman, Neil. 2003. The never-ending greenness : we made Israel bloom. Honesdale, PA : Boyds Mills Press. ISBN 978-1-59078-064-0
Oberman, Sheldon. 2005. The always prayer shawl. Honesdale, PA : Boyds Mills Press. ISBN 978-1-59078-332-0
Krensky, Stephen and Greg Harlin (Ill.). 2006. Hanukkah at Valley Forge. New York: Dutton Children’s Books. ISBN 0-525-47738-1

Review of MOSES SEES A PLAY

Millman, Isaac. 2004. MOSES SEES A PLAY. New York, NY: Farrar, Straus and Giroux. ISBN 978-0-374-35066-6

PLOT SUMMARY
In MOSES SEES A PLAY, a class at a special elementary school for children who are hearing impaired prepares to see a play. A class of hearing students also joins them for the occasion. The reader follows the children as they make welcome posters for the actors, watch the play, write thank you letters, and begin doing some acting of their own. The focus of this story is the event of seeing a play rather than the students’ abilities.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Deafness, unique among physical impairments, has its own culture. Isaac Millman creates a story which incorporates deaf culture without overemphasizing the disability itself. MOSES SEES A PLAY fosters acceptance and understanding, incorporates interlingualism, and avoids focusing on the disability; thus creating a sensitive yet valuable peek into deaf culture.

Millman fosters acceptance and understanding throughout MOSES SEES A PLAY. When the hearing children come to Moses’ classroom, both the hearing and non-hearing teachers sit in front of the class reflecting equal authority. Moses also meets a new friend who, like him, does not speak English. Manuel is new to his class and only speaks Spanish. Millman’s correlation between the difficulties experienced by second-language learners and hearing impaired children provides a valuable perspective. “Moses knows how lonely it can be when no one understands you.”

The language used in this story is predominantly English. However, American Sign Language (ASL) is interwoven throughout. This use of interlingualism adds to the flavor deaf culture in the story. Millman includes a “How to” section on making the signs to facilitate the reader’s ability to discern the movements. The use of interlingual ASL also adds an interactive component to read-aloud presentations of this book.

Another positive feature in this book is what its focus is not. Deafness is not the primary subject matter. Moses’ and his classmates’ hearing impairment are details of character development. The characters are not seen as pitiable, nonsexual or even disabled. All of the children participate fully in classroom activities: creating posters, enjoying the play, and acting. When the teacher suggests the children put on a play of their own, one little girl signs, “I want to play Cinderella! And I want [Moses] to be the Prince.” This scene could easily happen in any elementary school classroom—as could Moses’ shocked expression!

This story of a typical class successfully incorporates people with differing abilities, all of whom are capable of “participating fully in everyday life” (Vardell, Lecture Notes, 2007). The story is enjoyable and flows nicely up to its ending. However, the literary quality falters when a wordy, technical description of a communication device is tacked onto the story’s ending.

REVIEW EXCERPTS
“Despite the inclusion of a synopsis of the play, there's not much drama in this story. Small panels showing Moses signing certain phrases are incorporated into the illustrations.” (Horn Book, 2004)
“This book not only familiarizes and sensitizes children to the culture of the deaf or hard-of-hearing community, but also tells an appealing story. Millman draws a parallel between the challenges faced by ESL students and those who do not hear and in so doing raises youngsters' general levels of awareness and empathy.” (School Library Journal, 2004)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other “Moses” books by Isaac Millman:
MOSES GOES TO SCHOOL, ISBN 978-0-374-35069-7
MOSES GOES TO A CONCERT, ISBN 978-0-374-35067-1
MOSES GOES TO THE CIRCUS, ISBN 978-0-374-35064-2

Other stories about children who have hearing impairments:
Heelan, J. R. and Nicola Simmonds (Ill.). 2002. Can you hear a rainbow? : the story of a deaf boy named Chris. Atlanta : Peachtree Publishers.
Miller, M. B. & George Ancona. 1991. Handtalk schooL. NY : Four Winds.

Review of BEST BEST COLORS

Hoffman, Eric and Celeste Henriquez (Ill.). 1999. BEST BEST COLORS. St. Paul, MN : Redleaf Press. ISBN 9-7818-8483-469-1

PLOT SUMMARY
Nate struggles to decide which color is his “best, best.” Along the way, he chooses a favorite mamma—first one, then the other, then neither. When he cannot decide who his best friend is, he wonders, “Do I have to pick just one?” Finally, after making a rainbow flag with his mammas, Nate realizes he doesn’t have to choose just one. They can all be his “best, best.”

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
BEST BEST COLORS is a story which illustrates a typical conundrum for young children: the exclusivity of choosing favorites. As Nate capriciously chooses favorites throughout the story, he is surrounded by a diverse assortment of family and friends. Among the diversities addressed are ethnicity, family structure, and abilities. This diversity is primarily conveyed through the illustrations rather than overtly discussed in the story.

The ethnicities represented in BEST BEST COLORS are African-American, Anglo, Asian-American, and Hispanic. Three of these cultures are represented within the family of the main character, Nate. Nate and Mamma Laura are black, Mamma Jean is Anglo, and Nate’s sister is Asian-American. While none of these ethnicities are discussed in the text, Henriquez uses coloration and facial features to portray non-stereotypical examples of each. Another important facet of this book’s multicultural appeal is the fact that it is bilingual. In fact, the entire series of which it is a part, “Anti-Bias Books for Kids,” has been translated into Spanish.

Hoffman also addresses diversity in family structure. This diversity is alluded to in an unobtrusive manner. Nate refers to his mammas, but not the fact that he has two mammas. Nor is it mentioned that other families might not be the same. The only overt textual reference to gay and lesbian culture is when his mammas are showing Nate a rainbow flag, “Look what we got for the Pride Parade.” Even this reference to gay culture could be overlooked by young readers or older readers who are not well-informed. Another example of diversity in family structure is Nate’s sister, who is most likely adopted. She is seen but not heard. Indeed, the reader is aware of her existence solely because of the illustrations.

Finally, differently-abled diversity is included in BEST BEST COLORS. One of Nate’s friends, Mandy, uses a wheelchair. Again, this representation of a parallel culture is known only because of the illustrations. No mention of her handicap is made in the text. Mandy’s use of a wheelchair is not so much a character development tool, rather it is a detail in the illustrations.

Rather than promote diversity, Eric Hoffman’s primary thrust appears to be helping readers deal with the issue of choosing exclusive favorites. On the other hand, Henriquez’ primary intention is to imbue the story with diversity and multiculturalism. Being part of the “Anti-Bias Books for Kids” series is most likely the rationale behind the plethora of cultures represented in BEST BEST COLORS. However, it is a bit heavy handed. Just as a book about any ethnicity can be overwhelmed by too many cultural references, so too may be a book about diversity and tolerance in general.

REVIEW EXCERPTS
“The engaging story is enhanced by lively full-page illustrations depicting a multicultural cast of interesting characters” (Day, p. 5).
“A ‘Note to Parents, Teachers, and other Caregivers’ at the end of each book suggests follow-up activities and discussion topics. Overall, these purposeful titles meant to encourage readers to think about these issues fall short in the execution of their mission. (Library Journal, 1999)*

*Note: The author of this review, Kristina Aaronson of Bethel Elementary School Library in Vermont, includes examples from three of the four titles in this review of the Anti-Bias Books for Kids series. BEST BEST COLORS is not mentioned.

Day, Frances Ann. 2000. Lesbian and gay voices: An annotated bibliography and guide to literature for children and young adults. Westport, CN : Greenwood Press.

Library Journal review obtained from Amazon.com and accessed at: http://www.amazon.com

CONNECTIONS
Other books in the Anti-Bias Books for Kids series:
PLAY LADY, ISBN 978-1884834615
NO FAIR TO TIGERS, ISBN 978-1884834622
HEROINES AND HEROES, ISBN 978-1884834684

Related website:
A WORLD OF DIFFERENCE® Institute

http://www.adl.org/bibliography/default.asp

Review of THE MAGIC PAINTBRUSH

Yep, Lawrence. 2000. THE MAGIC PAINTBRUSH. New York, NY: Harper Collins. ISBN 9-780-0602-8199-1

PLOT SUMMARY
When Steve’s parents die, he must go to live with his only remaining relative, his grandfather. Steve isn’t sure of which he is more afraid—his grandfather or new neighborhood, Chinatown. Now, the one thing that gives Steve happiness is in jeopardy. Steve loves to paint. But, his brush is old and frayed and his grandfather cannot afford a new one. In a surprising twist, Steve’s grumpy grandfather gives him a paintbrush which is imbued with magical powers. Through this gift, Steve, his grandfather and those around them learn new things about living in Chinatown and what it truly means to be happy.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE MAGIC PAINTBRUSH uses a common theme as his vehicle for this story about a Chinese-American boy and his grandfather. Through the use of plot, setting, and characterization Lawrence Yep writes a tale in which unexpected—and sometimes unbelievable—events occur as a means of binding this family together and helping them find happiness.

The theme in THE MAGIC PAINT BRUSH is a common one. A boy loses his parents and, therefore, must go to live with a relative whom he does not know. However, this frequently-used theme takes a turn when the grandfather gives Steve a magic brush. Everything he paints becomes real. None of the characters; neither Steve, his grandfather, nor his Uncle Fong are happy with their lives. With this paintbrush they learn to be content with their lives rather than resentful. At first, the magic is predictable and helpful. As the story progresses, the journeys they take with the paintbrush become surreal. This step into the bizarre detracts from the message of the story and the reader’s ability to suspend disbelief.

Yep’s use of characterization is this story’s best quality. Steve is an eight-year-old boy who feels he alone is grieving his parents’ death. His grandfather not only doesn’t seem to mourn their death, he apparently dislikes Steve and resents having to care for him. Steve recalls that his grandfather “never spoke to [him] except to scold him” (p. 2). However, when Steve comes home late from school, the grandfather’s worry surprises him. “You were worried about me?” (p. 7). Slowly, Steve and his grandfather realize they have much in common and differ mainly in the expression of their emotions. This difference is not only generational, but also cultural. Steve was born in the United States while his grandfather was born in China and became a “Chinatowner.”

The setting gives glimpses of several places: Chinatown in San Francisco, a peach orchard in Dragon Back village in China, and Chinatown’s “moon.” Each of these places is distinctly different and shows a different side of Chinese-American culture portrayed in THE MAGIC PAINTBRUSH. To Steve, Chinatown is a scary, foreign neighborhood of dark doorways, dingy apartment buildings and narrow alleyways. Dragon Back, Uncle Fong’s hometown, is a light, airy village surrounded by a fragrant orchard. Dragon Back’s irrigation system, called a water chain, alludes to the time and place which they are visiting. Lastly, a cassia tree, an enchanted rabbit and a small pagoda style building represent the Chinatown moon: a mythical place from the Chinatown story, The Lady on the Moon.

The plot, characters, and setting in THE MAGIC PAINTBRUSH provide a taste of Chinese-American culture, especially as it is in San Francisco’s Chinatown. While the plot twists are somewhat strange, Yep’s characters and use of varied settings give the reader a plethora of details which allow insight to this ancient yet dynamic culture.

REVIEW EXCERPTS
“Ancient popular Chinese myths as well as some more recent urban Chinese legends are woven into this story of modern America. . . . Written at an easy level, this is a great story for the elementary grades” (Multicultural Review)
“Steve learns about his grandfather's past, about Chinese legends, and about life as a "Chinatowner." Through simple yet sensitive dialogue, the author weaves a tale of alienation turning into affection, and of good prevailing over meanness.” (School Library Journal)
“Set in San Francisco's Chinatown, this novel mixes elements of fantasy and fairy tale as an eight-year-old boy gets a paintbrush that transforms his dreary life. "Snappy dialogue, realistic characters and plenty of wise humor keep the pages turning,” (Publisher’s Weekly)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24
and from Book Review Digest Plus database, courtesy of Texas Woman’s University Library.

CONNECTIONS
Other books by Lawrence Yep:
THE DRAGON PRINCE: A CHINESE BEAUTY & THE BEAST TALE. ISBN 978-0-06-443518-5
COCKROACH COOTIES. ISBN 978-0-7868-1338-4
THE CASE OF THE GOBLIN PEARLS. ISBN 978-0-06-440552-2

Other picture books and young adult novels about Chinese Americans:
Yamate, Sandra S. 2000. CHAR SIU BAO BOY. NY: Polychrome. ISBN 978-1-879965-19-5
Roth, Susan L. 2001. HAPPY BIRTHDAY, MR. KANG. National Geographic Society. ISBN 978-0-7922-7723-1
Yin. 2001. COOLIES. NY: Philomel Books. ISBN 978-0-399-23227-5
Yin. 2006. BROTHERS. NY: Philomel Books. ISBN 978-0-399-23406-4

Review of ALLISON

Say, Allen. 1997. ALLISON. Boston: Houghton Mifflin. ISBN 9-780329-39549-0

PLOT SUMMARY
Allison and her doll, Mei Mei, live happily with her mother and father. One day, Allison notices she doesn’t look like her parents. When she realizes she’s been adopted, she bitterly focuses on the fact that her “real” parents didn’t want her and gave her away. As she broods and acts out, Allison struggles to deal with her anger. Finally, Allison is able to work through her feelings by taking a stray cat into their family.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Allen Say tells an emotional story of a little girl dealing with her family. Through the use of plot, characterization (including voice), language, and illustrations, ALLISON conveys a realistic picture of how a child dealing with adoption might feel.

The story opens with Allison receiving a dress from her grandmother. Her parents “ooh” and “aah” over how pretty she looks wearing her kimono. The mother’s use of the term kimono is Allison’s first clue that there is something different about her. She realizes for the first time how differently she looks from her parents. The inevitable conversation takes place between the child and her adoptive parents, “You’re not my Mommy and Daddy?” she asks. To which her parents reply, “of course we are….” This exchange only serves to deepen Allison’s dismay. Her sadness comes to a climax when she realizes Allison is not her ‘real’ name. This plot shows a realistic journey of a young girl dealing with her identity.

The characters in ALLISON are neither homogenous nor stereotypical. The adoptive parents are hurt by Allison’s outbursts, yet they are patient with their daughter. Allison’s school mates, representing many different ethnicities, reflect varied skin tones, body shapes, and hair styles. Allison, who is adopted from an unspecified Asian country, also exhibits a non-stereotypical view of her ethnicity. Except for the time she is trying on her new kimono, Allison wears typical clothing for an American child.

Say’s use of voice further contributes to the characters’ believability. Allison’s question, “Where did Mei Mei come from?” accurately depicts a child’s tendency to project questions about themselves onto dolls or animals. Later, when Allison is acting out against her mother, she ruins her dolls. Rather than fuss at Allison, the mother laments, “Oh, no, poor [dolly]! I’ve had him since I was a little girl.” This type of response reveals a believable interaction between a mother and daughter which is full of anger and pain yet grounded in love.

The illustrations and use of Japanese words provide a fullness to ALLISON. Say’s ability to capture realization, anger, pain, and defiance in his characters’ faces is outstanding. At the story’s most painful moments, Say uses dark somber colors. At the end, Allison’s breakthrough with the stray cat is accompanied by bright sunlight and pastel background colors. Say tops off the cultural allusion by including words such as Mei Mei (the doll’s name), kimono, and obi.

ALLISON is a touching story about a family dealing with adoption. This realistically portrayed situation is conveyed through the adept use of literary tools and a sensitive yet authentic approach to ethnic diversity.

REVIEW EXCERPTS
“Her adoption of a stray cat brings about a happy ending that seems less earned than bibliotherapeutic. The large, sober paintings are often heavy, and the bookmaking, though handsome, is too big and elegant for the family drama it is meant to support.” (Horn Book)
“Cleverly, Say uses a stray cat that Allison wants to adopt to help her come to terms with her anger as she realizes everyone needs a family. A subtle, sensitive probing of interracial adoption, this exquisitely illustrated story will encourage thoughtful adult-child dialogue on a potentially difficult issue.” (Publishers Weekly)
“Say masterfully captures Allison's expressions: She is surprised, wounded, sullen, hurt and hurtful, and finally reassured. He addresses the dark side of an adoptive child's feelings carefully, and while the resolution is a bit convenient (and may require interpretation for younger children), it still carries truth.” (Kirkus Review)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com

CONNECTIONS
Other books by Allen Say:
THE BICYCLE MAN, ISBN 978-0-395-32254-3
EL CHINO, ISBN 978-0-395-52023-9
EMMA’S RUG, ISBN 978-0-395-74294-5

Other books about adoption:
Lewis, Rose A. 2000. I LOVE YOU LIKE CRAZY CAKES. New York, NY : Little, Brown. ISBN 978-1-59990-017-9
Young, Ed. 2006. MY MEI MEI. New York, NY : Philomel Books. ISBN 978-0-395-74294-5
Friedrich, Molly. 2004. YOU’RE NOT MY REAL MOTHER! New York, NY : Little, Brown. ISBN 978-0-316-60553-3

Related website:
http://www.houghtonmifflinbooks.com/authors/allensay/

Review of GOOD-BYE, 382 SHIN DANG DONG

Park, Frances and Ginger Park. Yangsook Choi (Ill.) 2002. GOOD-BYE, 382 SHIN DANG DONG. Washington, DC: National Geographic Society. ISBN 9-780792-27985-3

PLOT SUMMARY
Eight-year old Jangmi is moving with her family to 112 Foster Terrace, Brighton, Massachusetts, U.S.A. Although her parents are excited about the move, Jangmi thinks more about how much she will miss her best friend, Kisuni; the tree outside her home; and the yummy Korean fruit, chummy. When Jangmi’s parents tell her about their new house, she becomes concerned the new place will never feel like home. As they move in, Jangmi begins to see positive aspects of 112 Foster Terrace—not the least of which is a new friend, who giggles “just like Kisuni!” In the end, she accepts that she may come to love her new home as much as her old, but Korea will always be in her heart.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The Park sisters draw from their own childhood to create a realistic and culturally authentic story about a little girl moving from her home in Korea to 112 Foster Terrace, Brighton, Massachusetts, U.S.A. Through the use of characterization, setting, and illustration, GOOD-BYE, 382 SHIN DANG DONG allows the reader into the mind of a eight-year old girl who is struggling with an imminent move to a foreign country.

The character development in this story produces realistic and sympathetic personalities. For example, the main character, Jangmi, looks around her bare room and frowns. She asks her parents questions about their new home. Her fears, rather than being assuaged, are heightened. In their sadness about being so far apart, Jangmi and her best friend, Kisuni, begin to discuss the connections they will maintain after the move. These are genuine reactions for young children faced with this type of situation. Jangmi displays convincing strength of character when her mother tells her Rose is the English translation of her name. When asked, Jangmi insists she wants to be called by her name—not an American name.

The setting of the story varies from page to page. Initially, the reader sees the inside of Jangmi’s home in Korea. Though the house is filled with boxes, the rice paper doors and low tables are clues as to the culture of the characters. Shoes left on the door step, open air markets and the monsoon rains also contribute to the cultural ambience.

Finally, Choi contributes a significant amount of Korean atmosphere through the use of his illustrations. While skin tone varies little; the facial features, hair color and style, and clothing differs from person to person. Thus, homogenous representation of Korean people is avoided. The illustration of the family driving to the airport depicts Korea as a country which is both modern and traditional. On the left side of the paved road is a pagoda-style building and on the right are high-rise office buildings.

Being an ‘insider’ of a represented culture is not a sure-fire way to avoid inaccurate or inauthentic literature. However, the Parks and Choi team make full use of their Korean heritage and experiences to create a realistic and culturally sensitive story. Moving anywhere can be difficult for children—especially if that place is in a foreign country. GOOD-BYE, 382 SHIN DANG DONG depicts a believable Korean family with which any reader can empathize.

REVIEW EXCERPTS
“The lengthy text and detailed oil paintings capture Jangmi's heartache at leaving behind her beloved home, her best friends, and everything that is familiar.” (Horn Book)
“The book nimbly charts the common anxieties of a child moving to a new place, from worries about making friends to the strangeness of new surroundings.” (Publishers Weekly)
“While this quiet story explores the universal fear of change in rather predictable ways, children will find the details of cultural differences and the immigrant experience well evoked.” (School Library Journal)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com

CONNECTIONS
Other books for children about Immigrant Adjustment to life in the U.S.:
Choi, Sook Nyul. HALMONI AND THE PICNIC. ISBN 978-0-395-61626-0
Park, Frances. THE HAVE A GOOD DAY CAFÉ. ISBN 978-1-58430-171-4
Recorvits, Helen. YOON AND THE CHRISTMAS MITTEN. ISBN 978-0-374-38688-7

Other books related to Korea:
Patz, Nancy. BABIES CAN’T EAT KIMCHEE! ISBN 978-1-59990-017-9
Park, Linda Sue. BEE-BIM-BOP! ISBN 978-0618-265114-9
Park, Linda Sue. THE FIREKEEPER’S SON. ISBN 978-0618-133376

The authors’ website: http://www.parksisters.com/
The illustrator’s website: http://www.yangsookchoi.com/

Review of JINGLE DANCER

Smith, Cynthia Leitich. Cornelius Van Wright and Ying-Hwa Hu (Ill.) 2000. JINGLE DANCER. New York : Morrow Junior Books. ISBN 978-0-688-162429

PLOT SUMMARY
“Tink, tink, tink, tink,” sang Grandma Wolfe’s dress. Jenna wanted to jingle dance too, but her dress didn’t have any jingles. Jenna visits family and friends trying to collect just enough jingles for her own dress without compromising the voice of the dresses from which she borrowed. JINGLE DANCER is a story of a young Ojibway girl who wishes to dance her first Jingle Dance at a powwow. Though her grandmother agrees she may dance, it will be up to Jenna to give her dress a voice.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
JINGLE DANCER offers an authentic reflection of an intertribal community consisting of Muscogee and Ojibway members. The characters, their relationships, and the book’s illustrations are woven together to paint a picture of a contemporary, close-knit neighborhood preparing for a powwow.

Cynthia Smith takes care to create an extended circle in the main character, Jenna’s, life. Jenna lives with Grandma Wolfe in a contemporary home on a tree-lined street. Throughout the course of Jenna’s quest, she visits three different people, each within walking distance. First, she visits her great-aunt to hear a Muscogee/Creek story. Next, Jenna visits a friend whom she helps make fry bread. Finally, Jenna visits her cousin, Elizabeth, whom she helps carry files. Through the recurring use of the phrase “once again,” Smith clearly defines the ongoing close relationships among them.

Though the great-aunt appears to be retired and Jenna’s friend sells fry bread and Indian tacos, their occupations are not explicitly stated. However, the cousin’s career is made clear. Elizabeth “arrives home late from the law firm” and is carrying a brief case and a newspaper titled Law Review under her arm. This overt illustration of Elizabeth’s profession seems a bit overdone. This may be an attempt by the author to counter negative stereotypes.

Through their illustrations, Van Wright and Hu avoid the “monolithic culture” stereotype by giving each character her own distinct look. The women’s faces are unmistakably different. There is also variation in hair color and texture, and, to a lesser degree, skin tone.

Cynthia Smith, herself a member of the Muscogee Nation, supplies an extensive Author’s Note which includes explanations of Muscogee and Ojibway traditions. This note provides background information on traditional stories, jingle dances, and regalia. A glossary is also provided for some terms which might be unfamiliar. Overall, JINGLE DANCER proves to be an authentic and contemporary story of a young girl looking forward to her first jingle dance.

REVIEW EXCERPTS
“[Jenna’s] promise to dance for the women who cannot dance for themselves illustrate the importance of family and community ties.” (Booklist)
“Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life.” (School Library Journal)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other books about the Ojibway/Chippewa:
King, Sandra, and Catherine Whipple. 1993. Shannon: an Ojibway dancer. Minneapolis: Lerner Publications. ISBN 978-0-822596431
Mercredi, Morningstar, and Darren McNally. 1997. Fort Chipewyan homecoming: a journey to native Canada. Minneapolis: Lerner Publications. ISBN 978-0-8225-2659-9
McCain, Becky R., and Stacey Schuett. 1998. Grandmother’s Dreamcatcher. Morton Grove, Ill: A. Whitman ISBN 978-0-807530320

Review of THE WARRIORS

Bruchac, Joseph. 2003. THE WARRIORS. Plain City, OH: Darby Creek. ISBN 1-581960026

PLOT SUMMARY
Jake loves to play lacrosse. He is good at it, too—maybe even the best junior league player on the reservation. Lacross was a gift from the Creator to the Iroquois people, “a way to make them strong, a way to join together in a great game that was also a prayer” (p. 15). Now Jake is moving off the reservation with his mother. He must move away from his family and friends. Jake’s new school has a lacrosse team. In fact, Weltimore is known for producing the best junior league lacrosse players. As he struggles to adapt to his new community and new team, Jake must also find a way for his community to adapt their beliefs. Jake must find a way to help his teammates, especially the coach, understand the true meaning and importance of lacrosse to the Iroquois people.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE WARRIORS is a well-told story of a boy—becoming a man—struggling to understand and be understood. Joseph Bruchac, himself of Abenaki heritage, portrays the Iroquois people in a respectful and telling light. Through character development, language and relationships the respectful nature of the Iroquois people is revealed. The story is so believable, the reader feels as though they are hearing a story told by and about friends.

The characters’ actions and words are understated and realistic. Though Jake is heartbroken at having to leave the reservation, he continues to be respectful of his mother and others. When his mother asks him not to play lacrosse so he can concentrate on his studies, he agrees without hesitation. This respect for his elders is typical of Iroquois tradition. Jake also shows his respect for others in a conversation after a lacrosse victory. When called “Chief” by teammates, Jake chooses not to correct the other players. He understands they are trying to show their appreciation for his abilities and doesn’t want to hurt their feelings.

Another character, Jake’s Uncle Irwin, treats others with truthful respect. When Jake is set to leave the reservation, he asks his uncle to take care of his lacrosse stick while he’s gone. Knowing the stick “belong[s] in his nephew’s hands” (p. 17), Uncle Irwin respects Jake’s wish and accepts the responsibility. When he is homesick after the move, Jake begins calling friends and family members. After several calls, Uncle Irwin gently reminds Jake, “I love to hear from you, but I think you need to be where you are…” (p. 29). This calm respectful tone is found throughout the story, reflecting Iroquois custom.

In Native American cultures, “the elderly have always occupied a special place because of their wisdom and age” (Harris, p. 171). Bruchac shows Jake’s respect for Grandpa Sky throughout the story. Jake always looks for Grandpa Sky in the stands during lacrosse games and remembers the stories his grandfather has told him. Near the end of the story, Jake dreams of an old woman whom he knows only as another Indian. Though they are strangers in his dream, they refer to each other as grandmother and grandson. This illustrates the Iroquois’ perception that elders are thought of as the grandparents of the community.

Bruchac’s young adult novel, THE WARRIORS, reveals characters which behave both realistically and respectfully. Though people often feel hurt and outcast and must do things they don’t want to, most do not lash out and “tell it like it is.” The thoughts and feelings of the characters in THE WARRIORS show real frustration and sadness and realistic responses to those emotions.

REVIEW EXCERPTS
Publisher’s Weekly notes, “While the plot seems contrived to deliver the lesson, and while Jake, in all his perfection and purity, seems more paragon than a flesh-and-blood character, Bruchac offsets these drawbacks with the smoothness of the prose and the beauty of his evocation of Native American spirituality and wisdom traditions. Readers will want to believe in the story and in Jake.”
School Library Journal comments, “Throughout the novel, the author mixes just the right amount of universal teen experience and culturally specific perspective to make Jake's story appealing to a broad audience.”

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Bruchac books for younger readers:
RACCOON’S LAST RACE. ISBN 978-0803729773
TURTLE’S RACE WITH BEAVER. ISBN 978-0803728523
CRAZY HORSE’S VISION. ISBN 978-1880000946

Children’s books on lacrosse:
Wells, Donald. 2006. FOR THE LOVE OF LACROSSE. For the love of sports. New York: Weigl Publishers. ISBN 978-1590363010
Hoyt-Goldsmith, Diane, and Lawrence Migdale. 1998. Lacrosse: the national game of the Iroquois. New York: Holiday House. ISBN 978-0823413607
Swissler, Becky. 2004. Winning lacrosse for girls. The winning sports for girls series. New York: Facts On File. ISBN 978-0816051830

Review of THE LEGEND OF THE WINDIGO

Ross, Gayle. Murv Jacob. (Ill.) 1996. THE LEGEND OF THE WINDIGO. New York: Dial Books. ISBN 978-0-803718982

PLOT SUMMARY
THE LEGEND OF THE WINDIGO is based on a combination of different Native American Tribes’ stories. In this tale, a village is plagued by a fearsome monster, the Windigo. This creature can change its form at will, sometimes being as tall as the tallest tree. Worst of all, it hypnotizes humans with its cave-like eyes and finally eats them. After losing some of its members to the Windigo, the village must decide what to do. Should they stay in the village where their ancestors slept or should they flee to safety? The people discover the answer to this difficult question from an unexpected source.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This story offers many cultural markers. Both the text and illustrations support the conveyance of Native North American cultures. Author Gayle Ross, a Cherokee, uses her experience as a storyteller to blend parts from different tribes’ stories—including Tlingit and Cree—into an entertaining and culturally sensitive tale.

This tale depicts a people who live in the north woodlands. This generic location does more to indicate the forest-dwelling nature of the Windigo rather than to indicate a specific tribe. Ross states this story is based on several stories told by different tribes, but “this version is essentially my own creation” (Ross, unpaginated). The community comes together “in a great council” to decide what they are to do about the Windigo. Finally, they decide the elders would pray and fast in hopes they would be shown the solution to their problem. The entire village helps to build the sweat lodge—men, women, and children all have a part to play. The communal nature of the story’s tribe is typical of many Native American cultures.

Another commonality among some American Indian tribes is the global use of the term grandparents. When a boy tending a fire notes a stone has split, he calls the elders Grandparents. They reply, “they do that sometimes, Grandson.” The elders of a community are referred to as the grandparents of the entire tribe. In turn, though there may be no blood ties between them, the elders refer to the children as grandchildren.

Murv Jacob’s illustrations continue to provide general cultural information, taking care not to upset Ross’ attempt to generalize the story’s background. In most of the pictures, the men are seen wearing buckskin pants and shirts and the women buckskin dresses. There is some variation in the hairstyles among the villagers. Some men are shown with feathers and some women with their hair up. As with any community, variation in dress and hairstyles is to be expected. Such variation feeds the intentional lack of tribe specificity.

As can be noted in the illustrations and is reiterated in the Author’s Note, Jacob takes special care in the depiction of the sweat lodge. “Many traditional peoples are very protective of their own rituals” (Ross, unpaginated). Thus, this religious ceremony is protected through the use of general descriptions and paintings. Divulgence of the materials used to build the lodge and what goes on inside the lodge are deftly avoided.

While THE LEGEND OF THE WINDIGO is called “A Tale from Native North America,” the author concedes there is no such thing as a Native American Story. Indeed, the Author’s Note is a critical source of information when sharing this story. It not only provides background information about the story, it lays a foundation for readers seeking authentic stories about American Indian tribes. Despite the fact that the story’s authenticity and accuracy would be suspect without the benefit of the Author’s Note, THE LEGEND OF THE WINDIGO is, in and of itself, an entertaining tale.

REVIEW EXCERPTS
“The acrylic paintings match the text's description of the fearsome Windigo and also aptly capture the story's humorous conclusion. The lengthy author's note at the back provides a wealth of information.” (Horn Book)
“The fast pace and polish of the story make it a good choice for reading aloud…. Ross cites sources with a detailed note on story development and an explanation of sweat lodge ceremonies.” (Booklist)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other Cherokee-related stories for readers in grades K-6:
Ross, Gayle, and Murv Jacob. (Ill.) 1994. How Rabbit tricked Otter and other Cherokee trickster stories. New York: HarperCollins Publishers ISBN 978-0-0602-1285-8
Sneve, Virginia Driving Hawk. 1996. The Cherokees. New York: Holiday House. ISBN 978-0-8234-1214-3
Bruchac, Joseph, and Teresa Flavin. (Ill.) 2000. Pushing up the sky : seven native American plays for children. New York: Dial Books. ISBN 978-0-8037-2168-5Max, Jill, and Robert Annesley. (Ill.) 1997. Spider spins a story: fourteen legends from Native America. Flagstaff, AZ: Rising Moon. ISBN 978-0-8735-8611-5

Review of DELICIOUS HULLABALOO=PACHANGA DELICIOSA

Mora, Pat. Francisco X. Mora. (Ill.) 1998. DELICIOUS HULLABALOO=PACHANGA DELICIOSA. Houston, TX: Piñata Books. ISBN 1-55885-246-8

PLOT SUMMARY
DELICIOUS HULLABALOO=PACHANGA DELICIOSA by Pat Mora is a poem picture book packed with color and sound. A collection of brightly colored animals converge upon a desert home. Lizards, armadillos and birds all have a role to play in preparing for their get together. Young readers will see a salsa-mixing armadillo and guitar-picking lizards as they watch the party unfold. This poem is presented in a bilingual format with the English and Spanish verses on the same page.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
While the text in this poem picture book is a bit esoteric, the illustrations will please younger readers. Interlingualism, literary tools, and illustration are utilized to portray the lively preparation for a desert celebration in DELICIOUS HULLABALOO.

Mora uses interlingualism, switching back and forth from English to Spanish, in DELICIOUS HULLABALOO. This use of Spanish terms in the English version comes across as a natural melding of the two languages. Unfortunately, interlingualism is used only in the English translation of the poem. The exclusion of English terms in the Spanish translation is a missed opportunity to encourage bilingualism.

Rhyme, onomatopoeia, and alliteration are used to attempt a lyrical feel in this poem. Rhyme is used consistently in the English translation. Since rhyme is not a commonly used tool in Spanish, it is predictable that the use of rhyme in PACHANGA DELICIOSA is sporadic. Onomatopoeic terms such as “umm” and “buzz” allow the reader to hear and experience the poem simultaneously. Mora’s biggest success in this book is her use of alliteration. “La sabrosa salsa salpica” and “the sassy salsa splashing” is an exemplary use of bilingual alliteration and translation.

Fransisco Mora’s illustrations convey the influence of the southwestern United States. Bright colors and zig-zag patterns adorn everything in this book—from the armadillos to the fruits in the bowl. These oversimplified illustrations are not likely to be appealing to older children.

The use of interlingual text and alliteration are this poem picture book’s biggest assets. Some verses of the poem, however, may leave the reader wondering in which language the poem was first written. The inconsistency in quality among verses in both English and Spanish—presumably a translation problem—is both surprising and disappointing considering Pat Mora’s reputation as a children’s author.

REVIEW EXCERPTS
“The somewhat stilted poem, presented in both English and Spanish, rhymes in both languages. The simple geometric patterns and warm colors of the illustrations help convey the southwestern setting.” (Horn Book)
“Many of the half-rhymed and rhymed couplets sound forced in English. The narrative reads slightly more smoothly in Spanish, but the poetry and story are unremarkable. The accompanying cartoon drawings are equally unimpressive….” (School Library Journal)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=647f178bfe2a50a6782ecbc9a0d981bf

CONNECTIONS
Other of poetry for children K-6:
Thompson, Richard. THE FOLLOWER, ISBN 978-1-55041-880-4
Mora, Pat (Ed.) LOVE TO MAMA, ISBN 978-1-58430-235-3
Ada, Alma Flor. DREAMING FISH, ISBN 978-1-58105-581-8

Other books by Pat Mora:
UNO, DOS, TRES: ONE, TWO, THREE, ISBN 978-0618054688
TOMAS AND THE LIBRARY LADY, ISBN 978-0375803499
THE RAINBOW TULIP, ISBN 978-0670872916

Review of DOÑA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART

Mora, Pat. Raul Colón (Ill.) 2005. DOÑA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART. New York, NY: Alfred A. Knopf. ISBN 978-0-375-82337-4

PLOT SUMMARY
Doña Flor, as the title suggests, is a large woman. So large that she hugs the wind, cradles livestock in her arms, and makes tortillas so big the town’s children use them as rafts. Not only is she large, this kind-hearted woman cares for her fellow townspeople. When they are frightened that a giant puma will attack the pueblo, Doña Flor tries everything to allay their fears and cheer them up. She reads stories to the children, scratches a new riverbed with her thumb, and shares the giant fruits of her garden. It is not until Doña Flor solves the mystery of the puma that the townspeople are able to return to their lives of peace and harmony.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This story offers a plethora of cultural markers. Both the text and illustrations support the conveyance of the Hispanic culture. The interlingualism and illustrations depict a rural adobe pueblo. Through the use of language and setting, Pat Mora shares a tale of Doña Flor and her adventure with the giant puma.

The language used in this story is primarily English. However, there are Spanish phrases and terms peppered throughout. This use of interlingualism adds to the Hispanic flavor of the story. Mora chooses not to utilize a glossary for this book. However, the context surrounding each term is sufficient for full comprehension for even those with no Spanish-speaking abilities. “She built her own house, una casa big as a mountain….” The title character’s name, Flor, is subtly explained, “…she sang to her sweet baby, her sweet flower, …Flor.” Mora also uses Spanish terms which are easily recognized such as pueblo, tortilla, and amigo.

Raul Colón’s illustrations provide cultural information regarding both characters and setting. While of unusual stature, Doña Flor’s hair, skin tone, and facial features are authentically Hispanic. Her black hair is worn in a traditional braid wrapped around her head, the skin tone of the townspeople is a tanish brown, and Doña Flor has a strong nose and round face. Each characteristic in isolation could depict any number of ethnicities. However, when used in concert the resulting vision is of a clearly Hispanic community.

The illustrations reveal architecture which is characteristic of the southwestern U.S. and other desert or dry environments. The village is populated with flat-roofed adobe houses and buildings. Some of the homes are built into a hillside, typical in areas which require protection from the heat and other elements. This type of architecture is customary in some Hispanic communities of the southwestern United States.

While this tall tale could be generalized to many cultures, the interlingual text as well as the water color and etched illustrations place DOÑA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART distinctly into the genre of Hispanic culture. Mora and Colón team up to create an Hispanic folktale with a maternal heroine whom we should all be so lucky to know.

REVIEW EXCERPTS
The plot is weak (a dangerous puma turns out to be harmless), but the cultural context is rewarding, as are the paintings, created with an intriguing combination of watercolor washes, etching, and colored and litho pencils. (Horn Book)
“ Colón’s gorgeous illustrations (with his round, swirling scratchboard style in warm, buttery colors) steal the show here, as the pleasantly rhythmic but overly meandering tall tale isn't arresting enough plot-wise to avoid bogging down in its heaps of hyperbole.” (Kirkus Review)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other tall tales for children:
Grambling, Lois G. ABIGAIL MUCHMORE: AN ORIGINAL TALE, ISBN 978-0-7614-5116-7
Schnetzler, Pattie L WIDDERMAKER, ISBN 978-0-87614-647-7
Rossi, Joyce. EL CHAPARRON TORENCIAL, ISBN 978-0-87358-728-0

Other books by Pat Mora for K-3 readers:
A BIRTHDAY BASKET FOR TIA, ISBN 978-0-689-81328-3
MARIMBA! ANIMALES FROM A TO Z, ISBN 978-0-618-19453-7
YUM! MMMM! QUE RICO! AMERICAS’ SPROUTINGS, ISBN 978-1-58430-271-1

Review of NEIGHBORHOOD ODES

Soto, Gary. David Diaz (Ill.) 1992. NEIGHBORHOOD ODES . New York, NY: Harcourt Brace & Co. ISBN 978-0-152-568-795

PLOT SUMMARY
NEIGHBORHOOD ODES by Gary Soto is a delightful collection of poetry. The mental images conjured by Soto’s words will illicit a smile from the reader—no matter the neighborhood of origin. Odes to commonplace things such as sprinklers, parks, cats, and libraries ensure all readers will find a connection within this assortment of poetry. Diaz’s black and white illustrations, reminiscent of the Mexican art of papel picado, reinforce the link between the poetry and the Mexican-American culture it reflects.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This collection of poetry is accessible to a range of readers—young and old—from a variety of ethnic backgrounds. While Soto is clearly representing the Hispanic culture, he does so without excluding other ethnicities from his readership. Through the use of language, cultural markers such as celebrations and foods, and illustration, NEIGHBORHOOD ODES provides a collection of poetry which humorously and respectfully embraces Latino culture.

Soto successfully uses language to convey an Hispanic-American flavor through his poetry. The use of interlingualism, switching back and forth from English to Spanish, complements his work. This practice can be distracting or, at its worst, decrease the authenticity of the literature. However, Soto manages to incorporate both languages in a fluid manner. “I count to ten, uno, dos, tres…” (Soto, p. 5) Spanish words are slipped into the middle of sentences in natural phrasing, as in “Ode to the Sprinkler,” “I run como un chango…” (Soto, 6). While the reader may not know every word in a poem, neither is his or her enjoyment hindered by the use of two languages. Soto provides a glossary at the end of the book. This unobtrusive tool helps English-only readers increase their comprehension without interrupting the flow of each poem.

The subject matter of many of the poems, including foods and celebrations, offer clues as to the cultural focus of this collection of poetry. Raspados (snow cones), chicharrones (pork rinds), and pomegranates are among the foods to which Soto pays tribute. Soto also uses celebrations as the focus of his poetry. These include birthdays (“Ode to La Pinata”), the Fourth of July (“Ode to Fireworks”), and weddings (“Ode to Weddings”). Despite the fact that the experiences of the characters reflect Hispanic culture, the perspective is one that is shared by many cultures. In “Ode to Fireworks,” two brothers use up all of their fireworks before nightfall and we see a familiar fraternal exchange. “We’re mad for not waiting. I punch him in the arm and he punches me back….We watch the sky for rockets” (Soto, p. 47).

David Diaz’s illustrations also demonstrate the book's cultural influence. Diaz’s black and white drawings in the style of the folk art papel picado, allow the reader to see an unmistakably Mexican influence.

The interlingual text, references to traditional foods and celebrations, and use of papel picado-style illustrations reveal an infusion of Hispanic culture. Because of—and perhaps even in spite of—its Mexican influence, this collection of poetry is likely to find fans across many cultures.

REVIEW EXCERPTS
“The Hispanic neighborhood in Soto's 21 poems is brought sharply into focus by the care with which he records images of everyday life…. Affectionate without being overly sentimental, the collection provides a good introduction to contemporary poetry as well as a fine homage to a Chicano community.” (Publisher’s Weekly)
“Although Soto is dealing with a Chicano neighborhood, the poetry has a universal appeal.” (School Library Journal)

Reviews obtained from Amazon.com and accessed at:
http://www.amazon.com/Neighborhood-Odes-Gary-Soto/dp/0785724966/ref=sr_oe_1_3/105-9798100-6170832?ie=UTF8&s=books&qid=1183153669&sr=1-1

CONNECTIONS
Other collections of poetry for children K-6:
Mora, Pat. LISTEN TO THE DESERT=OYE AL DESIERTO, ISBN 978-0-618-11144-2
Bernier-Grand, Carmen T. CESAR: SI, SE PUEDE!, ISBN 978-0-7614-5283-6
Argueta, Jorge. TALKING WITH MOTHER EARTH, ISBN 978-0-88899-626-8

Lee, Claudia M. Ed. MANDADEROS DE LA LLUVIA: Y OTROS POEMAS DE AMERICA LATINA, ISBN 978-0-88899-471-4

Other books by Gary Soto for K-3 readers:
CHATO’S KITCHEN, ISBN 978-0-698-11600-9
SNAPSHOTS FROM THE WEDDING, ISBN 978-0-698-11752-5

TOO MANY TAMALES, ISBN 978-0-399-22146-0

What the World Eats

Photo Essay from Time Magazine. Food is a wonderful insight into one's culture. Click on this link for an interesting perspective:

http://www.time.com/time/photogallery/0,29307,1626519_1373664,00.html

Review of ELLA FITZGERALD: THE TALE OF A VOCAL VIRTUOSA

Pinkney, Andrea Davis, and Brian Pinkney. 2002. ELLA FITZGERALD: THE TALE OF A VOCAL VIRTUOSA. New York, NY: Jump at the Sun/Hyperion Books for Children. ISBN 0-786805684

PLOT SUMMARY:
ELLA FITZGERALD: THE TALE OF A VOCAL VIRTUOSA is an account of some of the high points in Ella Fitzgerald’s life. Told from the perspective of Scat Cat Monroe who was there from “the get-go,” the story follows Ella’s life from dancing on the street corner to becoming honored by two U.S. Presidents for her talent. Infused with period terminology, Pinkney’s version of Fitzgerald’s life may be difficult for young readers to understand. However, older readers and people familiar with her work will love the celebration of Ella’s successes through both text and delightful illustrations.

CRITICAL ANALYSIS:
Andrea Davis Pinkney and Brian Pinkney team up to produce a vibrant retelling of Ella Fitzgerald’s musical career. This nonfiction piece utilizes accuracy, organization, design and style to relay the story. The incorporation of African-American culture further contributes to the story’s meaning and overall presentation.

The accuracy of this book is validated by the author’s research. In collaboration with Quincy Troupe and the Carnegie Hall Archives, Pinkney’s story is wholly believable. In addition to research done at the Museum of the City of New York, Pinkney offers a bibliography to support the facts presented in ELLA FITZGERALD. At the end of the book is a listing of resources, including books, videos, and records. Whether or not they are interested in continuing to learn about The Queen of Scat, older readers will find these items both interesting and entertaining.

Each era in Ms. Fitzgerald’s life is organized into a “track” (chapter). The tracks follow Ms. Fitzgerald from dancing on the street corners in her home town of Yonkers, New York, through her rise in popularity as a singer in Harlem, to nationwide recognition. The book ends hailing her legendary status as The First Lady of American Song. Scat Cat Monroe, a self-proclaimed expert on Ella Fitzgerald, is the reader’s guide.

The illustrations are sometimes surreal and always embody the music they celebrate. The musicians and dancers portrayed in ELLA FITZGERALD illustrate African-American music and culture during jazz’s swing and bebop popularity. Brightly colored suits and dresses and wing-tip shoes adorn each character. Brian Pinkney’s scratchboard technique, bright colors, and ability to convey movement make the illustrations the best part of this biography.

The culture of this book is demonstrated via voice and vocabulary. The narrator, Scat Cat Monroe, embodies Harlem and jazz in the thirties. “Baby, I’m in a class all by myself.” Later, Scat Cat refers to another musician as “a finicky bird. Easy to ruffle.” These phrases and others, such as strut her shuffle, shade the high notes, grits with gravy, milked the backbeat, and ham-hock jabber offer a window to the culture of the music scene in Harlem in the 1930s. However, they are overused and potentially confusing—especially for English language learners. On the other hand, the racial issues of the time are mentioned only in passing, “…a true star has no color.”

This account of Ella Fitzgerald’s life is by no means exhaustive. By offering a list of references in a variety of formats at the end of the book, as well as comprehensive Notes from the author and illustrator, readers are encouraged to study jazz and the contributions made by the Vocal Virtuosa.

REVIEW EXCERPTS:
"The prose, while occasionally labored, swings to a syncopated beat and piles on the synesthesia ("Ella rolled out a tune sweet enough to bake"). …A `skippity-hop-doo-dee-bop' picture book." (Publisher’s Weekly)
"In a playful, conversational tone, this work nearly sings the rhythms of scat. …Bright colors, jazzy words, and energetic artwork bring the music of scat and Fitzgerald to life." (School Library Journal)

CONNECTIONS:
Other books by Pinkney about African Americans:
DUKE ELLINGTON: THE PIANO PRINCE AND HIS ORCHESTRA
ALVIN AILEY
DEAR BENJAMIN BANNEKER
LET IT SHINE: STORIES OF BLACK WOMEN FREEDOM FIGHTERS
BILL PICKETT: RODEO-RIDIN’ COWBOY

Other books about Jazz
DUKE ELLINGTON: THE PIANO PRINCE AND HIS ORCHESTRA by Andrea D. Pinkney
CHARLIE PARKER PLAYED BE BOP by Chris Rascka
DIZZY by Jonah Winter
JOHN COLTRANE’S GIANT STEPS by Chris Raschka

Review of TONING THE SWEEP

Johnson, Angela. 1993. TONING THE SWEEP. New York, NY: Orchard Books. ISBN 978-0-531-086261

PLOT SUMMARY
Emmie and her mother are going to the desert to collect Ola, Emmie’s grandmother. Unlike her annual summer visits to Ola’s house, this time Emmie is helping her move to Cleveland to live with them. Before they leave, Emmie sets out to gather memories for Ola by videotaping her friends and neighbors. Not only does she learn how much her grandmother is loved, but also why her own mother is sometimes so sad and angry. In this slow-moving novel, a young girl helps her mother and grandmother through a process of healing and closure. Author Angela Johnson attempts to reveal how emotional hurt runs as deeply as that of physical ailments in TONING THE SWEEP.

CRITICAL ANALYSIS
TONING THE SWEEP is the story of a 14-year old African-American girl who travels to her grandmother’s house with her mother. The girl, Emmie, has visited Ola, her grandmother, every summer since she was two. This visit, however, is different. Through the use of language, characterization and setting, Angela Johnson writes a story which allows the reader to watch a family deal with life-threatening disease and the loss of loved ones through a uniquely African-American lens.

As the characters talk to one another, their relationships as well as their culture are exposed. “Girl, you’d better put that hat on…” (p. 8). “I hope you never get to see hate, baby” (p. 33). The characters’ concern and love for one another comes through in their dialog. Further, terms of endearment such as baby, girl, honey, and sister are terms often used in African-American culture. Other phrases which connote generational as much as ethnic culture are used throughout the novel. As Emmie practices using the video camera she admits, “guess I’ll get it when I chill a little” (p. 19).

While ethnicity is never an overt topic in TONING THE SWEEP, characterization provides hints throughout the story. The main character, Emmie, has a variety of characteristics. Her grandmother affirms she is a “smart ass”—a typical teenage trait. However, Emmie admits to not having a clue about how to be cool. She thinks to herself that most of her friends wouldn’t admit to liking their grandmothers as she does. Ola is an irreverent and bold character. At one point in the story she tells Emmie, “Hair should be kept at home—not loaned out to people who want to put strange objects and creams in it…when you know your pets will be scared of you when you get back to the house” (p. 44). This statement can be attributed to Ola’s lack of vanity. However, it may also be a rejection of the phenomenon of Black people buying into the White definition of beauty. Ola surrounds herself with good friends such as the aunts. The aunts are described in the story as wild and free. They tell stories, braid hair, and roll on the floor laughing. With Johnson’s description, it is easy to draw a mental picture of these senior African-American sisters.

The dry, seemingly infertile setting of the desert is juxtaposed with the thriving, fertile personalities which inhabit it. While Ola initially wonders what she will be able to grow in “the dry,” it is clear she has nurtured many lush relationships. These relationships helped her to survive losing her husband and growing apart from her daughter. Despite her loses, Ola’s warm and easy relationship with her granddaughter flourishes like kudzu vine in this barren setting.

The language, characterization and setting in TONING THE SWEEP contribute to the plot and cultural relevance of the story. As the characters interact with the setting and one another, the reader senses the familial bonds and culture which Johnson has set forth.

REVIEW EXCERPTS
“Johnson's spare, beautifully written first novel—a thematic extension of Tell Me a Story, Mama (1989)—portrays a crucial turning point for African-American women from three generations.” (Kirkus Reviews)
“PW, in a starred review, praised this “thoughtfully nuanced and penetrating” novel about three generations of women from an African American family who must cope with a beloved grandmother's illness.” (Publisher’s Weekly)
Coretta Scott King Award, 1994

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/main?SID=b8eed00e8fcf7b8bd35cecbbffabda05

CONNECTIONS
Other books by Angela Johnson:
Bird, ISBN 978-0-14-240544-4
The Other Side: Shorter poems, ISBN 978-0-531-07167-0
The First Part Last, ISBN 978-0-689-84923-7
Heaven, ISBN 978-0-689-82229-2

Books by Jacqueline Woodson:
Behind You, ISBN 978-0-14-240390-7
Between Madison and Palmetto, ISBN 978-0-399-23757-7
Locomotion, ISBN 978-0-14-240149-1

Review of MONSTER

Myers, Walter Dean. 1999. MONSTER. New York, NY: Harper Collins. ISBN 978-0-06-028078-9

PLOT SUMMARY
Sixteen-year old Steve Harmon is on trial for murder. His part in the crime is said to be that of making sure the coast is clear. Steve didn’t pull the trigger. He didn’t actually do anything, did he? Steve’s life is explored through his thoughts, memories, and conversations. Told from a movie director’s perspective, Steve provides his side of the story. Sparse flash-backs give clues as to what actually happened. However, the reader must decide if the story told is the truth or a movie version of an innocent boy wrongly accused.

CRITICAL ANALYSIS
MONSTER explores the cultures of Harlem and prison. The two settings take turns creating the world in which Steve Harmon lives. While the majority of the voices and characters in the story are likely to be African Americans, ethnicity is not always clear. Walter Dean Myers delves into the cultures of Harlem and prison through the use of language, characterization and setting.

The story begins with a young man in prison. He is frightened by those with whom he shares his cell and those with whom he must interact. He is disgusted by the smells and lack of privacy. In his attempt to deal with his fears, Steve resorts to writing a screenplay about his experiences. “If I didn’t think of the movie I would go crazy. All they talk about in here is hurting people….I hate, hate, hate this place” (p. 45). Prisoners blame their situation on “the man.” They threaten to hurt each other; beating up those who show weakness. In Myers depiction of the Manhattan Detention Center, prison guards are unwilling or unable to stop the violence. In the courthouse guards taunt defendants and defendants taunt each other—thus extending the culture of prison beyond its walls. Nothing in Steve’s past has prepared him or his family for this experience with prison. On visiting day, his father admits, “it just never came to me that you’d ever be in any kind of trouble…” (p. 112).

Harlem, a historically black neighborhood and Steve’s home, is the setting of his flashbacks. Steve is a good student who excels in film class. His father is a college graduate. By all accounts, Steve should be a good kid. Good kids can become associated with a criminal without becoming one, can’t they? Steve associates with young men who see stealing and gang membership as a way of life. While he never overtly accepts these behaviors, neither does he reject them. Through the community members, readers see the neighborhood’s culture including an acceptance of crime. When asked if he was shocked by a murder, one resident replied, “I ain’t shocked. People getting killed and everything and it ain’t right but I ain’t shocked none” (p. 121). The characters are rounded out through language. Use of the word ain’t peppered throughout the dialogue and well-placed examples of Black New York vernacular add to the flavor of Harlem’s culture without confusing the reader.

Myers’ young adult novel, MONSTER, offers a perspective on the culture of prison life as well as the lives of Harlem residents. While these two cultures are certainly not inextricably linked, the reader must see Steve’s life in Harlem in order to fully understand the impact prison has on him and how he got there. Perhaps it is the community’s resignation to senseless murder that places Steve in harm’s way. Perhaps his place of residence—with its poverty and unemployment—places him on the path toward a life of crime. After all, he did not go looking for trouble. In her closing argument, the prosecution declares “if he had chosen priests and Boy Scouts as his companions, I’m sure we wouldn’t be here today” (p. 261). Indeed, would any of us?

REVIEW EXCERPTS
“Balancing courtroom drama and a sordid jailhouse setting with flashbacks to the crime, Myers adeptly allows each character to speak for him or herself, leaving readers to judge for themselves the truthfulness of the defendants, witnesses, lawyers, and, most compellingly, Steve himself.” (Horn Book)
“Myers combines an innovative format, complex moral issues, and an intriguingly sympathetic but flawed protagonist in this cautionary tale of a 16-year-old on trial for felony murder.” (BookList)
Coretta Scott King Award, 2000
National Book Award Finalist, 1999
Michael L. Printz Award, 2000

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/main?SID=b8eed00e8fcf7b8bd35cecbbffabda05

CONNECTIONS
Other books by Walter Dean Myers:
Bad Boy, ISBN 978-0-06-447288-3
The Beast, ISBN 978-0-439-36842-1
The Glory Field, ISBN 978-0-590-45898-6
Malcolm X: A fire burning brightly, ISBN 978-0-06-027708-6
Slam!, ISBN 978-0-590-48668-2
Street Love, ISBN 978-0-06-028080-2

7 More Children in Kabul are Dead

Parvana's story continues...
Read the full Associated Press story at:
http://hosted.ap.org/dynamic/stories/A/AFGHANISTAN?SITE=FLTAM&SECTION=US&TEMPLATE=DEFAULT&CTIME=2007-06-18-09-42-37

Review of PARVANA’S JOURNEY

Ellis, Deborah. 2002. PARVANA’S JOURNEY. Toronto, Ontario: Groundwood Books. ISBN 0888995148

PLOT SUMMARY
After burying her father, 13-year old Parvana continues her journey in search of her mother and siblings. In war-torn Afghanistan it isn’t safe to walk around—much less if you are a girl. Parvana wears her hair short and passes as a boy so she can continue her search in the relative safety reserved only for males in this country. Along the way, Parvana is joined by new ‘family members:’ a baby brother, an older brother and a sister. Together, they wander Afghanistan in search of food, water, shelter from bombs and their families. PARVANA’S JOURNEY reveals the wretched situation of the people of Afghanistan during the 1990s and the relentless hope held by its children whom “we force to be braver than they should have to be” (Ellis, 5).

CRITICAL ANALYSIS
PARAVANA’S JOURNEY takes the reader on a trip across Afghanistan with a 13-year old girl. Afghanistan and the Muslim culture, specifically under Taliban domination, is depicted through a variety of literary methods. Ellis uses language, characterization and setting to portray the society and culture of Parvana’s world.

Ellis’ use of language adds flavor to the text through both description and dialog. The characters’ names such as Parvana, Shauzia and Asif allude to a middle-eastern setting. The story is peppered with non-English terms like burqa, toshak and shalwar kameez. While these terms are not defined in the text of the story, context is often all the reader needs to understand the general meaning of unfamiliar words. For some culture-specific terms, Ellis provides a definition in a glossary at the end of the book.

Dialog, both internal and external, is another cultural indicator in PARAVANA’S JOURNEY. The main character, Parvana, acknowledges to herself she has “given up trying to understand why the Taliban hated women” (p.12). The children speak to each other of things such as tanks, bombing planes and empty bellies. They build shelter with plastic sheeting and pick up grains of rice to be eaten raw when there is no other food. While this type of danger and poverty can and does occur in many places around the world, it offers a view of the grim situation in which many Afghan children find themselves.

The characters in Ellis’ novel offer further insight into Afghan society. Parvana and her family are of a progressive, less traditional ilk. Parvana’s father taught her poetry, astronomy, math and English. Her mother is an organizer, helping families work together and teaching children in the camps. She also writes articles for women’s magazines which are forbidden in Afghanistan. Asif, Parvana’s new ‘brother,’ seems to have traditional male attitudes toward females. He frequently berates Parvana calling her stupid and weak. However, he is atypically patient and tender with baby Hassan. Though there are many opportunities for Asif to leave, he chooses to stay with Parvana and Hassan, as he puts it, “Just to annoy [her]” (p.193). This caveat is Asif’s attempt to save face. It shows his internal struggle between the traditional view of female inferiority and the need for family and community.

The setting, too, reveals the cultural background of PARVANA’S JOURNEY. There are descriptions of green valleys, hills and deserts. There are also descriptions of land mine fields, villages reduced to rubble and camps for Internally Displaced Persons. Thus, a picture is painted of a once beautiful country now decimated by the ravages of war.

Ellis’ young adult novel, PARVANA’S JOURNEY, offers a perspective on the lives of children in war torn Afghanistan. With no one to take care of them, Parvana, Asif and Hassan must care for themselves. Thus, readers watch the children attempt to rebuild their lives and become a family under the most adverse of circumstances.

REVIEW EXCERPTS
“In this highly readable sequel to The Breadwinner, it's wartime in Afghanistan, and thirteen-year-old Parvana must disguise herself as a boy as protection against the Taliban. After she sets off to find her mother and siblings, she forms a makeshift family with a baby and a contrary boy with one leg. Ellis deftly integrates engrossing characterizations with the harsh daily realities of war.” (Horn Book)
“A bittersweet ending offers some hope for Parvana and her family, but readers are left with a horrifyingly realistic picture of the effect of war on children. While the reading is not difficult, the grim content cries out for discussion. An unforgettable read.” (School Library Journal)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other books in this trilogy by Deborah Ellis:
Ellis, Deborah. The BREADWINNER. ISBN 978-0-88899-419-6
Ellis, Deborah. MUD CITY. ISBN 978-0-88899-518-6

Other novels about refugees:
Williams, Mary. BROTHERS IN HOPE: THE STORY OF THE LOST BOYS OF SUDAN. ISBN 978-1-58430-232-2
Lombard, Jenny. DRITA, MY HOMEGIRL. ISBN 978-0-399-24380-6

Review of KOALA LOU

Fox, Mem. 1988. KOALA LOU. Ill. by Pamela Lofts. New York, NY: Voyager Books. ISBN 0152005021

PLOT SUMMARY
KOALA LOU is a story of a young koala who tries to regain her mother’s love by winning a tree climbing contest. Her whole life she has heard, “Koala Lou, I DO love you!” However, as the family grows, Koala Lou’s mother has less and less time to dote on her. In the end, Koala Lou discovers she cannot and does not need to win her mother’s love by climbing the fastest. As “she hugged her for a very long time,” Koala Lou realizes her mother’s love is unconditional.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This story offers many cultural markers. The species of animals as well as the language make the location of KOALA LOU evident. Australia is home to the emu, platypus, koala and kookaburra. Not surprisingly, it is also the home of the author, Mem Fox. The animals mentioned in the text are not the only indicators of the story’s origin. There are several animals portrayed in the illustrations which are also indigenous to Australia. These include the wombat, bush baby, Tazmanian devil, kangaroo, and parrot.

The language used in this story is primarily standard American English. However, there are a few phrases and terms which allude to the story’s origin. For example, the mother asks Koala Lou, “How’re ya goin’, blossom?” The use of the term ‘goin’” diverges from the typical American phrase, “How’re ya doing?”

The setting provides another clue to the reader as to the origin of the story. Koala Lou intends to participate in the Bush Olympics. Bush is a term often used to refer to the Australian wilderness. This reference to the bush as well as the eucalyptus trees in the illustrations leave little doubt in the reader’s mind of where this story takes place.

This sweet story tells of a child’s insecurities and her mother’s unconditional love. While this theme is universal, the characters, language and setting place the story distinctly in Australia. KOALA LOU gives the reader insight to the flora and fauna which may be found in Australia. Readers are drawn into the story not only through the text, but also through the illustrations as they recognize familiar animals and learn new ones. Rather than minimizing the audience, the specific origin of the story adds to its richness and appeal.

REVIEW EXCERPTS
A starred Horn Book review summarizes the story as “a gentle tale set in the Australian bush. A good choice for story hour, bedtime, or reading aloud.”
“This satisfying reworking of a familiar and ever-important theme is appealingly illustrated--bright colors, soft-edged sculptural forms, precise detail, dozens of expressive animals. Another winning import from one of Australia's favorite authors.” Kirkus Review
Publisher’s Weekly states, “Lofts's colored-pencil drawings portray the Australian flora and fauna beautifully, including a few of the more exotic species.”

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other books for children about Australia:
Lester, Alison. ARE WE THERE YET?: A JOURNEY AROUND AUSTRALIA. ISBN 9781929132737
French, Jackie. DIARY OF A WOMBAT. ISBN 9780618381364
Spilsbury, Louise. WATCHING KANGAROOS IN AUSTRALIA. ISBN 9781403472250

Other books originally published in Australia:
French, Simon. GUESS THE BABY. ISBN 9780618259892
Wild, Margaret. KISS KISS! ISBN 9780689862793
Trinca, Rod. ONE WOLLY WOMBAT. ISBN 9780916291105

Review of THE KILLER'S TEARS

Bondoux, Anne-Laure. 2006. THE KILLER'S TEARS. New York, NY: Delacourte Press. ISBN 0385732937

PLOT SUMMARY
Paolo Poloverdo was not born on the day he came out of his mother's womb. Rather, he was born the day Angel Allegria entered his life. Paolo’s home, the southernmost tip of Chile, provided only the barest of essentials for its inhabitants. Ironically, it was Angel Allegria, a thief and a murderer, who brought wholeness to Paolo's life. However, it was not only Paolo who benefited from the relationship. Through his relationship with Paolo, Angel's life became whole and developed meaning. To Angel, running from the law had been a game. But now, being taken to jail meant abandoning Paolo--the one thing he could not bear to do. No one, not even Paolo and Angel, could fully understand their relationship. In the end, the journey taken through this inexplicable relationship enabled Paolo to bury Angel's sins and finally express love toward a family of his own.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE KILLER’S TEARS is more a commentary on the death penalty and on isolated, rural communities rather than Chilean society. Author Anne-Laure Bondoux paints a picture of a cruel outlaw—Angel Allegria—who is wanted for murder. Initially, it is difficult to feel much sympathy for him. However, by the end of the story, there is little doubt of Angel’s change of heart and worthiness of a second chance. The sense of isolation is complete through Bondoux’s vivid description of the Poloverdo farm. This homestead lacks electricity, running water and a nearby market--amenities most urban areas have. This physical isolation from the rest of society permeates the lives and emotional state of the Poloverdos. While it is this isolation which leaves Paolo impassive when his parents are murdered in their own home, this same isolation gives Angel a second chance at life.

The only Spanish language present in the English translation are names. These names are full of meaning. The main character, Paolo Poloverdo, is a boy who lives on a rocky coastal farm. His name, Poloverdo means strong, fertile foundation. Angel Allegria is a thief and murderer. His name means happy angel. Another character, Luis Secunda, is a young man who is trying to find his destiny. His surname, Secunda, means support or second. While these names may seem ironic, their meanings are borne out in the characterizations. For example, Paolo is the fertile foundation for Angel's salvation and ability to love. Similarly, Angel serves as Paolo's salvation. For it was through Angel's commitment to caring for Paolo that the boy learned to trust and love others. Finally, Luis acts as a support for both Paolo and Angel. While his initial support is in the form of teaching Paolo to write and read, for a time he supports the men financially.

The characters in THE KILLER'S TEARS could be from many places around the globe. Paolo lives on an isolated farm, living off the land. Angel is raised in a brutal inner-city environment where violence is a common solution to problems. Luis is a well-to-do son of a wine merchant who seeks to run away from his family's expectations. Finally, Ricardo Murga is a soon-to-be retired lumberjack and carpenter. This varied set of characters serves to universalize the emotions and messages relayed in the story by speaking to different types of readers.

The setting, too, is universal. Paolo's homestead; the isolated, windy farm, has a small but sturdy one-room house. Water is scarce and goats milk is less so. Nothing--not food, drink nor firewood--is abundant. The dingy bustling port town of Punta Arenas has mud streets and a market. The bank building has a water fountain, sweets and a carpet so soft Paolo “wanted to remove his shoes to feel the softness under his feet” (p. 53). Finally, the quiet and peaceful forest adds to the readers’ sense of the different types of environments which can be found within the country of Chile. Most readers will have experienced one of these settings either personally or vicariously. This diversity enhances the readers' ability to generalize and connect with the story.

Bondoux’s young adult novel, THE KILLER’S TEARS, offers a window into the lives of physically isolated and socially disconnected characters. She takes the reader on a journey with the characters—a journey which reconnects them with others and with themselves.

REVIEW EXCERPTS
A starred Horn Book review said, “In commanding, starkly poetic language, Bondoux shows how the two [Paolo and Angel] become emotionally dependent on each other and persuades readers that the murderer and his "son" belong together.”
Publisher’s Weekly notes, “if not for the mention of surveillance cameras in the town's bank, this tale could be set almost anytime.”
School Library Journal comments, “while the book's haunting, melancholy air will keep readers turning pages, the complex yet remote telling gives it the feel of South-American literature….”

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other books for young adults about the death penalty:
Streissguth, Thomas. The death penalty: debating capital punishment. ISBN 978-0-7660-1688-0

Other Batchelder Award and Honor novels are:
Mourlevat, Jean-Claude. PULL OF THE OCEAN. ISBN 978-0-385-73348-9
De Mari, Silvana. THE LAST DRAGON. ISBN 978-0-7868-3636-9Holub, Josef. AN INNOCENT SOLDIER. ISBN 978-0-439-62771-9