Review of FOUR LEGS BAD, TWO LEGS GOOD!

Johnson, D.B. 2007. FOUR LEGS BAD, TWO LEGS GOOD! Boston: Houghton Mifflin Company. ISBN 978-0-618-80909-7. $16.00.

While most of the animals of the No-Man Farm are working hard to keep it running, Orvie the pig is not. When Duck discovers Orvie is a lazy despot rather than a hard-working farmer, he decides to do something about it. Duck pulls the plug on their routine challenging the validity of the way things are.

Johnson’s layout includes Picasso-like, mixed media illustrations and hand-lettered text. Many pages are presented in a series of comic book frames and conversations are presented in speech bubbles. This format is likely to hold young readers’ attention by illustrating sequencing and dialog. Though this book may prove to be over the heads of its primary audience, its usefulness is clear. The lazy pig and pestering duck are sure to strike a chord with young children. Give this book several readings if you want to catch all the details creatively peppered throughout its pages.

“Slightly cubist, cartoon-like illustrations in mixed media capture the lighthearted politics of this comic animal farm.” (Kirkus Review, 2007)
“…More than a few adults sharing it with kids will be tempted to revisit the classic.” (School Library Journal, 2007)

Recommended use: Read aloud, story time, or independent reading for children ages 5-12 years. This is a good story for discussing team work and equality as well as more weighty topics such as oppression and prejudice.

Review of EL GRAN DÍA DE LILY (LILLY’S BIG DAY)

Henkes, Kevin. 2006 (Spanish translation, 2008). EL GRAN DÍA DE LILY. New York: Greenwillow Books. ISBN 978061363160

Lily is back and is as precocious and self-assured as ever. The young mouse best known for her purple plastic purse and movie star glasses now has designs on being the flower girl, la damita de honor, at her teacher’s wedding. Needless to say, Lily is not pleased when she learns that Mr. Slinger’s niece, rather than herself, has been selected. Readers will enjoy watching Lily make lemonade out of lemons as she copes with her disappointment and accepts Mr. Slinger’s concession.

Henkes continues to capture this young mouse’s voice with precision. He uses dialogue, illustrations and text position to emphasize Lily’s signature perseverance. Even after her parents explain to Lily she is not likely to be Mr. Slinger’s choice, Lily confirms to herself, “…I’m going to be the flower girl.” Further, Henkes emphasizes Lily’s commitment to proper flower girl etiquette by using 18 mini-illustrations on a two-page spread!

The Spanish translation of the text flows well with few unfamiliar words. The terms “tarareó” and “aula” are not commonly used among our school’s population. However, Henkes’ skillful use of context clues facilitates comprehension as well as vocabulary lessons. Criticas says, “the translation sparkles” and Horn Book notes “seeing this book in Spanish is a reminder that a good translation, such as this one, can make a story transcend language barriers.”
Recommended use: read aloud, story time, or independent picture walks for readers ages 5-9 years.

Review of UN LEON EN LA BIBLIOTECA (LIBRARY LION)

Knudsen, Michelle. Kevin Hawkes (Ill.) 2006 (Spanish translation, 2007). UN LEÓN EN LA BIBLIOTECA. New York: Lectorum. ISBN 978-1-933032-30-6

How important are rules? If the rules don’t apply, then what? As a lion walks through the library sniffing and rubbing, El Señor McBee wonders just that. The wise librarian, Señora Buendía, responds, “déjelo estar” (let him stay). This thoughtful story challenges readers to consider, “When is it ok to break the rules?”

Hawkes’ acrylic and pencil illustrations use soothing, muted tones reflecting the calm library environment. Even the text is a light brown shade rather than the traditional black. When the lion leaves, the text and illustrations make it evident he is missed—down to the wilting plant in the window. Throughout the story, wide-open eyes and mouths agape emphasize the text’s meaning. Señor McBee’s scowling face reveals a jealousy at which the words merely hint and text within the illustrations emphasizes the vehemence of Lion’s roar.

The Spanish translation of the text flows well with few unfamiliar terms. The phrase “mostrador de préstamo” (circulation desk) is new to me, but familiar to a colleague from Monterrey, Mexico. Teresa Mlawer’s translation uses formal yet accessible Spanish to relay Knudsen’s story. Criticas says, “kids will be drawn to [the lion], to the library, and to storytime.”

Recommended use: read aloud, story time, or independent picture walks for readers ages 5-9 years. Good story for beginning of the year “Rules” lesson or “How to respond in an emergency” lesson.

Review of SNAKES

Gibbons, Gail. 2007. SNAKES. New York: Holiday House. ISBN 0-8234-2122-8

Historically, snakes have been seen as gods and symbols of health. But today, the mention of snakes makes many people’s skin crawl—even though most of the 3,000 kinds of snakes are harmless to humans. Gibbons hits yet another homerun with this accurate, well-organized, and informative book on snakes. Though somewhat cartoonish, Gibbons illustrations are accurate and labeled with the name and geographic region of each snake. A color-coded world map highlights the areas which snakes inhabit. The short text blocks include easy-to-read sentences which are supported by the corresponding pictures. This style facilitates reader comprehension. Gibbons’ use of complete sentences in her captions also models proper writing form. Specific information in this book is easily found by using the bold, consistently located headings. In order to share tidbits about snakes which did not fit into a heading, a fact page is included. There is neither an additional resources section nor a bibliography in SNAKES. This leads the reader to independent research, though a few hints would have been nice.

This informational resource on snakes is recommended for readers ages 5-10.

Review of NATIONAL WILDLIFE FEDERATION’S YOUR BIG BACKYARD

National Wildlife Federation. May 2008. YOUR BIG BACKYARD, 12(5). ISSN 0886-5299

From photographs and articles to games and recipes, this magazine for young animal enthusiasts has something for everyone! Published by the National Wildlife Federation, YOUR BIG BACKYARD contains accurate information on all types of animals. Each issue has a theme on which all pieces focus—May’s theme is Meet the Kids. It includes information on the appearance, habitat, and other characteristics of baby animals. Interspersed among the informational text are rebus stories, mazes, a pull-out poster and the Find Bonnie game. Many of the features, such as kid-friendly recipes, recur throughout the year. This provides a comforting sense of predictability for young children. Interaction between the reader and her caregiver is encouraged by including such things as shared reading stories, the use of questioning, as well as crafts. Every item in the magazine is outlined in a clear, attractive table of contents using both words and pictures to help readers find articles. The articles themselves are marked with page numbers and an easily recognizable title. In addition, pictures support new readers by having well-matched captions. The voice is right on target for this magazine’s intended audience. Though anthropomorphism is found throughout the issue, it is reflective of how many young children perceive and interact with animals. Short articles and stories, succinct sentences, and opportunities for interaction make YOUR BIG BACKYARD a hit month after month.

This magazine is highly recommended for animal enthusiasts ages 3-6.

Review of A PICTURE BOOK OF DWIGHT DAVID EISENHOWER

Adler, David A. 2002. A PICTURE BOOK OF DWIGHT DAVID EISENHOWER. New York: Holiday House. ISBN 09-8234-1702-6

Ever heard, “I like Ike” and “I still like Ike?” From this picture book biography, the reader can assume that David Adler still likes Ike too. This biography of Dwight Eisenhower is one in a series of over 30 picture book biographies Adler has written. Though easy to read, entertaining and packed with original photographs, alas this book falls into the trap of glorifying its subject. Though a praiseworthy man, the litany of compliments, including “brilliant leadership,” “friendly and popular in school,” “natural leader,” and “superior student,” seem a bit like overkill—as compared to the modest admission that “sometimes he lost his temper.” This glorification notwithstanding, A PICTURE BOOK OF DWIGHT DAVID EISENHOWER is most likely an accurate depiction of his life. In the verso, the executive director of The Eisenhower Foundation praises the book as a “factual pictoral biography.” Reference aids include a time line of important dates and an interesting and informative author’s note. Though many pieces of Eisenhower’s life are introduced, much is left unsaid. Few details of his war experience and his presidency are discussed. An interested reader could use the selected bibliography and recommended websites sections to fill in the gaps. With bestselling books to his credit, Adler is clearly a talented writer. However, I can’t help but wonder, what would Adlai Stevenson have to add to this biography?

This picture book biography is recommended for readers ages 6-10.

Review of THE BROOK BOOK: EXPLORING THE SMALLEST STREAMS

Arnosky, Jim. 2008. THE BROOK BOOK: EXPLORING THE SMALLEST STREAMS. Westport, CT: Dutton Children’s Books. ISBN 9-780525-477167

Mayflies begin their lives here while some fish and wildflowers spend their whole lives here. The chickadee and muskrat depend on it for survival. Brooks can be interesting places and Jim Arnosky sets out to ensure readers of his book know why. With sections on insects, amphibians, plants, fish and more; the reader learns about what can be found in and around brooks and how best to appreciate those things. With particular focus on study and preservation, Arnosky includes strategies for having the least negative impact on this fragile ecosystem. His tone is informative and instructional without being patronizing. Detailed information such as the materials used by the Caddis flies to build their cases sets THE BROOK BOOK apart from other more general books on water ecosystems. The realistic illustrations are labeled and often accompanied by a life-sized silhouette, giving readers a sense of dimension and perspective. An author’s note geared toward teachers encourages the use of brooks as an outdoor learning environment. Also included is a bibliography of resources for additional study on brooks. This piece of informational literature has neither a table of contents nor an index, though its organization lends itself to the use of both. Unfortunately, if the reader is in search of a specific piece of information about brooks, he or she must either browse or read the entire book.

This informational resource on brooks is appropriate for readers ages 5-9.

Review of CHILDREN’S BOOK CORNER: A READ-ALOUD RESOURCE WITH TIPS, TECHNIQUES, AND PLANS FOR TEACHERS, LIBRARIANS AND PARENTS LEVEL PRE-K-K

Bradbury, Judy. 2003. CHILDREN’S BOOK CORNER: A READ-ALOUD RESOURCE WITH TIPS, TECHNIQUES, AND PLANS FOR TEACHERS, LIBRARIANS AND PARENTS LEVEL PRE-K-K. Westport, CT: Libraries Unlimited. ISBN 1-59158-048-X

Judy Bradbury has to her credit a set of handbooks geared toward helping teachers, librarians, and parents in their quest for great read-alouds. This series covers Pre-K through the sixth grade. For the purpose of this review, the Pre-K - Kindergarten volume is referenced. CHILDREN’S BOOK CORNER includes lesson plans for fifty-three different picture books with copyrights ranging from 1942 to 2002. Also included are “pull-out pages” for parents. These pages include tips for parents as well as lists of additional theme-related, age-appropriate trade books. These lists are organized not only by subject, but also by type of book. This includes wordless, poetry and teacher resource books.

This book’s strongest asset is the sheer number of read-aloud lesson plans included. With fifty-three stories, one could read a story per week for a whole year! These lesson plans use classic titles such as GREEN EGGS AND HAM by Dr. Seuss. Bradbury also includes more contemporary books, including Amy Hest’s KISS GOODNIGHT. These lesson plans include critical pieces of information: knowing how long a story takes to read; pre-reading activities used to access children’s prior knowledge; techniques to use while reading the story; follow-up discussion questions and activities; and paired titles (“another book about…is…”). Beyond these thoughtful lesson plans, the author provides a brief description of the elements of a good picture book. In addition, children’s book awards and book review resources, such as The Horn Book Magazine, www.ala.org, and Jim Trelease’s THE NEW READ-ALOUD HANDBOOK, are listed.

Though a useful resource, CHILDREN’S BOOK CORNER has its weaknesses. For example, the copyright on many of the picture books referenced are old—some as old as 1942 (THE RUNAWAY BUNNY by Margaret Brown). While the majority of the books are not 66 years old, most titles are pre-1990. Another of the weaknesses has to do with the photographs included in this resource. Often, there is an unclear connection between the read-aloud plans and the adjacent photos. In one instance, the photographs show an adult and child reading ROSIE’S WALK. However, the photographs are adjacent to the read-aloud plans for BOOTSIE BARKER BITES. The lesson plan for ROSIE’S WALK is later in the book. Perhaps it is because the publisher did not acquire permission to print the covers of these books, necessitating the use of other types of photographs. In my opinion, this particular weakness provokes an amateurish impression. It’s as though the publisher was too lazy to procure permission to use the front covers for the rest of the titles.

Other weak points in this book are not what it includes, rather what it excludes. CHILREN’S BOOK CORNER lacks consistent and complete bibliographic information among the read-aloud titles. Bradbury includes the title, author, illustrator and publisher for each title. Yet, most titles lack the copyright date and none have ISBNs. Other omissions include consistent incorporation of front cover pictures, paired book suggestions, and the books’ classification, i.e. whether a book is Easy or Nonfiction. While the call number might be considered superfluous or an unrealistic expectation, knowing the type of book would be helpful in terms of searching for it. For example, it is unclear if I LOVE TRAINS! is found in the Easy or Nonfiction section of a library or bookstore.

Bradbury is careful to include a complete citation for each book for which a front cover picture is shown. The acquisition of publisher permission is made clear by the consistent use of the phrase “used with permission.” A formal citation for each read-aloud book, however, is not provided. The bibliographic information which is provided is in a table preceding each lesson plan. There is no formal bibliography anywhere in the resource.

The informal, conversational voice makes CHILDREN’S BOOK CORNER easy to read and understand. The book is broken into manageable sections which are delineated by intended audience: teachers and librarians, parents or both. Non-professional educators need not worry about the use of technical terminology nor confusing educational strategies. The teacher/librarian and parent sections contain duplicate information, each with an audience-specific tone. Bold headings facilitate the location of specific information. Another helpful access feature is the inclusion of four different indices. Readers can search by subject, title, author, and illustrator. Bradbury also provides an appendix of “…books too good to miss (but-wouldn’t-fit-in-the-main-section).” These titles are arranged by topic.

This resource speaks to a wide audience—virtually anyone who works with young children. All teachers who work with preschool through kindergarten-aged children would benefit from the information in this book. For librarians who have Easy collections in their libraries, this is an essential title. Finally, parents, grandparents, babysitters—in effect any caregiver of young children—could use these lesson plans to make story time a richer learning experience.

This resource is highly recommended for teachers, librarians, caregivers and parents of children ages 2-6.

Review of THE GREAT REDWALL FEAST

Jacques, Brian. Christopher Denise. (Ill.) 1996. THE GREAT REDWALL FEAST. New York: Puffin Books. ISBN 0-329-21714-3

Of the fifteen plus Redwall books, this one is atypically light-hearted. Written in rhyming prose, Brian Jacques tells a story of abbeymice preparing a surprise feast for the abbot—also a mouse. Luckily for the residents of Redwall, the abbot goes on an unexpected, long walk. As it turns out, he knew all along about the surprise and was intentionally giving the devoted abbeymice an opportunity to prepare “in secret.” Though apparently occurring in medieval times, THE GREAT REDWALL FEAST has no specified era. The setting, the Redwall abbey, is most likely in a fantastic version of Britian. This may be supposed by the dialect reflected in the text, for example using “noice” for nice and “marm” for ma’am. Also, the illustrations show a great castle abbey in a countryside reminiscent of western Europe. The writing style makes this prose difficult to read aloud and tedious to read silently. The target audience, grades K-3 are not likely to have the patience to wade through this lengthy picture book. Older readers may be put off by the juvenile and merry tone of the illustrations and story.

While the illustrations in this story are geared for readers grades K-3, the prose is written at a much higher interest level.

Review of THE LIGHTNING THEIF first in the series Percy Jackson and the Olympians

Riordan, Rick. 2005. THE LIGHTNING THEIF. New York: Hyperion Books for Children. ISBN 0-786-85629-7

Having dyslexia and Attention Deficit Disorder isn’t exactly the description of your typical hero with super powers. However, Percy Jackson just happens to fit this description. With a god for a father and mortal as a mother, our hero is a demi-god. His character is scrutinized throughout the story by the other players: is he worthy of his position? Time and again, Percy’s bravery and intelligence are tested. His friends, Annabeth and Grover, accompany him on his quest. Each of the trio brings his or her own special qualities to the journey. Annabeth is smart and brave. Grover, a satyr, has an innate sense of direction and is a devoted friend. Together they seek Zeus’ lightning bolt and the thief who stole it. On the quest, tests similar to those experienced by Odysseus must be passed. Riordan makes continual references to Greek mythology and writes in third person, keeping the reader abreast of Percy’s thoughts. With battles including monsters and gods, this ‘good triumphs over evil’ book engages readers and maintains an energetic pace with not a dull moment.

Also in this entertaining series are THE SEA OF MONSTERS (#2); THE TITAN’S CURSE (#3); and, released on May 3, 2008, THE BATTLE OF THE LABYRINTH (#4).

This high fantasy novel—and the others in the series—are very highly recommended for readers grades 5-8.

Review of BABYMOUSE: QUEEN OF THE WORLD! and BABYMOUSE: OUR HERO

Holm, Jennifer L. 2005. BABYMOUSE: QUEEN OF THE WORLD! New York: Random House. ISBN 0-375-93229-1

Holm, Jennifer L. 2005. BABYMOUSE: OUR HERO. New York: Random House. ISBN 0-375-93230-5

Babymouse is a space explorer, a private eye, a soldier and a queen. Ok, maybe she’s just an ordinary mouse trying to make it in elementary school. Daydreaming is how Babymouse makes the best of rotten, “typical” situations. With the help of her faithful and supportive best friend, Wilson the Weasel, Babymouse makes it through the hard times and always realizes she’s lucky to be herself. In QUEEN OF THE WORLD!, Babymouse wants to be invited to the slumber party of the ever popular but rude, Felicia Furrypaws. When she discovers the slumber party isn’t as fun as she’d thought it would be, Babymouse goes to Wilson’s house with a humble apology and realizes it is with her best friend that she feels like a queen. In OUR HERO, Babymouse is forced to face her fear of dodgeball in gym class. Ultimately, she finds her inner strength when her friend is hit with the ball by Felicia Furrypaws. “That’s it,” she mutters as she slides across the floor, snatches up the last ball, and “fwacks” Felicia to score the winning shot. These Cinderella moments are typical in the Babymouse series. That’s part of what makes them fun to read. The playfulness is enhanced by frequent conversations between the narrator and Babymouse. Though at times confusing, the irregular format of the pages also gives the book a lively feel. In Babymouse, Jennifer Holm brings a girl-focused graphic novel series to collection development plans. In such a male-dominated genre, this is a wonderful path to travel.

This graphic novel is highly recommended for readers grades 2-5.

Review of THE CHILDREN OF GREEN KNOWE

Boston, L.M. 1955. THE CHILDREN OF GREEN KNOWE. New York: Harcourt, Inc. ISBN 0-15-202468-9

Toseland must go to live with his great-grandmother, Mrs. Oldknow, for the winter break from school. Though they have never met, it is obvious they immediately get along and are glad to have each other. On their first encounter, Mrs. Oldknow tells Tolly, “So you’ve come back!” she said, smiling, as he came forward, and he found himself leaning against her shoulder as if he knew her quite well.” Tolly has always been a bit of a loner—especially since his mother died. With no siblings, he is eager to find playmates. His innate sense of curiosity draws him into the mysterious happenings in his grandmother’s home and she patiently and lovingly encourages his exploration and discovery. This third-person omniscient narrative fantasy is a ghost story, though not in a typical sense. Rather than the reader and characters being afraid of the ghosts, we are all eager for them to show themselves. Mrs. Oldknow encourages the ghosts’ appearance by giving Tolly some of their belongings and telling stories of when they were alive. The identities of the ghosts is one of the most enjoyable discoveries of this novel, and thus shall not be divulged here. Boston uses formal speech and narrative to tell the story of a lonely child discovering the mysteries of his family’s manor. This manor is described in incredible detail—the smells of the stable, the topiary garden, the bedrooms and living rooms, and the many animals which roam about. Though a bit slow moving, the reader cannot help but “see” the story unfold through Boston’s descriptive writing style.

This story is recommended for readers grades 3-6.

Review of AL CAPONE DOES MY SHIRTS

Choldenko, Gennifer. 2004. AL CAPONE DOES MY SHIRTS. New York: G.P. Putnam’s Sons. ISBN 0-399-23861-1

AL CAPONE DOES MY SHIRTS is a collection of journal entries by Matthew “Moose” Flanagan. Moose’s life is not unlike that of a typical seventh grader—except that his older sister is autistic, his father is an electrician/prison guard, and he lives on Alcatraz Island. The characters’ traits unfold through a combination of dialog, action, and narrative. The family moved to Alcatraz to take advantage of an educational opportunity for his sister. Though he deeply resents the move, Moose, a self-proclaimed good boy, always does what he’s supposed to do and “tries very hard not to get angry with his sister.” Moose’s desire to have a “normal” family and do the right thing permeates everything he does. The island and its buildings and characteristics are explicitly described. The year is both included in the journal entries as well as alluded to in the title and text. Contemporary references to Al Capone, joblessness, and inkwells support the story’s 1930s era. The dialog and narrative are natural and flow easily—not at all encumbered by an author’s need to clarify the time period or force feed historical tidbits. The historical era and setting add to this story’s uniqueness and appeal. Even if the reader does not have a developmentally disabled family member, the target audience will empathize with the protagonist’s struggle to fit in socially and be a positive force within his family.

Selected as a Newbery Honor Book in 2005, this historical fiction novel is highly recommended for readers grades 5-9.

Review of THE WHIPPING BOY

Fleischman, Sid. 1986. THE WHIPPING BOY. New York: Greenwillow Books. ISBN 0-688-06216-4

Jemmy is supposed to “yowl like a stuck pig.” But during the whackings he resolutely holds back his tears. As the whipping boy of Prince Horace (more commonly referred to as Prince Brat), Jemmy has daily opportunities to practice this resolution. Though he no longer has to live in the sewers nor wonder when he will eat next, Jemmy longs to run away from the castle and be free. When the prince decides to run away and drags Jemmy along with him, the two are forced to cooperate with one another in order to survive. Using plot elements from The Prince and the Pauper as well as Aladdin, this story has a familiar feel. However, THE WHIPPING BOY has a higher level of verisimilitude than these traditional stories because of the attention to historical details such as whipping boys, notorious highwaymen, and ballad sellers. Giving further indication of the time period, each plot twist is announced with a lengthy title chapter reminiscent of literature of the middle ages; for example, “Chapter 19 Being a full account of the happenings in the dark sewers.” Other stories set in medieval times such as THE MIDWIFE’S APPRENTICE (K. Cushman) and THE TALE OF DESPEREAUX (K. DiCamillo) employ this use of detailed titles as well. Periodic, monochromatic illustrations by Peter Sis accentuate humorous situations as well as provide the reader with examples of the style of clothing. Fleischman’s spin on a familiar plot and multidimensional characters offer humor (Jemmy’s frequent interjection of incredulity, “gaw!”) and sincerity (“I wish I were like you….You’re not afraid of anything.”) and entice the reader through to a satisfying ending.

This piece of historical fiction earned the Newbery Medal in 1987 and is recommended for readers grades 4-8.

Review of THE MIDWIFE’S APPRENTICE

Cushman, Karen. 1995. THE MIDWIFE’S APPRENTICE. New York: Clarion Books. ISBN 0-395-69229-6

Wanting only food and the warmth provided by a dung heap, Brat’s expectations of life are utterly basic. Karen Cushman takes this character and grows her into a young woman with a name and aspirations of “a full belly, a contented heart, and a place in this world.” The local midwife plucks Brat from a dung heap to serve as her helper. Though initially she is seen as stupid and capable of only the most basic tasks, she grows into an apprentice with a name, Alyce. As Alyce learns she herself is capable and deserving of love, a parallel development is illustrated through her treatment of a stray cat—feeding it, saving it, naming it and loving it. Her innate compassion is the reason she is eventually seen as a valuable person. A local bully, a resident scholar, birthing women, and a young boy each experience Alyce’s kindness. In return, Alyce realizes her worth through their eyes and begins to believe in herself. This story of self determination, is set in a small village during the middle ages. Descriptions of things such as stamped dirt floors and washing linens in the stream allow the reader visualize what life was like. Descriptions of smells and sounds such as a dung heap and crying babies add to the reader’s picture of the era. Without overwhelming the story, Cushman utilizes vernacular common to the day such as “mayhap” and syntax such as “I be no angel” to reflect the times. Rich discussion about the differences and similarities between the middle ages and contemporary life could focus on the trades described in THE MIDWIFE’S APPRENTICE. Contemporary versions of midwives, inn keepers, millers and shepards could be compared to those in the story.

This piece of historical fiction earned the Newbery Medal in 1996 and is highly recommended for readers grades 4-8.

Review of LIZZIE BRIGHT AND THE BUCKMINSTER BOY

Schmidt, Gary D. 2004. LIZZIE BRIGHT AND THE BUCKMINSTER BOY. New York: Clarion Books. ISBN 0-618-43929-3

In 1912, Phippsburg, Maine is replete with silvery maples, pine trees, outhouses, dirt roads, and church-goers. The citizens of Phippsburg also have their fair share of racism. Turner Buckminster discovers this head on. After spending a great day with a new friend, he is accused of consorting with a “Negress.” In fact, his new friend Lizzie Bright is the only person in the community with whom Turner feels comfortable. Even when Lizzie is not around, Turner imagines conversations with her. Schmidt creates multidimensional characters using both action and dialog. Turner is a quiet and determined young man. Though he appears to be timid, he manages well-placed quips on the town’s most intimidating characters. Lizzie’s bold spirit and down-to-earth perspective are evident. Though she is a young black girl, Lizzie walks into a white woman’s home and she freely tells Turner he needs “to get his head on straight.” The spinster, Mrs. Cobb, seems to be mean and racist, but turns out to be not so easily labeled. The plot, that of a new minister and his family moving from Boston to a small town, could be seen as typical. Also typical is the fact that the son doesn’t relate well to his new community. However, the interracial relationship and some characters’ willingness to stand up in 1912 for what is right set this book apart. Though timeless, the conflicts and triumphs in this story clearly occur in another era. Phrases such as “Golly Moses,” mention of horse drawn wagons, and the lack of amenities remind the reader this piece of fiction is historical rather than contemporary. By combining frequent dialog and first person narrative, Schmidt creates an intimacy between the reader and LIZZIE BRIGHT AND THE BUCKMINSTER BOY. Through Lizzie’s self assurance and Turner’s relentless quest for justice glimmers of hope shine through in this tragic story .

Having garnered the distinction of both a Newbery Honor Book as well as a Michael L. Printz Honor Book, this tragic historical fiction novel is highly recommended for readers grades 5-8.

Review of STINK: THE INCREDIBLE SHRINKING KID

McDonald, Megan. Peter H. Reynolds. (Ill.) 2005. STINK: THE INCREDIBLE SHRINKING KID. Cambridge, MA: Candlewick Press. ISBN 0-7636-2025-4

James “Stink” Moody is a typical second grader. He is responsible, follows rules, loves our country’s 4th president, and likes doing homework. Ok. Maybe he’s not so typical. However, his relationship with his sister is—mostly. Though Stink and his sister Judy fight about things such as how best to care for the class newt, their arguments are more civil than some I’ve seen in real life. This comical story of a bossy big sister and powerless little brother is more easily enjoyed than would be a tale of a more realistic and querulous relationship. Stink and Judy’s sibling rivalry is dictated more by age than gender. McDonald and Reynolds work together to make a book which is appealing to newly independent readers. Through the use of large print, large margins and frequent illustrations this book is appealing to children who are unsure of their ability to tackle novels. In addition, each chapter concludes with a Stink-authored comic strip which is humorously connected to the chapter’s conflict. Though the plot begins slowly, humor fills the gaps until the story’s turning point. While the author’s commitment to the light-heartedness of the story lessens its verisimilitude, the target audience will enjoy Stink’s journey to discovering we all grow in our own time.

This contemporary realistic fiction novel, with its frequent comic-book style illustrations, is recommended for both read-alouds and independent readers in grades K-4.

Review of JOEY PIGZA SWALLOWED THE KEY

Gantos, Jack. 1998. JOEY PIGZA SWALLOWED THE KEY. New York: Farrar, Straus and Giroux. ISBN 0-374-33664-4

First in a series of four books, JOEY PIGZA SWALLOWED THE KEY is a telling and, at times, heartbreaking story of a fifth grader’s life with Attention Deficit/Hyperactivity Disorder. Gantos thrusts readers into the mind of Joey as he disrupts class, swallows a key, climbs the rafters of a barn, and worse. Adult readers will find themselves asking, “is that really what he’s thinking?” Gantos pushes the realism envelope as many of Joey’s situations teeter on the brink of implausibility. His support system, however, is helpful yet fallible and quite realistic. As Joey makes his way from one mishap to another and lands himself in the “big special-ed center,” the plot is consistently engaging and logical. The writing style creates a sense of non-stop thought and action by streaming together multiple phrases using “and” and “but.” These run on sentences give the reader a sense of what it is like inside a brain with ADHD. The setting is relatively nonspecific. The story takes place in a district with the resources to accommodate children like Joey. Joey’s story would be unlikely—or more tragic—were it to take place in a small school district with fewer resources.

This edgy piece of contemporary realistic fiction is recommended for mature readers grades 5-8 and adults seeking a new perspective on the subject of ADHD.

Review of SO B. IT

Weeks, Sarah. 2004. SO B. IT. New York: Laura Geringer Books. ISBN 0-06-623622-3

Bluebonnet award nominee SO B. IT offers believable characters going through real crises. Heidi, a strong-willed 12-year old girl, takes a trip across the country to discover her identity. Author Sarah Weeks’ commitment to realism is evident. Though strong-willed, Heidi does not forge boldly into the unknown, rather she steps out with timid determination. Through a likely series of events, Heidi’s uncertainty comes and goes in waves. Her bouts of strength and resolve come from her connection to her care-giver, Bernadette. Though she is not with Bernadette, frequent phone calls from the road serve as a lifeline for Heidi. Together they work to accomplish Heidi’s goal: discovering the meaning of “soof.” Weeks uses Heidi’s voice to tell the story. On her sojourn, Heidi makes lists of her observations, such as “What I know about mama” and “What I know about lying.” These lists give the reader a snapshot of Heidi’s thoughts and growth. The setting of SO B. IT is critical to the functionality of the story. The combination of Nevada, with legalized gambling, and Heidi’s lucky streak, provides a financial means to support Heidi’s journey. Also, being a young girl in America both facilitates as well as adds conflict to the plot. Though the Unites States is a fairly open and free society, there are rules about young people traveling alone. This scenario would be less plausible in a culture which is more restrictive, in particular toward females. The “tween” years are a time during which many search for their identity. This theme is sure to strike home for the target audience. SO B. IT also perceptively explores the lives and families of those with mental disabilities.

This contemporary realistic fiction is recommended for readers grades 5-8.

Review of CLEMENTINE

Pennypacker, Sara. Marla Frazee. (Ill.) 2006. CLEMENTINE. New York: Hyperion Books for Children. ISBN 0-7868-3882-5

In this first person account of a second grader’s life, the reader is taken on a stream-of-consciousness roller coaster ride. Sara Pennypacker strings together seemingly disconnected thoughts and, thus, creates a window into the mind of the title character, Clementine. This rambunctious, distractible, and impulsive girl is so believable, I got tired just reading about her. Clementine pays attention to the wrong things and helps by cutting her friend’s hair and drawing curls on her head with her mother’s special markers. This makes her, as her friend puts it, “the hard one.” Though believable, Clementine’s gender makes her an atypical protagonist. Most stories about difficult children are about boys rather than girls. Marla Frazee’s frequent monochromatic drawings shed additional light on Clementine’s personality. The reader sees her spiky hair after she has cut it off and her sad expression when her mother sees her. The frequency of the pictures, about every other page, also serves to aid readers in their transition to longer novels. Though the book is more than 100 pages, the regularity of the illustrations helps to break up the text and make it less intimidating for recent ‘early reader’ graduates. Though many different things happen, Pennypacker pulls them all together into a cohesive and engaging plot. Why is Clementine at the principal’s office? How will they get rid of the pigeons? What will Clementine do next? This story’s themes of childhood insecurity and unconditional parental love are universal and timeless.

This fast paced contemporary realistic fiction novel, with its comical and telling illustrations, is highly recommended for readers grades 2-5.

Review of THE NEIGHBORHOOD MOTHER GOOSE

Crews, Nina. 2004. THE NEIGHBORHOOD MOTHER GOOSE. New York: Greenwillow Books. ISBN 0-06-051573-2

THE NEIGHBORHOOD MOTHER GOOSE is a collection honoring “a centuries-old oral tradition.” A brief author’s note at the end of the book explains the sources Crews used to create her compilation. Her sources include THE OXFORD DICTIONARY OF NURSERY RHYMES, THE ANNOTATED MOTHER GOOSE and her own personal experiences. Though the rhymes are indeed centuries old, the illustrations give this book a contemporary spin. Crews uses color photography to present modern people from a variety of cultures in urban settings. This attachment to modern pictures facilitates readers’ connection with Mother Goose rhymes and is sure to help dispel the misconception that Mother Goose rhymes are irrelevant to today’s children. This connection could also lead to meaningful comparisons between and among cultures. The subjects of the photographs include a diverse group of people. In addition, the people’s faces match the mood of the rhyme. For example, one mother’s expression is fittingly amazed as her son “pulled out little fishes” from his ear. Some of the poems included are known as rhymes, while others may best be recognized as songs (Ring Around the Rosie) or tongue twisters (Peter Piper). The table of contents serves as an index, as each rhyme is listed alphabetically rather than sequentially. This method of organization facilitates the reader’s ability to search for a specific rhyme.

This collection of Mother Goose rhymes is highly recommendation for readers ages 2-8.

Review of POETRY SPEAKS TO CHILDREN

Paschen, Elise., ed. Judy Love, Wendy Rasmussen, and Paula Wendland. (Ills.) 2005. POETRY SPEAKS TO CHILDREN. Naperville, IL: Sourcebooks MediaFusion. ISBN 1-4022-0329-2

In this children’s edition of the Poetry Speaks series, Paschen has compiled 95 poems from 73 different poets. From classic poets like A.A. Milne to the contemporary Kristine O’Connell George, this general anthology has something for everyone. Each poem has its own strong points. Roald Dahl excels in the use of narrative poetry in The dentist and the crocodile. Rhyme and alliteration two-step through Maxine Kumin’s Sneeze: “it’s a quivery shiver the shape of a sliver, like eels in a river….” This collection includes silly poems such as Gas (about the unspeakable) as well as Poe’s frightening and somber The Raven. Each poem has a complementary illustration, the style of which is determined by the mood of the poem. Included with this anthology is a CD of the poems, many of which are read by the poets themselves. Some, such as Good Luck Gold by Janet Wong, include a bonus track of the author telling of his or her inspiration for the poem. POETRY SPEAKS TO CHILDREN is enhanced by its table of contents with the corresponding CD track number (where applicable) and index of authors and poem titles. These supplements facilitate both browsing and searching for specific poem or poets.

This poetry collection receives the highest recommendation for poetry enthusiasts of all ages.

Review of POEMS TO DREAM TOGETHER=POEMAS PARA SOÑAR JUNTOS

Alarcón, Francisco X. Paula Barragán. (Ill.) 2005. POEMS TO DREAM TOGETHER=POEMAS PARA SOÑAR JUNTOS. New York: Lee & Low Books Inc. ISBN 1-58430-233-X

This individual poet compilation “celebrates the connections children share with their families, communities, and all living things.” In the book’s preface, Alarcón relates that he grew up in California and Mexico, thus explaining why he wrote the poems in both Spanish and English. The fact that the author himself wrote each piece in both languages, gives lingual authenticity to the poetry. Creating a dual language collection of poetry likely necessitated Alarcón’s use of narrative and free verse styles. These poems range from mildly esoteric to easily accessible. In Waking Dream, Alarcón reflects, “when I dream I’m dreaming I’m about to wake up.” Adobes is a more concrete poem about homes. “Adobe bricks that townsfolk made from mud and straw and spread to dry out in the sun like some really big chocolate bars….” While elements such as rhyme, alliteration, and onomatopoeia are not employed; this collection is teeming with imagery, emotion, personification and eloquent language use. My favorite poem in this collection is In My Dreams. Alarcón tells of his dream of a harmonious Earth wherein “buffaloes roam free,” “there is no word for ‘war’,” and “all living beings come together as one big family.” However, Dreamer of the Fields ~to César Chávez would be enhanced by the inclusion of an author’s note providing background information on the revolutionary activist.

This dual language poetry collection is adorned with bright illustrations using pencil, cut paper, and gouache and is recommended for poetry enthusiasts ages 4-10.

Review of THE SUN IS SO QUIET

Giovanni, Nikki. Ashley Bryan. (Ill.) 1996. THE SUN IS SO QUIET. New York: Henry Holt and Co. ISBN 0-8050-4119-2

This individual poet compilation includes many poems about the seasons and weather. Giovanni uses a variety of strategies to catch her readers’ ear. These strategies include rhyme, assonance and alliteration. In the selection Prickled Pickles Don’t Smile, the reader finds herself concentrating on the words in order to read them correctly—it is almost a tongue twister. “Never tickle a prickled pickle ‘cause prickled pickles don’t smile.” This jaunty poem goes on to include assonance: goad, loaded, toad. While the poems can stand on their own, Ashley’s playful gouache and tempera paint illustrations add to the humor and enhance readers’ understanding. Giovanni reaches readers’ emotions in her poem The Reason I Like Chocolate. In this poem, a child reveals his emotional connection to his favorite things: “I like to cry sometimes ‘cause everybody says, What’s the matter don’t cry” and “I like books … ‘cause they just make me happy and I really like to be happy.” To facilitate browsing, this colorful compilation includes a helpful table of contents.

This collection of poetry, with its multicultural illustrations, is highly recommended for poetry enthusiasts ages 4-10.

Review of ¡YUM! ¡MMMM! ¡QUÉ RICO!: AMERICAS’ SPROUTINGS

Mora, Pat. Rafael López. (Ill.) 2007. YUM! ¡MMMM! ¡QUÉ RICO! : AMERICAS’ SPROUTINGS. New York: Lee and Low Books Inc. ISBN 978-1-58430-271-1

Award-winning author, Pat Mora, gives us a collection of haiku paying homage to native foods of the Americas. From blueberries to chiles to papayas; the color, taste and smell are all explored in these short poems. Each haiku is accompanied by a paragraph discussing the origin, use and other facts about the title fruit. Illustrator Rafael López produced vibrant acrylic on wood panel illustrations which reflect the diversity of the people of the Americas. Pictures of farms, rainforests, deserts, and urban communities further demonstrate López’s recognition of the variety of landscapes of the Americas. Though haiku has its own parameters, Mora also uses assonance—nutty, jelly, gooey, party—and alliteration—squirts, seedy, splatter—to spice up her poetry. Mora provides extras such as a map of the Americas, compass rose, and English translations of Spanish terms used in her poems. She closes her compilation with an author’s note which creates a personal connection between herself and her reader. “I love variety, don’t you?” she asks. To extend this connection, she provides a jump-rope rhyme for children which uses the titles of the haiku.

This animated single-poet compilation, with its bright illustrations, is highly recommended for readers ages 4-10.

Review of LUGALBANDA: THE BOY WHO GOT CAUGHT UP IN A WAR

Henderson, Kathy. Jane Ray (Ill.) 2006. LUGALBANDA: THE BOY WHO GOT CAUGHT UP IN A WAR. Cambridge, MA: Candlewick Press. ISBN 0-763-62782-8

In this 2007 Aesop award winning book, Kathy Henderson brings to light a piece of history from a part of the world about which Americans are so much in the dark. The story of Lugalbanda is an “epic tale from ancient Iraq.” Each of the characters is imbued with qualities which makes him believable. Henderson ensures that readers will be sympathetic to Lugalbanda, his brothers and the king by showing their human sides. Lugalbanda’s brothers, each a commander in the army, “bowed down with grief” as they were forced to leave their young brother behind. Lugalbanda showed his humility and intelligence as he won over the ferocious Anzu bird by caring for its chick. Even the king, through Henderson’s careful word choice, proved to be compassionate by ultimately putting the safe return of his army above the possible spoils of war. Ray’s illustrations add as much to the story as the text. When Lugalbanda was ill, his eyes were colorless and all seven brothers’ cried by his side. The Lullubu Mountains were as barren as the text describes. Both author and illustrator attempt to authentically represent the culture in which this story takes place. Geographic locations, maps, skin tone, hair color, eye shape—all are indicative of the area now known as Iraq. (Although the seven brothers appear to be septuplets!) The text includes an informative prologue and end notes which give the reader a 5000-year old history lesson. The origin of Lugalbanda is a fascinating story in itself.

LUGALBANDA is appropriate as a multi-sitting read aloud or for individual reading and is highly recommended for readers ages 8 years and older.

Review of NOAH’S ARK

Janisch, Heinz. Lisbeth Zwerger (Ill.) 1997. NOAH’S ARK. New York: North-South Books, Inc. ISBN 0-329-23633-4

Translated from the original Swiss, author Heinz Janisch’s adaptation of this classic biblical story combines an age-old text with modern illustrations. This juxtaposition facilitates the sharing of NOAH’S ARK in a secular setting. While the biblical phraseology is evident in “he was righteous” and “God had commanded” and “washed the earth clean,” the text is no less accessible to a variety readers. However, this juxtaposition also takes away from the story’s meaning. As someone who is familiar with the story, my focus was drawn to Zwerger’s illustrations. The detailed and realistic illustrations of paired animals are presented in the form of Tables and Figures, much like one would see in an academic diagram. However, the people in the pictures are less accurately represented. The 1960s-clad Noah and his family have disproportionate bodies. In addition, each looks more Swiss in appearance than Turkish—which is historically the more likely culture of Noah’s family. Though this projection of one’s own culture onto biblical characters is common, it is ethnocentrism just the same. These cultural and historical inaccuracies may prove confusing for younger audiences.

If you are in the market for a 'Noah story' that will Wow! you, this probably won’t fit the bill. The illustrations make the target audience a bit older than may be expected for a picture book. Recommended for one-on-one or independent reading for children ages 9-12 years.

Review of FABLES FROM AESOP

Lynch, Tom. 2000. FABLES FROM AESOP. New York: Puffin Books. ISBN 0-329-230194-9

In this adaptation, Tom Lynch includes 13 different fables attributed to the sixth century B.C. slave, Aesop. Though some fables are familiar, others may be new to young readers. Each fable is less than a page long and is accompanied by a lively and detailed illustration. This collection fits the mold for fables by including clever animals and an overtly stated moral to the story. The characters in each fable are straightforward and transparent. From the slow-but-steady tortoise to the vain crow to the foolish monkey, all of the characters teach readers a lesson either by positive or negative example. The setting differs from fable to fable, though few textual clues are given. Rather, Lynch uses his hand-sewn patchwork to reveal setting, perspective and other details about the stories. Lynch’s style is clear and succinct. As in most fables, these brief stories make their points quickly and sum up in a final statement which begins, “So remember!...” Though as a reader I felt nearly beaten over the head with the direct statement of the moral, this reiterative ending is traditional for fables. Historical information about Aesop is included in an author’s note.
The fables’ illustrations and brevity lend this collection to read-alouds for young children. However, older children may participate in lively discussions of the messages. “So remember!” Lynch’s FABLES FROM AESOP is recommended for readers ages 4-12.

Review of MIGHTIER THAN THE SWORD: WORLD FOLKTALES FOR STRONG BOYS

Yolen, Jane. Raul Colón. (Ill.) 2003. MIGHTIER THAN THE SWORD: WORLD FOLKTALES FOR STRONG BOYS. New York: Harcourt. ISBN 0-15-216391-3

“Hero is about being clever, learning from your mistakes, being kind and compassionate, and finding good friends.” (p. ix) In a preface, Jane Yolen writes an open letter to her sons and grandsons explaining why she has collected and retold these folktales. In this fresh approach to traditional stories, the reader finds him or herself in the midst of heroes who use their brains rather than brawn to triumph. Each vignette is accompanied by a moral and a black and white drawing. In addition, the country of origin is noted. MIGHTIER THAN THE SWORD includes folktales such as beast tales and fairy tales. The characters include anthropomorphized animals and the plots are formulaic and full of action. For example in Jake and His Companions, a boy, donkey, dog, cat and rooster seek their fortune. En route, they take on a band of thieves. When Jack and his friends overcome six ruffians, albeit in an unlikely manner, the reader is nonetheless satisfied. This collection also includes fables such as Knee-High Man. After talking with several animals about his petite stature, Knee-High Man learns it is more important to have a big brain than a big body. This story has a moral, talking animals and brevity—all typical ingredients for a fable. Yolen takes care to use culturally specific words in the different stories. In the African-American tale, the term brother is used to mean friend; the Norwegian tale has a character named Ole; and the Angolan story refers to the river Lukala which runs through the capital city Kwanza Norte. Some recognition of cultures may be seen in the illustrations as well. Adding to this collection’s value are the Table of Contents and Notes on the Stories sections.
Providing many opportunities to tout brains over brawn, this collection of folktales is recommended for readers ages 8-12 years.

Review of I LIKE MYSELF

Beaumont, Karen. David Catrow (Ill.) 2004. I LIKE MYSELF. New York: Harcourt, Inc. ISBN 0-15-202013-6

More of a monologue than a story, I LIKE MYSELF is an upbeat piece about a little girl with a wonderful self-concept. Accompanied by her dog, she recites a litany of things she likes about herself. The protagonist also makes it clear she ascribes to the ‘sticks and stones’ mantra. “And I don’t care in any way what someone else may think or say.” By using words such as ‘cause and phrases like beaver breath, the reader can easily hear the childlike voice Beaumont has created. In addition, Beaumont’s use of rhyme and meter make this story fun to read aloud and read along. By using the cloze method in a read aloud, caregivers can encourage young children to finish sentences through the use of rhyme and context. For all the silliness within the text; the watercolor, ink and pencil illustrations are laugh-out-loud funny. Catrow’s ability to show emotion in facial expressions is evident in both the girl and her dog. Through the illustrations, we see the dog becoming more and more unnerved by the girl’s metamorphosis. However, even with a pig’s snout, horns, and purple polka-dotted lips, the faithful friend never leaves her side. Catrow’s hilarious illustrations keep readers engaged in the story, thus allowing the positive message of self confidence to be conveyed.

Highly recommended for readers ages 3-7 years. I can’t wait to read this one to Pre-K!

Review of LET IT SHINE: THREE FAVORITE SPIRITUALS

Bryan, Ashley. 2007. LET IT SHINE: THREE FAVORITE SPIRITUALS. New York: Antheneum Books for Young Children. ISBN 0-689-84732-7

This Corretta Scott King Medal Award winner revisits three Spirituals: This Little Light, When the Saints, and In His Hands. Though these Spirituals have been published many times in many formats, this version stands out because of its beautifully rendered illustrations. Artist Ashley Bryan has earned several awards for his extraordinary ability to capture song and stories. The illustrations in LET IT SHINE are construction paper collages which fill the pages. The children in the illustrations are represented in a variety of hues; including magenta, black, green, brown, and yellow. This inclusivity extends to clothing and hair styles as well. Bryan’s attention to detail is evident in the meticulous way in which light is portrayed. From big, bright backgrounds to thin strips of “shine,” the pervasive light seems to represent the enduring hope in the hearts of the African-American slaves credited with creating these beautiful songs. Finally, in an author’s note, Bryan provides readers with a brief history of Spirituals. Though not necessarily an appropriate part of a read-aloud, teachers and caregivers will find it interesting and may choose to summarize the information depending on the listeners’ level.

Recommended for readers ages 4-9 years. For those who want to be able to sing the songs rather than read, sheet music for each song is provided.

Review of ZEN SHORTS

Muth, Jon J. 2005. ZEN SHORTS. New York: Scholastic Press. ISBN 0-329-45474-9

ZEN SHORTS is stories within a story. The story begins with Karl, the youngest of three siblings, seeing a panda bear in the backyard. His name is Stillwater. Each of the children visit with Stillwater and, in turn, is told a story. Stillwater’s traditional Buddhist and Taoist stories reflect human desires, fears, and the struggle for inner peace. While these stories have centuries-old roots, their placement in western children’s literature is distinctive. Despite the stories’ esoteric nature, the audience’s interest is piqued through the use of a story-telling panda. Muth appropriately assigns a calm voice to Stillwater, thus increasing the likelihood the characters (and the audience) will hear his message. Other indications of Muth’s ability to use voice and characterization are the typical complaints about a bossy big brother and a child’s wonderings about flight. When the children talk with Stillwater, he tells them stories which address their concerns and clarify their personalities. Finally, Muth’s painterly techniques with watercolor and ink garnered this book a Caldecott Honor Medal. With the exception of the bright red umbrella; muted, calming colors fill the pages. Supporting the text, the illustrations show Stillwater’s giant, unobtrusive, and nonjudgmental presence. But for an occasional smile, he stands and listens, his expression relatively unchanging. Muth’s use of details such as the bamboo-adorned cake and flying paper airplanes add depth and breadth to the story’s text.

Highly recommended for readers ages 6-11+ years. Though the anecdotes may be a bit obscure for younger readers, they provide fantastic springboards for conversations.

Review of MOLLY AND THE MAGIC WISHBONE

McClintock, Barbara. 2001. MOLLY AND THE MAGIC WISHBONE. New York: Francis Foster Books. ISBN 0-374-34999-1

Molly is the eldest of five kittens. Because Mama is ill, she is given the task of buying the day’s fish. In this nearly didactic story, an unsuspecting Molly meets her Fairy Godmother and learns of a magic wishbone she will find. Molly must ultimately consider what is most important: her dreams or her family.

The plot reflects an unsurprising situation in which a child is warned to “use your wish wisely.” This standard save-your-wishes-for-what’s-really-important theme opens up opportunities for discussions of “…and what would you wish for?” during read alouds. When reading this story with my daughter, she immediately responded, “She’s going to wish for her mother to get better!” Imagine her surprise when the children began talking about toys, dresses, and candies. These egotistical wishes lend validity to the voice of the children. Though the speech is a bit formal for kittens—using proper syntax and vocabulary—it is both accessible and clear. With voice as but one of the elements, the characters are developed into believable children. Along with voice, McClintock provides situational authenticity. Many children are responsible for younger siblings and must be self-sufficient. Molly tends to a pet rabbit, glues a bowl together, and puts the little ones to bed. So as not to portray Molly on too high of a horse, she also loses her temper when interrupted. Each of these behaviors are both typical and believable. Finally, the illustrations demonstrate McClintock’s familiar painterly techniques. The Victorian setting is extremely detailed, though not much is gained from the pictures which is not already clear from the text. The requisite symbiotic relationship between text and pictures is not evident in MOLLY AND THE MAGIC WISHBONE. Recommended for readers ages 6-10 years in order to initiate a discussion of wants versus needs or to appreciate McClintock’s artistic abilities.

Review of DAHLIA

McClintock, Barbara. 2002. DAHLIA. New York: Francis Foster Books. ISBN 0-374-31678-3

DAHLIA is an intricately illustrated picture storybook about Charlotte, a young girl who is not afraid to get dirty. When Charlotte receives a doll from her aunt, she names her Dahlia and spends the day showing her the way they do things.

In this simple and believable plot, Charlotte is unwilling to change the way she plays simply because her new doll, Dahlia, has a fancy dress and hairdo. Dahlia’s constitution is challenged by mudpies, leaf boats, wagon races and tree climbing; all the while, the reader cheers her on. This story of a child’s individualism transcends its 19th century, country home setting. McClintock’s use of voice is true to that of a young child. When some boys tease Charlotte about having a doll she retorts, “She’s braver than all of you.” Despite the fact that Bruno is a teddy bear, his voice is no less audible. When asked to share his wagon, Charlotte notes, “Bruno didn’t mind at all.” Though Charlotte tells the reader how her friends feel, it is also evident through the illustrations. Muted tones and painterly techniques create the detailed world in which the story takes place. From bird nests to plants to a pet snake in Charlotte’s room, the illustrations provide information beyond the textual descriptions. Indeed, without the illustrations, readers would likely never know Bruno is a teddy bear. Finally, the pictures provide both Bruno and Dahlia with facial expressions to match the text—concern about a new situation, elation upon winning a race, and grumpiness at being brushed. The warm yet straightforward story may leave the reader wondering if Ms. McClintock, like Charlotte, is a tomboy at heart. Recommended for readers ages 6-10 years in small groups or one-on-one (and tomboys like my daughter!).

Review of BABY DANCED THE POLKA

Beaumont, Karen. Jennifer Plecas. (Ill.) 2004. BABY DANCED THE POLKA. New York: Dial Books for Young Readers. ISBN 0-8037-2587-6

In this Texas 2 x 2 recommended book, Mama and Papa don’t give up on trying to put Baby down for a nap. Baby, however, has other plans! Karen Beaumont shares a lively story about this common event which is anything but mundane.

All children have had some experience with nap time and many children have at least begun to learn about farms and farm animals. The coupling of this plot and setting provides a sense of familiarity for readers. By using rhyme and repetition, Beaumont has written a story which encourages young children to make predictions and read along. Further, her use of alliteration in silly sentences such as, “Baby danced the cha-cha with the chocolate-colored…cow!” makes them more fun to listen to and to echo. Jennifer Plecas provides illustrations using a variety of painterly techniques. The combination of ink, paints and pencils gives the illustrations texture and depth. Not only are the illustrations pleasing to the eye, they are a critical piece of the story. For example, the pictures explain that Baby’s dance partners are stuffed animals, rather than real farm animals. They also provide snippets of things to come. Plecas incorporates visual clues of future dance partners, thus inviting children to look closely at the pictures and predict what will happen next. Finally, the engineering of BABY DANCED THE POLKA enhances the invitation of audience participation. Through the use of lift-the-flap pages, this book incorporates a kinesthetic aspect to reading which can make all the difference in holding a young child’s attention. From the literary elements, to style, to illustrations; this engineered picture storybook is perfectly suited for very young audiences. Highly recommended for 2-6 year olds.

Review of GREEN EGGS AND HAM

Seuss, Dr. 1960. GREEN EGGS AND HAM. New York: Random House. ISBN 0-394-80016-8

Summary
In this classic Dr. Seuss tale, a nameless naysayer is coaxed into trying something new. Sam, an omnipresent character, attempts to serve him green eggs and ham in varying venues and with different companions. Throughout the story, the object of Sam’s persistence insists he does not like green eggs and ham. Finally, the character relents and discovers that he does like green eggs and ham after all. Seuss’ one-of-a-kind use of rhyme, meter, and illustration have made this story of the value of open-mindedness a timeless classic. Highly recommended for 4 year olds with long attention spans through 9 year old readers.

Analysis
While many of Dr. Seuss’ masterpieces rely on nonsensical words and unpredictable phrases, Green Eggs and Ham takes advantage of predictable text to encourage and facilitate early readers’ success. The predictability stems not only from the flawless rhyme, but also from repetitive phrases. Few authors are able to employ predictability to this extent without compromising story quality. However, Dr. Seuss succeeds in spinning a tale in which the reader can hardly wait to find out the conclusion all the while using rhyme and repetition.

As with all well-constructed picture books, Green Eggs and Ham would not be a complete tale without the illustrations. The first three pages of the story are illustrations of a curious fellow riding Seussian beasts back and forth. It is not until page 4 that text becomes prevalent with the main character exploding, “That Sam-I-am! That Sam-I-am! I do not like that Sam-I-am!” Thus, the tone is set for the entire story. The perfect coupling of text with pictures also helps developing readers. Not sure what that word is? It starts with an “h” and that’s a picture of a house. And that word? Well it rhymes with house, starts with “m” and that’s a picture of a…mouse! This story is an emergent reader’s dream come true—and it’s a fun tale to boot!


Connections
Other books by Dr. Seuss:
One Fish, Two Fish, Red Fish, Blue Fish
Horton Hears a Who
The Lorax

Review of LOS GATOS BLACK ON HALLOWEEN

Montes, Marisa. Yuyi Morales. (Ill.) 2007. LOS GATOS BLACK ON HALLOWEEN. New York: Henry Holt and Co. ISBN 0-8050-7429-5

Summary
Los Gatos Black on Halloween is a mingling of Mexican and US cultures through language, customs, and illustrations. In the course of this story, the reader meets a variety of ghoulish characters as they make their way to a late night soiree. (Three guesses which night it is!) This picture book poem intersperses Spanish terms throughout without impairing non-Spanish speakers’ understanding or enjoyment. Author Marisa Montes uses colorful adjectives and verbs which describe elements of both Halloween and the Mexican holiday Day of the Dead—Spanish translation: Día de los Muertos. Further evidence of this cultural coupling are the award-winning illustrations. Some are reminiscent of Día de los Muertos images portraying well-dressed skeletons with large, black eyes. Others include jack-o-lanterns and a glowing haunted house. This book, which is an odd combination of both whimsy and eeriness, is highly recommended for ages 4-9.

Analysis
Montes and illustrator, Yuyi Morales, collaborated to create a story which reflects both US as well as Mexican cultures. Through the use of interlingualism (code-switching), Montes introduces Spanish vocabulary within a predominantly English text. The mixture of the cultures goes beyond the mixing of languages. While the title of the story clearly states its topic as Halloween, the story includes hints of the Mexican holiday Día de los Muertos. This allusion is heightened through illustrations of skeletons wearing traditional Mexican dresses and sarapes.

As a poem picture book, this piece excels in its symbiotic relationship between text and illustrations. The text is rhyming and light. The lines wave across the pages adding to the playfulness of the poem. This is in contrast to the illustrations which use muted colors, sharp teeth and glowing eyes. Though phrases such as ‘shriek their pains’ and ‘loan loon mocks’ allude to the eeriness, it is the combination of illustrations and text which shapes the reader’s mood. For readers who love creepy pictures, this book, with its sing-song cadence, is an entertaining read any time of year.

Connections
Other books by Montes:
Juan Bobo Goes to Work
A Circle of Time

Other bilingual poem picture books:
Delicious Hullabaloo=Pachanga Deliciosa by Pat Mora
Iguanas in the Snow y Otros Poems de Invierno=Iguanas en la Nieve and Other Winter Poems by Francisco X. Alarcon

Review of LIBRARY LION

Knudsen, Michelle. Kevin Hawkes. (Ill.) 2006. LIBRARY LION. Cambridge, MA: Candlewick Press. ISBN 0-7636-2262-1

“One day, a lion came to the library.” So begins this tale of a creature who just can’t get enough of the library. Though he initially has trouble with the rules, Lion quickly becomes a model library patron as well as a favorite of the children who attend story hour. When the librarian has an accident, Lion must decide which is more important, following the rules or helping a friend.

This picture book is brought to life through understated illustrations. Hawkes uses acrylics and pencil to create a familiar and comfortable library environment. Additionally, illustrations of the characters give a life to the story not appreciated through the text alone. The progression of Lion’s acceptance in the library can be seen in the changing expressions of patrons’ faces. The story plainly states the situation, but it is the illustrations which lend depth to the emotion the characters feel. The author uses no fancy literary techniques to boost her story—no alliteration, nor rhyming, nor onomatopoeia. The text is divided into manageable chunks, thus facilitating read-alouds and forays into independent reading for children. Knudsen has created a simple, heartfelt story with realistic characters—the docile, envelope-licking lion not withstanding. Library Lion is highly recommended for ages 4-9.


Connections
Other books by Knudsen:
The Case of Vampire Vivian
A Slimy Story

Other picture books about the library:
Stella Louella and the Runaway Book by Lisa Campbell Ernst
Tomás and the Library Lady by Pat Mora
The Library Dragon by Carmen Agra Deedy