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.