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.