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/