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 DELICIOUS HULLABALOO=PACHANGA DELICIOSA

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

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

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

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

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

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

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

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

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

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

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

Review of NEIGHBORHOOD ODES

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

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

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

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

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

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

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

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

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

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

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

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

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