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 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 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 ¡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.

Mildred L. Batchelder Award

"This award, established in [Mildred L. Batchelder's] honor in 1966, is a citation awarded to an American publisher for a children's book considered to be the most outstanding of those books originally published in a foreign language in a foreign country, and subsequently translated into English and published in the United States." (ALA website)

For a list of current and past award and honor books, click the link below.

http://www.ala.org/ala/alsc/awardsscholarships/literaryawds/batchelderaward/batchelderaward.htm

Review of SAMIR AND YONATAN

Carmi, Daniella. 2000. SAMIR AND YONATAN. New York, NY: Scholastic Press. ISBN 9-780-4391-3504-7

PLOT SUMMARY
In this 2001 Batchelder Award winner, a young Palestinian boy must go to the Jewish hospital for surgery. Samir has shattered his knee and only through a connection with his mother’s employer is he able to get a “special permit for an operation at the Jews’ hospital.” Though he dreads going to the hospital, Samir has experiences unlike any he has had in his village. A fellow patient, Yonatan, teaches Samir about space and they develop a friendship which will impact Samir for the rest of his life.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
SAMIR AND YONATAN begins as a story about the Palestinian-Israeli conflict. A boy from the occupied West Bank, Samir fears Jews and blames them for his brother’s death. However, Samir takes a journey—not just a physical journey to the hospital, but also an emotional journey to a place of understanding, tolerance, and acceptance. Carmi uses setting and characterization to craft these journeys.

The setting varies in SAMIR AND YONATAN. Samir spends much of the book in a children’s ward in the Jewish hospital. This hospital is clean and quiet. Samir notes he would be able to concentrate better at school were it equally as quiet. This calm, bright atmosphere is juxtaposed with Samir’s village. As he lays in his hospital bed, Samir recalls the blackouts, curfew, hunger, and poverty of his home. Despite the difficulties, the familiarity comforts him, “If there’s a curfew I won’t…have to travel with Mom to the Jews’ hospital.”

Carmi’s use of characterization successfully shows Samir’s growth and acceptance of the people around him. He begins to draw connections between the people at the Jews’ hospital and his family and friends back home. This evolution can be seen in how Samir refers to the other characters. For example, a maternal figure in the story, his nurse is initially referred to as “the fat nurse.” Later, she is called Nurse Vardina. Finally, Samir refers to her simply as Vardina. Throughout the course of the story, Yonatan, an Israeli boy, becomes Samir’s friend. Often Samir does not understand Yonatan. However, the two develop a connection which has more to do with being boys than with the war-torn time in which they live.

The most drastic evolution is in Samir’s relationship with Tzahi. Tzahi is a rambunctious patient who runs around and boasts that his brother is a paratrooper. When given candies by his brother, Tzahi taunts the other children by eating them one by one and not sharing. He rarely looks at Samir, much less does he address him. Throughout the story, Samir’s view of Tzahi as “the other”—to be feared and mistrusted—evolves to a feeling of camaraderie. In the end, each boy accepts the other as a friend as together they share one last mischievous event before Samir is discharged from the hospital.

Carmi includes many cultural terms throughout the book. Originally published in Hebrew, the use of vocabulary such as pasha, dinars, kinnar, and narghile is to be expected. Inclusion of these words in the English translation keeps the cultural references in the forefront of the reader’s mind. A glossary defining non-English words is provided at the end of the book.

While this story is clearly set in Israel, the character growth could be generalized to cultural conflicts around the globe. Seeing groups as “the other” rather than inhabitants of the same planet allows fear and mistrust to fester. By living with each other, the children at the hospital discovered the common ground on which they stood. The frailty of human life is illustrated through the different ailments suffered by the patients in SAMIR AND YONATAN. Carmi’s facility for storytelling reveals that neither group is immune to this frailty nor are the children alone or forgotten in their suffering.

REVIEW EXCERPTS
Publisher’s Weekly notes, “A Palestinian boy comes to terms with his younger brother's death by an Israeli soldier in this slow-paced but affecting novel originally published in Hebrew in 1994.” (April 2002)
“The bitter suffering of a Palestinian family is at the center of this moving novel, eloquently translated from the Hebrew. ... {This is a} moving drama of individual kids who become friends and help each other through pain when they get a chance to know each other.” (Booklist, 2000)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24
and Book Review Digest Plus (an HW Wilson database).

CONNECTIONS
Other Batchelder Award Winners:
Delacorte Press for The Pull of the Ocean written by Jean-Claude Mourlevat and translated from the French by Y. Maudet. (2007)
Arthur A. Levine Books for An Innocent Soldier written by Josef Holub and translated from the German by Michael Hofmann (2006)
Delacorte Press/Random House Children's Books, for The Shadows of Ghadames by Joëlle Stolz, translated from the French by Catherine Temerson. (2005)

Children’s books on Israel & Judaism:
Waldman, Neil. 2003. The never-ending greenness : we made Israel bloom. Honesdale, PA : Boyds Mills Press. ISBN 978-1-59078-064-0
Oberman, Sheldon. 2005. The always prayer shawl. Honesdale, PA : Boyds Mills Press. ISBN 978-1-59078-332-0
Krensky, Stephen and Greg Harlin (Ill.). 2006. Hanukkah at Valley Forge. New York: Dutton Children’s Books. ISBN 0-525-47738-1

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 THE WARRIORS

Bruchac, Joseph. 2003. THE WARRIORS. Plain City, OH: Darby Creek. ISBN 1-581960026

PLOT SUMMARY
Jake loves to play lacrosse. He is good at it, too—maybe even the best junior league player on the reservation. Lacross was a gift from the Creator to the Iroquois people, “a way to make them strong, a way to join together in a great game that was also a prayer” (p. 15). Now Jake is moving off the reservation with his mother. He must move away from his family and friends. Jake’s new school has a lacrosse team. In fact, Weltimore is known for producing the best junior league lacrosse players. As he struggles to adapt to his new community and new team, Jake must also find a way for his community to adapt their beliefs. Jake must find a way to help his teammates, especially the coach, understand the true meaning and importance of lacrosse to the Iroquois people.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE WARRIORS is a well-told story of a boy—becoming a man—struggling to understand and be understood. Joseph Bruchac, himself of Abenaki heritage, portrays the Iroquois people in a respectful and telling light. Through character development, language and relationships the respectful nature of the Iroquois people is revealed. The story is so believable, the reader feels as though they are hearing a story told by and about friends.

The characters’ actions and words are understated and realistic. Though Jake is heartbroken at having to leave the reservation, he continues to be respectful of his mother and others. When his mother asks him not to play lacrosse so he can concentrate on his studies, he agrees without hesitation. This respect for his elders is typical of Iroquois tradition. Jake also shows his respect for others in a conversation after a lacrosse victory. When called “Chief” by teammates, Jake chooses not to correct the other players. He understands they are trying to show their appreciation for his abilities and doesn’t want to hurt their feelings.

Another character, Jake’s Uncle Irwin, treats others with truthful respect. When Jake is set to leave the reservation, he asks his uncle to take care of his lacrosse stick while he’s gone. Knowing the stick “belong[s] in his nephew’s hands” (p. 17), Uncle Irwin respects Jake’s wish and accepts the responsibility. When he is homesick after the move, Jake begins calling friends and family members. After several calls, Uncle Irwin gently reminds Jake, “I love to hear from you, but I think you need to be where you are…” (p. 29). This calm respectful tone is found throughout the story, reflecting Iroquois custom.

In Native American cultures, “the elderly have always occupied a special place because of their wisdom and age” (Harris, p. 171). Bruchac shows Jake’s respect for Grandpa Sky throughout the story. Jake always looks for Grandpa Sky in the stands during lacrosse games and remembers the stories his grandfather has told him. Near the end of the story, Jake dreams of an old woman whom he knows only as another Indian. Though they are strangers in his dream, they refer to each other as grandmother and grandson. This illustrates the Iroquois’ perception that elders are thought of as the grandparents of the community.

Bruchac’s young adult novel, THE WARRIORS, reveals characters which behave both realistically and respectfully. Though people often feel hurt and outcast and must do things they don’t want to, most do not lash out and “tell it like it is.” The thoughts and feelings of the characters in THE WARRIORS show real frustration and sadness and realistic responses to those emotions.

REVIEW EXCERPTS
Publisher’s Weekly notes, “While the plot seems contrived to deliver the lesson, and while Jake, in all his perfection and purity, seems more paragon than a flesh-and-blood character, Bruchac offsets these drawbacks with the smoothness of the prose and the beauty of his evocation of Native American spirituality and wisdom traditions. Readers will want to believe in the story and in Jake.”
School Library Journal comments, “Throughout the novel, the author mixes just the right amount of universal teen experience and culturally specific perspective to make Jake's story appealing to a broad audience.”

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Bruchac books for younger readers:
RACCOON’S LAST RACE. ISBN 978-0803729773
TURTLE’S RACE WITH BEAVER. ISBN 978-0803728523
CRAZY HORSE’S VISION. ISBN 978-1880000946

Children’s books on lacrosse:
Wells, Donald. 2006. FOR THE LOVE OF LACROSSE. For the love of sports. New York: Weigl Publishers. ISBN 978-1590363010
Hoyt-Goldsmith, Diane, and Lawrence Migdale. 1998. Lacrosse: the national game of the Iroquois. New York: Holiday House. ISBN 978-0823413607
Swissler, Becky. 2004. Winning lacrosse for girls. The winning sports for girls series. New York: Facts On File. ISBN 978-0816051830

Review of THE LEGEND OF THE WINDIGO

Ross, Gayle. Murv Jacob. (Ill.) 1996. THE LEGEND OF THE WINDIGO. New York: Dial Books. ISBN 978-0-803718982

PLOT SUMMARY
THE LEGEND OF THE WINDIGO is based on a combination of different Native American Tribes’ stories. In this tale, a village is plagued by a fearsome monster, the Windigo. This creature can change its form at will, sometimes being as tall as the tallest tree. Worst of all, it hypnotizes humans with its cave-like eyes and finally eats them. After losing some of its members to the Windigo, the village must decide what to do. Should they stay in the village where their ancestors slept or should they flee to safety? The people discover the answer to this difficult question from an unexpected source.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This story offers many cultural markers. Both the text and illustrations support the conveyance of Native North American cultures. Author Gayle Ross, a Cherokee, uses her experience as a storyteller to blend parts from different tribes’ stories—including Tlingit and Cree—into an entertaining and culturally sensitive tale.

This tale depicts a people who live in the north woodlands. This generic location does more to indicate the forest-dwelling nature of the Windigo rather than to indicate a specific tribe. Ross states this story is based on several stories told by different tribes, but “this version is essentially my own creation” (Ross, unpaginated). The community comes together “in a great council” to decide what they are to do about the Windigo. Finally, they decide the elders would pray and fast in hopes they would be shown the solution to their problem. The entire village helps to build the sweat lodge—men, women, and children all have a part to play. The communal nature of the story’s tribe is typical of many Native American cultures.

Another commonality among some American Indian tribes is the global use of the term grandparents. When a boy tending a fire notes a stone has split, he calls the elders Grandparents. They reply, “they do that sometimes, Grandson.” The elders of a community are referred to as the grandparents of the entire tribe. In turn, though there may be no blood ties between them, the elders refer to the children as grandchildren.

Murv Jacob’s illustrations continue to provide general cultural information, taking care not to upset Ross’ attempt to generalize the story’s background. In most of the pictures, the men are seen wearing buckskin pants and shirts and the women buckskin dresses. There is some variation in the hairstyles among the villagers. Some men are shown with feathers and some women with their hair up. As with any community, variation in dress and hairstyles is to be expected. Such variation feeds the intentional lack of tribe specificity.

As can be noted in the illustrations and is reiterated in the Author’s Note, Jacob takes special care in the depiction of the sweat lodge. “Many traditional peoples are very protective of their own rituals” (Ross, unpaginated). Thus, this religious ceremony is protected through the use of general descriptions and paintings. Divulgence of the materials used to build the lodge and what goes on inside the lodge are deftly avoided.

While THE LEGEND OF THE WINDIGO is called “A Tale from Native North America,” the author concedes there is no such thing as a Native American Story. Indeed, the Author’s Note is a critical source of information when sharing this story. It not only provides background information about the story, it lays a foundation for readers seeking authentic stories about American Indian tribes. Despite the fact that the story’s authenticity and accuracy would be suspect without the benefit of the Author’s Note, THE LEGEND OF THE WINDIGO is, in and of itself, an entertaining tale.

REVIEW EXCERPTS
“The acrylic paintings match the text's description of the fearsome Windigo and also aptly capture the story's humorous conclusion. The lengthy author's note at the back provides a wealth of information.” (Horn Book)
“The fast pace and polish of the story make it a good choice for reading aloud…. Ross cites sources with a detailed note on story development and an explanation of sweat lodge ceremonies.” (Booklist)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/search?SID=c211074453f514ff63ced2a0fe154f24

CONNECTIONS
Other Cherokee-related stories for readers in grades K-6:
Ross, Gayle, and Murv Jacob. (Ill.) 1994. How Rabbit tricked Otter and other Cherokee trickster stories. New York: HarperCollins Publishers ISBN 978-0-0602-1285-8
Sneve, Virginia Driving Hawk. 1996. The Cherokees. New York: Holiday House. ISBN 978-0-8234-1214-3
Bruchac, Joseph, and Teresa Flavin. (Ill.) 2000. Pushing up the sky : seven native American plays for children. New York: Dial Books. ISBN 978-0-8037-2168-5Max, Jill, and Robert Annesley. (Ill.) 1997. Spider spins a story: fourteen legends from Native America. Flagstaff, AZ: Rising Moon. ISBN 978-0-8735-8611-5