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 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.

Review of LOS GATOS BLACK ON HALLOWEEN

Montes, Marisa. Yuyi Morales. (Ill.) 2007. LOS GATOS BLACK ON HALLOWEEN. New York: Henry Holt and Co. ISBN 0-8050-7429-5

Summary
Los Gatos Black on Halloween is a mingling of Mexican and US cultures through language, customs, and illustrations. In the course of this story, the reader meets a variety of ghoulish characters as they make their way to a late night soiree. (Three guesses which night it is!) This picture book poem intersperses Spanish terms throughout without impairing non-Spanish speakers’ understanding or enjoyment. Author Marisa Montes uses colorful adjectives and verbs which describe elements of both Halloween and the Mexican holiday Day of the Dead—Spanish translation: Día de los Muertos. Further evidence of this cultural coupling are the award-winning illustrations. Some are reminiscent of Día de los Muertos images portraying well-dressed skeletons with large, black eyes. Others include jack-o-lanterns and a glowing haunted house. This book, which is an odd combination of both whimsy and eeriness, is highly recommended for ages 4-9.

Analysis
Montes and illustrator, Yuyi Morales, collaborated to create a story which reflects both US as well as Mexican cultures. Through the use of interlingualism (code-switching), Montes introduces Spanish vocabulary within a predominantly English text. The mixture of the cultures goes beyond the mixing of languages. While the title of the story clearly states its topic as Halloween, the story includes hints of the Mexican holiday Día de los Muertos. This allusion is heightened through illustrations of skeletons wearing traditional Mexican dresses and sarapes.

As a poem picture book, this piece excels in its symbiotic relationship between text and illustrations. The text is rhyming and light. The lines wave across the pages adding to the playfulness of the poem. This is in contrast to the illustrations which use muted colors, sharp teeth and glowing eyes. Though phrases such as ‘shriek their pains’ and ‘loan loon mocks’ allude to the eeriness, it is the combination of illustrations and text which shapes the reader’s mood. For readers who love creepy pictures, this book, with its sing-song cadence, is an entertaining read any time of year.

Connections
Other books by Montes:
Juan Bobo Goes to Work
A Circle of Time

Other bilingual poem picture books:
Delicious Hullabaloo=Pachanga Deliciosa by Pat Mora
Iguanas in the Snow y Otros Poems de Invierno=Iguanas en la Nieve and Other Winter Poems by Francisco X. Alarcon

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