Review of DOÑA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART

Mora, Pat. Raul Colón (Ill.) 2005. DOÑA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART. New York, NY: Alfred A. Knopf. ISBN 978-0-375-82337-4

PLOT SUMMARY
Doña Flor, as the title suggests, is a large woman. So large that she hugs the wind, cradles livestock in her arms, and makes tortillas so big the town’s children use them as rafts. Not only is she large, this kind-hearted woman cares for her fellow townspeople. When they are frightened that a giant puma will attack the pueblo, Doña Flor tries everything to allay their fears and cheer them up. She reads stories to the children, scratches a new riverbed with her thumb, and shares the giant fruits of her garden. It is not until Doña Flor solves the mystery of the puma that the townspeople are able to return to their lives of peace and harmony.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This story offers a plethora of cultural markers. Both the text and illustrations support the conveyance of the Hispanic culture. The interlingualism and illustrations depict a rural adobe pueblo. Through the use of language and setting, Pat Mora shares a tale of Doña Flor and her adventure with the giant puma.

The language used in this story is primarily English. However, there are Spanish phrases and terms peppered throughout. This use of interlingualism adds to the Hispanic flavor of the story. Mora chooses not to utilize a glossary for this book. However, the context surrounding each term is sufficient for full comprehension for even those with no Spanish-speaking abilities. “She built her own house, una casa big as a mountain….” The title character’s name, Flor, is subtly explained, “…she sang to her sweet baby, her sweet flower, …Flor.” Mora also uses Spanish terms which are easily recognized such as pueblo, tortilla, and amigo.

Raul Colón’s illustrations provide cultural information regarding both characters and setting. While of unusual stature, Doña Flor’s hair, skin tone, and facial features are authentically Hispanic. Her black hair is worn in a traditional braid wrapped around her head, the skin tone of the townspeople is a tanish brown, and Doña Flor has a strong nose and round face. Each characteristic in isolation could depict any number of ethnicities. However, when used in concert the resulting vision is of a clearly Hispanic community.

The illustrations reveal architecture which is characteristic of the southwestern U.S. and other desert or dry environments. The village is populated with flat-roofed adobe houses and buildings. Some of the homes are built into a hillside, typical in areas which require protection from the heat and other elements. This type of architecture is customary in some Hispanic communities of the southwestern United States.

While this tall tale could be generalized to many cultures, the interlingual text as well as the water color and etched illustrations place DOÑA FLOR: A TALL TALE ABOUT A GIANT WOMAN WITH A GREAT BIG HEART distinctly into the genre of Hispanic culture. Mora and Colón team up to create an Hispanic folktale with a maternal heroine whom we should all be so lucky to know.

REVIEW EXCERPTS
The plot is weak (a dangerous puma turns out to be harmless), but the cultural context is rewarding, as are the paintings, created with an intriguing combination of watercolor washes, etching, and colored and litho pencils. (Horn Book)
“ Colón’s gorgeous illustrations (with his round, swirling scratchboard style in warm, buttery colors) steal the show here, as the pleasantly rhythmic but overly meandering tall tale isn't arresting enough plot-wise to avoid bogging down in its heaps of hyperbole.” (Kirkus Review)

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

CONNECTIONS
Other tall tales for children:
Grambling, Lois G. ABIGAIL MUCHMORE: AN ORIGINAL TALE, ISBN 978-0-7614-5116-7
Schnetzler, Pattie L WIDDERMAKER, ISBN 978-0-87614-647-7
Rossi, Joyce. EL CHAPARRON TORENCIAL, ISBN 978-0-87358-728-0

Other books by Pat Mora for K-3 readers:
A BIRTHDAY BASKET FOR TIA, ISBN 978-0-689-81328-3
MARIMBA! ANIMALES FROM A TO Z, ISBN 978-0-618-19453-7
YUM! MMMM! QUE RICO! AMERICAS’ SPROUTINGS, ISBN 978-1-58430-271-1

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

What the World Eats

Photo Essay from Time Magazine. Food is a wonderful insight into one's culture. Click on this link for an interesting perspective:

http://www.time.com/time/photogallery/0,29307,1626519_1373664,00.html

Review of ELLA FITZGERALD: THE TALE OF A VOCAL VIRTUOSA

Pinkney, Andrea Davis, and Brian Pinkney. 2002. ELLA FITZGERALD: THE TALE OF A VOCAL VIRTUOSA. New York, NY: Jump at the Sun/Hyperion Books for Children. ISBN 0-786805684

PLOT SUMMARY:
ELLA FITZGERALD: THE TALE OF A VOCAL VIRTUOSA is an account of some of the high points in Ella Fitzgerald’s life. Told from the perspective of Scat Cat Monroe who was there from “the get-go,” the story follows Ella’s life from dancing on the street corner to becoming honored by two U.S. Presidents for her talent. Infused with period terminology, Pinkney’s version of Fitzgerald’s life may be difficult for young readers to understand. However, older readers and people familiar with her work will love the celebration of Ella’s successes through both text and delightful illustrations.

CRITICAL ANALYSIS:
Andrea Davis Pinkney and Brian Pinkney team up to produce a vibrant retelling of Ella Fitzgerald’s musical career. This nonfiction piece utilizes accuracy, organization, design and style to relay the story. The incorporation of African-American culture further contributes to the story’s meaning and overall presentation.

The accuracy of this book is validated by the author’s research. In collaboration with Quincy Troupe and the Carnegie Hall Archives, Pinkney’s story is wholly believable. In addition to research done at the Museum of the City of New York, Pinkney offers a bibliography to support the facts presented in ELLA FITZGERALD. At the end of the book is a listing of resources, including books, videos, and records. Whether or not they are interested in continuing to learn about The Queen of Scat, older readers will find these items both interesting and entertaining.

Each era in Ms. Fitzgerald’s life is organized into a “track” (chapter). The tracks follow Ms. Fitzgerald from dancing on the street corners in her home town of Yonkers, New York, through her rise in popularity as a singer in Harlem, to nationwide recognition. The book ends hailing her legendary status as The First Lady of American Song. Scat Cat Monroe, a self-proclaimed expert on Ella Fitzgerald, is the reader’s guide.

The illustrations are sometimes surreal and always embody the music they celebrate. The musicians and dancers portrayed in ELLA FITZGERALD illustrate African-American music and culture during jazz’s swing and bebop popularity. Brightly colored suits and dresses and wing-tip shoes adorn each character. Brian Pinkney’s scratchboard technique, bright colors, and ability to convey movement make the illustrations the best part of this biography.

The culture of this book is demonstrated via voice and vocabulary. The narrator, Scat Cat Monroe, embodies Harlem and jazz in the thirties. “Baby, I’m in a class all by myself.” Later, Scat Cat refers to another musician as “a finicky bird. Easy to ruffle.” These phrases and others, such as strut her shuffle, shade the high notes, grits with gravy, milked the backbeat, and ham-hock jabber offer a window to the culture of the music scene in Harlem in the 1930s. However, they are overused and potentially confusing—especially for English language learners. On the other hand, the racial issues of the time are mentioned only in passing, “…a true star has no color.”

This account of Ella Fitzgerald’s life is by no means exhaustive. By offering a list of references in a variety of formats at the end of the book, as well as comprehensive Notes from the author and illustrator, readers are encouraged to study jazz and the contributions made by the Vocal Virtuosa.

REVIEW EXCERPTS:
"The prose, while occasionally labored, swings to a syncopated beat and piles on the synesthesia ("Ella rolled out a tune sweet enough to bake"). …A `skippity-hop-doo-dee-bop' picture book." (Publisher’s Weekly)
"In a playful, conversational tone, this work nearly sings the rhythms of scat. …Bright colors, jazzy words, and energetic artwork bring the music of scat and Fitzgerald to life." (School Library Journal)

CONNECTIONS:
Other books by Pinkney about African Americans:
DUKE ELLINGTON: THE PIANO PRINCE AND HIS ORCHESTRA
ALVIN AILEY
DEAR BENJAMIN BANNEKER
LET IT SHINE: STORIES OF BLACK WOMEN FREEDOM FIGHTERS
BILL PICKETT: RODEO-RIDIN’ COWBOY

Other books about Jazz
DUKE ELLINGTON: THE PIANO PRINCE AND HIS ORCHESTRA by Andrea D. Pinkney
CHARLIE PARKER PLAYED BE BOP by Chris Rascka
DIZZY by Jonah Winter
JOHN COLTRANE’S GIANT STEPS by Chris Raschka

Review of TONING THE SWEEP

Johnson, Angela. 1993. TONING THE SWEEP. New York, NY: Orchard Books. ISBN 978-0-531-086261

PLOT SUMMARY
Emmie and her mother are going to the desert to collect Ola, Emmie’s grandmother. Unlike her annual summer visits to Ola’s house, this time Emmie is helping her move to Cleveland to live with them. Before they leave, Emmie sets out to gather memories for Ola by videotaping her friends and neighbors. Not only does she learn how much her grandmother is loved, but also why her own mother is sometimes so sad and angry. In this slow-moving novel, a young girl helps her mother and grandmother through a process of healing and closure. Author Angela Johnson attempts to reveal how emotional hurt runs as deeply as that of physical ailments in TONING THE SWEEP.

CRITICAL ANALYSIS
TONING THE SWEEP is the story of a 14-year old African-American girl who travels to her grandmother’s house with her mother. The girl, Emmie, has visited Ola, her grandmother, every summer since she was two. This visit, however, is different. Through the use of language, characterization and setting, Angela Johnson writes a story which allows the reader to watch a family deal with life-threatening disease and the loss of loved ones through a uniquely African-American lens.

As the characters talk to one another, their relationships as well as their culture are exposed. “Girl, you’d better put that hat on…” (p. 8). “I hope you never get to see hate, baby” (p. 33). The characters’ concern and love for one another comes through in their dialog. Further, terms of endearment such as baby, girl, honey, and sister are terms often used in African-American culture. Other phrases which connote generational as much as ethnic culture are used throughout the novel. As Emmie practices using the video camera she admits, “guess I’ll get it when I chill a little” (p. 19).

While ethnicity is never an overt topic in TONING THE SWEEP, characterization provides hints throughout the story. The main character, Emmie, has a variety of characteristics. Her grandmother affirms she is a “smart ass”—a typical teenage trait. However, Emmie admits to not having a clue about how to be cool. She thinks to herself that most of her friends wouldn’t admit to liking their grandmothers as she does. Ola is an irreverent and bold character. At one point in the story she tells Emmie, “Hair should be kept at home—not loaned out to people who want to put strange objects and creams in it…when you know your pets will be scared of you when you get back to the house” (p. 44). This statement can be attributed to Ola’s lack of vanity. However, it may also be a rejection of the phenomenon of Black people buying into the White definition of beauty. Ola surrounds herself with good friends such as the aunts. The aunts are described in the story as wild and free. They tell stories, braid hair, and roll on the floor laughing. With Johnson’s description, it is easy to draw a mental picture of these senior African-American sisters.

The dry, seemingly infertile setting of the desert is juxtaposed with the thriving, fertile personalities which inhabit it. While Ola initially wonders what she will be able to grow in “the dry,” it is clear she has nurtured many lush relationships. These relationships helped her to survive losing her husband and growing apart from her daughter. Despite her loses, Ola’s warm and easy relationship with her granddaughter flourishes like kudzu vine in this barren setting.

The language, characterization and setting in TONING THE SWEEP contribute to the plot and cultural relevance of the story. As the characters interact with the setting and one another, the reader senses the familial bonds and culture which Johnson has set forth.

REVIEW EXCERPTS
“Johnson's spare, beautifully written first novel—a thematic extension of Tell Me a Story, Mama (1989)—portrays a crucial turning point for African-American women from three generations.” (Kirkus Reviews)
“PW, in a starred review, praised this “thoughtfully nuanced and penetrating” novel about three generations of women from an African American family who must cope with a beloved grandmother's illness.” (Publisher’s Weekly)
Coretta Scott King Award, 1994

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/main?SID=b8eed00e8fcf7b8bd35cecbbffabda05

CONNECTIONS
Other books by Angela Johnson:
Bird, ISBN 978-0-14-240544-4
The Other Side: Shorter poems, ISBN 978-0-531-07167-0
The First Part Last, ISBN 978-0-689-84923-7
Heaven, ISBN 978-0-689-82229-2

Books by Jacqueline Woodson:
Behind You, ISBN 978-0-14-240390-7
Between Madison and Palmetto, ISBN 978-0-399-23757-7
Locomotion, ISBN 978-0-14-240149-1

Review of MONSTER

Myers, Walter Dean. 1999. MONSTER. New York, NY: Harper Collins. ISBN 978-0-06-028078-9

PLOT SUMMARY
Sixteen-year old Steve Harmon is on trial for murder. His part in the crime is said to be that of making sure the coast is clear. Steve didn’t pull the trigger. He didn’t actually do anything, did he? Steve’s life is explored through his thoughts, memories, and conversations. Told from a movie director’s perspective, Steve provides his side of the story. Sparse flash-backs give clues as to what actually happened. However, the reader must decide if the story told is the truth or a movie version of an innocent boy wrongly accused.

CRITICAL ANALYSIS
MONSTER explores the cultures of Harlem and prison. The two settings take turns creating the world in which Steve Harmon lives. While the majority of the voices and characters in the story are likely to be African Americans, ethnicity is not always clear. Walter Dean Myers delves into the cultures of Harlem and prison through the use of language, characterization and setting.

The story begins with a young man in prison. He is frightened by those with whom he shares his cell and those with whom he must interact. He is disgusted by the smells and lack of privacy. In his attempt to deal with his fears, Steve resorts to writing a screenplay about his experiences. “If I didn’t think of the movie I would go crazy. All they talk about in here is hurting people….I hate, hate, hate this place” (p. 45). Prisoners blame their situation on “the man.” They threaten to hurt each other; beating up those who show weakness. In Myers depiction of the Manhattan Detention Center, prison guards are unwilling or unable to stop the violence. In the courthouse guards taunt defendants and defendants taunt each other—thus extending the culture of prison beyond its walls. Nothing in Steve’s past has prepared him or his family for this experience with prison. On visiting day, his father admits, “it just never came to me that you’d ever be in any kind of trouble…” (p. 112).

Harlem, a historically black neighborhood and Steve’s home, is the setting of his flashbacks. Steve is a good student who excels in film class. His father is a college graduate. By all accounts, Steve should be a good kid. Good kids can become associated with a criminal without becoming one, can’t they? Steve associates with young men who see stealing and gang membership as a way of life. While he never overtly accepts these behaviors, neither does he reject them. Through the community members, readers see the neighborhood’s culture including an acceptance of crime. When asked if he was shocked by a murder, one resident replied, “I ain’t shocked. People getting killed and everything and it ain’t right but I ain’t shocked none” (p. 121). The characters are rounded out through language. Use of the word ain’t peppered throughout the dialogue and well-placed examples of Black New York vernacular add to the flavor of Harlem’s culture without confusing the reader.

Myers’ young adult novel, MONSTER, offers a perspective on the culture of prison life as well as the lives of Harlem residents. While these two cultures are certainly not inextricably linked, the reader must see Steve’s life in Harlem in order to fully understand the impact prison has on him and how he got there. Perhaps it is the community’s resignation to senseless murder that places Steve in harm’s way. Perhaps his place of residence—with its poverty and unemployment—places him on the path toward a life of crime. After all, he did not go looking for trouble. In her closing argument, the prosecution declares “if he had chosen priests and Boy Scouts as his companions, I’m sure we wouldn’t be here today” (p. 261). Indeed, would any of us?

REVIEW EXCERPTS
“Balancing courtroom drama and a sordid jailhouse setting with flashbacks to the crime, Myers adeptly allows each character to speak for him or herself, leaving readers to judge for themselves the truthfulness of the defendants, witnesses, lawyers, and, most compellingly, Steve himself.” (Horn Book)
“Myers combines an innovative format, complex moral issues, and an intriguingly sympathetic but flawed protagonist in this cautionary tale of a 16-year-old on trial for felony murder.” (BookList)
Coretta Scott King Award, 2000
National Book Award Finalist, 1999
Michael L. Printz Award, 2000

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com/main?SID=b8eed00e8fcf7b8bd35cecbbffabda05

CONNECTIONS
Other books by Walter Dean Myers:
Bad Boy, ISBN 978-0-06-447288-3
The Beast, ISBN 978-0-439-36842-1
The Glory Field, ISBN 978-0-590-45898-6
Malcolm X: A fire burning brightly, ISBN 978-0-06-027708-6
Slam!, ISBN 978-0-590-48668-2
Street Love, ISBN 978-0-06-028080-2

7 More Children in Kabul are Dead

Parvana's story continues...
Read the full Associated Press story at:
http://hosted.ap.org/dynamic/stories/A/AFGHANISTAN?SITE=FLTAM&SECTION=US&TEMPLATE=DEFAULT&CTIME=2007-06-18-09-42-37