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

Review of PARVANA’S JOURNEY

Ellis, Deborah. 2002. PARVANA’S JOURNEY. Toronto, Ontario: Groundwood Books. ISBN 0888995148

PLOT SUMMARY
After burying her father, 13-year old Parvana continues her journey in search of her mother and siblings. In war-torn Afghanistan it isn’t safe to walk around—much less if you are a girl. Parvana wears her hair short and passes as a boy so she can continue her search in the relative safety reserved only for males in this country. Along the way, Parvana is joined by new ‘family members:’ a baby brother, an older brother and a sister. Together, they wander Afghanistan in search of food, water, shelter from bombs and their families. PARVANA’S JOURNEY reveals the wretched situation of the people of Afghanistan during the 1990s and the relentless hope held by its children whom “we force to be braver than they should have to be” (Ellis, 5).

CRITICAL ANALYSIS
PARAVANA’S JOURNEY takes the reader on a trip across Afghanistan with a 13-year old girl. Afghanistan and the Muslim culture, specifically under Taliban domination, is depicted through a variety of literary methods. Ellis uses language, characterization and setting to portray the society and culture of Parvana’s world.

Ellis’ use of language adds flavor to the text through both description and dialog. The characters’ names such as Parvana, Shauzia and Asif allude to a middle-eastern setting. The story is peppered with non-English terms like burqa, toshak and shalwar kameez. While these terms are not defined in the text of the story, context is often all the reader needs to understand the general meaning of unfamiliar words. For some culture-specific terms, Ellis provides a definition in a glossary at the end of the book.

Dialog, both internal and external, is another cultural indicator in PARAVANA’S JOURNEY. The main character, Parvana, acknowledges to herself she has “given up trying to understand why the Taliban hated women” (p.12). The children speak to each other of things such as tanks, bombing planes and empty bellies. They build shelter with plastic sheeting and pick up grains of rice to be eaten raw when there is no other food. While this type of danger and poverty can and does occur in many places around the world, it offers a view of the grim situation in which many Afghan children find themselves.

The characters in Ellis’ novel offer further insight into Afghan society. Parvana and her family are of a progressive, less traditional ilk. Parvana’s father taught her poetry, astronomy, math and English. Her mother is an organizer, helping families work together and teaching children in the camps. She also writes articles for women’s magazines which are forbidden in Afghanistan. Asif, Parvana’s new ‘brother,’ seems to have traditional male attitudes toward females. He frequently berates Parvana calling her stupid and weak. However, he is atypically patient and tender with baby Hassan. Though there are many opportunities for Asif to leave, he chooses to stay with Parvana and Hassan, as he puts it, “Just to annoy [her]” (p.193). This caveat is Asif’s attempt to save face. It shows his internal struggle between the traditional view of female inferiority and the need for family and community.

The setting, too, reveals the cultural background of PARVANA’S JOURNEY. There are descriptions of green valleys, hills and deserts. There are also descriptions of land mine fields, villages reduced to rubble and camps for Internally Displaced Persons. Thus, a picture is painted of a once beautiful country now decimated by the ravages of war.

Ellis’ young adult novel, PARVANA’S JOURNEY, offers a perspective on the lives of children in war torn Afghanistan. With no one to take care of them, Parvana, Asif and Hassan must care for themselves. Thus, readers watch the children attempt to rebuild their lives and become a family under the most adverse of circumstances.

REVIEW EXCERPTS
“In this highly readable sequel to The Breadwinner, it's wartime in Afghanistan, and thirteen-year-old Parvana must disguise herself as a boy as protection against the Taliban. After she sets off to find her mother and siblings, she forms a makeshift family with a baby and a contrary boy with one leg. Ellis deftly integrates engrossing characterizations with the harsh daily realities of war.” (Horn Book)
“A bittersweet ending offers some hope for Parvana and her family, but readers are left with a horrifyingly realistic picture of the effect of war on children. While the reading is not difficult, the grim content cries out for discussion. An unforgettable read.” (School Library Journal)

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

CONNECTIONS
Other books in this trilogy by Deborah Ellis:
Ellis, Deborah. The BREADWINNER. ISBN 978-0-88899-419-6
Ellis, Deborah. MUD CITY. ISBN 978-0-88899-518-6

Other novels about refugees:
Williams, Mary. BROTHERS IN HOPE: THE STORY OF THE LOST BOYS OF SUDAN. ISBN 978-1-58430-232-2
Lombard, Jenny. DRITA, MY HOMEGIRL. ISBN 978-0-399-24380-6

Review of KOALA LOU

Fox, Mem. 1988. KOALA LOU. Ill. by Pamela Lofts. New York, NY: Voyager Books. ISBN 0152005021

PLOT SUMMARY
KOALA LOU is a story of a young koala who tries to regain her mother’s love by winning a tree climbing contest. Her whole life she has heard, “Koala Lou, I DO love you!” However, as the family grows, Koala Lou’s mother has less and less time to dote on her. In the end, Koala Lou discovers she cannot and does not need to win her mother’s love by climbing the fastest. As “she hugged her for a very long time,” Koala Lou realizes her mother’s love is unconditional.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This story offers many cultural markers. The species of animals as well as the language make the location of KOALA LOU evident. Australia is home to the emu, platypus, koala and kookaburra. Not surprisingly, it is also the home of the author, Mem Fox. The animals mentioned in the text are not the only indicators of the story’s origin. There are several animals portrayed in the illustrations which are also indigenous to Australia. These include the wombat, bush baby, Tazmanian devil, kangaroo, and parrot.

The language used in this story is primarily standard American English. However, there are a few phrases and terms which allude to the story’s origin. For example, the mother asks Koala Lou, “How’re ya goin’, blossom?” The use of the term ‘goin’” diverges from the typical American phrase, “How’re ya doing?”

The setting provides another clue to the reader as to the origin of the story. Koala Lou intends to participate in the Bush Olympics. Bush is a term often used to refer to the Australian wilderness. This reference to the bush as well as the eucalyptus trees in the illustrations leave little doubt in the reader’s mind of where this story takes place.

This sweet story tells of a child’s insecurities and her mother’s unconditional love. While this theme is universal, the characters, language and setting place the story distinctly in Australia. KOALA LOU gives the reader insight to the flora and fauna which may be found in Australia. Readers are drawn into the story not only through the text, but also through the illustrations as they recognize familiar animals and learn new ones. Rather than minimizing the audience, the specific origin of the story adds to its richness and appeal.

REVIEW EXCERPTS
A starred Horn Book review summarizes the story as “a gentle tale set in the Australian bush. A good choice for story hour, bedtime, or reading aloud.”
“This satisfying reworking of a familiar and ever-important theme is appealingly illustrated--bright colors, soft-edged sculptural forms, precise detail, dozens of expressive animals. Another winning import from one of Australia's favorite authors.” Kirkus Review
Publisher’s Weekly states, “Lofts's colored-pencil drawings portray the Australian flora and fauna beautifully, including a few of the more exotic species.”

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

CONNECTIONS
Other books for children about Australia:
Lester, Alison. ARE WE THERE YET?: A JOURNEY AROUND AUSTRALIA. ISBN 9781929132737
French, Jackie. DIARY OF A WOMBAT. ISBN 9780618381364
Spilsbury, Louise. WATCHING KANGAROOS IN AUSTRALIA. ISBN 9781403472250

Other books originally published in Australia:
French, Simon. GUESS THE BABY. ISBN 9780618259892
Wild, Margaret. KISS KISS! ISBN 9780689862793
Trinca, Rod. ONE WOLLY WOMBAT. ISBN 9780916291105

Review of THE KILLER'S TEARS

Bondoux, Anne-Laure. 2006. THE KILLER'S TEARS. New York, NY: Delacourte Press. ISBN 0385732937

PLOT SUMMARY
Paolo Poloverdo was not born on the day he came out of his mother's womb. Rather, he was born the day Angel Allegria entered his life. Paolo’s home, the southernmost tip of Chile, provided only the barest of essentials for its inhabitants. Ironically, it was Angel Allegria, a thief and a murderer, who brought wholeness to Paolo's life. However, it was not only Paolo who benefited from the relationship. Through his relationship with Paolo, Angel's life became whole and developed meaning. To Angel, running from the law had been a game. But now, being taken to jail meant abandoning Paolo--the one thing he could not bear to do. No one, not even Paolo and Angel, could fully understand their relationship. In the end, the journey taken through this inexplicable relationship enabled Paolo to bury Angel's sins and finally express love toward a family of his own.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE KILLER’S TEARS is more a commentary on the death penalty and on isolated, rural communities rather than Chilean society. Author Anne-Laure Bondoux paints a picture of a cruel outlaw—Angel Allegria—who is wanted for murder. Initially, it is difficult to feel much sympathy for him. However, by the end of the story, there is little doubt of Angel’s change of heart and worthiness of a second chance. The sense of isolation is complete through Bondoux’s vivid description of the Poloverdo farm. This homestead lacks electricity, running water and a nearby market--amenities most urban areas have. This physical isolation from the rest of society permeates the lives and emotional state of the Poloverdos. While it is this isolation which leaves Paolo impassive when his parents are murdered in their own home, this same isolation gives Angel a second chance at life.

The only Spanish language present in the English translation are names. These names are full of meaning. The main character, Paolo Poloverdo, is a boy who lives on a rocky coastal farm. His name, Poloverdo means strong, fertile foundation. Angel Allegria is a thief and murderer. His name means happy angel. Another character, Luis Secunda, is a young man who is trying to find his destiny. His surname, Secunda, means support or second. While these names may seem ironic, their meanings are borne out in the characterizations. For example, Paolo is the fertile foundation for Angel's salvation and ability to love. Similarly, Angel serves as Paolo's salvation. For it was through Angel's commitment to caring for Paolo that the boy learned to trust and love others. Finally, Luis acts as a support for both Paolo and Angel. While his initial support is in the form of teaching Paolo to write and read, for a time he supports the men financially.

The characters in THE KILLER'S TEARS could be from many places around the globe. Paolo lives on an isolated farm, living off the land. Angel is raised in a brutal inner-city environment where violence is a common solution to problems. Luis is a well-to-do son of a wine merchant who seeks to run away from his family's expectations. Finally, Ricardo Murga is a soon-to-be retired lumberjack and carpenter. This varied set of characters serves to universalize the emotions and messages relayed in the story by speaking to different types of readers.

The setting, too, is universal. Paolo's homestead; the isolated, windy farm, has a small but sturdy one-room house. Water is scarce and goats milk is less so. Nothing--not food, drink nor firewood--is abundant. The dingy bustling port town of Punta Arenas has mud streets and a market. The bank building has a water fountain, sweets and a carpet so soft Paolo “wanted to remove his shoes to feel the softness under his feet” (p. 53). Finally, the quiet and peaceful forest adds to the readers’ sense of the different types of environments which can be found within the country of Chile. Most readers will have experienced one of these settings either personally or vicariously. This diversity enhances the readers' ability to generalize and connect with the story.

Bondoux’s young adult novel, THE KILLER’S TEARS, offers a window into the lives of physically isolated and socially disconnected characters. She takes the reader on a journey with the characters—a journey which reconnects them with others and with themselves.

REVIEW EXCERPTS
A starred Horn Book review said, “In commanding, starkly poetic language, Bondoux shows how the two [Paolo and Angel] become emotionally dependent on each other and persuades readers that the murderer and his "son" belong together.”
Publisher’s Weekly notes, “if not for the mention of surveillance cameras in the town's bank, this tale could be set almost anytime.”
School Library Journal comments, “while the book's haunting, melancholy air will keep readers turning pages, the complex yet remote telling gives it the feel of South-American literature….”

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

CONNECTIONS
Other books for young adults about the death penalty:
Streissguth, Thomas. The death penalty: debating capital punishment. ISBN 978-0-7660-1688-0

Other Batchelder Award and Honor novels are:
Mourlevat, Jean-Claude. PULL OF THE OCEAN. ISBN 978-0-385-73348-9
De Mari, Silvana. THE LAST DRAGON. ISBN 978-0-7868-3636-9Holub, Josef. AN INNOCENT SOLDIER. ISBN 978-0-439-62771-9