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 ALLISON

Say, Allen. 1997. ALLISON. Boston: Houghton Mifflin. ISBN 9-780329-39549-0

PLOT SUMMARY
Allison and her doll, Mei Mei, live happily with her mother and father. One day, Allison notices she doesn’t look like her parents. When she realizes she’s been adopted, she bitterly focuses on the fact that her “real” parents didn’t want her and gave her away. As she broods and acts out, Allison struggles to deal with her anger. Finally, Allison is able to work through her feelings by taking a stray cat into their family.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Allen Say tells an emotional story of a little girl dealing with her family. Through the use of plot, characterization (including voice), language, and illustrations, ALLISON conveys a realistic picture of how a child dealing with adoption might feel.

The story opens with Allison receiving a dress from her grandmother. Her parents “ooh” and “aah” over how pretty she looks wearing her kimono. The mother’s use of the term kimono is Allison’s first clue that there is something different about her. She realizes for the first time how differently she looks from her parents. The inevitable conversation takes place between the child and her adoptive parents, “You’re not my Mommy and Daddy?” she asks. To which her parents reply, “of course we are….” This exchange only serves to deepen Allison’s dismay. Her sadness comes to a climax when she realizes Allison is not her ‘real’ name. This plot shows a realistic journey of a young girl dealing with her identity.

The characters in ALLISON are neither homogenous nor stereotypical. The adoptive parents are hurt by Allison’s outbursts, yet they are patient with their daughter. Allison’s school mates, representing many different ethnicities, reflect varied skin tones, body shapes, and hair styles. Allison, who is adopted from an unspecified Asian country, also exhibits a non-stereotypical view of her ethnicity. Except for the time she is trying on her new kimono, Allison wears typical clothing for an American child.

Say’s use of voice further contributes to the characters’ believability. Allison’s question, “Where did Mei Mei come from?” accurately depicts a child’s tendency to project questions about themselves onto dolls or animals. Later, when Allison is acting out against her mother, she ruins her dolls. Rather than fuss at Allison, the mother laments, “Oh, no, poor [dolly]! I’ve had him since I was a little girl.” This type of response reveals a believable interaction between a mother and daughter which is full of anger and pain yet grounded in love.

The illustrations and use of Japanese words provide a fullness to ALLISON. Say’s ability to capture realization, anger, pain, and defiance in his characters’ faces is outstanding. At the story’s most painful moments, Say uses dark somber colors. At the end, Allison’s breakthrough with the stray cat is accompanied by bright sunlight and pastel background colors. Say tops off the cultural allusion by including words such as Mei Mei (the doll’s name), kimono, and obi.

ALLISON is a touching story about a family dealing with adoption. This realistically portrayed situation is conveyed through the adept use of literary tools and a sensitive yet authentic approach to ethnic diversity.

REVIEW EXCERPTS
“Her adoption of a stray cat brings about a happy ending that seems less earned than bibliotherapeutic. The large, sober paintings are often heavy, and the bookmaking, though handsome, is too big and elegant for the family drama it is meant to support.” (Horn Book)
“Cleverly, Say uses a stray cat that Allison wants to adopt to help her come to terms with her anger as she realizes everyone needs a family. A subtle, sensitive probing of interracial adoption, this exquisitely illustrated story will encourage thoughtful adult-child dialogue on a potentially difficult issue.” (Publishers Weekly)
“Say masterfully captures Allison's expressions: She is surprised, wounded, sullen, hurt and hurtful, and finally reassured. He addresses the dark side of an adoptive child's feelings carefully, and while the resolution is a bit convenient (and may require interpretation for younger children), it still carries truth.” (Kirkus Review)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com

CONNECTIONS
Other books by Allen Say:
THE BICYCLE MAN, ISBN 978-0-395-32254-3
EL CHINO, ISBN 978-0-395-52023-9
EMMA’S RUG, ISBN 978-0-395-74294-5

Other books about adoption:
Lewis, Rose A. 2000. I LOVE YOU LIKE CRAZY CAKES. New York, NY : Little, Brown. ISBN 978-1-59990-017-9
Young, Ed. 2006. MY MEI MEI. New York, NY : Philomel Books. ISBN 978-0-395-74294-5
Friedrich, Molly. 2004. YOU’RE NOT MY REAL MOTHER! New York, NY : Little, Brown. ISBN 978-0-316-60553-3

Related website:
http://www.houghtonmifflinbooks.com/authors/allensay/

Review of GOOD-BYE, 382 SHIN DANG DONG

Park, Frances and Ginger Park. Yangsook Choi (Ill.) 2002. GOOD-BYE, 382 SHIN DANG DONG. Washington, DC: National Geographic Society. ISBN 9-780792-27985-3

PLOT SUMMARY
Eight-year old Jangmi is moving with her family to 112 Foster Terrace, Brighton, Massachusetts, U.S.A. Although her parents are excited about the move, Jangmi thinks more about how much she will miss her best friend, Kisuni; the tree outside her home; and the yummy Korean fruit, chummy. When Jangmi’s parents tell her about their new house, she becomes concerned the new place will never feel like home. As they move in, Jangmi begins to see positive aspects of 112 Foster Terrace—not the least of which is a new friend, who giggles “just like Kisuni!” In the end, she accepts that she may come to love her new home as much as her old, but Korea will always be in her heart.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The Park sisters draw from their own childhood to create a realistic and culturally authentic story about a little girl moving from her home in Korea to 112 Foster Terrace, Brighton, Massachusetts, U.S.A. Through the use of characterization, setting, and illustration, GOOD-BYE, 382 SHIN DANG DONG allows the reader into the mind of a eight-year old girl who is struggling with an imminent move to a foreign country.

The character development in this story produces realistic and sympathetic personalities. For example, the main character, Jangmi, looks around her bare room and frowns. She asks her parents questions about their new home. Her fears, rather than being assuaged, are heightened. In their sadness about being so far apart, Jangmi and her best friend, Kisuni, begin to discuss the connections they will maintain after the move. These are genuine reactions for young children faced with this type of situation. Jangmi displays convincing strength of character when her mother tells her Rose is the English translation of her name. When asked, Jangmi insists she wants to be called by her name—not an American name.

The setting of the story varies from page to page. Initially, the reader sees the inside of Jangmi’s home in Korea. Though the house is filled with boxes, the rice paper doors and low tables are clues as to the culture of the characters. Shoes left on the door step, open air markets and the monsoon rains also contribute to the cultural ambience.

Finally, Choi contributes a significant amount of Korean atmosphere through the use of his illustrations. While skin tone varies little; the facial features, hair color and style, and clothing differs from person to person. Thus, homogenous representation of Korean people is avoided. The illustration of the family driving to the airport depicts Korea as a country which is both modern and traditional. On the left side of the paved road is a pagoda-style building and on the right are high-rise office buildings.

Being an ‘insider’ of a represented culture is not a sure-fire way to avoid inaccurate or inauthentic literature. However, the Parks and Choi team make full use of their Korean heritage and experiences to create a realistic and culturally sensitive story. Moving anywhere can be difficult for children—especially if that place is in a foreign country. GOOD-BYE, 382 SHIN DANG DONG depicts a believable Korean family with which any reader can empathize.

REVIEW EXCERPTS
“The lengthy text and detailed oil paintings capture Jangmi's heartache at leaving behind her beloved home, her best friends, and everything that is familiar.” (Horn Book)
“The book nimbly charts the common anxieties of a child moving to a new place, from worries about making friends to the strangeness of new surroundings.” (Publishers Weekly)
“While this quiet story explores the universal fear of change in rather predictable ways, children will find the details of cultural differences and the immigrant experience well evoked.” (School Library Journal)

Reviews obtained from Follett Library Resources and accessed at:
http://www.flr.follett.com

CONNECTIONS
Other books for children about Immigrant Adjustment to life in the U.S.:
Choi, Sook Nyul. HALMONI AND THE PICNIC. ISBN 978-0-395-61626-0
Park, Frances. THE HAVE A GOOD DAY CAFÉ. ISBN 978-1-58430-171-4
Recorvits, Helen. YOON AND THE CHRISTMAS MITTEN. ISBN 978-0-374-38688-7

Other books related to Korea:
Patz, Nancy. BABIES CAN’T EAT KIMCHEE! ISBN 978-1-59990-017-9
Park, Linda Sue. BEE-BIM-BOP! ISBN 978-0618-265114-9
Park, Linda Sue. THE FIREKEEPER’S SON. ISBN 978-0618-133376

The authors’ website: http://www.parksisters.com/
The illustrator’s website: http://www.yangsookchoi.com/

Review of JINGLE DANCER

Smith, Cynthia Leitich. Cornelius Van Wright and Ying-Hwa Hu (Ill.) 2000. JINGLE DANCER. New York : Morrow Junior Books. ISBN 978-0-688-162429

PLOT SUMMARY
“Tink, tink, tink, tink,” sang Grandma Wolfe’s dress. Jenna wanted to jingle dance too, but her dress didn’t have any jingles. Jenna visits family and friends trying to collect just enough jingles for her own dress without compromising the voice of the dresses from which she borrowed. JINGLE DANCER is a story of a young Ojibway girl who wishes to dance her first Jingle Dance at a powwow. Though her grandmother agrees she may dance, it will be up to Jenna to give her dress a voice.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
JINGLE DANCER offers an authentic reflection of an intertribal community consisting of Muscogee and Ojibway members. The characters, their relationships, and the book’s illustrations are woven together to paint a picture of a contemporary, close-knit neighborhood preparing for a powwow.

Cynthia Smith takes care to create an extended circle in the main character, Jenna’s, life. Jenna lives with Grandma Wolfe in a contemporary home on a tree-lined street. Throughout the course of Jenna’s quest, she visits three different people, each within walking distance. First, she visits her great-aunt to hear a Muscogee/Creek story. Next, Jenna visits a friend whom she helps make fry bread. Finally, Jenna visits her cousin, Elizabeth, whom she helps carry files. Through the recurring use of the phrase “once again,” Smith clearly defines the ongoing close relationships among them.

Though the great-aunt appears to be retired and Jenna’s friend sells fry bread and Indian tacos, their occupations are not explicitly stated. However, the cousin’s career is made clear. Elizabeth “arrives home late from the law firm” and is carrying a brief case and a newspaper titled Law Review under her arm. This overt illustration of Elizabeth’s profession seems a bit overdone. This may be an attempt by the author to counter negative stereotypes.

Through their illustrations, Van Wright and Hu avoid the “monolithic culture” stereotype by giving each character her own distinct look. The women’s faces are unmistakably different. There is also variation in hair color and texture, and, to a lesser degree, skin tone.

Cynthia Smith, herself a member of the Muscogee Nation, supplies an extensive Author’s Note which includes explanations of Muscogee and Ojibway traditions. This note provides background information on traditional stories, jingle dances, and regalia. A glossary is also provided for some terms which might be unfamiliar. Overall, JINGLE DANCER proves to be an authentic and contemporary story of a young girl looking forward to her first jingle dance.

REVIEW EXCERPTS
“[Jenna’s] promise to dance for the women who cannot dance for themselves illustrate the importance of family and community ties.” (Booklist)
“Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life.” (School Library Journal)

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

CONNECTIONS
Other books about the Ojibway/Chippewa:
King, Sandra, and Catherine Whipple. 1993. Shannon: an Ojibway dancer. Minneapolis: Lerner Publications. ISBN 978-0-822596431
Mercredi, Morningstar, and Darren McNally. 1997. Fort Chipewyan homecoming: a journey to native Canada. Minneapolis: Lerner Publications. ISBN 978-0-8225-2659-9
McCain, Becky R., and Stacey Schuett. 1998. Grandmother’s Dreamcatcher. Morton Grove, Ill: A. Whitman ISBN 978-0-807530320

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

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