Mildred L. Batchelder Award

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

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

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

Review of SAMIR AND YONATAN

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

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

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

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

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

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

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

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

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

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

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

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

Review of MOSES SEES A PLAY

Millman, Isaac. 2004. MOSES SEES A PLAY. New York, NY: Farrar, Straus and Giroux. ISBN 978-0-374-35066-6

PLOT SUMMARY
In MOSES SEES A PLAY, a class at a special elementary school for children who are hearing impaired prepares to see a play. A class of hearing students also joins them for the occasion. The reader follows the children as they make welcome posters for the actors, watch the play, write thank you letters, and begin doing some acting of their own. The focus of this story is the event of seeing a play rather than the students’ abilities.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Deafness, unique among physical impairments, has its own culture. Isaac Millman creates a story which incorporates deaf culture without overemphasizing the disability itself. MOSES SEES A PLAY fosters acceptance and understanding, incorporates interlingualism, and avoids focusing on the disability; thus creating a sensitive yet valuable peek into deaf culture.

Millman fosters acceptance and understanding throughout MOSES SEES A PLAY. When the hearing children come to Moses’ classroom, both the hearing and non-hearing teachers sit in front of the class reflecting equal authority. Moses also meets a new friend who, like him, does not speak English. Manuel is new to his class and only speaks Spanish. Millman’s correlation between the difficulties experienced by second-language learners and hearing impaired children provides a valuable perspective. “Moses knows how lonely it can be when no one understands you.”

The language used in this story is predominantly English. However, American Sign Language (ASL) is interwoven throughout. This use of interlingualism adds to the flavor deaf culture in the story. Millman includes a “How to” section on making the signs to facilitate the reader’s ability to discern the movements. The use of interlingual ASL also adds an interactive component to read-aloud presentations of this book.

Another positive feature in this book is what its focus is not. Deafness is not the primary subject matter. Moses’ and his classmates’ hearing impairment are details of character development. The characters are not seen as pitiable, nonsexual or even disabled. All of the children participate fully in classroom activities: creating posters, enjoying the play, and acting. When the teacher suggests the children put on a play of their own, one little girl signs, “I want to play Cinderella! And I want [Moses] to be the Prince.” This scene could easily happen in any elementary school classroom—as could Moses’ shocked expression!

This story of a typical class successfully incorporates people with differing abilities, all of whom are capable of “participating fully in everyday life” (Vardell, Lecture Notes, 2007). The story is enjoyable and flows nicely up to its ending. However, the literary quality falters when a wordy, technical description of a communication device is tacked onto the story’s ending.

REVIEW EXCERPTS
“Despite the inclusion of a synopsis of the play, there's not much drama in this story. Small panels showing Moses signing certain phrases are incorporated into the illustrations.” (Horn Book, 2004)
“This book not only familiarizes and sensitizes children to the culture of the deaf or hard-of-hearing community, but also tells an appealing story. Millman draws a parallel between the challenges faced by ESL students and those who do not hear and in so doing raises youngsters' general levels of awareness and empathy.” (School Library Journal, 2004)

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

CONNECTIONS
Other “Moses” books by Isaac Millman:
MOSES GOES TO SCHOOL, ISBN 978-0-374-35069-7
MOSES GOES TO A CONCERT, ISBN 978-0-374-35067-1
MOSES GOES TO THE CIRCUS, ISBN 978-0-374-35064-2

Other stories about children who have hearing impairments:
Heelan, J. R. and Nicola Simmonds (Ill.). 2002. Can you hear a rainbow? : the story of a deaf boy named Chris. Atlanta : Peachtree Publishers.
Miller, M. B. & George Ancona. 1991. Handtalk schooL. NY : Four Winds.

Review of BEST BEST COLORS

Hoffman, Eric and Celeste Henriquez (Ill.). 1999. BEST BEST COLORS. St. Paul, MN : Redleaf Press. ISBN 9-7818-8483-469-1

PLOT SUMMARY
Nate struggles to decide which color is his “best, best.” Along the way, he chooses a favorite mamma—first one, then the other, then neither. When he cannot decide who his best friend is, he wonders, “Do I have to pick just one?” Finally, after making a rainbow flag with his mammas, Nate realizes he doesn’t have to choose just one. They can all be his “best, best.”

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
BEST BEST COLORS is a story which illustrates a typical conundrum for young children: the exclusivity of choosing favorites. As Nate capriciously chooses favorites throughout the story, he is surrounded by a diverse assortment of family and friends. Among the diversities addressed are ethnicity, family structure, and abilities. This diversity is primarily conveyed through the illustrations rather than overtly discussed in the story.

The ethnicities represented in BEST BEST COLORS are African-American, Anglo, Asian-American, and Hispanic. Three of these cultures are represented within the family of the main character, Nate. Nate and Mamma Laura are black, Mamma Jean is Anglo, and Nate’s sister is Asian-American. While none of these ethnicities are discussed in the text, Henriquez uses coloration and facial features to portray non-stereotypical examples of each. Another important facet of this book’s multicultural appeal is the fact that it is bilingual. In fact, the entire series of which it is a part, “Anti-Bias Books for Kids,” has been translated into Spanish.

Hoffman also addresses diversity in family structure. This diversity is alluded to in an unobtrusive manner. Nate refers to his mammas, but not the fact that he has two mammas. Nor is it mentioned that other families might not be the same. The only overt textual reference to gay and lesbian culture is when his mammas are showing Nate a rainbow flag, “Look what we got for the Pride Parade.” Even this reference to gay culture could be overlooked by young readers or older readers who are not well-informed. Another example of diversity in family structure is Nate’s sister, who is most likely adopted. She is seen but not heard. Indeed, the reader is aware of her existence solely because of the illustrations.

Finally, differently-abled diversity is included in BEST BEST COLORS. One of Nate’s friends, Mandy, uses a wheelchair. Again, this representation of a parallel culture is known only because of the illustrations. No mention of her handicap is made in the text. Mandy’s use of a wheelchair is not so much a character development tool, rather it is a detail in the illustrations.

Rather than promote diversity, Eric Hoffman’s primary thrust appears to be helping readers deal with the issue of choosing exclusive favorites. On the other hand, Henriquez’ primary intention is to imbue the story with diversity and multiculturalism. Being part of the “Anti-Bias Books for Kids” series is most likely the rationale behind the plethora of cultures represented in BEST BEST COLORS. However, it is a bit heavy handed. Just as a book about any ethnicity can be overwhelmed by too many cultural references, so too may be a book about diversity and tolerance in general.

REVIEW EXCERPTS
“The engaging story is enhanced by lively full-page illustrations depicting a multicultural cast of interesting characters” (Day, p. 5).
“A ‘Note to Parents, Teachers, and other Caregivers’ at the end of each book suggests follow-up activities and discussion topics. Overall, these purposeful titles meant to encourage readers to think about these issues fall short in the execution of their mission. (Library Journal, 1999)*

*Note: The author of this review, Kristina Aaronson of Bethel Elementary School Library in Vermont, includes examples from three of the four titles in this review of the Anti-Bias Books for Kids series. BEST BEST COLORS is not mentioned.

Day, Frances Ann. 2000. Lesbian and gay voices: An annotated bibliography and guide to literature for children and young adults. Westport, CN : Greenwood Press.

Library Journal review obtained from Amazon.com and accessed at: http://www.amazon.com

CONNECTIONS
Other books in the Anti-Bias Books for Kids series:
PLAY LADY, ISBN 978-1884834615
NO FAIR TO TIGERS, ISBN 978-1884834622
HEROINES AND HEROES, ISBN 978-1884834684

Related website:
A WORLD OF DIFFERENCE® Institute

http://www.adl.org/bibliography/default.asp

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/