1. BIBLIOGRAPHY
Schwartz, Alvin. 1992. AND THE GREEN GRASS GREW ALL AROUND: FOLK POETRY FROM EVERYONE. Ill. by Sue Truesdell. New York: HarperCollins. ISBN 0-06-022757-5
2. PLOT SUMMARY
AND THE GREEN GRASS GREW ALL AROUND is a delightful collection of over two hundred and fifty folk poems. The collection includes “from autograph rhymes to street rhymes, from parodies to riddles and nonsense, from work poems and story poems to love poems.” This book is a tribute to folk poetry and its unique cadence of life. While reading this book, I came across some folk poetry that I would recite to my son and daughter, when they were little. Also, I remember my mom and dad and other relatives would recite these folk poems. For example, my grandmother would say, “Too bad, So sad, You’re mad, I’m glad.” Further, my father would always say to my sisters and brother, when we wanted to borrow the car, “No way, Jose.” My all time favorite from my mother, “ Twinkle, twinkle, little star, What you say is what you are.” Now that my children are grown, I hear my son and my daughter saying to my grandson,” I love you, I love you, I love you lots. My love for you would fill all the pots. Buckets, pitchers, kettles and cans, The big washtub and both dishpans.” In my classroom, I say to my students, “You get what you get and you don’t throw a fit.” I grew up with this amazing poetry. I love it!
3. CRITICAL ANALYSIS
AND THE GREEN GRASS GREW ALL AROUND is an eclectic collection of familiar and unfamiliar folk poetry from numerous authors. Many of the verses are introduced as fun and games; other poems are presented as teases and taunts, and wishes and warnings. This collection includes rhymes, riddles, finger plays, and chants. These folk poems
have been passed down orally from generation to generation. These poems are a part of our history and culture. Folk poems are forever etched in our hearts and minds and shall live on through our descendents. Furthermore, in the back section of AND THE GREEN GRASS GREW ALL AROUND, there is an area, which includes notes, sources, bibliography, and an index of first lines. This selection provides the reader with useful and interesting background information about the history of folk poetry. “ Children and adults will find pleasure in reading this wonderful collection of folk poetry. I read this book of folk poetry to my students. They loved it! One student said that you always say "No way Jose and you get what you get and you don't throw a fit." I told them that I learned in my class that this is an oral tradition and I'm passing it down to them. They gained great pleasure from chapter three entitled "School". They read that chapter over and over again.
The illustrations by Sue Truesdell in AND THE GRASS GREW ALL AROUND are in black and white pen and watercolor. The illustrations are simple and reflect a cartoon like quality. The amusing illustrations compliment the text enormously well. The reader’s eyes are drawn to the humorous and playful animated charactures Truesdell bring to life on print.
4. REVIEW EXCERPTS
The Horn Book: “Sue Truesdell’s cartoon drawings dance and tumble across the pages as a perfect accompaniment to the rhymes they illustrate. . . A wonderful collection for reading, singing, and laughing out loud.”
School Library Journal: “A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children’s folk poetry heard on schoolgrounds and wherever else kids are having fun.”
5. CONNECTIONS
*In groups of two or three students, allow students to choose several folktale poems and recite them to the class, using hand signs and motions.
*During recess, encourage students to say a few of their favorite poems while participating in jump roping and hopscotch.
*During story time, read this book by Alvin Schwartz for the children to enjoy:
Schwartz, Alvin. I SAW YOU IN THE BATHTUB AND OTHER FOLK RHYMES. ISBN 9780833568632
Tuesday, September 25, 2007
1. BIBLIOGRAPHY
DePaola, Tomie. 1992. JAMIE O’ROURKE AND THE BIG POTATO: AN IRISH FOLKTALE. New York: G.P. Putnam’s Sons. ISBN 9780399222573
2. PLOT SUMMARY
Jamie O’Rourke was perhaps the laziest man in Ireland. He didn’t like to work. He avoided work like the plague. He especially disliked work involving digging up potatoes. Jamie would make excuses to avoid work. “Me back’s as sore as can be. . .I’ll break in two if I so much as get up out of this bed.” Jamie’s wife Eileen would do all the chores.
One day Eileen hurt her back and was on bed rest. She could not work. While Eileen was out of commission, Jamie began to worry about his future. He said, “No Eileen to dig meant no praties all winter, and no praties meant no food.” Jamie decided to see Father O’Mallery at the church to confess and ask for help. On his way to church, he saw a leprechaun singing and working. Jamie grabbed the leprechaun and asked for his gold. The leprechaun said he was just starting out in his shoe profession and only had a few pieces of gold in his pot. He said he would give Jamie a wish instead of gold. Jamie agreed and wished for the biggest potato in the world. The leprechaun gave Jamie a potato seed. When Jamie arrived home, he told Eileen about their good fortune. She became angry and told him he was not only lazy, but an idiot. He should have asked for a pot of gold. Jamie planted the potato seed and after some time had passed, the potato seed grew into an enormous potato. Jamie tried everything he could to dig the huge potato out of the garden. Jamie decided to ask the villagers for help. They helped and he offered each villager a portion of the potatoes. The villagers ate potatoes all winter long and grew sick and tired of potatoes. In the end, all the villagers agreed to give Jamie and his wife food for the rest of their lives, if Jamie would promise not to plant another magical potato seed.
3. CRITICAL ANALYSIS
All ages will delight in the lighthearted tone of the text and the colorful illustrations. Ages four to eight will find this to be one of their favorite classics read aloud. My students found this book very enjoyable. They were shocked at how Jamie would get out of working in the potato garden. One student said that Jamie reminded him of his lazy brother Justin. He compared himself to Eileen and his brother Justin to Jamie. My student said that Jamie was not being fair to Eileen. Just like his brother wasn't being fair to him. My other students identified with poor hard working Eileen too and thought that Jamie should be punished. This book was a real success with my students.
The illustrations capture a rural life of sheep, stonewalls and beautiful green hillsides. The thatched roof cottages give a feel of old world charm. The illustrations are amusing and clearly capture the life of the town’s people on the Emerald Isle. The illustrations are precise and stimulating and reflect detail with lively watercolor and vibrant orange borders.
4. REVIEW EXCERPTS
Kirkus Reviews: It makes a cheery picture book, with the artist using the lighter, brighter side of his palette and including some affectionate caricatures of the Irish in his decorative illustrations. Attractive and amusing.”
Publisher’s Weekly: “DePaola’s distinctive homespun style and genial gentry round, child like faces add plenty of zip to this silly story.”
Booklist: “Illustrated in DePaola’s signature style, this has an inviting look. . .An engaging read-aloud choice for Saint Patrick’s Day.”
5. CONNECTIONS
*After reading this folktale with students, using a globe, show children the location of Ireland. Research Ireland as a geography project with students. Allow students to write a story about what they learned about Ireland.
*Have students write and draw their favorite part of the story. Display their work on the bulletin board.
*Allow students to have a potato taste test. Provide hash browns, potato wedges, baked potatoes, etc. for the children to samples.
*Another related book by Tomie DePaola and the sequel to JAMIE O’ROURKE AND THE BIG POTATO:
DePaola, Tomie. JAMIE O’ROURKE AND THE POOKA.
ISBN 9780698116030
DePaola, Tomie. 1992. JAMIE O’ROURKE AND THE BIG POTATO: AN IRISH FOLKTALE. New York: G.P. Putnam’s Sons. ISBN 9780399222573
2. PLOT SUMMARY
Jamie O’Rourke was perhaps the laziest man in Ireland. He didn’t like to work. He avoided work like the plague. He especially disliked work involving digging up potatoes. Jamie would make excuses to avoid work. “Me back’s as sore as can be. . .I’ll break in two if I so much as get up out of this bed.” Jamie’s wife Eileen would do all the chores.
One day Eileen hurt her back and was on bed rest. She could not work. While Eileen was out of commission, Jamie began to worry about his future. He said, “No Eileen to dig meant no praties all winter, and no praties meant no food.” Jamie decided to see Father O’Mallery at the church to confess and ask for help. On his way to church, he saw a leprechaun singing and working. Jamie grabbed the leprechaun and asked for his gold. The leprechaun said he was just starting out in his shoe profession and only had a few pieces of gold in his pot. He said he would give Jamie a wish instead of gold. Jamie agreed and wished for the biggest potato in the world. The leprechaun gave Jamie a potato seed. When Jamie arrived home, he told Eileen about their good fortune. She became angry and told him he was not only lazy, but an idiot. He should have asked for a pot of gold. Jamie planted the potato seed and after some time had passed, the potato seed grew into an enormous potato. Jamie tried everything he could to dig the huge potato out of the garden. Jamie decided to ask the villagers for help. They helped and he offered each villager a portion of the potatoes. The villagers ate potatoes all winter long and grew sick and tired of potatoes. In the end, all the villagers agreed to give Jamie and his wife food for the rest of their lives, if Jamie would promise not to plant another magical potato seed.
3. CRITICAL ANALYSIS
All ages will delight in the lighthearted tone of the text and the colorful illustrations. Ages four to eight will find this to be one of their favorite classics read aloud. My students found this book very enjoyable. They were shocked at how Jamie would get out of working in the potato garden. One student said that Jamie reminded him of his lazy brother Justin. He compared himself to Eileen and his brother Justin to Jamie. My student said that Jamie was not being fair to Eileen. Just like his brother wasn't being fair to him. My other students identified with poor hard working Eileen too and thought that Jamie should be punished. This book was a real success with my students.
The illustrations capture a rural life of sheep, stonewalls and beautiful green hillsides. The thatched roof cottages give a feel of old world charm. The illustrations are amusing and clearly capture the life of the town’s people on the Emerald Isle. The illustrations are precise and stimulating and reflect detail with lively watercolor and vibrant orange borders.
4. REVIEW EXCERPTS
Kirkus Reviews: It makes a cheery picture book, with the artist using the lighter, brighter side of his palette and including some affectionate caricatures of the Irish in his decorative illustrations. Attractive and amusing.”
Publisher’s Weekly: “DePaola’s distinctive homespun style and genial gentry round, child like faces add plenty of zip to this silly story.”
Booklist: “Illustrated in DePaola’s signature style, this has an inviting look. . .An engaging read-aloud choice for Saint Patrick’s Day.”
5. CONNECTIONS
*After reading this folktale with students, using a globe, show children the location of Ireland. Research Ireland as a geography project with students. Allow students to write a story about what they learned about Ireland.
*Have students write and draw their favorite part of the story. Display their work on the bulletin board.
*Allow students to have a potato taste test. Provide hash browns, potato wedges, baked potatoes, etc. for the children to samples.
*Another related book by Tomie DePaola and the sequel to JAMIE O’ROURKE AND THE BIG POTATO:
DePaola, Tomie. JAMIE O’ROURKE AND THE POOKA.
ISBN 9780698116030
1. BIBLIOGRAPHY
Martin, Rafe. THE ROUGH-FACE GIRL. Ill. by David Shannon. New York, NY: G.P. Putnam’s Sons. ISBN 0399218599
2. PLOT SUMMARY
This is an Algonquin Indian version of the Cinderella story. THE ROUGH-FACE Girl’s characters include an Invisible Being, his sister, and a frail and poverty-stricken father with three daughters. “The two older daughters are cruel and hard-hearted, and make the youngest sister sit by the fire and feed the flames.” After years of feeding the flames of the campfire, the youngest sister’s face and arms become scarred and her hair is seared and rough. The older sisters tease the younger sister and make her life miserable. One day the two older sisters speak with their poor father and asks him for a new wardrobe. They say that one of them will marry the Invisible Being. Their only obstacle is the Invisible Being’s sister. As they approach the Invisible Being’s Wigwam, they encounter the sister at the entrance. The sister of the Invisible Being asks the cruel daughters two questions about the Invisible Being that they cannot answer. As a result, they are turned away. The younger sister meets with her father and asks him for some beads, moccasins, and a buckskin dress. The father is sorry and has nothing left to give her, but some hand-me-down beads and moccasins. She says, “Whatever you can spare, I can use.” The Rough-Face Girl arrives at the Invisible Being’s wigwam and is greeted by his sister. The sister asks the girl the same two questions she asked her two older sisters. “What’s his bow and the runner of his sled made of?” She, unlike her sisters, successfully answers the questions and can sees and has always seen the Invisible Being. The sister of the Invisible Being takes the Rough-Face Girl to the lake. The water heal the Rough-Face Girl’s scars. In the end, the Rough-Face Girl marries the Invisible Being and live happily ever after.
3. CRITICAL ANALYSIS
The two older sisters mistreat the Rough- Face Girl. The Rough-Face Girl lives a simple life full of pain and despair. She is kind, loving, and selfless. The older sisters are cruel, selfish and despicable. The sisters and the women in the village want to marry the rich, supposedly handsome Invisible Being. The Rough-Face Girl overcomes her tormentors and is transformed from brunt to beautiful. She marries the Invisible Being.
This Algonquin version of the Cinderella story differs from the popular classic version. In this Native American folktale, the Rough-Face Girl lives with her biological father and sisters. In the well know classic variation, the ill-treated girl lives with her stepmother and two stepsisters. After the Rough-Face Girl marries the Invisible Being and lives happily ever after, the fate of the father and the two sisters are not revealed in this version. In the popular Cinderella version, it is told to the reader the father and daughters outcome.
David Shannon’s illustrations are beautiful, magical and mysterious. His use of soft acrylic paints reflects the mood and magic of this wonderful folktale. Shannon use of brown woodland sticks compliments each page of his illustrations. Shannon brings a feel of nature to the illustrations. This feel of nature, brings the text alive for the reader.
Furthermore, the use of the different shades of brown and tan creates a unique contrast of visual effect. The illustrations present a rhythm to the text that makes this folktale an excellent read aloud. Children of all ages will enjoy this fascinating story. The ROUGH-FACE GIRL is one of my students favorite Cinderella stories. During story time, I would watch my students reading parts of the book like a Readers Theater. I truly enjoyed watching the boys play the part of the cruel sisters. They were so cute when they were trying to figure out what to tell the Invisible Being's sister about his bow. After seeing them perform, I wrote my students a script of THE ROUGH-FACE GIRL. They like the script and give me a daily performance.
4. REVIEW EXCERPTS
School Library Journal: “Simply in the words of an oral storyteller, Martin retells an Algonquin folktale. . . Shannon’s finely crafted. . .paintings. . .embody the fuller flavor of the story. . .this is a splendid read-aloud.”
PARENT’S Magazine: “There are many versions of the Cinderella story, but none is more eloquent or affecting- - or more strikingly illustrated.”
Booklist: “Given the beauty of the story, the strength of many of the illustrations, and the current interest in comparing variants of folktales from different cultures, libraries will find this a well-used picture book.”
5. CONNECTIONS
*During creative writing, have students write an outcome for the father and the two cruel sisters. Students should illustrate their story using soft acrylic paints. Allow students to share their story with their classmates.
*After reading aloud three versions of the Cinderella story, provide blank story booklets for the children and encourage them to write their own version of a Cinderella story. Students should share their version with the other second grade students in their classroom.
*In the drama center, have students act out THE ROUGH-FACE GIRL.
*Other versions of the Cinderella story:
Louie, Ai-Ling. Ill. by Ed Young. YEH-SHEN: A CINDERELLA STORY FROM CHINA. ISBN 9780785715337
Steptoe, John. MUFARO’S BEAUTIFUL DAUGHTERS. ISBN 9780688040468
Climo, Shirley. Ill. by Ruth Heller. KOREAN CINDERELLA. ISBN 0064433978
Martin, Rafe. THE ROUGH-FACE GIRL. Ill. by David Shannon. New York, NY: G.P. Putnam’s Sons. ISBN 0399218599
2. PLOT SUMMARY
This is an Algonquin Indian version of the Cinderella story. THE ROUGH-FACE Girl’s characters include an Invisible Being, his sister, and a frail and poverty-stricken father with three daughters. “The two older daughters are cruel and hard-hearted, and make the youngest sister sit by the fire and feed the flames.” After years of feeding the flames of the campfire, the youngest sister’s face and arms become scarred and her hair is seared and rough. The older sisters tease the younger sister and make her life miserable. One day the two older sisters speak with their poor father and asks him for a new wardrobe. They say that one of them will marry the Invisible Being. Their only obstacle is the Invisible Being’s sister. As they approach the Invisible Being’s Wigwam, they encounter the sister at the entrance. The sister of the Invisible Being asks the cruel daughters two questions about the Invisible Being that they cannot answer. As a result, they are turned away. The younger sister meets with her father and asks him for some beads, moccasins, and a buckskin dress. The father is sorry and has nothing left to give her, but some hand-me-down beads and moccasins. She says, “Whatever you can spare, I can use.” The Rough-Face Girl arrives at the Invisible Being’s wigwam and is greeted by his sister. The sister asks the girl the same two questions she asked her two older sisters. “What’s his bow and the runner of his sled made of?” She, unlike her sisters, successfully answers the questions and can sees and has always seen the Invisible Being. The sister of the Invisible Being takes the Rough-Face Girl to the lake. The water heal the Rough-Face Girl’s scars. In the end, the Rough-Face Girl marries the Invisible Being and live happily ever after.
3. CRITICAL ANALYSIS
The two older sisters mistreat the Rough- Face Girl. The Rough-Face Girl lives a simple life full of pain and despair. She is kind, loving, and selfless. The older sisters are cruel, selfish and despicable. The sisters and the women in the village want to marry the rich, supposedly handsome Invisible Being. The Rough-Face Girl overcomes her tormentors and is transformed from brunt to beautiful. She marries the Invisible Being.
This Algonquin version of the Cinderella story differs from the popular classic version. In this Native American folktale, the Rough-Face Girl lives with her biological father and sisters. In the well know classic variation, the ill-treated girl lives with her stepmother and two stepsisters. After the Rough-Face Girl marries the Invisible Being and lives happily ever after, the fate of the father and the two sisters are not revealed in this version. In the popular Cinderella version, it is told to the reader the father and daughters outcome.
David Shannon’s illustrations are beautiful, magical and mysterious. His use of soft acrylic paints reflects the mood and magic of this wonderful folktale. Shannon use of brown woodland sticks compliments each page of his illustrations. Shannon brings a feel of nature to the illustrations. This feel of nature, brings the text alive for the reader.
Furthermore, the use of the different shades of brown and tan creates a unique contrast of visual effect. The illustrations present a rhythm to the text that makes this folktale an excellent read aloud. Children of all ages will enjoy this fascinating story. The ROUGH-FACE GIRL is one of my students favorite Cinderella stories. During story time, I would watch my students reading parts of the book like a Readers Theater. I truly enjoyed watching the boys play the part of the cruel sisters. They were so cute when they were trying to figure out what to tell the Invisible Being's sister about his bow. After seeing them perform, I wrote my students a script of THE ROUGH-FACE GIRL. They like the script and give me a daily performance.
4. REVIEW EXCERPTS
School Library Journal: “Simply in the words of an oral storyteller, Martin retells an Algonquin folktale. . . Shannon’s finely crafted. . .paintings. . .embody the fuller flavor of the story. . .this is a splendid read-aloud.”
PARENT’S Magazine: “There are many versions of the Cinderella story, but none is more eloquent or affecting- - or more strikingly illustrated.”
Booklist: “Given the beauty of the story, the strength of many of the illustrations, and the current interest in comparing variants of folktales from different cultures, libraries will find this a well-used picture book.”
5. CONNECTIONS
*During creative writing, have students write an outcome for the father and the two cruel sisters. Students should illustrate their story using soft acrylic paints. Allow students to share their story with their classmates.
*After reading aloud three versions of the Cinderella story, provide blank story booklets for the children and encourage them to write their own version of a Cinderella story. Students should share their version with the other second grade students in their classroom.
*In the drama center, have students act out THE ROUGH-FACE GIRL.
*Other versions of the Cinderella story:
Louie, Ai-Ling. Ill. by Ed Young. YEH-SHEN: A CINDERELLA STORY FROM CHINA. ISBN 9780785715337
Steptoe, John. MUFARO’S BEAUTIFUL DAUGHTERS. ISBN 9780688040468
Climo, Shirley. Ill. by Ruth Heller. KOREAN CINDERELLA. ISBN 0064433978
Tuesday, September 11, 2007
1. BIBLIOGRAPHY
Willems, Mo. 2005. LEONARDO THE TERRIBLE MONSTER. New York, NY: Hyperion Books for Children. ISBN 0-7868-5294-1
2. PLOT SUMMARY
LEONARDO THE TERRIBLE MONSTER is a picture book about a cute, small, greenish tan, blue eyed, and pink nosed monster, who is truly a horrible monster. He’s terrible at being scary. No matter how hard Leonardo tries at being a scary monster, he fails at it miserably. After careful contemplation, Leonardo decides to do a little research and find “the most scaredy-cat kid in the whole world. . . and scare the tuna salad out of him!” As a result, nervous Sam is chosen as Leonardo’s victim. Leonardo tries every trick of his monster trade on Sam, until he cries. Finally, Leonardo realizes that the most important thing in life is not about being a terrible monster, but about being a good friend.
3. CRITICAL ANALYSIS
Readers of all ages will relate to the theme of this humorous picture book. This is a well-written book for children ages three to eight. Children and adults will make a connection with Leonardo and Sam. From this book, children will learn about problem solving, friendship, and feelings. Readers will identify with Leonardo’s characters’ transformation. My second grade students could identify with Sam. One of my students said, “This story is about a boy monster that tries to make himself feel good by making someone else feel badly about himself.”
Mo Willems’ use of line, shape, color, and composition is superb. His use of line directs the reader’s attention to the large print on one page and the character or characters on the other page. Willems’ use of shape is simple. His characters and words are easily identifiable. His use of grayish pastels are visually appealing to his readers. Finally, object dominance is excellent. The words are very few with the focus on either the large print and small characters or the large character and small print.
4. REVIEW EXCERPT(S)
Joseph Beth Book of the Year
Time Magazine Top 10 Children’s Book
New York Times Bestseller
A 2006 ALA Notable Children’s Book
USA Today Best Book
Child Magazine Best Book
Book Sense Book of the Year Honor
Charlotte Zolotow Highly Commended
Chicago Public Library Best of the Best
CCBC Choices Book
School Library Journal Best Book
Oppenheim Toy Portfolio Platinum Award Winner
Nick Jr. Magazine Best Book of the Year
Starred review in Booklist: “Your Pal, Mo Willems,” as the cover reads, offers a simple message-driven, elevated by a smart, striking design.”
Starred review in Library Journal: “[Leonardo’s] antics to to produce a scare will have youngsters laughing, while the asterisk next to the number of monster Tony’s teeth ( *note: not all teeth shown) will have grown-ups chuckling, too. A surefire hit.”
5. CONNECTIONS
*Have a class discussion about friendship. On chart paper, write a list of good qualities of a friend.
*Give students art paper and have them draw a picture of their favorite part of the story and write why it’s their favorite.
Students may share their illustrations and composition with the class.
*Other books for children about friendship:
Raschka, Chris. YO! YES!. ISBN 0439921856
Rathmann, Peggy. OFFICER BUCKLE AND GLORIA. ISBN 0-590-76715-1
Henkes, Kevin. A WEEKEND WITH WENDELL. ISBN 0688140246
Keller, Laurie. ARNIE THE DOUGHNUT. ISBN 0805062831
Willems, Mo. 2005. LEONARDO THE TERRIBLE MONSTER. New York, NY: Hyperion Books for Children. ISBN 0-7868-5294-1
2. PLOT SUMMARY
LEONARDO THE TERRIBLE MONSTER is a picture book about a cute, small, greenish tan, blue eyed, and pink nosed monster, who is truly a horrible monster. He’s terrible at being scary. No matter how hard Leonardo tries at being a scary monster, he fails at it miserably. After careful contemplation, Leonardo decides to do a little research and find “the most scaredy-cat kid in the whole world. . . and scare the tuna salad out of him!” As a result, nervous Sam is chosen as Leonardo’s victim. Leonardo tries every trick of his monster trade on Sam, until he cries. Finally, Leonardo realizes that the most important thing in life is not about being a terrible monster, but about being a good friend.
3. CRITICAL ANALYSIS
Readers of all ages will relate to the theme of this humorous picture book. This is a well-written book for children ages three to eight. Children and adults will make a connection with Leonardo and Sam. From this book, children will learn about problem solving, friendship, and feelings. Readers will identify with Leonardo’s characters’ transformation. My second grade students could identify with Sam. One of my students said, “This story is about a boy monster that tries to make himself feel good by making someone else feel badly about himself.”
Mo Willems’ use of line, shape, color, and composition is superb. His use of line directs the reader’s attention to the large print on one page and the character or characters on the other page. Willems’ use of shape is simple. His characters and words are easily identifiable. His use of grayish pastels are visually appealing to his readers. Finally, object dominance is excellent. The words are very few with the focus on either the large print and small characters or the large character and small print.
4. REVIEW EXCERPT(S)
Joseph Beth Book of the Year
Time Magazine Top 10 Children’s Book
New York Times Bestseller
A 2006 ALA Notable Children’s Book
USA Today Best Book
Child Magazine Best Book
Book Sense Book of the Year Honor
Charlotte Zolotow Highly Commended
Chicago Public Library Best of the Best
CCBC Choices Book
School Library Journal Best Book
Oppenheim Toy Portfolio Platinum Award Winner
Nick Jr. Magazine Best Book of the Year
Starred review in Booklist: “Your Pal, Mo Willems,” as the cover reads, offers a simple message-driven, elevated by a smart, striking design.”
Starred review in Library Journal: “[Leonardo’s] antics to to produce a scare will have youngsters laughing, while the asterisk next to the number of monster Tony’s teeth ( *note: not all teeth shown) will have grown-ups chuckling, too. A surefire hit.”
5. CONNECTIONS
*Have a class discussion about friendship. On chart paper, write a list of good qualities of a friend.
*Give students art paper and have them draw a picture of their favorite part of the story and write why it’s their favorite.
Students may share their illustrations and composition with the class.
*Other books for children about friendship:
Raschka, Chris. YO! YES!. ISBN 0439921856
Rathmann, Peggy. OFFICER BUCKLE AND GLORIA. ISBN 0-590-76715-1
Henkes, Kevin. A WEEKEND WITH WENDELL. ISBN 0688140246
Keller, Laurie. ARNIE THE DOUGHNUT. ISBN 0805062831
Monday, September 10, 2007
1. BIBLIOGRAPHY
Norton, Juster. 2005. THE HELLO, GOODBYE WINDOW. Ill. by Chris Raschka. MICHAEL DI CAPUA BOOKS. Hyperion Books for Children. ISBN 0641822499
2. PLOT SUMMARY
THE HELLO, GOODBYE WINDOW is told through the eyes of a little girl. She tells the reader about her visits to Nanna and Poppy. The little girl begins the story by describing how “Nanna and Poppy live in a big house in the middle of town. There’s a brick path that goes to the back porch, but before you get there you pass right by the kitchen window. That’s the Hello, Goodbye Window.” The little girl informs the reader of this magical window. You can see anything and anyone through the window. She sits at the window and encounters Tyrannosaurus Rex, the pizza delivery guy, and the Queen of England. In the end, the little girl's parents pick her up and she’s sad and happy at the same time. However, she knows she’ll be back the next day to be with Nanna and Poppy for another day of unconditional love, warmth, and joyous discoveries.
3. CRITICAL ANALYSIS
THE HELLO, GOODBYE WINDOW is a delightful picture book for ages three through eight. The subject matter covers the following: Extended family, relationships, life experiences, imagination, and creativity. My second grade students commented that this book reminds them of their visits with their grandparents in Mexico. I told my class, during our book discussion, that this story brought me back to the time when I was a little girl. I shared with them that my grandfather would make oatmeal for me and put raisins and bananas in it too. This part of the book made me happy and sad at the same time, just like the little girl in the story. I told my students that when I read this picture book, I cried from happiness. I was truly an engaged reader when I read THE HELLO, GOODBYE WINDOW.
The illustrations in THE HELLO, GOODBYE WINDOW are a painterly media. Watercolors fill the pages with lively impressionistic style. The illustrations are child like and complement the text.
4. REVIEW EXCERPT(S)
Child Magazine- Best Children’s Book Awards 2005
Starred review in Horn Book Magazine: “A varied layout, balancing exterior and interior landscapes with smaller character vignettes, helps sustain the book’s energy. Say hello to Raschka at the top of his form.”
Starred review in School Library Journal: “The artwork is at once lively and energetic, without crowding the story or the words on the page. . .this is the art of a masterful hand.”
Starred review in Booklist : “Raschka’s swirling lines, swaths, and dabs of fruity colors seem especially vibrant, particularly in the double-page spread.”
5. CONNECTIONS
*Students can discuss which illustrations they like and why.
*Students can reveal if they have a hello, goodbye ritual in their family and discuss it with the class.
*Have other books in the classroom by Norman Juster and Chris Raschka for students to read.
*Other books for children to read on extended Family:
Voigt, Cynthia. DICEY’S SONG. ISBN 068984798X
Nimmo, Jenny. THE SNOW SPIDER. ISBN 0525443061
Norton, Juster. 2005. THE HELLO, GOODBYE WINDOW. Ill. by Chris Raschka. MICHAEL DI CAPUA BOOKS. Hyperion Books for Children. ISBN 0641822499
2. PLOT SUMMARY
THE HELLO, GOODBYE WINDOW is told through the eyes of a little girl. She tells the reader about her visits to Nanna and Poppy. The little girl begins the story by describing how “Nanna and Poppy live in a big house in the middle of town. There’s a brick path that goes to the back porch, but before you get there you pass right by the kitchen window. That’s the Hello, Goodbye Window.” The little girl informs the reader of this magical window. You can see anything and anyone through the window. She sits at the window and encounters Tyrannosaurus Rex, the pizza delivery guy, and the Queen of England. In the end, the little girl's parents pick her up and she’s sad and happy at the same time. However, she knows she’ll be back the next day to be with Nanna and Poppy for another day of unconditional love, warmth, and joyous discoveries.
3. CRITICAL ANALYSIS
THE HELLO, GOODBYE WINDOW is a delightful picture book for ages three through eight. The subject matter covers the following: Extended family, relationships, life experiences, imagination, and creativity. My second grade students commented that this book reminds them of their visits with their grandparents in Mexico. I told my class, during our book discussion, that this story brought me back to the time when I was a little girl. I shared with them that my grandfather would make oatmeal for me and put raisins and bananas in it too. This part of the book made me happy and sad at the same time, just like the little girl in the story. I told my students that when I read this picture book, I cried from happiness. I was truly an engaged reader when I read THE HELLO, GOODBYE WINDOW.
The illustrations in THE HELLO, GOODBYE WINDOW are a painterly media. Watercolors fill the pages with lively impressionistic style. The illustrations are child like and complement the text.
4. REVIEW EXCERPT(S)
Child Magazine- Best Children’s Book Awards 2005
Starred review in Horn Book Magazine: “A varied layout, balancing exterior and interior landscapes with smaller character vignettes, helps sustain the book’s energy. Say hello to Raschka at the top of his form.”
Starred review in School Library Journal: “The artwork is at once lively and energetic, without crowding the story or the words on the page. . .this is the art of a masterful hand.”
Starred review in Booklist : “Raschka’s swirling lines, swaths, and dabs of fruity colors seem especially vibrant, particularly in the double-page spread.”
5. CONNECTIONS
*Students can discuss which illustrations they like and why.
*Students can reveal if they have a hello, goodbye ritual in their family and discuss it with the class.
*Have other books in the classroom by Norman Juster and Chris Raschka for students to read.
*Other books for children to read on extended Family:
Voigt, Cynthia. DICEY’S SONG. ISBN 068984798X
Nimmo, Jenny. THE SNOW SPIDER. ISBN 0525443061
1. BIBLIOGRAPHY
Cummings, Pat. 1992. TALKING WITH ARTISTS. Vol. 1. New York, NY: Bradbury Press. ISBN 02-72425-5
2. PLOT SUMMARY
In this book, Pat Cummings interview fourteen distinguished children’s book illustrators. Each chapter begins with an autobiographical description of the artist. Each depiction provides details of the artists private and professional career. Pat Cummings provides a childhood and adult picture of the artist. Further, the illustrators furnish a childhood drawing and a professional drawing from his / her portfolio. Moreover, in this book, Pat Cummings directs
the artists to eight basic questions a child would ask. For example, “Do you ever put people you know in your pictures?” and “What do you use to make your pictures?”(Cummings 1992, p. 13). Finally, in TALKING WITH ARTISTS, there is a glossary of art terms and a list of books by each artist noted in Pat Cummings book.
3. CRITICAL ANALYSIS
TALKING WITH ARTISTS is an informal and well-written
book about artists / illustrators who love their craft. This book gives a glimpse into their lives and their love for their profession. This book reveals the artists life-long passionate odyssey of their love of art from childhood to adulthood and how they became successful artists.
The autobiographies in this book are interesting, entertaining, and inspiring for children who want to become artists. Young children will revel as the artists share their medium, styles and techniques. For example,
Lois Ehlert explains, “The art technique I use is called
collage: cut pieces of paper glued to a backing.
Sometimes I paint white paper with watercolors and cut it up, and sometimes I use paper with just one tone.
I usually make a dummy with just pencil drawings to show what I want to illustrate on each page. Then I start looking at my subject matter” (Cummings 1992, p. 40). Children will overwhelmingly make a connection with one or more of the artists in this book. Young children in grades three through eight will be engaged and motivated by the
illustrations and the lives of each artist.
The photographs and the illustrations in this book are appealing to young audiences. The varied techniques, styles, and medium utilized by the artists will keep young children interested and entertained.
4. REVIEW EXCERPT(S)
School Library Journal: “Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children’s literature has become central to the curriculum.”
The Horn Book: “An inspired concept, executed with class.”
5. CONNECTIONS
*During art study, focus on an illustrator from the book and employ his / her artistic media. Teach students the different artistic styles that are rendered by the illustrators in TALKING WITH ARTISTS.
*Each month have a book of one of the artist from the book.
*During creative writing, allow students to write, illustrate, and publish their own children’s book.
*For more ideas and activities look at this web site: http://www.rif.org/readingplanet/bookzone/content/default.mspx
*Other books about Children’s books and illustrators:
Cummings, Pat. TALKING WITH ARTISTS. Vol. ll. ISBN 0-689-80310-9
Cummings, Pat. TALKING WITH ARTISTS. Vol. III. ISBN 0-395-89132-9
Cummings, Pat. 1992. TALKING WITH ARTISTS. Vol. 1. New York, NY: Bradbury Press. ISBN 02-72425-5
2. PLOT SUMMARY
In this book, Pat Cummings interview fourteen distinguished children’s book illustrators. Each chapter begins with an autobiographical description of the artist. Each depiction provides details of the artists private and professional career. Pat Cummings provides a childhood and adult picture of the artist. Further, the illustrators furnish a childhood drawing and a professional drawing from his / her portfolio. Moreover, in this book, Pat Cummings directs
the artists to eight basic questions a child would ask. For example, “Do you ever put people you know in your pictures?” and “What do you use to make your pictures?”(Cummings 1992, p. 13). Finally, in TALKING WITH ARTISTS, there is a glossary of art terms and a list of books by each artist noted in Pat Cummings book.
3. CRITICAL ANALYSIS
TALKING WITH ARTISTS is an informal and well-written
book about artists / illustrators who love their craft. This book gives a glimpse into their lives and their love for their profession. This book reveals the artists life-long passionate odyssey of their love of art from childhood to adulthood and how they became successful artists.
The autobiographies in this book are interesting, entertaining, and inspiring for children who want to become artists. Young children will revel as the artists share their medium, styles and techniques. For example,
Lois Ehlert explains, “The art technique I use is called
collage: cut pieces of paper glued to a backing.
Sometimes I paint white paper with watercolors and cut it up, and sometimes I use paper with just one tone.
I usually make a dummy with just pencil drawings to show what I want to illustrate on each page. Then I start looking at my subject matter” (Cummings 1992, p. 40). Children will overwhelmingly make a connection with one or more of the artists in this book. Young children in grades three through eight will be engaged and motivated by the
illustrations and the lives of each artist.
The photographs and the illustrations in this book are appealing to young audiences. The varied techniques, styles, and medium utilized by the artists will keep young children interested and entertained.
4. REVIEW EXCERPT(S)
School Library Journal: “Young artists will learn a lot; teachers and other children will also love it. Well designed and well conceived, this book will be welcomed in all those classrooms in which children’s literature has become central to the curriculum.”
The Horn Book: “An inspired concept, executed with class.”
5. CONNECTIONS
*During art study, focus on an illustrator from the book and employ his / her artistic media. Teach students the different artistic styles that are rendered by the illustrators in TALKING WITH ARTISTS.
*Each month have a book of one of the artist from the book.
*During creative writing, allow students to write, illustrate, and publish their own children’s book.
*For more ideas and activities look at this web site: http://www.rif.org/readingplanet/bookzone/content/default.mspx
*Other books about Children’s books and illustrators:
Cummings, Pat. TALKING WITH ARTISTS. Vol. ll. ISBN 0-689-80310-9
Cummings, Pat. TALKING WITH ARTISTS. Vol. III. ISBN 0-395-89132-9
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