Culture 5 Asian Pacific American Literature
A. BIBLIOGRAPHY
Lin, Grace. 2009. WHERE THE MOUNTAIN MEETS THE MOON. New York: Little, Brown Books for Young Readers. ISBN 9780316114271
B. PLOT SUMMARY
WHERE THE MOUNTAIN MEETS THE MOON is an enchanting tale that takes place in the poverty-stricken village of Fruitless Mountain. Minli is the young protagonist in the story, who lives in a dilapidated home with her parents. Minli's father's reads stories to her every evening and inspires her to set out on an amazing quest to locate the Old Man on the Moon. Minli has hopes and dreams of acquiring great riches for her family. While Minli is on her journey, she encounters an array of colorful characters and magical beings, who include a flightless dragon that travels with Minli to find her good fortune.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Minli, is an enterprising young girl from an impoverished village who purchases a magical goldfish and journeys with a flightless dragon to see the Old Man of the Moon. Minli longs to change her family’s poor fortune. Minli shares, “What a poor fortune we have. Every day, Ba and Ma work and work and we still have nothing. I wish I could change our fortune.” Minli buys a goldfish from the goldfish man who shares, “Goldfish means plenty of gold. Having a bowl of goldfish means your house will be full of gold and jade.”
The themes in WHERE THE MOUNTAIN MEETS THE MOON are contentment and thankfulness. These themes are frequently shared throughout the book. For instance, "As Minli looked at the buffalo boy, aglow with happiness against his poor surroundings, she saw it was enough for him. More than enough, as the smile that kept curling up on his face told her." Minli's travels alerts her to be thankful and content with what she possesses and only when this is accomplished, she will obtains true riches. In addition to Minli's character change, Ma, her mother, change as well. In the beginning of the book, Ma is unenthusiastic about Minli’s attempt to bring good fortune to the family’s household when Minli purchases a goldfish. Ma states, “It will take more than a goldfish to bring fortune to our house.” However, after Ma believes she has lost Minli, she understands the importance of being thankful for her. She shares with the reader, "How lucky she had been! She was at last able to see that her daughter's laughter and love could not be improved by having the finest clothing or jewels, that joy had been in her home like a gift waiting to be opened."
The names of characters, symbols, the places, and illustrations are prevalent Chinese cultural markers in the story. The characters names are traditional Chinese names: Minli, Ma, Ba, Jin, Da-A-Fu, and Loa Loa. The symbols in the story are Chinese cultural markers: The goldfish, dragon, red thread, rabbit, monkeys, and the Old Man of the Moon. The physical regions in the book are Chinese cultural markers: Fruitless Mountain, Jade River, Never-Ending Mountain, and the City of Bright Moonlight. The illustrations in the book are distinctive Chinese cultural markers, which adds an ancient Chinese flare to enhance the text. Images of the characters skin tone, facial features, body types, ancient attire, architecture, hairstyles, and the rural villages are all cultural markers representative of the Chinese culture.
D. REVIEW EXCERPTS
Booklist
*Starred Review* “Lin creates a strong, memorable heroine and a mystical land. Stories, drawn from a rich history of Chinese folktales, weave throughout her narrative, deepening the sense of both the characters and the setting and smoothly furthering the plot. Children will embrace this accessible, timeless story about the evil of greed and the joy of gratitude. Lin's own full-color drawings open each chapter.”
BookPage
“Grace Lin’s latest book, Where the Mountain Meets the Moon, is part Chinese legend, part Zen storytelling, and part feminist-inspired folktale . . . Suspenseful without being scary, complex without being complicated, this spirited tale of self-discovery and fate has a little something for every reader.”
Horn Book Guide
“Interspersed with the main story are folktales explaining past events or anecdotes allowing characters to relate their experiences. Lovely full-page illustrations in blues, reds, greens, and luminous golds as well as delicate chapter-openers, all influenced by traditional Chinese art, contribute to the folklore-inspired fantasy's sense of timelessness.”
Horn Book Magazine
“The book's format reflects this interconnectedness: interspersed with the main text are folktales explaining past events or stories allowing characters to relate their experiences. Likewise, as Lin's appended author's note indicates, her own life story informs the work, as do her dozen cited sources. Lovely full-page illustrations in blues, reds, greens, and luminous golds as well as delicate chapter-openers, all influenced by traditional Chinese art, contribute to this original, folklore-inspired fantasy's sense of timelessness. The book's numerous typos are unfortunate.”
Kirkus
“Lin deftly incorporates elements from Chinese folk- and fairy tales to create stories within the main story and provide context for Minli's quest. With her "lively and impulsive spirit," Minli emerges a stalwart female role model who learns the importance of family, friendship and faith during her amazing journey. Richly hued illustrations reinforce the Chinese folk theme.”
Library Media Connection
“Inspired by Chinese folk tales, author/illustrator Grace Lin brilliantly weaves tales within a tale as she takes Minli on the adventure of a lifetime beginning with magical goldfish and ending with an encounter with the Old Man of the Moon. Readers will love this extraordinary tale with its fanciful characters, colorful illustrations, and the hopes and dreams of a determined and courageous young girl.”
School Library Journal
“The author's writing is elegant, and her full-color illustrations are stunning. Minli's determination to help her family, as well as the grief her parents feel at her absence, is compelling and thoroughly human.”
E. CONNECTIONS
Other books by Grace Lin:
THE YEAR OF THE DOG ISBN 9780316060028
DIM SUM FOR EVERYONE ISBN 9780440417705
THE RED THREAD ISBN 9780807569221
THE YEAR OF THE RAT ISBN: 9780316114264
A. BIBLIOGRAPHY
Say, Allen. 2010. THE BOY IN THE GARDEN. Boston, MA: Houghton Mifflin Books for Children. ISBN 9780547214108
B. PLOT SUMMARY
THE BOY IN THE GARDEN is a tale about a young boy named Jiro, who remembers the story his mother tells him about a young woodcutter, who lives alone in a little cottage. The woodcutter finds a crane struggling in a snare so he sets it free.
The story begins with Jiro and his father visiting Mr. Ozu, after New Years. Mr Ozu is a rich friend of Jiro's father. During their visit, Jiro peers out Mr. Ozu's picture windows to see his immense and lust garden. Upon closer observation, Jiro notices a live crane. Thus, he remembers his mother's story about the woodcutter and the crane. To Jiro, the crane, like the legend in Jiro's mother's story, comes to life and Jiro discovers a world intertwined between dreams and reality.
The story begins with Jiro and his father visiting Mr. Ozu, after New Years. Mr Ozu is a rich friend of Jiro's father. During their visit, Jiro peers out Mr. Ozu's picture windows to see his immense and lust garden. Upon closer observation, Jiro notices a live crane. Thus, he remembers his mother's story about the woodcutter and the crane. To Jiro, the crane, like the legend in Jiro's mother's story, comes to life and Jiro discovers a world intertwined between dreams and reality.
C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The picture book THE BOY IN THE GARDEN is a tale of suspense and mystery woven into a world of reality of and dreams. The protagonist in the story is a young boy named Jiro. Jiro is a child who escapes reality when he entered the world of the crane in Mr. Ozu's gardens. Jiro meets a beautiful woman who offers to weave something for him, just like the sad crane woman in the fairy tale his mother reads to him. Shifting back and forth between the dream fairy tale world and the real garden, Jiro speculates what is factual and what is a dream. The story book is inspired by Allen Say’s own experiences as a young boy, in Japan. This story book is Say’s attempt to capture the thoughts and feelings of the little boy whose father and friend did not understand him. Say offers, "'The boy put on his coat and went outside. From behind a big rock, he peeked at a tall bird standing in the garden. He took a slow step and stopped. He took another step and the stones crunched beneath his feet. The bird did not move. Slowly he crept on the noisy stones, holding his breath, eyes fixed on the bird. One step away, he raised his arms . . . Ha, ha, ha!' busts of laughter rang out. That's only a statue, Jiro, Father called from the house. How charming, Mr Ozu said. The two men laughed together. The boy ran from the bronze crane. He ran until he could not see the house. Still, laughter rang in his ears. They were watching me the whole time,' he said panting. Papa thinks I'm foolish and Mr. Ozu thinks I'm silly.'" The cultural markers in this story are the characters names, setting, time, traditions, and customs.
The Japanese names are cultural markers in this story: Mr. Ozu, Jiro and Jiro-San. The setting is a cultural marker in the story: "The story takes place in the winter, at a villa in a famous garden, near the woodcutter's house. The story takes place on the third day of January." The Crane Woman offers the following about he weather,"The snow is too deep to play in, she told him." Traditions and customs are infused throughout the text and in the illustrations. For example, young children should be polite to their elders and mind their manners is a cultural marker in the book. Jiro father states,"We are in a very famous garden, said father. And there are many treasures in the house, so mind your manners," "Mr. Ozu gave the boy a New Year's present an envelope no bigger than a name card. The boy knew there was money inside , but it was impolite to open it until he got home. So he smiled his thanks and looked out the window while the grownups talked. When he wandered out of the room, no one noticed." The custom of taking off ones shoes before entering a structure or home is a Japanese cultural marker in the story. This cultural marker is illustrated in Say's watercolor drawings. The kimono and obi is a cultural marker in the story. Jiro shares,"A folder kimono lay by the fire. It's too small for a grownup, he said. Maybe the woodcutter has a son." "Jiro took off his coat and tired on the kimono. It was just his size. Mother usually had to help him with the obj, but this one he could tie behind his back. Suddenly he felt older." Finally, bowing is a Japanese cultural marker in the story. For example, the Crane Woman shares, "Welcome, Jiro-San," she said, and bowed." THE BOY IN THE GARDEN is a well written and illustrated picture book that offers the reader an insiders lens into the Japanese culture. Children of all ages will find the book engaging and visually attractive.
The Japanese names are cultural markers in this story: Mr. Ozu, Jiro and Jiro-San. The setting is a cultural marker in the story: "The story takes place in the winter, at a villa in a famous garden, near the woodcutter's house. The story takes place on the third day of January." The Crane Woman offers the following about he weather,"The snow is too deep to play in, she told him." Traditions and customs are infused throughout the text and in the illustrations. For example, young children should be polite to their elders and mind their manners is a cultural marker in the book. Jiro father states,"We are in a very famous garden, said father. And there are many treasures in the house, so mind your manners," "Mr. Ozu gave the boy a New Year's present an envelope no bigger than a name card. The boy knew there was money inside , but it was impolite to open it until he got home. So he smiled his thanks and looked out the window while the grownups talked. When he wandered out of the room, no one noticed." The custom of taking off ones shoes before entering a structure or home is a Japanese cultural marker in the story. This cultural marker is illustrated in Say's watercolor drawings. The kimono and obi is a cultural marker in the story. Jiro shares,"A folder kimono lay by the fire. It's too small for a grownup, he said. Maybe the woodcutter has a son." "Jiro took off his coat and tired on the kimono. It was just his size. Mother usually had to help him with the obj, but this one he could tie behind his back. Suddenly he felt older." Finally, bowing is a Japanese cultural marker in the story. For example, the Crane Woman shares, "Welcome, Jiro-San," she said, and bowed." THE BOY IN THE GARDEN is a well written and illustrated picture book that offers the reader an insiders lens into the Japanese culture. Children of all ages will find the book engaging and visually attractive.
D. REVIEW EXCERPTS
Booklist
“Say's artwork, with its clean, quiet scenes, always pleases, and the more perceptive child will take much away from this."
Horn Book Guide
“In this gently unsettling tale, young Jiro is lured into fantasy by a lifelike bronze statue of a crane. Entering a cottage, he's fed by a woman who resembles "The Grateful Crane" from the folktale his mother told him. Say's compositions seem saturated in silence even when characters speak. Rectilinear architecture sets off his rounded organic forms, while ample luminous spaces become dramatic settings.
Horn Book Magazine
A gently unsettling tale of the power of the imagination.”
Kirkus
“This is a beautiful, moving, quietly mysterious read, ripe with possibilities for interpretation and contemplation.”
Library Media Connection
“Once again Say depicts an element of Japanese culture through deftly chosen text and stunning watercolor illustrations. Text on one page connects with the adjacent artwork to complete each aspect of this special story.”
Publishers Weekly
“Caldecott Medalist Say (Grandfather's Journey), his work always painstaking and poignant, ventures tentatively into the realm of fantasy.”
School Library Journal
“Carefully chosen words mesh seamlessly with dramatic and effective paintings, bringing both energy and tranquility to carry the story to its thought-provoking ending.”
E. CONNECTIONS
Other books by Allen Say:
THE BICYCLE MAN ISBN 9780395506523
EL CHINCO ISBN 9780780763616
ALLISON ISBN 9780618495375
STRANGER IN THE MIRROR ISBN 9780395938836
A. BIBLIOGRAPHY
Park, Linda Sue. 2004. Ill. by Julie Downing. THE FIREKEEPER’S SON. NY, New York: Clarion Books. ISBN 9780618133376
B. PLOT SUMMARY
In Linda Sue Park's picture book THE FIREKEEPER'S SON, Sang-hee’s father is the firekeeper in their quaint village. He lights the bonfire on the mountain top to inform the next village that all is safe. The bonfire signals to the firekeeper in the next village to light a bonfire on their mountain top to signal the village next to continue the pattern of the bonfire signals until the signal fire reaches the king. C. CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
THE FIREKEEPER'S SON takes place in eighteenth-century Korea, after Sang-hee's father injures his ankle. Sang-hee attempts to take over his father's job of lighting the evening bonfire that signals to the King's palace that all is well in all of the villages. In the back of the book, Park reveals in the Author's Note, the historical events surrounding the bonfires in the 1800s. Park's shares, "The bonfire signal system used in Korea was very complicated . . . South Mountain-the last mountain facing the king's palace-actually had four bonfires. Each fire had two 'halves'-the left and the right, as seen from the palace-and together the eight provinces. Additional fires could be lit to convey further information, so the court would know not only which province was facing danger but things like the size of the enemy forces and how well armed they were!." In the text, Sang-hee’s father explains, "If ever we see enemy ships, I will not light our fire. And on and on, until the king sees only darkness on the last hump. He will know that trouble has come to our land, and he will send soldiers to fight the enemy." The Korean custom of lighting the bonfire was a tradition starting with Sang-hee’s grandfather. Sang-hee's father states, “We are fortunate, Sang-hee's father said. In your time, and my time, and your grandfather's time, the fire has always been lit. It is good to live in a time of peace."
The historical setting and the ancient custom and tradition of lighting a bonfire to signal peace throughout the land is an authentic Korean cultural marker in the story. Also, the protagonist's Korean name, Sang-hee, is a cultural markers in the book. Additionally, the rural Korean village is a cultural marker in the story. The author describes the poor rural Korean setting :"Sang-hee looked around. A few huts made of wood and mud. A few cows. A few chickens, a few dogs. It did not look like an important village." The historical setting is a cultural marker in the story. Downing's images of the villager's clothing, head wear, handcrafted tools, man made stick fences, huts, pottery, wicker baskets, handmade clay toy soldiers, and hand crafted tongs to pick up the hot coal are all historical representations of a far distance past and poor social economic existence. Further, Downing's illustrations reveal to the reader magnificent images of the characters skin tones, eyes colors, and black glossy hair colors and textures. Further, the watercolor and pastel illustrations provides the reader with specific cultural markers detailing the characters physical attributes. Finally, through text and realistic illustrations, Park's and Downing presents the reader a lens into a historical and culturally rich Korean world. THE FIREKEEPER'S SON is an excellent example of a book that is infused with authentic Korean cultural markers displayed through stunning illustrations and engaging text.
The historical setting and the ancient custom and tradition of lighting a bonfire to signal peace throughout the land is an authentic Korean cultural marker in the story. Also, the protagonist's Korean name, Sang-hee, is a cultural markers in the book. Additionally, the rural Korean village is a cultural marker in the story. The author describes the poor rural Korean setting :"Sang-hee looked around. A few huts made of wood and mud. A few cows. A few chickens, a few dogs. It did not look like an important village." The historical setting is a cultural marker in the story. Downing's images of the villager's clothing, head wear, handcrafted tools, man made stick fences, huts, pottery, wicker baskets, handmade clay toy soldiers, and hand crafted tongs to pick up the hot coal are all historical representations of a far distance past and poor social economic existence. Further, Downing's illustrations reveal to the reader magnificent images of the characters skin tones, eyes colors, and black glossy hair colors and textures. Further, the watercolor and pastel illustrations provides the reader with specific cultural markers detailing the characters physical attributes. Finally, through text and realistic illustrations, Park's and Downing presents the reader a lens into a historical and culturally rich Korean world. THE FIREKEEPER'S SON is an excellent example of a book that is infused with authentic Korean cultural markers displayed through stunning illustrations and engaging text.
D. REVIEW EXCERPTS
Booklist
“Park, who won a Newbery Medal for her novel A Single Shard (2001), tells a picture-book story set in Korea in the early 1800s about a young boy in a remote village who suddenly finds himself serving his country. Downing's handsome, watercolor-and-pastel double-page pictures personalize the history, showing realistic close-ups of the child, who plays soldiers and dreams of the excitement of battle. In contrast are the panoramic views far across the country as the boy tends the flame that preserves peace from mountain to mountain. Add this to those lighthouse stories about the brave child who must take over for adults.”
Horn Book
“Aptly capturing a young boy's point of view, this well-written story, set in nineteenth-century Korea, is accompanied by handsome if somewhat romanticized illustrations.”
Kirkus
“Drawing once again on her heritage, Newbery Medalist Park tells a tale rooted in the history of Korea. A lovely telling that will bring readers back to read or hear this story one more time.”
Library Media Connection
“The story is richly complemented by the illustrations. Together they weave a tender folktale that will engage young readers. This tale is about a fictional family and the real story of the Korean bonfire signal system, which flourished into the late 19th century. Linda Park's words are suspenseful and enticing, and the illustrations bring an element of light into each page.”
Publishers Weekly
“Newbery Medalist Park (A Single Shard) brings an accomplished novelist's sensibility to this suspenseful picture book set in 19th-century Korea, fully developing her characters despite the abbreviated format. Assured, empathetic storytelling involves readers in Sang-hee's inner conflict. Downing (Mozart, Tonight) amplifies the tension with dramatically composed watercolor-and-pastel illustrations. While Sang-hee debates lighting the fire, his eyes nearly fill the spread, transfixed on the coal he holds and reflecting its hot orange glow. Elsewhere, sparks fly off the coal, metamorphosing into bright metal points on the armor of the soldiers he imagines. The notion of duty to others versus personal longing adds depth to an already fascinating snippet of history.”
School Library Journal Reviews
“Park's command of place, characterization, and language is as capable and compelling in this picture book as it is in her novels. Children will be intrigued by this early form of wireless communication, caught up in the riveting dilemma, and satisfied by the resolution.”
E. CONNECTIONS
Allow students to write and draw a picture of their favorite part of the book and share it with a partner or with their group. The teacher may help students make a class book of their story and illustrations to place in the library center.
