A Tale from the Brothers Grimm: Translated by Randall Jarrell / Illustrated by Nancy Ekholm Burkert
As a Caldecott Honor Book, this rendition of the fairy tale Snow White is told through both the text as well as the illustrations. The story is translated from the Brothers Grimm and has by no means been shorted or "diluted" by the author. This original tale includes details such as the huntsman bringing the lung and liver of a young boar to the queen (in lieu of Snow White's), the queen's attempt to kill Snow White with a tight bodice, the poisonous apple being dislodged from Snow White's throat during the transport of her coffin, and the queen's death from dancing on shoes heated by coals. The Grimm's tale differs from the Walt Disney version in that it contains thematic elements which may be considered "too harsh" for a young audience (death, body parts, blood). Most children have only been exposed to the Disney version of this fairy tale, so this story line and its details will be new and different. After reading this book to a second grade class, the students made comments such as: "The book is wrong. The prince saves Snow White!", "She (the queen) didn't try to hurt her with a tight dress!" and "What does the queen want her lungs for?!" I was able to teach these students the concept of story "versions." However, the majority of them said they preferred the Disney version (I think this was due to the fact that the Disney version was what they were first exposed to.)
The illustrations in this book coincide with the text. Snow White is portrayed as a young girl (not a woman) who possesses innocent and child-like physical features. Her skin literally appears "white as snow" in contrast with her ever-blushing pink cheeks. Her hair is long and flowing and her figure is small and dainty. The illustrator attempted to match her physical features with her personality as described in the text. Every illustrated page contains one double-paged boarder, with exception to the centerfold. The center-fold of the book contains the most detailed and symbolic images. The scene depicting the tight bodice murder attempt by the queen is illustrated and placed with a boarder at the left lower corner of the illustration. It almost looks as though someone took a picture of this scene and "placed it" on top of the main illustration. The illustrator includes several symbolic images within this main illustration that require knowledge of the tale's background and history (county emblems, a buck jumping over a boar, a red dragon eating a rabbit, the sun "pointing to" the letter "n" and the angel head and wings which appear on each corner.) The image of the infamous "mirror" which appears on the front end page also contains this technique. The words "Os Veritatis" (Latin for "The Truth") appear on top of the mirror while the inside shape of the mirror resembles the shape of the stones on which the Ten Commandments are written in many Bible illustrations. The animal the "Lion" is prevalent in this illustration as well as in other pages in the book. A lion signifies strength and protection. The illustrator includes this symbol to represent the reader's feelings of "wanting to protect" Snow White as they read the book.
I use this book in my classroom because of its original text content and symbolic illustrations. I can discuss so many different topics when reading this with my students. I like to use it with younger grades to discuss its similarities and differences to
La Princesa Y El Guisante : By Francesc Boada
This bilingual book is one of many in the "los libros de chroicle/ chronicle books" series. The publisher released nine other well-known fairy tales in the form of bilingual books. These books "adapted" and illustrated by different authors and illustrators. Each book contains the same layout and serves a similar purpose: to immerse native Spanish speakers in literacy. The first end pages contain notes to the reader. The beginning note explains the significance of the books purpose while the end note provides information about the illustrator. Both note pages are contained inside a frame and the text is presented in both English and Spanish. The other end pages contain only the color green and the silhouette of one character riding on a horse at the beginning, and two people riding the same house at the end of the book. This is a technique used by the illustrator to introduce and conclude the plot and story line.
Each page includes both English and Spanish text; including the title page, advertisement for the other books in the series, and the summary located on the back of the book. The information page, however, is only written in English. I was very surprised to see this. By not including the book information in Spanish, I feel as though the publisher is downplaying the importance of this information while sending the message that their targeted audience is English-speakers. What if a Spanish-speaking parent purchased this book (I purchased mine from Barnes and Noble) for their child and wanted to know a piece of information located on this page? If he or she was unable to read English, the retrieval of this information would be extremely difficult (if not impossible).
The book itself is very well designed and organized for both English and Spanish readers. The illustrations reflect the Hispanic culture while the story adheres to the classic version of the fairy tale. I would use this book in a variety of classrooms. Spanish-speaking students students will be able to understand the language while non-Spanish speakers will be exposed to the Spanish language and culture.
Too view the other books in the bilingual series or to purchase this book click on the following link:
http://www.chroniclebooks.com/titles/kids-teens/multicultural/hispanic-bilingual
Too view the other books in the bilingual series or to purchase this book click on the following link:
http://www.chroniclebooks.com/titles/kids-teens/multicultural/hispanic-bilingual
Night in the Country by Cynthia Rylant
Night in the Country is one of my favorite Cynthia Rylant books. Her voice and craft make a "night on the farm" a genuine experience for all readers. Rylant focuses on the various "goings on" that happen at night on a farm when the humans are fast asleep. Familiar sounds and happenings that are common but seldom thought about are explained (how often we take the sound of frogs chirping, stairs creaking, and birds singing for granted!) The story transitions between an outside and inside perspective. One moment we are outside sitting quietly, listening carefully to an apple drop while watching rabbits eating, then the next we are on top of the stairs hearing the house cat scurrying around causing the old wooden steps to creak. Rylant "brings the reader back inside" twice during the story to make the reader feel like he or she is lying awake in bed next to an open window, experiencing the sounds of the night from multiple perspectives. When inside the house, noises can be heard through the ears of this person lying awake in bed. Once outside, the reader is looking through the lens of nature. The frogs sitting on their lilly pads while croaking, the pig rolling on its side in the hay inside the barn, the raccoon mother carefully grooming her young can not be seen or heard by the "nature perspective." Along with the darkness of night, comes apprehension and mystery. Most people do not enjoy the outdoors during this time because it is dark and the familiar has become unfamiliar due to the fact we cannot see. Rylant abolishes this uncertainty and fear. She celebrates the animals and happenings that only occur during this time.
The end of the story brings the beginning of morning and the disappearance of nighttime nature and its noises. In fact, the perspective of nature and the humans reverse roles. The last sentence: "Then they (nature in the night) will spend a day in the country listening to you" explains this reversal of roles. Rylant uses this ending to broaden the reader's thoughts even more. Nature and "the night" feels the same way about us as we do about them (uncertainty and wonder).
The illustrator, Mary Szilagyl chose a dark palate to match the "night" theme of the story. The majority of the pages contain dark shades and tones. However, the last three pages transition into day by becoming lighter and brighter. The end page, which contains information about the book, also contains a small illustration depicting life on the farm during the day. The cat is the lower center point and is facing the humans and "the day." The placement and position of the cat signifies Rylant's use of nature's perspective vs. the human perspective. The cat represents nature "looking in" on the activity of daylight.
Dog Days by Jeff Kinney
Book four in the Diary of a Wimpy Kid series, Dog Days was released just in time for the summer of 2009. Like all of the books released in the series, Dog Days contains the same unique physical characteristics. Each book cover resembles the layout of an actually "diary." The word "DIARY" on the top is in a formal, all caps font while "Of a Wimpy Kid" appears in a font much like a child's handwriting. The title of each book ("Dog Days" in this case) is written in a thick, black, permanent marker-type font. Parts of the font appear to "leak," causing the book to look "well used." Each book also contains a unique drawing that is always part of the story. The cover picture points out the main character's "unfortunate," reoccurring, bad luck in every book. After reading the first book, the reader will understand why Greg (the main character) loses the top of his ice cream and is frowning in the cover picture (that is something that would only happen to Greg in the story.) Each cover picture relates to the specific theme of the book (summer, winter, siblings, etc.) Shiny "tape" appears on the edges of each cover picture to make the cover seem more "diary-like" and created by a child. The background is matte, which makes the title, cover picture, and "tape" truly stand out.
The frontmatter in each Diary of a Wimpy Kid is unique to each book. The very first page always contains a humorous drawing that can only be explained by reading the book. Dog Days contains an illustration of a "crawling" hand that appears to be falling apart as it moves. Kinney uses this technique to "tease" the reader and draw them into the book. The same characters are always lined up on the dedication and title pages. However, the fourth character from the left is always different in each book and serves as another "teaser" to its content. In Dog Days, "Sweetie" the dog serves as this character. Greg is always located at the end of the line, facing the other characters. The publisher, Amulet Books, serves as a "divider" between him and the other characters. This is another way Kinney stresses the notion of the main character's train of thought: "It's Greg vs. the World." The back of the book contain another small picture from the story and various reviews that are all "taped" up, again serving as a technique to make each "diary" seem authentic.
Dog Days, like the other books in the series, contains a unique and theme-based plot where the main character Greg, is constantly "getting the short end of the stick." Greg represents the "average" kid (not popular, yet not hated) experiencing the typical emotions and feelings of any child his age. As Greg approaches adolescence, his attitudes and feelings reflect his insecurity, and his need for acceptance. Greg is constantly searching for his "fit" in society and stumbles quite frequently on the way. Kinney's sense of humor (which is even appealing to children and adults alike) is reflected in both the text and illustrations. I have seen children in all grade levels reading this book (as young as first grade and as old as a high school senior.) It is completely understandable why this series appeals to such a broad audience: a part of every reader can relate to (or has related to) Greg at some point in their life and Kinney's humor makes each book a treat to read.
Dog Heaven by Cynthia Rylant
The legendary Cynthia Rylant illustrated this picture book herself using acrylics. The illustration style she uses mimics that of a "child" artist. Her use of basic shapes and simplistic, solid color signify the "innocence" of her targeted audience- young children. The "un-blended" colors chosen in this book reflect the "un-tainted" minds of children, which is what the morale of this book caters to.
Rylant uses both text and illustration to tell her story. The text on each page coincides with the placement of her painting. The repetitive words, "He gives them fields. Fields and fields and field" physically flow with the natural steepness of the curves on the green hill. This style is used throughout the book. Other text is placed in a pond, amongst white ducklings, in clouds, around a circular moon, and underneath steps. Rylant uses this technique to create balance and stability among her words and illustrations.
The book as a whole creates a safe, comforting and reassuring place for children to turn to while mourning over the loss of a pet. The angels who "watch over" and care for the dogs in "dog heaven" appear loving, kind, strong, and playful. "God" is presented as an elderly gentleman with a sense of humor who gives out special treats, provides fluffy clouds for the dogs to sleep on while watching over them. Homeless dogs have homes with loving new owners (the angels), every dog has plenty of food and friends to play with, and are even allowed to return to their previous owner in spirit to pay a visit. Every dog becomes a good dog in Dog Heaven."
Rylant has beautifully addressed a difficult subject to write about through her gift of sensitivity and her soothing, reassuring voice.
Rylant has beautifully addressed a difficult subject to write about through her gift of sensitivity and her soothing, reassuring voice.
The Lion & The Mouse: J. Pinkney
It is obvious why Pinkney won the 2009 Caldecott Medal for this book. The descriptive and action-packed illustrations narrate the tale themselves, distinguishing this work as a wordless picture book. The only words found within the pages act as sounds in the story. A "WHO, Who, Whoooo" from a predator comes from the trees, while a "Squeak, squeak, squeak, squeak, squeak..." circles the nest of ten infant field mice. Pinkney purposefully places each "sound" with the purpose of blending noise into his illustration while making his story come alive for the reader. For example, the "Putt-, putt-, putt-" of the exhaust pipe from the safari vehicle is angled and strategically placed on the dirt road imitating tire treads. Each "putt-" becomes smaller as it "leaves" the vehicle pipe in the distance. On the pages without onomatopoeia, the reader can continue to "hear" movement and noise through Pinkney's gift of artistry. The soft yawn of a lion, the swish of a tail, or the crunch of a leaf on the ground can be "heard" without the need of words.
This book would be an excellent mentor text for a lesson on onomatopoeia for all ages and grade levels. Students will become calm and engrossed with the content even though they are being "shown to" rather than "read to." The plot is sentimental and heartfelt while encouraging the message that kindness can come from beings of ALL shapes, sizes and species. Even stereotypical "enemies" can help each other when the going gets tough. Students of all reading levels can appreciate and benefit from this anything but ordinary picture book.
By Janet and Allen Ahlberg
This was one of my favorite books when I was a child. The Jolly Postman centers around the average day for the postman who delivers main in a neighborhood "in a land far far away." The neighbors are all characters from a famous fairy tale or fable. This book was the first portrayal of these characters "living in harmony." For example, the Three Bears live next-door to the Wicked Witch (from the gingerbread-man fable). Baby bear invites Goldilocks to his birthday party and one of the three little pigs sits at a table with the Big Bad Wolf. The Shrek movies are built upon this idea of combing the eclectic assortment of fairy tale characters into one base plot. In this book, animosity and vengeance do not exist as one would suspect if certain characters were around each other.
The best part of this book is the style of conveying the plot which is centered around one theme- Baby Bear's birthday party. The postman delivers letters to different characters, who all invite him in for tea and a visit. Each character shares his or her letter with the postman, thus allowing the reader to view the letter. Each letter is customized for its recipient. For example, the Wicked Witch receives a supply brochure specifically for witches (advertisements include "deadly" lampshades, a "witching hour glass," halloween boots, and frog powder) while Cinderella receives a letter and book from a publishing company who wants to publish her story on behalf of her recent wedding to the prince.
The envelopes in which each letter is placed contains a full page of the book. One side is the addressed envelop while the other side is the opening with the letter. The envelopes themselves contain theme-based text reflecting details of the fairy tale from which the character is from. The stamps and front all differ and coincide with the theme as well.
The illustrations are all located above the text and do not contain boarders. This white background and illustration "dissolving"(into the white background) cause the reader to feel like they are in a "dream-like" state or "far-away" land. Smaller images of the characters or items relating to the characters are located in some corners of the page "blocking -in" the text. The image of Baby Bear's birthday party is the only illustration containing boarders. This technique is used to make the birthday scene look more like a picture of window for the reader to "look in" rather than being a part of the party.
This book was so well loved and popular that the author's created more Jolly Postman books (none of them are as good as the original). Here is an image of the Holiday-themed Postman book:
And here you can find a genre study based on the books:
By Jane Yolen and Illustrated By John Schoenherr
How fondly I remember Owl Moon. This was the very first book from which I taught my very first lesson during my practicum in a fifth grade classroom. This book was part of the Language Arts curriculum in the Virginia Beach Public Schools. I was given the book and asked to cover its content and vocabulary words for my lesson. I focused on figurative language and the author's purpose. The students were engrossed with the book's suspense (will they get an owl or not?!) and immersed in the text and illustrations.
The students had never heard of the activity "Owling" (neither had I until I read the book) but found it to be intriguing. Yolen's typical calm, soothing tone is present in the book causing the reader (and audience) to feel the same. Her use of description was one of the main focal points of my lesson. She uses language that appeals to the senses to create a "life-like" appeal. For example she describes her experience of viewing the woods late at night for the first time: "The shadows were the blackest things I had ever seen. They stained the white snow." After reading this part of the book I asked the class how the author uses figurative language. They were able to recognize that Yolen describes the trees as "staining" the snow to create a mental image for the reader and that the trees were not literally "staining" the snow. I also paused reading at certain parts to assess the students' understanding of the book. I remember every single student participating and begging me to continue reading because they were so interested in the story.
This book is also an excellent mentor text for teaching prediction techniques. I asked the student's to do a "think-a-minute" with their tables to discuss what they predicted would happen at the end of the story. Student responses ranged from the characters finding an owl to a snow storm covering their footpath. It was truly remarkable to listen to their ideas. The illustrations helped the students make their predictions. Schoenherr's use of a dark palette reflects the mysterious, quiet tone represented in the dark woods at night. The centerfold containing the illustration of the owl shows the presence of a source of light (the moon in the background or the flashlight focusing directly on the bird) making it the brightest illustration in the book. I asked the student's to create their own pictures of an owl using any media of their choice. The following day they exchanged pictures and made lists of words describing the owl in the picture.
This book interested all of the students and caused them to become immersed in the lesson content. Every single student participated during my lesson. I give credit to both Yolen and Schoenherr for making my first lesson in the teaching field such a success. The quality of literature combined with my focused content interested and entertained the entire class.
By Mo Willems and Illustrated by Jon J Muth
This is my favorite book to use when teaching a lesson on friendship, the seasons, or dealing with loss. This is not your typical Mo Willems children's book. Willems is often associated with humor, silliness, and the use of simplicity to convey a message. City Dog, Country Frog does not contain these attributes. Hard themes such as lonliness, change and grief are inertwined with uplifting ones including friendship, loyalty, hope and "rebirth." The complexity of emotion reflected in the book and experienced by the reader is anything but "simple."
The book is sectioned into four parts labeled as the seasons Spring, Summer, Fall and Winter. Willems uses this layout to convey the setting and the movement through time. The first half of the book, Spring and Summer center around the friendship of the dog and frog. The mood in these sections is playful, positive, and energetic. The dog meets the frog and both characters accept the each other's friendship unconditionally. They teach each other games and activities appealing to their own abilities (the dog teaches the frog to play fetch while the frog teaches the dog to hop around on lilly pads). At the end of the summer section, Willems uses foreshadowing to hint at future events in the plot. The frog getting tired at the end of the summer mirrors his "life cycle" end which occurs during the second half of the book. Younger children may completely miss this hint at first, but if read to several times, they most likely will recognize it.
The second half of the book, Fall and Winter brings upon the slow demise of the character the frog. The frog is too tired to play active games but is still able to play "memory games" with the dog. The dog humbly comforts the frog and again, accepts his friendship just the way it is, and spends this season reminiscing with the frog about the good times they have had all year. The Winter is the bleakest season of all in the story. The dog tries to find the frog but the pond is iced over and he is nowhere to be found. The dog spends most of the season looking for his friend while experiencing loneliness and sadness. The last season of the book, the following Spring, reflects hope and new beginnings. The dog finds a new friend, a squirrel and both accept each other's friendship. The dog misses the frog at first, but eventually accepts change and new opportunities. 
The illustrations represent the themes and mood within each season section. The summer, fall, and spring sections are displayed with a light, colorful palette and tone. The fall and winter months contain darker and richer tones to represent the setting, events, and feelings of the characters. Nature is prevalent in every section. Muth's use of watercolor ties into the book's aspects of nature and light-hearted friendship message.
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