Snow-White and the Seven Dwarfs

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 

The Princess and the Pea (bilingual)

                     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

James Marshall's Cinderella

Retold by Barbara Karlin 

and Illustrated by James Marshall

This version of Cinderella is best known for its illustrations by James Marshall's.  The story line is very similar to the American fairy tale. The author, Barbara Karlin, sticks very closely to the original plot. However, she does include a casual tone to the text. The only parts I found Karlin to stray from the original plot included; the character the king, who was the instigator of the ball (with the intentions of helping his son find a wife) and the ending, when the fairy godmother moves in with the couple. 

The illustrations are unique to James Marshall's style.

 The characters have square faces, pig-like noses, large red cheeks, and tiny specs as eyes. They often appear squatty and obese. Their clothing as well as the objects around them are always large and circular (for the most part). The The illustrations are meant to be humorous and eye-catching.  Children will spend long periods of time maing comments such as: "Look at her big teeth! The stepsisters are so ugly!", "That is a fat cat!" or "Hahaha! Look at the prince sit in the hammock!" These are all comments I have heard real students in the classroom say while reading this book together. The illustrations serve as the entertainment for a story most children "have already heard." I recommend using this version to immerse struggling readers into the content area.

Cinder Edna

                                       By Ellen Jackson

This book acts as a parody for the well-known fairy tale Cinderella. The story compares the tales of two young women: Cinder Ella and Cinder Edna. Cinder Ella portrays a helpless, materialistic, shallow woman, while Cinder Edna portrays a smart, savvy, down-to-earth one. The two characters are compared throughout the tale. Cinder Ella is beautiful, gets waited on by her fairy godmother and meets a just as shallow prince.  She is unable to dance very much because she fears her glass slipper will break. Her prince finds her and they marry leading her to a boring life revolved around her husband. Cinder Edna on the other hand is average looking, earns her own money, and meets the prince's brother Rupert. Rupert, unlike his brother (who marries Cinder Ella) is intelligent, has substance, and values ideas rather than status and wealth.  Rupert finds Cinder Edna by first looking in the phone book, then asking all of the ladies in town who knows six different recipes for tuna casserole (which he knows only the true Cinder Edna would know). Cinder Edna and Rupert get married, pursue education, and build an environmentally friendly cottage together. They are the ones who "live happily ever after." 

Jackson "upgraded" the Cinderella" fairy tale by adding a "twentieth century" spin to the plot.  The character Cinder Edna encourages young female readers to be strong, self-sufficient, and educated. The message that "looks and money" do not acquire happiness certainly holds true here.  Jackson's text is powerful while the illustrations (by Kevin O'Malley) are humorous. This rendition of the fairy tale would be extremely useful when teaching a lesson on building character or positive self-image. This book most likely will appeal to more female students, however male students will enjoy the humor. 

Glass Slipper, Gold Sandal: A Worldwide Cinderella

by Paul Fleischman

Both the author and the illustrator (Julie Paschkis) use a variety of techniques to portray the numerous variations of the Cinderella fairy tale from several different counties. The cover contains a picture of "the glass slipper" (which appears more like a dutch shoe) surrounded by berries and blooms. This center picture reminds me of "folklore" through its illustration style. Both the slipper picture and the title of the book are glossy, while the background is matte. This technique makes these items appear sharp and inviting. 

The author's note explains the significance of combining multiple versions of the fairy tale as they are told in multiple different countries. The tale has been so beloved by so many societies and cultures that he (the author) felt it would be significant to create a version including all of the variations.  The countries from which these variations are included are displayed for the reader on a large map in both the front and back endpapers. The countries are written in a white font against a blue backdrop to stand out.  The author informs the reader of each county variation by using a train of periods to note the differences. For example, when describing the gown, he includes "... a clock sewn of kind-fisher feathers... a kimono red as sunset...".  The illustrations are necessary to inform the reader of the country from which each part of the tale (the vacation) is derived.  The text is not only labeled this way in book, but also the illustrations. The illustrator creates unique backgrounds and pictures within a frame that "represent" each county.The illustration details also change from county to county. 

The countries represented in both the text and illustrations are vast, and in some cases, even "unheard" of to the reader. Some children may not have heard of the counties Appalachia, West Indies, or Laos.  I was both surprised and impressed with the author's inclusion of these countries.  I would never have thought the country of Laos would have their own variation of the fairy tale Cinderella. The author most likely includes these less-known countries to both inform the reader and promote diversity.  

This book is diverse, entertaining and informative. I believe it should be on the bookshelf of every elementary classroom. Middle and High school students can learn from and enjoy this book as part of a lesson as well. 

Night in the Country

                      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. 

Diary of a Wimpy Kid Dog Days

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.