Swamp Angel

By Anne Isaacs, Illustrated by Paul O. Zelinsky

Isaacs, Anne, Paul O. Zelinsky, and Sarah Reynolds. 1994. Swamp Angel. New York: Dutton Children's Books. ISBN 0-525-45271-0.

Swamp Angel is the tale of the “greatest woodswoman” in Tennessee. Born August 1, 1815, Angelica Longrider was as big as she was gawky. That gawkiness however, Angelica outgrew and in place blossomed a courageousness and spirit, which earned her not only the name Swamp Angel, yet much more importantly; respect amongst all. That respect extended to the very same men, who taunted her about joining them in the competition to capture Thundering Tarnation, the prowling giant bear; whose fur was so thick bullets could not get through. Thundering Tarnation had to be caught; life on the pioneer was difficult enough without that beast of a bully raiding the very same cellars where the winter’s food was stored. Of all those, who set out to capture Thundering Tarnation, it was Swamp Angel, who after several heroic battles with the bear; exterminated it. She fed thousands of people for the whole winter with the meat of the bear, blanketed the state of Montana with his pelt and even left a lasting impression on the stars.

The main characters of this tale are Angelica Longrider, the valiant heroine and Thundering Tarnation, the prowling vermin. Author, Anne Isaacs, does a marvelous job in creating these two characters, who are quite distinct yet, ironically possess equal amounts of fierceness and determination. I do believe that this technique of creating such a monstrous beast with such great strength and a heroine, who is able to match that strength, is an effective approach that places greater emphasis on the heroine’s character and personality. I would not say that the characters in this tale are complicated however; I would agree that the heroine is quite dynamic in that she begins not being able to climb a tree without assistance to battling with a bear, “tossing him so high in the sky he was still on his way up at nightfall.” Even after a “slow start” in life, she is portrayed as confident and strong; qualities which I do believe many young girls need help relating to today.

I would agree that the plot of this tall tale is both episodic and bursting with action. I can imagine a storyteller animatedly narrating this tale leaning into an audience of kids all of who are at the edge of their seats. The sequence of the story moves forward quite effortlessly. We are first introduced to the main character, Angelica. We are not only introduced to her character however; there is an importance on her behavior and personality. Right after, we are then introduced to Thundering Tarnation, who in this tale is representative of malevolence. The trouble that Thundering Tarnation is causing is established within the story and a resolution to that trouble is introduced; a competition to kill the bear. The resolution is now set into action. The author places emphasis on the bear’s cleverness by sharing in the tale many of the hunters defeated encounters. Each conflict builds upon the next. There is a moment of suspense when Swamp Angel (Angelica) finally meets the bear, face to face. The battle between the two begins. I would not say that the final resolution, which is the bear’s death, comes quickly; however I agree that the lengthy fight between Swamp Angel and the bear only adds strength to Swamp Angel’s character and to the greatness of the overall success of the plot.

The setting of this tall tale is within the pioneer days in the backwoods wilderness of Tennessee. The period marked the American Frontier. The beginning of the tale takes us back to the day, August 1, 1815, the birth day of Angelica Longrider. As is typical with traditional tales, time moves forward rapidly as Angelica turns two and then becomes full grown. The story takes us back to an event, which occurred at the age of twelve however, that was primarily to explain to the reader how Angelica Longrider received the name “Swamp Angel”. Once the background information was established, the plot begins, “Once upon a summer in the Tennessee wilderness…” I would most definitely agree that the setting in this tale is of great importance for it plays a crucial role in helping us understand the characters, their personalities; all of which brings life to the story.

The long draw out fight between Swamp Angel and the Thundering Tarnation makes the theme of this tale to be both tense and suspenseful. I would not say that there are big, global messages, however; there is a strong emphasis on character and values and on culture and diversity. I would state that I consider the style of this tale to have a western flare. The sound of spoken language is captured in print through the use of dialect specific to the culture and time and also through various idiomatic expressions. Swamp Angel is quoted as stating, “Varmint, I’m much obliged for that pelt you’re carryin’.” If we take a closer look at the word “carrying”, we notice that the “g” is left off. The same style of word expression can be seen when Swamp Angel states, “Confound it, varmint, if you warn’t the most wondrous heap of trouble I ever come to grips with! The dialect and idiomatic expressions brings forth a southern twang that encompasses not only the style of this tale but also the cultural markers. The descriptions of the characters also add to the style and cultural markers. The men are referred to as “buckskins”. Their caps are not baseball caps typical of today’s wear but rather, “coonskin caps”. The people are referred to as settlers and pioneers; they live in cabins, store their winter’s food in root cellars, and travel by means of wagons through wagon trails.

The illustrations in this tale have a life of their own yet, compliment and extend the story perfectly. The artistic style is reminiscent of American folk art framed by natural wood grain. The art technique used is oil painting and on the t.p. verso of the book it reads, “The illustration for this book were painted in oils on cherry, maple, and birch veneers.” The style compliments the story immensely as the story occurs within the American Frontier and is set within the wilderness of Tennessee. This tale is a prime example of illustration and story coming together to create an award winning book. The detail in each illustration is astonishing, adding depth to each character. I like how through the illustrations we can see the all sides to Swamp Angel. For instance, on one page she is illustrated helping others by putting out a house fire and on another page, she sitting on the hillside knitting, and then on another we can vividly see the wind blowing and the muck flying as she is wrestling with the beastly bear. The illustration, which displays Swamp Angel and Thundering Tarnation coming face to face, is priceless. The facial expressions are so apparent that I can easily see Swamp Angel speaking the words.

AWARDS & RECOGNITIONS:Caldecott Honor Book, 1994
Boston Globe-Horn Book Honor Book, 1995
ALA Notable Book, 1994
New York Public Library, 100 Books Every Child Should Read
New York Times Best Illustrated Books of 1994
School Library Journal Best Books of 1994
Booklist Children's Editors Choices, 1994
Publisher's Weekly Best Books of 1994
Time Magazine's 8 Best Children's Books, 1994
Parenting Magazine Reading-Magic Award, 10 Best Books of 1994
Notable Trade Book in Language Arts, National Council of Teachers of English, 1995

EDITORIAL REVIEWS:
"This delightful production deserves a place in all tall tale collections." -- School Library Journal

"A perfect introduction to folk tales and storytelling." --Booklist

“Move over, Paul Bunyan, you are about to meet Swamp Angel, an original creation in the tall-tale tradition whose exploits are guaranteed to amaze and amuse a wide swath of readers. . . Visually exciting, wonderful to read aloud, this is a picture book to remember.” --Horn Book

CONNECTIONS –Activities
Discuss with children the differences between a tall tale and a true story; have children pick out parts from the tale, which they believe to be true.

Have a discussion about life on the American frontier, relating parts of the story that resemble.

The True Story of the 3 Little Pigs!

As told to Jon Scieszka; Illustrated by Lane Smith

Scieszka, Jon, A. Wolf, and Lane Smith. 1991. The true story of the 3 little pigs. New York: Scholastic. ISBN 0-140-54451-8.

Told from a first person narrative by the wolf; Alexander T. Wolf shares his side of the story, recounting “how it really” happened. It all started, he explained, when he innocently visited his neighbors to borrow a cup of sugar. All he wanted to do was bake his granny a cake for her birthday. If only he did not have that awful sneezing cold. It wasn’t his fault that the first pig built his house out of straw or that the second built his with sticks. He sneezed once and there the homes went; right on top of the pigs. Would you leave good food to spoil? What about that last pig? Haven’t we all been taught to be polite?

The main characters in this fractured folktale remain true to those portrayed in the original version of the story; the wolf and the three pigs. The twist however, is in who is portrayed as good and who is portrayed as evil. According to Wolf, he was framed. It was the news reporters, who in an attempt to spice up the truth portrayed him as the “evil one” when in fact, the three pigs were bad and he was innocent. The author does not over complicate the characters. He creates them as anthropomorphic animals, representative of basic human traits. The language that the author has utilized throughout the tale brings the characters to life.

The plot consist of a formulaic pattern; it incorporates the literary “rule of three”, specifically used in this tale to contrast between the three homes. The plot draws the audience in with each conflict; building and building on the last until the final resolution, which comes quickly and surprisingly. The setting of the tale is established quickly and rather paradoxically; “Way back in Once Upon a Time time.” Through the illustrations and the tale there is a sense of time passing however, it is vague. The description of the pig’s home, their behavior, and the health of the wolf helps in understanding the wolf and with making his “side” of the story believable.

The tale is a parody of the original version of the tale and is told from the perspective of the wolf. The theme of this tale can be interpreted to be “there are always two sides to a story”. It can also be inferred from the ending of the tale that many times the truth is exaggerated to make the story much more exciting. Due to the nature of this tale, I would not say that the themes are “big, global messages” however, they can be subtly inferred. The fractured tale also deviates from the “happily ever after” ending when the wolf, which is the representation of goodness in this tale, is “framed” and goes to jail.

The author does a great job in paradoxically capturing his voice through that of the wolf. He also manages to maintain the integrity of the original tale through the characters, plot, setting and style. There is a strong sense of rhythm as the author sparingly incorporates a rhyming scene. The illustrations complement the story and are very appropriate. I would also say that they extend the tale. The portrayal of the wolf is one of kindness. He is wearing glasses, a nice shirt with a bowtie and pants. His character through the illustrations resembles that of a “school teacher”. As the wolf is describing his diet and comparing that to a cheeseburger, which a human may consume; the illustrations extends the story by illustrating a cheeseburger with several layers. Sandwiched between the layers one can see “bunnie” ears; the illustration created visualization to the comparison. The illustration moves the tale along; the wolf can be seen whistling along as he walks to the first pig’s home. The wolf’s nose becomes the focus of the illustration as the wolf felt the sneeze about to occur. When the wolf does sneeze that “great sneeze”; the illustration becomes the focus. I would say that although the illustrations do have a cartoon appearance; their design and layout work appropriately and in conjunction with the story.

AWARDS & RECOGNITIONS:
Book Awards: ALA Notable Book; School Library Journal Best Book of the Year; The New York Times Best Book of the Year; Publishers Weekly Best Book of the Year
Film Awards: ALA Notable Video; KidsFirst! Short Film Award
Audio Awards: ALA Notable Recording

EDITORIAL REVIEWS:
"Designed with uncommon flair," said PW, this "gaily newfangled version of the classic tale" takes sides with the villain. "Imaginative watercolors eschew realism, further updating the tale." --Publishers Weekly

Victim for centuries of a bad press, Alexander ("You can call me Al") T. Wolf steps forward at last to give his side of the story. Trying to borrow a cup of sugar to make a cake for his dear old Granny, Al calls on his neighbors--and can he help it if two of them built such shoddy houses? A couple of sneezes, a couple of dead pigs amidst the wreckage and, well, it would be shame to let those ham dinners spoil, wouldn't it? And when the pig in the brick house makes a nasty comment about Granny, isn't it only natural to get a little steamed? It's those reporters from the Daily Pig that made Al out to be Big and Bad, that caused him to be arrested and sent to the (wait for it) Pig Pen. "I was framed," he concludes mournfully. Smith's dark tones and sometimes shadowy, indistinct shapes recall the distinctive illustrations he did for Merriam's Halloween ABC (Macmillan, 1987); the bespectacled wolf moves with a rather sinister bonelessness, and his juicy sneezes tear like thunderbolts through a dim, grainy world. It's the type of book that older kids (and adults) will find very funny. --School Library Journal

Did the story of the three little pigs ever seem slightly biased to you? All that huffing and puffing--could one wolf really be so unequivocally evil? Finally, we get to hear the rest of the story, "as told to author Jon Scieszka," straight from the wolf's mouth. As Alexander T. Wolf explains it, the whole Big Bad Wolf thing was just a big misunderstanding. Al Wolf was minding his own business, making his granny a cake, when he realized he was out of a key ingredient. He innocently went from house to house to house (one made of straw, one of sticks, and one of bricks) asking to borrow a cup of sugar. Could he help it if he had a bad cold, causing him to sneeze gigantic, gale-force sneezes? Could he help it if pigs these days use shabby construction materials? And after the pigs had been ever-so-accidentally killed, well, who can blame him for having a snack? --Amazon.com Review

CONNECTIONS-Activities:
Generate discussion groups with older children: Compare both perspectives; the three pigs versus the wolf. Which perspective do you believe to be true and why?

Introduce the concept of versions to younger children by having them color a picture with pre-chosen colors then have them color the same picture with different colors.

The Ox of the Wonderful Horns and Other African Folktales

by Ashley Bryan

Bryan, Ashley. 1971. The ox of the wonderful horns, and other African folktales. New York: Atheneum. ISBN 0-689-31799-9.

The Ox of the Wonderful Horns and Other African Folktales is a collection of five tales originating from Africa each retold by author, Ashley Bryan. The folktale for review is “The Ox of the Wonderful Horns”. The tale is that of a young boy named Mungalo, who is the son of a rich chief. The chief is wealthy not only in riches but also in wives. Of all the wives, Mungalo’s mother was the chief’s favorite. This caused resentment amongst the other wives, who even after Mungalo’s mother passed, continued to take out their jealousy and anger on Mungalo. Throughout the years, Mungalo suffered the wrath of his father’s wives however; Mungalo remained humble and obedient. He never strayed from believing in his mother’s promise that one day his father would give him a great white ox. Through that promise, Mungalo is awarded with goodness and righteousness. He explores the land and in time, with a wife of his own; he returns back to his father’s village, where he is now treated with kindness.

The characters in this folktale stay true to the classic characteristic of “good versus evil”. The main character, Mungalo, is the quintessence of goodness. His father’s “other wives” represent evil, corruption, and wickedness. Although Mungalo’s mother is mentioned briefly, I would say that it is of great importance for she symbolizes the human trait of “love and kindness”. Emphasizing this trait allows no room for misinterpreting the wickedness of the other mothers. Throughout the story there are several symbolisms, which one can self interpret. There are the ox’s horns; which I interpreted to symbolize hope and determination. The various obstacles which Mungalo and the ox face display a strong foundation in trust and loyalty. The story is not overly complicated with characters. The characters are representative of the African culture and traditions. Just as the singer, who takes the ox’s horns from Mungalo as he slept; I do believe each character serves a purpose and moves the story along it’s high and low points.

The plot of this story, which I would describe as being full of action, brings forth several emotions. It begins by creating a state of disbelief at how Mungalo is treated by his father’s many wives. As an outcome, there also develops a sense of sympathy for Mungalo. When Mungalo decides to leave his father’s home, suspense develops as we travel with Mungalo and face his many obstacles. Through theses obstacles, we experience both sadness and triumph. Each obstacle represents conflict, which is then followed by a resolution. I would agree that each point of conflict is as crucial to the story as the next. I would also satisfactorily agree that the story’s ending does in fact follow the characteristic pattern of that of a folktale; a happily ever after ending.

The setting is clearly defined and acknowledged throughout the story. I do not believe that it is an integral part of the story however; it functions informatively and guides the story along a period of time. Much like many of the other aspects of this folktale, its roots are clearly depicted through the setting and word usage. For example, Mungalo is from a village, where his father is chief. In the African culture it is tradition and custom for the village chief to be permitted to have more than one wife. It is also characteristic for African folktales to make reference to the vastness of the land, which this tale clearly describes throughout the story. Lastly, on page 38, the word usage in the phrase, “three moons passed”, is used to show a passing of time.

The theme of this folktale is most surely one of good triumphing over evil. It ends “happily ever after” in that Mungalo finds love and returns to his father’s village where he is welcomed by all including the very same mothers who were in the beginning cruel to him. I would say that there exist several morals within this story however; they are not forced upon the reader. Some of the morals may elude a younger audience however; I do believe that at a young age we are taught to not be “mean” to others. We are also taught at a young age to not steal. These are two morals of the story, which I believe children will be able to understand.

The style of this story is culturally specific, reflecting the African culture. As is the custom with African folktales; the folktale serves the purpose of preparing young people for life by providing lifelong lessons or morals to be learn. African folktales many times also include proverbs. I read that a single tribe may have as many as a thousand proverbs of their own. As is also common with African folktales, the main character of this folktale, aside from Mungalo, is an ox. African folktales frequently involve animals as the principle characters. Another example that the style is culturally specific can be seen through the description and mentioning of the land, the villages, the huts, the food, the names, dress and work habits of the characters.

The illustrations throughout this folktale are few however; each one artistically emphasizes an important element of the folktale. The illustrations compliment the story and reflect the cultural heritage of the tale however; I would not say that they extend the story. I would describe the art to be more of a visual abstraction, which is customary to African art.

The cultural markers throughout this folktale are plenty and I believe, accurately reflect the culture. From the setting of the village, the daily work of the characters, the initiation into the tribe, the vastness of the land, to the tradition of chief’s having more than one wife; the reader can gain insight into the culture and customs. The illustrations are also cultural representations of African art. Throughout the story certain words are used which also have cultural orientations, for example; kraal. Kraal, as defined by Merriam-Webster dictionary, is a village of southern African natives.

In addition to The Ox of the Wonderful Horns”, the author presents four additional tales. There is a table of contents and source information is provided for each tale. Each tale contains minimal illustrations however; they are also reflective of the cultural heritage of the tale. I do not believe the tales are familiar to young readers and believe they are intended for adults to share with young readers.

AWARDS & RECOGNITIONS:
N/A

COMMUNITY REVIEW:
One of several folktale collections created by African-American artist and author Ashley Bryan, The Ox of the Wonderful Horns contains five tales, taken from the folk traditions of three African nations. Unlike Beautiful Blackbird - the first of Bryan's titles that I read, which, save for the artwork, did not impress me greatly - the source material for these selections is prominently listed, at the beginning of the book. I appreciated that (unattributed, or clumsily revised folklore being one of my pet peeves), enjoyed the tales themselves, and thought Bryan's block-print illustrations were gorgeous. I'm glad I gave this author/artists another try! Abigail -8/24/09

CONNECTIONS-Related Books:
Ashley Bryan’s African Tales, Uh-huh
Lion and the Ostrich Chicks and Other African Folk Tales

The Snowy Day

by Ezra Jack Keats

Keats, Ezra Jack. The Snowy Day. New York: The Viking Press, 1962. ISBN 0-670-65400-0.

A Snowy Day tells the story of a young boy named Peter, who experiences the joy of snow. He wakes one morning and looks out his window. To his amazement, it had snowed and as far as his eyes could see, snow was everywhere. He ventures out and shares with us the many “snowy” adventures he experiences throughout the day. He walks this way and that way in the snow, climbs up the snow and slides down the snow. Wanting to hold on to the joy of the day, Peter places in his pocket a snowball; he then returns home and excitedly shares with his mother his day of snow-filled adventures. The story reaches a conflict when right before bed; Peter reached into the pocket of his coat to learn that his snowball was gone. Unquestionably upset, the story climaxes when Peter falls asleep and dreams that all the snow is gone, melted away by the sun. The resolution comes when Peter awakens the next day to see to his delight, that the snow is not only still there but also, more snow is falling.

A Snowy Day is the winner of the 1963 Caldecott Medal.

The main character of this picture book is Peter. Peter is an adventurous young boy, who is full of curiosity and energy. As I am sure we can all think of a child, whether boy or girl, who can be a “Peter”; I am just as sure that there are many children, who can compare themselves to Peter. Peter’s character comes to life throughout the story through the illustrations and his behavior and actions. The author’s choice of words clearly portrays to us the young child that Peter is. For instance, after putting on his snowsuit, Peter did not walk outside but rather, as children do when excited; he ran outside. Although he thought it would be a blast to have a snowball fight with the older boys, Peter knew that he shouldn’t for of course “mom” would not approve!

The plot of this story is quite believable to children. Peter is enjoying playing in the snow yet, it is time to go home. He is so excited and anxious for the following day to arrive so that he can continue on with his adventures in the snow so much so that he worries and has a nightmare that the snow will be gone the next day; just like the snowball that he had placed in his pocket. The resolution is reached when Peter awakens to not only see that the snow is still there but that more snow is falling. The illustrations gracefully support the story moving it right along.

The setting of the book is depicted through not only the text of the story yet, also through the first illustration. The story begins with the text reading, “One winter morning…” The illustration displays Peter looking out of his bedroom window into a crisp blue morning sky. Throughout the remainder of the story, I would say that the setting is more of a “generalized modern community” and not critical to the story. As the story moves along, I felt that there was an unspoken reference to time and place. Peter is playing outside in his neighborhood. When he packs his snowball into his pocket and returns home; there is an unspoken sense of the time now being evening. On page 28, it does read “Before he got into bed…” and on the following page the illustration shows Peter in bed sleeping. On the last two pages of the story, the text and illustrations once again work together to create the setting.

The Snowy Day is a story, which just as simply as the title reads, simply highlights the adventures of a young child enjoying a snowy day. I would say that there is no deeper meaning which is forced upon reader or audience. One may infer an innocent appreciation and love for nature and an appreciation for the delightfulness of new experiences and wanting to cherish and hold on to the awesomeness of it all.

I would describe the style of this book to be direct and simple yet, effective. On each page, the author manages to create a wonderful story about a young boy and his adventures in the snow using approximately one to four basic sentences. The use of description and action words are used effectively to create each scene and draw the audience in; “Crunch, crunch, crunch, his feet sank into the snow.” I can imagine children attempting to walk with their toes pointing in and again with their toes pointing out. The illustrations appear to be a combination of abstract and realism. The illustrations almost possess a surrealism that uniquely adds warmth to the story and appropriately mirrors the story.

The illustrations completely complement the story. They not only illustrate the words of the story however, they add warmth to the story and move it quite nicely along. The illustrations are presented in a combination of abstract and realism. The colors used throughout the illustrations create an almost dreamlike quality. The style is appropriate to the story and illustrates the essential details of the story. For instance, the various foot print patterns, which Peter creates in the snow, the smile on the “smiling snowman”, the children having a snowball fight, etc.

Although The Snowy Day “broke the color barrier in mainstream children's publishing”, this book captures the excitement all children share regardless of race or culture. I would not say that the story utilizes any stereotypes and is modernly represented.

REVIEW EXCERPTS:
"Now in a sturdy board-book format just right for youngest readers, Ezra Jack Keat’s classic The Snowy Day, winner of the 1963 Caldecott Medal, pays homage to the wonder and pure pleasure a child experiences when the world is blanketed in snow.” —Publishers Weekly

The Snowy Day, a 1963 Caldecott Medal winner, is the simple tale of a boy waking up to discover that snow has fallen during the night. Keats's illustrations, using cut-outs, watercolors, and collage, are strikingly beautiful in their understated color and composition. The tranquil story mirrors the calm presence of the paintings, and both exude the silence of a freshly snow-covered landscape. The little boy celebrates the snow-draped city with a day of humble adventures--experimenting with footprints, knocking snow from a tree, creating snow angels, and trying to save a snowball for the next day. Awakening to a winter wonderland is an ageless, ever-magical experience, and one made nearly visceral by Keats's gentle tribute.
The book is notable not only for its lovely artwork and tone, but also for its importance as a trailblazer. According to Horn Book magazine, The Snowy Day was "the very first full-color picture book to feature a small black hero"--yet another reason to add this classic to your shelves. It's as unique and special as a snowflake. --This text refers to the Paperback edition. —Amazon.com Review

RELATED ACTIVITY:
There are many creative activities one can incorporate with this picture book. From simply having children draw and color snowmen and snow angels to discussing topics such as what their favorite snow activity is. In association with the part of the story where Peter created his footprints in the snow; print outs can be made of various animal footsteps and children can guess which animal made which footprint.

Uno, Dos, Tres; One, Two, Three

by Pat Mora

Mora, Pat. Uno, Dos, Tres; One, Two, Three, Illustrated by Barbara Lavallee. New York: Clarion Books, 1996. ISBN 0-395-67294-5.

Uno , Dos, Tres; One, Two, Three is a counting book that counts from 1 to 10 in both Spanish and English. Two sisters frolic through a Mexican market in search of birthday gifts for their mother. The quantity of the objects is colorfully and beautifully illustrated throughout the book. The book incorporates a rhyming scheme and also includes a pronunciation guide at the end of the book.

This book was nominated in 1996 for the Tomas Rivera Mexican-American Children’s Book Award.

This picture book contains characters that are age appropriate and credible to an audience of children. The main characters are two young sisters, who are searching for birthdays gifts for their mother. It is the mother’s birthday; a life event, which every young child has been exposed to and know the importance of.

The plot of the book consists of two sisters venturing through a Mexican market in search of birthday gifts for their mother. The story is presented in a numerical sequence from one to ten as the sisters excitedly begin by purchasing one item and so forth until they obtain ten items to give to their mother for her birthday. The illustrations are all very color and come to live on each page. The illustrations certainly work in conjunction with the text in helping move the sisters through the market. One concern, which I noted, was that it was difficult through some of the illustrations to distinguish between the numerical value and the number of items associated with the value. For instance on pages 20 and 21, the number six is being associated with six castanets however, it was difficult to actually distinguish that there were six castanets. Some of the illustrations are quite busy in color, patterns, lines and shapes however, one familiar with Mexican culture may be familiar with the texture of each illustration. I do believe that they appropriately capture the excitement of the market and also the excitement the sisters are feeling. To some of the children, the illustrations may be slightly overwhelming however; I can surely see many opportunities to discuss with the children all that they are observing through each illustration.

The setting of the book is an integral part of the story. The items, which are being used to associate the numerical values, are items that the sisters are purchasing at the market. The illustrator expertly accomplishes the task of illustrating the time of day and also scenes from not just any market but, from a Mexican market. The scenes are as bright as a sunny day and clearly depict the time of the day being day versus night.

The theme of the book is counting. The storyline takes the audience through the numerical sequence of counting from one to ten in both Spanish and English. The book demonstrates cultural awareness through the characters, the clothing of the characters, the actions of the characters, and the place of the event and items at the market. Universally however, we can all relate to shopping for a birthday gift for someone. I would not say that there is a deeper meaning aside from cultural awareness of Mexican customs and traditions and the education of counting numbers in both Spanish and English.

I would describe the style of this book to incorporate the sound feature of that of rhyming. The author first presents the number in Spanish, proceeding with the English counterpart. She then quite simply creates a rhyming word for the English number. The style is quite effective in giving the story a song quality.

The illustrations are all colorfully created. The color in addition to the amount of illustration creates movement throughout the story. The illustrations do compliment the story in that the numbers are recited in Spanish as the sisters gather presents for their mother at a Mexican market. I do believe that the illustrations do have story telling qualities in that there is so much activity that each child can add to the story through their own observation and perception of the illustrations.

The Mexican culture is depicted throughout the story through the illustrations. From the beautiful display of colors to the form of dress of each character and the items bought at the market such as the piñatas, the castanets, the magnificently weaved baskets and hand painted pots and plates. Mexican artistry can be observed through every fine detail within each illustration. The form of dance displayed through the characters and even the Mexican architecture that can be spotted throughout each illustration.

REVIEW EXCERPTS:
"The deceptively simple design is a delight to the eye as the illustrations vibrantly dance with the text in a count of the presents collected. Robust and radiant, this counting book celebrates the gift of being bilingual and will add multicultural authenticity with a Mexican flavor to any collection." —Booklist

"The jaunty rhyme and repetition are a celebration of the sounds of words and an introduction to the folk arts of Mexico." —Horn Book

"Two sisters romp through a market in Mexico while selecting birthday gifts for their mother. The simply rhyming text pairs the Spanish and English numerals 1-10: 'Uno, one/ We’ll buy Mamá a sun/ dos two/ Two doves that say coo-coo … ' A Spanish pronunciation guide is included … A useful tool for teaching children to count in Spanish." —School Library Journal

RELATED ACTIVITY:
Children can make a counting book of their own using construction paper arranged into a book and cutting from old newspaper inserts or magazines pictures. They can also simply draw onto the pages of their book.

A Sick Day for Amos McGee

by Phillip C. Stead

Stead, Phillip C. A Sick Day for Amos McGee. Illustrated by Erin Stead. New York: Roaring Brook Press, 2010. ISBN 978-1-59643-402-8.

A Sick Day for Amos McGee tells the story of a busy zookeeper, Amos McGee. Although Mr. McGee is a very busy man at work, he always manages to make time for his friends everyday. In his own very special way; Mr. McGee spends time with an elephant, a tortoise, a penguin, a rhinoceros, and an owl. One day, however, Mr. McGee is not only visited by a nasty cold, but to his pleasant surprise; he is also visited by the very same friends, who now in their own special way, spend time with Mr. McGee.

A Sick Day for Amos McGee is the winner of the 2011 Caldecott Medal. It also won the ALSC Notable Children’s Book, the Bank Street Best Children’s Book of the Year, the NYPL Book for Reading and Sharing, the Charlotte Zolotow Award/Honor Book, the Capitol Choices Noteworthy Titles for Children and Teens, and the CPL: Chicago Public Library Best of the Best.

This picture book utilizes characters that are all interesting and have personalities, which are credible to children and an audience at large. Almost every child can relate, if only through an image, of a grandfatherly figure. A grandfather, who wears "silly" pajamas or who, may play chess or ventures off to work with a lunch pail in hand. The animals are all animals that children can easily visualize and attach the described personality traits to. These are the same very traits, which we are repeatedly exposed to in one form or another. For example, we are all taught that elephants have small brains and so it is credible that the elephant "may take a little big longer to think about the next chess move" or can remember the wise owl, which has a love for books. Each character is brought to life through each illustration.

The plot is believable in that children know what it is to be sick. They have an awareness of what it is to “not feel good”. They know that when their tummy hurts or when they have the sniffles they stay home and do not go out. The book supports this concept by beginning with a chronological sequence of Mr. McGee’s typical day. It is only because he became ill that the daily routine changed. The concept of familiarity is introduced by the animals boarding the very same number five bus, which the children had earlier been introduced to. The animals arrive and through the fine use of illustration; the penguin is first, holding the familiar red balloon, which is illustrated through several of the previous pages. The plot ends with Mr. McGee transitioning back to routine with the winding of his alarm clock and stating, “After all, we have a morning bus to catch.”

The setting of the book is depicted through not only the text of the story yet, also through the illustrations. Mr. McGee awakes to his alarm clock and changes from his pajamas into a uniform. The illustration pictures Mr. McGee in his pajamas. At the end of Mr. McGee’s day, he reads to the owl at sunset, which through the illustrations shows the owl on a tree branch and Mr. McGee sitting with a lamp nearby. At the end of the day when the animals come to visit Mr. McGee, he states, “It’s getting late.” The last illustrates all the characters asleep with the exception of the penguin, which is looking out the window into the night sky at the moon.

The beauty of this picture book is that there is a deeper meaning, which can be inferred through the plot however, it is not pushed or forced onto the child. Much like our text explains, the meaning subtly materializes through the characters. The theme of the book clearly allows for a group discussion on friendship and helping others.

I would describe the style of this book to be full of meaningful symbolism; full of detail yet, simplicity. Quite the opposite of the phrase, “talking too much and not saying anything”, the author beautifully states exactly what needs to be stated in just a sentence or two. The illustrations work harmoniously with the author’s few sentences; almost as if the illustrations are not only supporting yet, filling in the blanks of what was not said.

Each character is brought to life through each illustration. The illustrations are quite detailed however, in a simplistic form. The colors of the illustrations are as the illustrations themselves, very simplistic yet, distinct. There are no overbearing colors except for the red balloon, which in some of the illustrations is not colored at all. I interpret the balloon, much like many of the details throughout the story to serve as a sense of familiarity and comfort and have story telling qualities. For instance, the picture of the penguin in Mr. McGee’s kitchen, the little mouse and birdie throughout the story, the little birdie with a tie holding a book as Mr. McGee is walking to the bus stop, the pocket watch, the teddy bear Mr. McGee is holding when he becomes ill in bed, etc. The illustrations are very complimentary to the story and most surely create the mood and move the story along.

As stated previously, almost every child can relate, if only to an image, of a grandfatherly figure. The text and the illustrations work in unison to create characters with personality traits that are all familiar to us; the wise owl with books, the slow walking tortoise, the slow thinking big elephant, the penguin with the cute socks. Each character is given a personality trait which are familiar and so, credible. It brings life to the story.

REVIEW EXCERPTS:
"Erin Stead's attentively detailed pencil and woodblock illustrations reveal character and enhance the cozy mood of Philip Stead's gentle text." —Horn Book Magazine

“Whether read individually or shared, this gentle story will resonate with youngsters.” —School Library Journal

"Like the story, the quiet pictures, rendered in pencil and woodblock color prints, are both tender and hilarious… The extension of the familiar pet-bonding theme will have great appeal, especially in the final images of the wild creatures snuggled up with Amos in his cozy home.” —Booklist

RELATED ACTIVITY:
A related activity could include having children create “Get Well” cards for family and friends. They can use construction paper, crayons, markers, and color pencils.