Wednesday, November 21, 2012

Tea with Milk



BIBLIOGRAPHY

Say, Allen. 1999. Tea with milk. Boston: Harcourt Mifflin. ISBN 9780547237473

PLOT SUMMARY

May, raised near San Francisco, is forced to move back to her family’s homeland, Japan. Miserable and homesick, she tries to make a life for herself in the city of Osaka—despite displeasing her parents. This story tells the true events leading to the meeting of author Allen Say’s parents.

CRITICAL ANALYSIS

In this semi-biographical picture book, author and illustrator Allen Say tells the story of how his parents met. The main character is Masako (known as May). She grew up in America speaking English, getting an education, and planning to move out and go to college—all practices commonly acceptable in the United States.

However, her parents move her back to their village in Japan where all those plans go out the door. She has to repeat high school to learn Japanese and how to be a proper Japanese lady—wear a kimono, sit on the floor, and get married. May’s mother hires a matchmaker in an attempt to marry her off. While a common practice in this culture, May was raised in an American culture. Her goals go against what is typical of women in Japanese culture.

May decides to change her fate by moving to the city of Osaka where she is not longer expected to wear traditional garb. She also gets a job—an unacceptable practice for women. Her boring job leads her to interact with an English-speaking family. This event serves as a turning point for May is finally allowed (and required!) to speak her beloved English, as she becomes a store guide for foreign businessmen, her future husband being one of them!

Although she must wear the traditional kimono at work, she has the opportunity to interact with touring foreigners—who are less foreign to her than the native people of Japan. Quite the contradicting cultural practice!

In addition to the dress and a description of female gender roles, Say mentions the practice of matchmaking, sitting on the floor, the art of calligraphy, and the tea ceremony. While the story does not necessitate the detailing of all these practices, the reader may understand more about the significance of these practices if they were explained with more depth.

Say includes his signature photograph-like illustrations to complement the text. Readers see the emotion on May’s face as they read what happens to her. The beautiful full-page paintings give readers visual images to aid in understanding the setting, dress, and customs written about.

As is common in writing from this culture, the text structure is non-linear, meaning it does not follow a rising action, climax, and resolution plot line. Instead, it lays out major events leading to Say’s parents’ meeting.

Readers, don’t be fooled by the picture book format! Tea with Milk embodies a cultural lesson, a young woman’s journey, and a great love story.

AWARDS AND REVIEWS

Booklist Book Review Stars, March 1999
Publishers Weekly Book Review Stars, 1999
School Library Journal Best Books, 1999
School Library Journal Book Review Stars, 1999
ALSC Notable Children's Books, 2000

“Both an "ugly duckling" romance and a universal story of leaving home, this is a picture book that will have intense appeal for older readers.” –Booklist, March 1999

“In describing how his parents met, Say continues to explore the ways that differing cultures can harmonize…” –Kirkus Review, 1999

“Through choice words and scrupulously choreographed paintings, Say's story communicates both the heart's yearning for individuality and freedom and how love and friendship can bridge cultural chasms.” –Publisher’s Weekly, March 1999


CONNECTIONS

Interviewing May
With a partner, write 5-8 open-ended questions for an interview with May. Using the information you know about May from the book (and other soruces you find), answer these questions. Post and color-code your questions and answers on the library wiki.

Biographical Comic Strip
Ask your parents (grandparents, aunt/uncle, etc.) about their meeting. How did they meet? How long have they known one another? Etc. Use this information to create a 5 frame minimum biographical comic strip.

Travel Journal
Even though Tea with Milk is a short picture book, May travels several places. Make a paper book travel journal to record where she goes and major events that happen there. Add illustrations to aid your memory.

The Year of the Dog



BIBLIOGRAPHY

Lin, Grace. 2006. The Year of the Dog. New York: Hatchette Book Company. ISBN 9780316060004

PLOT SUMMARY

The Year of the Dog: a year of luck, friendship, and finding oneself. Grace Lin (or Pacy, as she is called at home) strives to accomplish all these things in this semi-autobiographical novel by Chinese-American author Grace Lin.

CRITICAL ANALYSIS

Before analyzing The Year of the Dog by Grace Lin, one must understand the background of the book. The characters in the family are based on author Grace Lin’s real family. They are Taiwanese-Americans (although sometimes referred to as Chinese-Americans). Lin uses her childlike illustrations to describe the appearance of the characters. She briefly mentions their skin color, hair color and style but leaves out mention facial features. (This does not take away from the authenticity of the book in any way.)

The reader learns about Grace’s culture as she details experiences to her school friend, Becky. When Melody, also Taiwanese-American, moves to town, Grace uses their developing friendship to describe traditions and customs. We learn about lucky red envelopes, red egg celebrations, and important holidays.

Wealth and luck are common themes throughout the book. Grace searches for both during the Year of the Dog. Her father and grandfather are both wealthy doctors, so the family lives in an affluent neighborhood in upstate New York—a perfectly reasonable setting (considering the reality of the location). The family wants for nothing. This is evident on a visit to a Chinatown grocery store when the family purchased so many goods that the car was overflowing.

The interactions of characters within and outside of the Taiwanese-American culture are interesting. Grace’s non-Taiwanese friends and classmates do not understand the customs and consider her “too Chinese” while girls at a Taiwanese-American summer camp consider her too Americanized—a banana, they called her.

Grace’s mother inserts stories about her childhood and her move to America as an adult. Included in these stories is the reason for assimilation into the American culture while honoring her heritage.

The Lin family shows a balance of holding to their Asian heritage while assimilating to their current environment. Readers are led to believe much of the assimilation comes from the children’s interactions with people from other cultures and books they have read. When celebrating Chinese holidays, Grace’s parents have no problem with preparing for festivities. As Grace accounts, American holiday traditions are not received as well. The Lins purchase a small Thanksgiving turkey—which is not even the main course—and prepare mashed sweet potato cakes.

Christmas is hilarious too! Rather than taking the life of a tree that has grown for so long, Mrs. Lin wants to just decorate her rubber tree plant. Oh, and presents! What fun is it knowing what you’re getting? Unless what you get fails to meet your imagined expectation. That’s how American holidays went in this family. Lin induces laughter with the cultural education the children provide to their parents.

Midway through the book, Grace has gloomy moments when she dislikes being Taiwanese-American. She does not see characters like her in movies, TV shows, and books. Rather than staying downtrodden for long, she finds a way to fix that—write a book about a Taiwanese-American girl. The book ends up winning a prize and inspiring Grace to become a writer. Author Grace Lin records in her author’s note that her motivation for writing this book was not having books such as this one when she was growing up. She saw her friends in the books she read but never herself.

In the family’s culture, a common greeting can be translated, “Have you eaten yet?” Grace notes that food is an important element in their culture. This is evident in Lin’s metaphors and sensory language. Often objects are compared to food or given the colors of food items. For example, the stuffed dog playing Toto is described as “chocolate-colored” (p. 83) and Chinese vegetables that look like “purple sausages” (p. 88).

Lin does not shy away from addressing common stereotypes. She alludes to a time in the past when women’s feet were bound—part of an inserted story from Mrs. Lin. The author also addresses the misrepresentation of Chinese people in the book called The Seven Chinese Brothers in the text and The Five Chinese Brothers in an illustration. Grace points out how the brothers look nothing like real Chinese people: Melody’s brothers do not have a ponytail and it’s impossible to swallow an ocean. I am glad that Lin addresses these stereotypes by challenging them (with the book) and placing a time stamp on when practices like feet binding occurred.

Grace Lin, the child, tells the story in first person which makes for interesting commentary. The matter of fact quality of writing makes certain situations funny when told from the perspective of a child. The familiar Chinese greeting is one example of how Grace’s realization becomes humor. Another example is how she, Melody and Melody’s brothers bust into the vitamins in lieu of candy. The description of Melody’s mom’s reaction is one only a child could have captured. Lin proves through Grace’s voice that she remembers her self as a child.

The non-linear structure tells of events in sequential order with flashbacks framed within. No major conflict is climaxed and resolved. Instead, several events are detailed as if they are a reflection of what happened. Readers may be unsatisfied with the less than dramatic way in which Grace “finds herself” and the abruptness of the book ending. Regardless, the book truly is an enjoyable education and statement of events throughout the year of luck, friendship, and finding oneself.

REVIEWS & AWARDS

Asian Pacific American Award for Literature, 2006-2007 Honorable Mention Text
National Parenting Publications Award, 2006 Gold Book Ages 9 & Up
Booklist Editors' Choice: Books for Youth, 2006
New York Public Library's 100 Titles for Reading and Sharing, 2006
NCTE Notable Children's Books in the English Language Arts, 2007
ALSC Notable Children's Books, 2007
Texas Bluebonnet Award, 2007-2008

“Lin does a remarkable job capturing the soul and the spirit of books like those of Hayward or Maud Hart Lovelace, reimagining them through the lens of her own story, and transforming their special qualities into something new for today's young readers.” –Booklist, Jan. 2006

“This comfortable first-person story will be a treat for Asian-American girls looking to see themselves in their reading, but also for any reader who enjoys stories of friendship and family life.” –Kirkus Reviews, Dec. 2005

CONNECTIONS

Comparing Holiday Traditions
Grace tells about typical holiday traditions and her family’s attempt at American holidays. In a trio, discuss how each of your families celebrates one holiday (of your choice). Complete your choice of graphic organizer with your information (either a triple Venn diagram or three-column chart). Post your diagram on the library blog, and each write a short comment detailing how you would help your partners get acclimated to your traditions if they were coming to our home to celebrate this holiday.

*If a student does not celebrate this particular holiday (or none at all), incorporate that into the graphic organizer. That student’s comment will still describe what would take place should the other two group members visit on that day/occasion.

Science Fair Project
Using Grace and Melody’s idea, design and conduct your own experiment comparing plant growth with 4 different liquids. In your design, include the following six steps of the scientific method: ask a question, form a hypothesis, conduct an experiment, collect data, analyze information, and report results. Record a 2-minute video reporting your results.

Chinese New Year (Lunar New Year)
Learn more about Chinese New Year celebrations. Make a plan for your own celebration. Include what foods you would prepare, decorations, activities, etc. Present your plan to the class by creating a poster with your ideas.

Lon Po Po







BIBLIOGRAPHY



Young, Ed. 1989. Lon Po Po: A red-riding hood story from China. New York: Philomel Books. ISBN 9780399216190

PLOT SUMMARY

Long ago, in rural China, three daughters, at home alone, face an evil wolf pretending to be their grandmother. Lon Po Po is the Chinese version of the familiar Red Riding Hood tale.

CRITICAL ANALYSIS

Lon Po Po: A Red-Riding Hood Story from China translated by Ed Young is a fabulous piece of work, not only as a story variant but as great literature. Set in rural China long ago—not sure how long ago but before electricity—a mother leaves her three daughters alone in their house. The appropriately secluded, rural setting can only lead to trouble—the appearance of a wolf, the representation of evil.

Just like a cunning wolf, he sneaks his way into the home of these girls: Shang, Tao, and Paotze. Shang, described as the oldest and craftiest, becomes the trickster as she devises a plan to spoil the wolf’s fun. The girls climb into a ginkgo tree. It is fitting that a large tree native to China be included. Ginkgo trees are believed, in the Chinese culture, to withhold magic. It certainly aided the three daughters in destroying the wolf’s plot.

Other than through illustrations, the three girls are not described in detail. We know that Shang is the oldest and in pictures has the longest hair—a black braid. One might assume the order in which Young listed their names could also be their birth order. Tao and Paotze also have black hair, but their hairstyles differ from Shang’s hair. One has her hair pulled into a bun at the back of her head while the other has two short pigtails. Nothing about their hairstyles appears to be unusual or stereotypical.

In relation to the setting, the illustrations do not always match the story. Young informs readers that the wolf comes around dusk. This explains the need for candlelight in the home. However, at the point the girls climb the ginkgo tree, it appears to be daylight outside. One (such as myself) might think this adventure lasted all night, but the text states that “on the next day,” the mother returns. Although the illustrations may cause some confusion, this story takes place over the course of one evening into the next morning.

A couple cultural details are interesting. The girls’ mother goes to visit her mother (the real Po Po) for her birthday; however, there is no mention of a father or grandfather. Is that just coincidence or meaningful? No words from their native language are included. Of course, the reader should not assume the characters are speaking to one another in English. However, we do not know which language is their own (i.e. Mandarin, Cantonese, etc.).

The children’s dress is barely shown in one illustration. From that illustration, Shang looks to be wearing a silk robe. The robe might be a hanfu, a silk robe the wealthy wore during the Han Dynasty. While no other clues lead me to believe the story takes place in the Han dynasty, even if it did, hanfus were not worn by little girls in rural China at bedtime.

The Chinese version on Little Red Riding Hood urges readers to compare this story with the Brothers Grimm version. Instead of big eyes, ears, and teeth, Po Po (the wolf) has a bush stuck to her foot (tail) and thorns on her hands (claws).

The linear plot structure hooks readers so they will read to the very end—even though most readers will know good wins out. If readers are only familiar with the Brothers Grimm version, the events unfold in unexpected ways, so readers need to read to the end (not that Young hasn’t made that easy!).

Young also illustrates this book. He uses traditional Chinese panel art with watercolors and pastels. The panels do not show separate events, but allow the image to keep a continuous flow from one panel to the next. For example, the wolf’s body is illustrated, but his eyes and fangs are in one panel while the rest of his body is in another.

In my opinion, the panels are interesting because they change the focus of the page. Rather than drawing attention to the center of the page as a traditionally illustrated book might, the panels include off center images, drawing the reader’s eye to the picture. Such an example is when the wolf enters the house. We see the shadow of the wolf jumping across the spread, taking up 2 panels. The three girls are huddled together in the lower left corner of the page, right on the crease of the two-page spread.

In the previous example, the girls are illustrated clearly. Most pictures, while including several shades of color, lack sharp, defined detail. This is not due to lack of skill on Young’s part. This is simply his method. This technique adds to the mystery of what is to come.

Ed Young’s engaging account of a familiar tale will encourage readers to seek out other versions of favorite stories.

REVIEWS AND AWARDS

The Caldecott Award, 1990
Boston Globe-Horn Book Award for Excellence in Children's Literature, 1990
ALSC Notable Children’s Book, 1990
ALSC Sharing Cultures: Asian American Children’s Author Best List, 2001
Mockingbird Award Nominee, 1990-91
Parent’s Choice Award, 1996

“The text possesses that matter-of-fact veracity that characterizes the best fairy tales. The watercolor and pastel pictures are remarkable: mystically beautiful in their depiction of the Chinese countryside, menacing in the exchanges with the wolf, and positively chilling in the scenes inside the house.” –School Library Journal, Dec. 1989

“Young illustrates an intriguing Asian variant of a favorite folktale. . . . Said to be more than a thousand years old, 'Lon Po Po' is definitely the most liberated version of Little Red Riding Hood.” –Bulletin of the Center for Children’s Literature, Nov. 1989

“By dividing the illustrations into three and sometimes four longitudinal sections, Young has given his fine retelling the look of old Chinese decorative panels. . . . The slightly blurred illustrations are subdued in color but seem to throb with the mystery and terror of the wolf and the round-eyed fright of the children. Although the placement of the text on colored backgrounds is sometimes a disadvantage, the wonderfully fine illustrations more than compensate.” –Horn Book Magazine, Jan./Feb. 1990

CONNECTIONS

Readers’ Theater Comparison
Compare Lon Po Po to the Brothers Grimm version of Little Red Riding Hood. Students will create a readers’ theater—one group for each book—and perform their version. During and after each performance, students will record similarities and differences of each version on a trifold foldable. Summarize the similarities and differences and your personal preference in a blog post.

Hyman. 1987. Little Red Riding Hood. New York: Holiday House. ISBN 9780823406531

Multicultural Red-Riding Hood Story
Search for the Red-Riding Hood story from another culture. After doing research about that culture, record a podcast summarizing the main events, stating how that version is culturally authentic/inauthentic, and describing surprising differences from other versions with which you are familiar.

Panel Art
In a group of 4-6, choose another favorite childhood fairytale/folktale. Using watercolors to illustrate the story on rice paper, butcher paper, or other thin paper. Cut your illustration into vertical panels and mount them on thicker paper. Bind and display the wordless picture books. (As a bonus, video yourself or your group retelling the story with your group’s illustrations.)

Wednesday, November 7, 2012

The Christmas Coat


BIBLIOGRAPHY

Sneve, Virginia Driving Hawk. 2011. The Christmas coat: Memories of my Sioux childhood. New York: Holiday House. ISBN 9780823421343

PLOT SUMMARY

The daughter of an Episcopal priest, Virginia Driving Hawk Sneve retells an account of how she was gifted a lovely, warm coat for Christmas.

CRITICAL ANALYSIS

The Christmas Coat is based on true events in the author’s childhood. The characters in the story represent culturally accurate Native Americans interacting with one another—their accurate portrayal is due to the real person whom they reflect. The story focuses on young Virginia, daughter of an Episcopal priest, sister to cowboy boot loving Eddie, and daughter to Mama who taught her children to consider the needs of others first. The characters live on a South Dakota reservation, and the children walk to school. Virginia’s parents have a vehicle parked next to their house, but based on the text, people on the reservation walks to where they need to go.

In the school room pictured, the only adornment on the walls is a United States map and a portrait of a Native American man in a headdress. With no knowledge of Sioux traditions, one might assume the picture serves as a stereotype. However, toward the end of the book, the children put on a play. In the place of three Arab wise men going to see the baby Jesus, three children wearing headdresses arrive. The narrator notes that headdresses are only worn by wise leaders and elders of the tribe. With this explanation, the portrait in the school room makes sense.

The clothing worn shows an accurate portrayal of the time as well. The children and adults wear dresses, denim jeans, overalls, and cardigans; the kind the White man might also wear. The men and boys have short, dark hair while the girls’ dark hair is kept longer. Virginia’s hair is the shortest of the girls pictured. She allows hers to flow freely, but most of the girls wear braids. The adult women wear their hair tied up in buns.

The story takes place on a Sioux reservation in South Dakota around Christmastime. Because the story is about the author, readers can assume the reservation is the Rosebud Sioux Reservation where the author spent her childhood. Sneve describes the winter winds on the prairie, and illustrator Ellen Beier captures the gale force winds and frigid temperatures in her watercolor paintings.

Interactions with other cultures are scarcely mentioned. The book describes the Theast box—boxes of clothing donated to the reservation from a church in New England. The families on the reservation count on and are excited about receiving the Theast box.
Some non-Sioux traditions are practiced by this tribe. The practice of Christianity and the traditional telling of the nativity story have already been alluded to. An interesting tradition is a visit from Santa Claus. The reaction from the children is particularly interesting: some were welcoming and surprised while many were frightened. Maybe the families vary in their wavering of family tradition.

Even with the inclusion of the non-traditional events, the community Christmas supper consisted of traditional foods: corn soup, fry bread, and wojape, a chokecherry pudding.

A picture book format with vibrant illustrations well suits this story. Beier adds details in her illustrations such as the specificity in the children’s faces. Readers will know who Virginia, Eddie, Evelyn, and the parents are in each picture because of their features consistently painted on each page. Beier captures the characters’ emotions: from the crying baby on Virginia’s lap to Marty plugging her nose in dissatisfaction of the rank odor from Evelyn’s coat.

Sneve’s retelling of a childhood memory will appeal to the readers’ emotions. However, the transitions from page to page lack a constant flow. For example, after discovering Evelyn’s smelly coat, it seemed that the next page would consist of Evelyn’s reaction to children laughing at her stinky coat. Instead, it jumps to a discussion about Christmas being near and students going to pageant practice. Later on the page, the smelly coat is revisited. As a reader, I struggled with moving from one event to the next.

Even the end of the book seemed to just cut off. While Virginia received the coat she wanted, there was little closure to complete the story. Instead, without using text, Beier includes a final illustration showing Mama walk to the church with Virginia in her new red coat and Eddie in his new cowboy boots.

The moving story will remind readers of a time when they received a special yet unexpected gift. The illustrations and Virginia Driving Hawk Sneve’s memories will provide a small piece of education about the traditions practiced by this Sioux tribe.

AWARDS AND REVIEWS

Cooperative Children’s Book Center Best Book, 2012
Kirkus Book Review Stars, Sept. 2011

“…this picture book…offers a realistic look at economic hardship in the context of a warm and loving family. Aspects of Native (Sneve is Sioux) culture are subtle elements of the story, and occasionally stand out in the illustrations.” –Cooperative Children’s Book Center, 2012

“Virginia's personality shines through in this poignant story that entertains and informs without recourse to stereotypes.” –Kirkus Reviews, 2011, starred review

“Although the text does not deal with many difficult issues that faced the Sioux in South Dakota, it does provide a peek into the life of one child.” –Kutztown University Book Review, 2012

CONNECTIONS

Holiday Memories
Write a poem describing a favorite holiday memory. Share with a coffee house style poetry reading. Make it fun—serve hot chocolate and pastries!

Holiday Venn Diagram
Partner up with one other person. Create a Venn diagram to compare and contrast your families’ holiday traditions. While this may include Christmas, other winter holidays are encouraged.—the more diverse, the better!

Native American Living Conditions Comparison
The Christmas Coat describes winter conditions on one Sioux reservation. Study the living areas of another tribe. Include not only the climate but how tribe members adapt to the conditions. Choose one of the following presentation methods: Prezi, Glogster, VoiceThread, or Animoto.