Swamp Angel

BIBLIOGRAPHY

Isaacs, Anne. 1994. Swamp Angel. Ill. by Paul O. Zelinsky. New York: Puffin Books. ISBN 0140559086

PLOT SUMMARY

Angelica Longrider, born in Tennessee in 1815, was unlike other girls. Given the nickname Swamp Angel, she exhibited strength and power uncharacteristic even for grown men. Her immense stature allowed her to conquer tasks none before her had accomplished. An unruly bear, known as Thundering Tarnation, terrorized the settlers. 

A competition was started to kill the bear. After the defeat of all the “Tennessee daredevils”, Swamp Angel had her turn to challenge Tarnation. She tossed, lassoed, and wrestled him for four days. After sleeping and snoring down most of the trees in the area, a final tree fell right on top of Tarnation, killing him. The settlers feasted on Tarnation, and stored up more for the winter. Swamp Angel was a heroine!

CRITICAL ANALYSIS

Swamp Angel features a strong female character comparable to Paul Bunyan. Her nemesis, Thundering Tarnation, is a hated black bear in the Appalachian Mountains. Isaacs gives descriptions of the setting—Tennessee, early 1800s, but Zelinsky’s illustrations fully detail the landscape, the settlers, as well as Angel and Tarnation.

This action-packed tale keeps the reader hooked with conflicts between Tarnation and the settlers, and more so, the competition between Tarnation and Angel. The quick-moving events include unrealistic scenarios that induce laughter with a satisfying ending, which leads to the formation of a landscape in Montana and the legend of a constellation.

Zelinsky’s oil paintings capture details and separate stories that the text excludes. An example is the heroic action of Angel putting out a fire at a home, which Isaacs only acknowledges as “eye-popping wonders”. The illustrations show features of the setting that are complemented by the wood grain frames around each page.

The story, which begins with background information about Angelica Longrider, evolves into a “once upon a time” story packed with drama and ending with origin stories. The author’s use of regional dialect adds to the authenticity of the story if not also adding slight stereotypical ideas about Southern settlers. Incorporated is a glimpse into the lifestyles of settlers of this time—occupations, dress, and mannerisms.

Overall, this humorous book is comparable to the incredibility of tall tales such as the aforementioned Paul Bunyan. I would recommend it to readers who enjoy a creative story full of imagination and vibrant folk art.

AWARDS AND REVIEWS

Caldecott Honor Book, 1995

“The pictures and words cavort across the page in perfect synchronization, revealing the heroine's feisty solution.”

—Wendy Lukehart, School Library Journal, Dec. 1994

“There are very few tall tales about extraordinary women in American folklore compared to those that extol the virtues of men, and this comic rendition about a gifted, powerful and helpful woman is in all ways superb.”

—Jack Zipes, The New York Times Book Review, Nov. 1994

CONNECTIONS

Related Books:

Isaacs, Anne. 2010. Dust Devil. Ill. by Paul. O. Zelinsky. New York: Schwartz & Wade. ISBN 0375867228

Kellogg, Steven. 1984. Paul Bunyan. New York: HarperCollins. ISBN 0688058000

Tall Tale Comparison: Read Paul Bunyan and compare Paul and Angel’s characteristics.

Dialect Definitions: Choose 3-5 regional phrases, similes, metaphors, or idioms used in Swamp Angels and give definitions for their meanings in simpler terms.

Write Your Own Historical Tall Tale: After studying regions of the US, select one region to research further. Study dialect, dress, mannerisms, occupations, etc. Use those elements to write your own tall tale about a citizen in that region.

Anansi and the Moss-Covered Rock

BIBLIOGRAPHY

Kimmel, Eric. 1988. Anansi and the Moss-Covered Rock. Ill. by Janet Stevens. New York: Holiday House. ISBN 082340689X

PLOT SUMMARY

Anansi and the Moss-Covered Rock is a retelling of an African folktale. “Once upon a time,” Anansi, a trickster spider, discovered a strange moss-covered rock that knocked out anyone who recited the phrase, “Isn’t this a strange moss-covered rock!” Because he is too lazy to collect his own food, Anansi decided to trick his neighbors. Several of Anansi’s neighbors were knocked out by the moss-covered rock long enough for Anansi to steal the produce they worked hard to collect. 

Little Bush Deer witnessed Anansi’s trickery and decided to teach him a lesson. The deer did not fall for Anansi’s trick but played it against him. While Anansi was knocked out, Little Bush Deer returned all the produce to the rightful owners. Unfortunately, Anansi did not learn his lesson as he still continues to trick others.

CRITICAL ANALYSIS

Anansi exhibits his ability to trick his naïve neighbors. The characters in this tale are simple, hard-working animals that live in the rainforest. All too trusting, one-by-one they fall for Anansi’s tricks. The repetition of the actions makes each encounter with a neighbor reliable and predictable. That is, until Little Bush Deer outsmarts the deceitful spider. 

While many events seem unfair to the unsuspecting neighbors, the conclusion is rather satisfying—Anansi is taught a lesson in being dishonest and his neighbors get their produce back.

Kimmel only describes the setting as “the forest”, but Stevens expands that description with her images of bamboo porches and tropical vegetation. The illustrations follow the quick-moving events in the story to complement the actions as they occur. 

Notably, Stevens never illustrates Anansi’s face. All of the spider’s emotion is shown through his eight legs—pointing, moving, stomping. The illustrations show more feelings than the text alone provides—the expressions of exasperated animals when they discover their missing fruit, Anansi’s irritation with Little Bush Deer, and the satisfaction of the animals when their food is returned.

Themes of justice and work ethic present themselves in this folktale. With the help of Little Bush Deer, the creatures in the forest are vindicated. Anansi finds that weaseling his way out of the effort to gather his own food leads him back to having no food of his own.

Kimmel retells the story in a simple way that allows readers to sympathize with the victims of Anansi’s trickery. Great satisfaction comes when Anansi’s actions come to justice. Kimmel stays true to the various original stories of Anansi—a trickster who spends more time conniving his friends out of food than it would take to collect his own produce.

REVIEWS

“The stylized exaggeration of words and pictures is just wry enough to avoid cuteness and maintain the mischief of a true trickster tale.”

–Betsy Hearne, Bulletin of the Center for Children’s Books, October 1988

“The text is rhythmic, nicely building suspense to the inevitable conclusion.”

 —Maria Salvadore, School Library Journal, November 1988

CONNECTIONS

Reader’s Theatre: Children make paper bag puppets of each animal character to use as props.

Sequencing: use student-drawn illustrations to make a timeline of events, especially noting the order of animal friends Anansi stole from.

Counseling Lesson: Discuss with children actions and consequences, possible incorporating cause and effect. Students create and act out other scenarios that may happen in their own lives.

Music Appreciation: Listen to African music. Students offer observations and opinions about the music. (Suggested activity from http://www.liveoakmedia.com/client/guides/26754.pdf)

Research: Search for and read the many variants of Anansi folktales. Compare and contrast similarities and differences. Students can make a judgment about their favorite one.

The Three Little Javelinas

BIBLIOGRAPHY

Lowell, Susan. 1992. The Three Little Javelinas. Ill. by Jim Harris. Flagstaff, AZ: Rising Moon. ISBN 0873585429

 

PLOT SUMMARY

The Three Little Javelinas by Susan Lowell is a version of The Three Little Pigs which is set in the Sonoran Desert. This retelling features the protagonists as pig-type animals native to this area: javelinas. As is typical in tales from this region, the coyote acts as the antagonist.

As the three little javelinas seek their fortune, they make homes of the materials commonly found in the area: tumbleweeds, sticks from dried-up cacti, and adobe bricks. The coyote, hoping for an easy meal, threatens to blow down the tumbleweed house.

After the coyote succeeds, the first javelina runs off to stay with his brother in the stick house. Following closely, the coyote also blows down the stick home.

The brothers run to their sister’s adobe house, which is too sturdy for the coyote. In an attempt to enter the house through the stove pipe, coyote gets burned—he runs away in a puff of smoke leaving the three javelinas to live peacefully in the adobe house.

The story ends by telling the reader that the coyote howls at night when he remembers this event.

CRITICAL ANALYSIS

The Three Little Javelinas is very closely based on the well-known European version of The Three Little Pigs. Favorite repeated lines appear in this book: “I’ll hug, and I’ll puff…” as well as the victory of the good, innocent javelinas over the trickster coyote.

The author in the opening paragraphs describes the javelinas wonderfully in words which are complemented with the detailed illustrations. The setting of the story is noted in a short preface and elaborated on with the illustrations depicting geographical features, climate, and local peoples. The illustrations also complement the fast-paced plot, showing the urgency of the javelinas as they run for safety.

The setting of the book gives insight into the culture. Because the Sonoran Desert is the setting of this version, many of the terms used in the book are used by native Spanish speakers. The author provides pronunciation guides to assist readers with the new vocabulary. The skills and trades of local citizens is spotlighted with the building materials the javelinas used to make their homes.

REVIEWS

Mockingbird Award Nominee, 1993-94 (Texas)

“This clever and flavorful change of scene puts a diverting spin on an old favorite....Sprightly fun.”

—Publisher’s Weekly, 1992

“This engaging retelling appears in both Spanish and English, and has many accurate regional details. The text is fast-paced and witty in both languages, and is accompanied by energetic, full-page illustrations done in rich earthy tones that evoke the setting as faithfully as the text. Whether read aloud or in amused solitude, this is a picture book that will be enjoyed again and again.”

—School Library Journal, 1992

CONNECTIONS

Read another (or 2 or 3) variant(s) of Three Little Pigs and make a foldable Venn diagram to compare the similarities and differences.

Reader’s theater with props—make small houses of similar materials to show the coyote blowing the house down.

Incorporate with social studies—Texas history, Southwest US history—types of homes commonly built in the region.

Science—study the inherited traits/adaptations of the javelinas and coyote that help them survive in the Southwest

Write an alternate ending. Variations of this activity include:

Letting evil win out

Adding a character from another tale (i.e. Paul Bunyan, Little Red Riding Hood’s wolf)

We Are in a Book!

BIBLIOGRAPHY

 

Willems, Mo. 2010. We are in a book!. New York, NY: Hyperion Books for Children. ISBN 9781423133087

PLOT SUMMARY

In Mo Willems’ Elephant and Piggie book, We Are in a Book!, Gerald has a feeling that he is being watched. Piggie soon discovers that the blank background behind him is a actually page in a book! Gerald and Piggie are part of a book! Readers are watching them, saying what they say. 

Cautious Gerald is unsure what to make of this until Piggie shows him how exciting (and downright hysterical) it is to manipulate what the reader reads. The duo enjoy making the reader say “Banana” until they realize the book will come to an end. In a clever ploy to prevent an end, Gerald and Piggie ask the reader to reread the book—which explains to readers why on the first page of the book, Piggie thanks them.

CRITICAL ANALYSIS

Gerald and Piggie, an unusual combination, are introduced and developed, not through narration, but through their own words—written in color-coded speech bubbles. Uneasy Gerald and gregarious Piggie exhibit strong personalities, so similar to the children who will read about them.

Their personalities shine through Willems’ basic illustrations. Willems captures the pair’s emotion through the expressions on their faces, their body language, and motion lines showing their movement. Had he included more detail, Willems would have taken away from the simplistic style that defines Elephant and Piggie books.

Willems’ use of speech bubbles instead of narration allows the plot to move along quickly, capturing the reader’s attention. Unlike other storybooks that have a smooth flow to the plot, We Are in a Book! bounces along as Gerald and Piggie realize they are in a book, figure out how to manipulate the reader, and concoct a solution to the book ending. The illustrations move right along with the story—the characters are not in the same position for more than a page.

Color-coded thoughts bubbles are a clever method for creating a story without narration. Willems indicates how each sentence should be read with the use of font variation. The characters’ casual speaking voices are shown with a medium sized serif font. The majority of the book uses this font size and style. 

However, when a character gets excited, whispers or shouts, the size and format of the font changes to indicate the mood: italicized words means to add emphasis; large-sized capital letters notify the reader that the speaker is shouting; small-sized font signals the reader to read in a whisper. These font variations allow the reader to read Gerald and Piggie’s words exactly how they would say them, giving the book even more animation.

PERSONAL RESPONSE

I don’t recall ever having laughed aloud at a book as much as I did with We Are in a Book! What a novel idea for characters to recognize that they are being read! Gerald seems to be the “fuddy-duddy” while Piggie is the fun-loving, adventurous one who yanks Gerald away from his comfort zone. This books not only gives a hilarious perspective from the side of the characters, it also shows how people (animals) with opposite personalities can be best friends. From this book, young readers will gain an understanding that although their peers are different, they can still have fun being friends.

AWARDS AND REVIEWS

Theodor Seuss Geisel Honor Book, 2011

Starred review in School Library Journal, 2010:

“Make room for another satisfying episode in the escapades of lovable Elephant (aka Gerald) and Piggie. This time the best buddies star in a witty metafictional romp replete with visual gags, such as Piggie hanging from a speech bubble and Elephant blocking the author's name on the title page. Willems revs up the fun when the friends realize that someone is watching… Beginning readers will grant Gerald's request, while grown-ups will marvel at Willems's extraordinary ability to animate his personality-packed gray and pink characters with the widest range of emotions, all drawn with the simplest of line.”

Starred review in Kirkus Review, 2010:

“Emergent readers just beginning to grapple one-on-one with the rules of the printed codex will find the friends' antics both funny and provocative: Just who is in control here, anyway? As always, Willems displays his customary control of both body language and pacing even as he challenges his readers to engage with his characters and the physicality of their book. The friends' solution to the book's imminent end? ‘Hello. Will you please read us again?’ You bet.”

CONNECTIONS

Related materials

Other books in the Elephant & Piggie series by Mo Willems

Discussion Topics

What are some of your favorite books or stories?

What makes a book your favorite?

Piggie wanted to make the readers say a word, “Banana”. He got the reaction he wanted. When an author is writing a book, how do they get the reaction they want from the reader?

Activities

Make your own book featuring Gerald and Piggie. Visit http://www.pigeonpresents.com/teachersguides/EandP_eventkit11.pdf for the book template and other activities for Elephant & Piggie books.

Dave the Potter: Artist, Poet, Slave

BIBLIOGRAPHY

Hill, Laban Carrick. 2010. Dave the potter: Artist, poet, slave. Ill. by Bryan Collier. New York, NY: Little, Brown and Company. ISBN 9780316107310

PLOT SUMMARY

Dave, a real historical figure, expressed himself through a unique combination of hobbies—pottery and poetry. Readers travel with the slave through the creation of a masterpiece, beginning with what many see as only dust and mud. Dave sees these as another opportunity to showcase his artistry. The reader watches Dave mix clay and water, throw and spin it on the potter’s wheel until a jar appears. Dave demonstrates how to mount the clay coils along the edge of the pot before mixing and applying the glaze. Finally, Dave etches a verse on the side of the jar, making it complete.

Author Laban Carrick Hill and illustrator Bryan Collier utilize their understanding of Dave’s life as a poet and potter to share his extraordinary gift with readers. Their research gives readers a glimpse into a non-traditional view of slavery—one in which an enslaved man’s talent is not squelched for fear of rebellion. Dave’s poems—errors included—allow readers to envision his thoughts, feelings, and philosophies as he made his many pots and jars.

CRITICAL ANALYSIS

While relatively little information is known about Dave, the author providse a significantly detailed look into the life of Dave—who had no last name. Hill offers examples of Dave’s poems in the section of the book called “Dave: A Life”. These short verses give insight into Dave’s world—his owner, his beliefs, his friends, and even his jars. Dave proved to be hard working and an expert artist as seen in phrases like “His chapped thumbs pinched into the center…” and “nobody how or where it would land except for Dave”.

The reader flows through the jar-making process with smooth, lyrical movement, free from pages crowded with text. Rather, Hill makes good use of the language—quickly expressing Dave’s actions before moving to the next step in the process.

Hill’s text briefly indicates Dave’s slave status nearly two hundred years ago. Apart from this instance, the reader must rely on Collier’s magnificent illustrations to envision the setting—rural regions, field workers, and archaic tools. Stunningly crafted with a combination of watercolor and collage, Collier’s illustrations had this reader examining each picture multiple times, convinced the images were truly photographs. Collier’s realistic detail almost negates the need for including actual photographs of Dave’s jars.

The highlight of Collier’s illustrations comes in the foldout page, which portrays the shapes the clay takes as Dave molds it into his perfect formation. The detail incorporated into the images exhibits the transformation clay takes as it is being expertly crafted. Collier’s graphics complement the rhythm of Hill’s words. Hill’s description of the jar’s edges puffing up like a robin’s breast is cleverly matched with Collier’s image showing the increase in size as Dave carefully works the wheel.

Dave the Potter: Artist, Poet, Slave examines a rich talent had by a man who, at that time in history, was viewed as an inferior being. While touching on his position as a slave, Hill does not, as in more traditional stories, promote the supremacy or inferiority of any ethnic group. Instead, Hill uses the factual details of Dave’s life to garner an understanding of how one man formed a life during a dismal period in our nation’s history.

PERSONAL RESPONSE

I absolutely love this book for several reasons. While the text and illustrations fully complement one another, each could stand independently. Hill’s rhythmic flow of words so eloquently describe the scenes that the reader can easily imagine the events through Hill’s imagery. Collier’s artwork tells the same story without the need for text. Emergent readers can enjoy Dave’s story even if all they only able to read the pictures.

At the “end” of the story begins another story: the known historical account of Dave’s life. Rather than ending Dave’s story with the completion of a jar, the author includes pieces of information giving more details about Dave’s life. I gained more insight into who Dave was, his thoughts, and memorable events.

The author’s and illustrator’s notes interested me because I enjoy knowing how authors and illustrators gain knowledge and awareness about their subject. I find it fascinating that this book began at a conference and was inspired by an antiques television show. Knowing the research Collier conducted in order to educate himself about Dave and South Carolinian pottery makes the life-like illustrations more credible. This book was not just thrown together with a few facts about a mysterious historical figure. The creators studied up and became experts on Dave, the artist, poet, and slave.

AWARDS AND REVIEWS

Caldecott Medal Honor Book, 2011

Coretta Scott King Illustrator Award Book, 2011

Best Lists: New York Public Library Children’s Lists 2010

ALA ALSC Notable Children’s Books, 2010

Starred review School Library Journal, August 2010:

 “An inspiring story, perfectly presented and sure to prompt classroom discussion and projects. Outstanding in every way.”

Childhood Education, 2011:

“This biography of Dave, written as a poem, is highlighted by the beautifully collaged and richly painted illustrations. Author and illustrator notes add to the life of a man who could have easily been forgotten.”

CONNECTIONS

Related Materials

Book

Todd, Leonard. 2008. Carolina Clay: The Life and Legend of the Slave Potter Dave. New York, NY: W.W. Norton & Company. ISBN 9780393058567

Websites

Visit http://leonardtodd.com/ for more information about Carolina Clay, Dave’s life, pots, and poems.

Visit http://www.digitaltraditions.net/html/D_resources.cfm for an Educator’s Guide to use with Dave the Potter. This resource includes art lesson plans, a potter making how-to, and traditions involving pottery and poetry.

Activities


Use modeling clay to make mini-jars. Write a short poem to etch on the sides.

Include the use of this book as a study into the skills of slaves in American history.

Sylvester and the Magic Pebble

BIBLIOGRAPHY

Steig, William. 1997. Sylvester and the magic pebble. New York: Simon & Schuster Books for Young Readers. ISBN 9781416902065

PLOT SUMMARY

Sylvester Duncan, a young donkey with an interest in unique pebbles, discovers a shiny, red pebble capable of granting wishes. In an intense moment of decision-making, Sylvester asks the pebble to turn him into a rock to prevent a lion from spotting him. However, this request was accompanied by an unexpected consequence: Sylvester no longer had the magic pebble in his possession and could not change himself back into a donkey. Saddened by the disappearance of their son, Mr. and Mrs. Duncan, along with their community, search endlessly for Sylvester, to no avail.  

Time passes. Seasons change, and the Duncans try to live on without their beloved son. In a strange twist of events, Mr. and Mrs. Duncan picnic on the rock that is their son. Mr. Duncan sets the shiny, red pebble, which reminds him of his son, on Sylvester, the rock. Without realizing his possession of the rock, Sylvester wishes to be himself again. Instantly, he was joyfully reunited with his family!

CRITICAL ANALYSIS

William Steig’s classic Sylvester and the Magic Pebble simply tells a sweet story about unexpected consequences. Sylvester Duncan, described in great detail through the illustrations and actions, has a curiosity common in young children.  His charm allows readers to attach to him quickly, sympathizing with him as he longs to become himself once again. In a quick attempt to save himself, an unrealized consequence quickly looms over Sylvester. 

For this first-time reader of the book, the sudden turn of events caught my attention, compelling me to continue reading. Sylvester’s parents take logical steps to find their son. In failed attempts to solve the problem, the parents relax from their search long enough for a picnic. Sylvester’s frustration from his inability to communicate to his parents reaches an exciting peak when his dad discovers the magic pebble. Steig’s narrations plow forward, bringing readers to the stirring and gratifying conclusion.

While Steig’s narrations provide ample information about the setting, his illustration truly complement the where and when of this story. The illustrations assist the reader in tracking the events of the story with simple, yet thorough descriptions of the conditions of the environment. The details of the seasons changing while Sylvester remains an isolated rock draws the readers’ emotion—creating in them feelings of loneliness and defeat. Steig’s illustrations provide readers with assistance in deciphering the advanced vocabulary.

The author’s style in Sylvester and the Magic Pebble makes for a fluid story line filled with exquisite vocabulary. Steig provides the reader context and visual clues, making this work valuable even for older readers. The movement of the story lures the readers to continue on to learn about Sylvester’s fate.

Without blatantly stating so, Steig delivers a message about the cause and effect relationship of actions and consequences. He teaches that our actions can have unforeseen consequences. Also, in our hurriedness, we can make unwise decisions that effect more than just ourselves.

As noted earlier, Steig’s illustrations complement the emotions that the readers should feel as they proceed through the story. The images capture characters’ feelings that the text does not. For example, Mrs. Duncan’s sorrow over her missing son is described in the text, but words could not capture the grief on her face as Steig’s illustrations did. The images of her looking downcast generate that same stirring in the reader.

Steig’s idea to use animals as characters subtly shows that no matter how different people are, they have gifts and talents that make them valuable. He demonstrates this with the use of various animal species searching for Sylvester—the dogs use their talent to sniff areas Sylvester might have gone. No particular specie is seen as superior. The animals’ work as a community to find Sylvester models how groups with differences can cooperate.

PERSONAL RESPONSE

This was my first reading of Sylvester and the Magic Pebble. My prior knowledge of the book came from an online synopsis. William Steig’s ability to draw on the emotion of this adult reader truly astounds me. As I arrived at the picnic scene, I felt Sylvester’s frustration and wanted to cry out to his parents just as he did. I felt his sense of anguish.  Not many authors can produce such a powerful sensation with such a simple story.

Steig models well how writers ought to pace the elements within the plot. He introduces the characters and immediately the conflict arises, rather than drawing out the story with unnecessary scenes. The majority of the text is spent with the characters unsuccessfully attempting to solve the problem. Finally, when the reader can handle no more disappointment, the solution is presented with a satisfying resolution—the reuniting of a son with his loving family.

I would recommend this text to older elementary teachers for teaching plot sequence, vocabulary, and the combination of powerful words and images.

AWARDS AND REVIEWS

Caldecott Medal, 1970

Top 100 Picture Books (School Library Journal)

“A remarkable atmosphere of childlike innocence pervades the book; beautiful pictures in full, natural color show daily and seasonal changes in the lush countryside and greatly extend the kindly humor and the warm, unselfconscious tenderness.” (Horn Book)

CONNECTIONS

Counseling/Psychological Discussions

What would you wish for?

What are some consequences if those wishes were granted?

OR

Has there been a time when you were unable to express yourself like Sylvester when he wanted to speak to his parents?

How did you feel?

How can you change the situation if it happens again?

(Questions adapted from many listed at http://www.teachingchildrenphilosophy.org/wiki/Sylvester_and_the_Magic_Pebble)

Cause/Effect Study or Flowchart


Use this text to teach cause and effect relationships. Teachers can model these relationships using a diagram. Examples follow:

CAUSE: Sylvester discovered the red pebble grants wishes

EFFECT: Sylvester makes a wish to be a rock in a hurried time of need.

CAUSE: Sylvester lost possession of the rock.

EFFECT: Sylvester had to remain a rock until he had possession again.

Social Studies Connection

Community helpers

Getting to know your neighbors

Seasons

Changes in the environment