One Crazy Summer

1. BIBLIOGRAPHY

Williams-Garica, Rita. 2010. ONE CRAZY SUMMER. New York, NY: Amistad: An Imprint of Harper Collins Publishers. ISBN 9780060760885

      2.  PLOT SUMMARY

      In 1968 three young black sisters have set out to fly across the country to spend a month with their mother who abandoned them after the birth of the youngest girl. The girls' hopes of welcoming arms and warm hugs are shattered by their mother's irritability and less than pleased attitude concerning their visit. The girls quickly learn they must fend for themselves. The oldest girl, Delphine, takes charge and ensures that all three girls have food, a place to sleep, and entertainment during the day. Their mother insists the girls daily attend the local Black Panther summer camp so they can have a free breakfast each day. Although the girls from Harlem are unfamiliar with the Black Panther culture in Oakland, they quickly learn to mesh with the ideas presented by the camp leaders. The girls eventually establish friendships with the children and adults at the camp. These relationships prove helpful when the girls' mother is arrested for involvement in the Black Panther movement. In the end, the girls are able to open up to their mother and even get to know her a little better. Although the girls are looking forward to returning home, they cannot leave without hugging their mother, whether she likes it or not.

3. CRITICAL ANALYSIS

Williams-Garcia does a good job of creating believable characters with whom the readers can easily identify with. Williams-Garcia makes it easy to experience the tension a young black girl would likely feel during daily routines as the girls are wait to meet their mother at the airport. "A large white woman came and stood before us, clapping her hands like we were on display at the Bronx Zoo" (Williams-Garcia, 2010, 15). Cecile, the girls' mother, is also featured as a character that accurately represents the lifestyle of a young black woman standing up for her rights in Oakland, California in the late sixties. A glimpse into Cecile's free-spirited nature may be seen in the quote, "Our mother wore pencils in her hair, dresses like a secret agent, had a stickly, prickly house, a palm tree when no one else had one" (Williams-Garcia, 2010, 27). Descriptions such as these provide the reader with evidence of the woman's independence that likely drove her away from her children.

A relaxed plot highlights the long, lazy summer days the girls are forced to spend entertaining themselves. However, the plot is not without conflict or tension. The unsettled community and nation as a whole is struggling to ensure equal rights for all. However, this struggle causes citizens and public officials alike to interact with high levels of tension and distrust. This is exemplified in the portion of the text when the girls are confronted by Crazy Kelvin for referring to themselves as "colored" rather than "black" (Williams-Garcia, 2010, 65). The Black Panther rally that the girls attend is another development of the plot that highlights what life was like during this time period. The plot accurately reflects the era by alluding to events such as these that would have been characteristic of the time.

The setting of Oakland, California is accurately detailed throughout the story. One example may be seen as Delphine contrasts the surroundings to her mother's home saying, " I couldn't help but notice that not one yard had a plam tree. Not one" (Williams-Garcia, 2010 34). In addition, Delphenie's uncertainty with her unfamiliar surroundings are noted "we were far from Brooklyn. I didn't know where any of these streets led" (Williams-Garcia, 2010, 34). 

The underlying theme of this novel  is a child's need and desire to be loved and accepted by a parental figure. Although Delphine and her sister do not readily receive this love from their mother, they do not give up and continue to hope their mother will come to show love and affection for them. The love that develops through the story is highlighted in the kitchen stool Delphine's mother provides for her. "There was a stool by the stove. It was like everything else Cecile brought into her green stucco house. Secondhand. Still, it was unexpected, and I welcomed it" (Williams-Garcia, 2010, 146). This quote supports the theme of continued love and devotion the girls show their mother even in the face of less than perfect circumstances. The girls chose to focus on these efforts, however small, attempted by their mother.

Williams-Garcia's writing style creates a timeless story of children trying to earn the love of a parent figure. Although this novel takes place in the late sixties, this story could easily be told in modern times. The language used by the girls, and references to political figures and movements of the time help to make this story specific to the 1960's decade. For example, Delphine refers to her father as pa rather than dad. "We have to call Pa. Let him know we arrived." (William-Garcia, 2010, 33). Calling a father "pa" was more common during this time than in current years. Williams-Garcia gives a nod to the time period by making such mentions as, "I expected to find Dr. Martin Luther King's photograph hanging on the wall, but I was disappointed. Malcolm X and Muhammad Ali were the only faces I could name" (Williams-Garica, 2010, 69). References such as these are used throughout the story by Williams-Garcia as a constant reminder of the turmoil and unrest characteristic of the society within which Delphine and her sisters are growing up. 

Williams-Garcia maintains an accurate portrayal of life for young, black girls living in this time period, while successfully avoiding negative stereotypes.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

I enjoyed this story and learning more about the Black Panther movement. It was interesting to view the summer camp and rally through the eyes of young, black girls. A significant strength was the detail given to creating a strong character in the oldest sister, Delphine. It is almost as if Delphine has become the mother of her two younger sisters in the absence of their birth mother. In my opinion, a weakness to be noted lies in the lack of background information about why the girls are finally going to visit their mother. I would have enjoyed reading more information about exactly why their father thought that it was necessary to send the girls at this point in time.

5. REVIEW EXCERPT(S)

"Emotionally challenging and beautifully written, this book immerses readers in a time and place and raises difficult questions of cultural and ethnic identity and personal responsibility." (SCHOOL LIBRARY JOURNAL)

"Set during a pivotal moment in African American history, this vibrant novel shows the subtle ways that political movements affect personal lives; but just as memorable is the finely drawn, universal story of children reclaiming a reluctant parent’s love." (starred review, BOOKLIST)

"“Delphine’s growing awareness of injustice on a personal and universal level is smoothly woven into the story in poetic language that will stimulate and move readers.” (PUBLISHERS WEEKLY )

6. CONNECTIONS

*Students can research the history of the Black Panther movement. Students can create a sample edition of the newspaper Delphine read while at the summer camp.

*Students can research and compare and contrast leaders of the Civil Rights movement.

*Students can read another book by Williams-Garcia such as LIKE SISTERS ON THE HOMEFORNT (ISBN 0613053737)

Breaking Stalin's Nose

                                                                1. BIBLIOGRAPHY

Yelchin, Eugene. 2011. BREAKING STALIN'S NOSE. Ill. by Eugene Yelchin. New York, NY: Henry Hold and Company. ISBN 9780805092165

      2.  PLOT SUMMARY

      This book tells the story of a young boy growing up in the Soviet Union under the reign of the Communist leader, Stalin. The boy has been taught all of his childhood to revere and respect Stalin and all that he provides for the boy and other citizens of the Soviet Union. Sasha is at the age where he can finally become a Yong Soviet Pioneer. However, on the eve of his induction into this group, events transpire that cause Sasha to question the loyalty he has put forth in Stalin and the Soviet Union. The capture of his father from their home by State Security is Sasha's first clue that something is wrong. Then the next day at school he is fearful of his school turning him over to the orphanage and State Security. In addition, as Sasha is preparing to carry the banner for the induction ceremony, he accidentally breaks off the plaster nose from the Stalin bust in the school hallway. After realizing that he has been lied to about the reason for his mother's death, Sasha finally musters the courage to escape the Young Soviet Pioneer ceremony. Sasha realizes he no longer identifies with Communist policy and has no desire to become a Young Soviet Pioneer. Sasha makes his way to the prison where his father is likely held captive and joins a long line of other hungry and cold Communist citizens waiting for a chance to see their loved ones as well.

3. CRITICAL ANALYSIS

Yelchin creates a character that is fully loyal to his leader and country. Sasha's enthusiastic embrace of Communism and oblivion to the poor living conditions created by it make him a prime example of a Communist citizen. His whole life has been spent praising and thanking Stalin for his life no matter how dire the circumstances. Communist propaganda is evident when Sasha mentions the poor living conditions of other countries. "I have read how hard the lives of children are in the capitalist countries and I feel pity for all those who do not live in the USSR" (Yelchin, 2011, 2). Sasha is so blinded, like other Communist citizens, that he is completely unaware of the squalor within which he is forced to live. Yelchin's accurate description of the daily life of Sasha contributes to the credibility of this historical novel. For example, Sahsa mentions "In the morning, we often sing patriotic songs together when we line up for the toilet" (Yelchin, 2011, 8). Images such as these give the reader a glimpse into the poor living conditions characteristic of this time.

Yelchin creates a plot that is fast paced. From the snowball fight between school boys, to the planting of the broken nose in the teacher's desk, to Sasha's dramatic escape from the Young Communist Pioneers ceremony, the plot is full of action. The reader is constantly on edge trying to predict if in fact Sasha will be caught and sent to the orphanage. A conversation between the State Security Senior Lieutenant and Sasha highlights the distrust and secrecy characteristic of the Soviet regime of the time. "Speaking in a secretive voice, he continues: 'We're offering you a rare opportunity to pledge assistance to the Soviet State Security. All you have to do is listen in, observe, and report suspicious behavior right here in your own school'" (Yelchin, 2011,134).  Sasha is forced to decide between submitting to the evil powers of Communism or escaping to relative freedom to visit his dad in the prison. 

The setting in Communist Russia is clearly defined through detailed descriptions of crowded living conditions, statues of Stalin, and images of a blanket of snow covering the land during a harsh winter. "[Stalin's] steady eyes track a legion of shiny black dots zipping up and down the snow-white streets" (Yelchin, 2011, 23). This description allows the reader to experience the tension Sasha and the others in his apartment must be feeling as the State Security invades their home in the night to search for Sasha's father. Further descriptions help the reader recreate Soviet Russia in his or her mind. "The sidewalks are crowded. Citizens rush to work, line up for food rations, push into the streetcars. On the corner, a loudspeaker blares our country's anthem" (Yelchin, 2011, 46). Glimpses such as these allow the reader to experience the sights and sounds of the Soviet Union during the communist era. 

The setting is greatly enhanced by Yelchin's inclusion of black and white graphite illustrations throughout the book. It is through these illustrations that the reader catches the first glimpse of a looming statue of Stalin (Yelchin, 2011, 21), the crowded communal apartment (Yelchin, 2011, 6-7), and the snow blanketed Kremlin at night (Yelchin, 2011, 35-36). These images help the reader experience the bleak and gloomy conditions of the Soviet Union during the Communist era. Yelchin adds drama to his illustrations by featuring guards and authority figures as towering over whomever they happen to be interacting with. For example, the Kremlin guard appears almost comical because of the large mitten clad hand he outstretches to prevent Sasha from taking another step (Yelchin, 2011, 35-36). The illustrations support the accuracy and detail of Communist Russia Yelchin attempts to convey to the reader.

The underlying theme of this story is the importance of independence and thinking for oneself. Sasha experiences an epiphany over the 24 hour time period this story is being told. He begins to realize that all he has learned and believed about Stalin and his country since birth has been a lie. It is only after this realization that Sasha is freed from the power of Communism and is able to think for himself. Sasha decides to give up all he has worked for his whole life in search of his father and a sense of freedom. "I take a last look at the banner, turn away, and dash out the back door, down the stairs, and out of the school" (Yelchin, 2011, 141). By the end of the book, the reader witnesses a dramatic change in Sasha's motives, attitudes, and actions that are entirely different from the young boy at the beginning of the book pledging to loyally serve in the Young Soviet Pioneers.

Yelchin's writing style is greatly enhanced by his personal experiences growing up in Russia. Although Yelchin did not grow up in the time of Sasha and Stalin, he did experience many of the same hardships characteristic of the Soviet era. In his author's note, Yelchin states "Like my main character, I wanted be a Young Pioneer. My family shared a communal apartment, My father was a devoted Communist" (Yelchin, 2011, 154). This experience gives Yelchin's writing an honest and unbiased portrayal of life in the Soviet Union. In addition, having experienced these hardships allows Yelchin to write with a deep passion and emotion that is readily apparent to the reader.  

Yelchin avoids negative stereotypes by creating an accurate image of life during the Stalin era in Moscow.                                                                                                                                                                                                                                                                                                                                                                                                             

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

After recently visiting Moscow, I found this book to be very interesting. Yelchin did a nice job of portraying the oblivion in which the citizens of the Soviet Union had come to live. One weakness was a lack of an explanation for Sasha's father's imprisonment. The reader is left wanting to know exactly what the boy's father had done to deserve this punishment. However, this type of captivity without questioning or proof was likely a common occurrence in Communist Russia. 

5. REVIEW EXCERPT(S)

"Picture book author/illustrator Yelchin (Won Ton) makes an impressive middle-grade debut with this compact novel about a devoted young Communist in Stalin-era Russia, illustrated with dramatically lit spot art."  (PUBLISHERS WEEKLY)

"“Yelchin’s graphite illustrations are an effective complement to his prose, which unfurls in Sasha’s steady, first-person voice, and together they tell an important tale.” (KIRKUS REVIEWS)

""Yelchin skillfully combines narrative with dramatic black-and-white illustrations to tell the story of life in the Soviet Union under Stalin.” (SCHOOL LIBRARY JOURNAL)

6. CONNECTIONS

*Students could conduct further research into other Communist leaders of Russia. A chart comparing data of living conditions during the Communist era could be constructed.

*Students could create simple black and white illustrations similar to those of Yelchin to accompany a piece of writing.

*Students could watch a documentary related to the Soviet Union. After viewing the documentary, students could form small groups and discuss how life as a young adult in Communist Russia differs from life in the United States.

The Earth Dragon Awakes: The San Francisco Earthquake of 1906

1. BIBLIOGRAPHY

Yep, Laurence. 2006. THE EARTH DRAGON AWAKES: THE SAN FRANCISCO EARTHQUAKE OF 1906. New York, NY: Harper Collins Publishers. ISBN 0060275243

2.  PLOT SUMMARY

This book tells the story of the San Francisco Earthquake of 1906 through the eyes of two young boys, Henry and Chin. Chin's father works for Henry's family, the Travises, in the Sacramento Street area. Chin and his father live in Chinatown. The families are separated at the time of the earthquake, and the reader is able to view the effects of the earthquake and resulting fires from both the Travises' home and Chin's home. Although the boys and their families are concentrating on surviving this terrible disaster, they both cannot help but worry about the fate of one another. After fleeing the dangers of San Francisco, both families are reunited in Oakland, California. Eventually, each family is able to rebuild and resume their lives. The boys are strongly impacted by their experience in the earthquake and come to recognize everyday heroes in their parents and family friends.

3. CRITICAL ANALYSIS

Yep makes it easy to identify with both main characters, Henry and Chin. The boys are interested in "penny dreadfuls" books that tell the stories of famous heroes such as Marshal Earp (Yep, 2006, 7). In many ways these boys share interests and personalities that are similar to a typical boy of the modern era. Yep tells the perspective from each boy's point of view, so the reader is able to experience a child's fear, worry, and anxiety that would likely occur in the midst of such a natural disaster. Henry's fear is highlighted when he clings to his dog as he is being freed from his bedroom. "Then he scoops up Sawyer. Henry clutches his pet. The crowbar scrapes at the doorframe" (Yep, 2006, 30). It is easy to picture a boy holding his pet dog as he waits for his parents to rescue him. Although this story is set over 100 years ago, readers will easily relate to the characters because of the timeless feelings of vulnerability and fear.

The plot is framed by the actual sequence of events that unfolded the morning of and the days following the earthquake of 1906. Yep signifies the passage of time by stating the location, date, and exact time at the beginning of each chapter. For example, one chapter is titled , "Late evening Tuesday, April 17, 1906 Deep beneath San Francisco" (Yep, 2006, 8). These clues make it easy for the reader to jump back and forth between Henry's neighborhood and Chin's. In addition, the detailed listing of the time sequence down to the minute builds suspense within the plot.

Yep successfully creates a clear setting through the use of detail and careful notation when the setting slightly changes between neighborhoods. A vivid picture of the rolling hills of San Francisco is created by sentences such as "slivery tracks lead up and down hills. On the crests, Chin sees San Francisco spread out before them. Streetlamps glitter like jewels" (Yep, 2006, 12). The use of a simile and imagery make it easy for the reader to imagine the streets of San Francisco. Further descriptions detail the architecture characteristic of the city. "American houses perch shoulder to shoulder like pigeons. Beyond them rise the tall buildings of the business district […] They call them skyscrapers" (Yep, 2006, 8). This mention of the new term "skyscrapers" reflects the time period of the book.

The theme of this book highlights the courage and bravery needed to survive natural disasters such as earthquakes. Both boys act without regard for their own safety, and are able to set aside all fears to help protect their loved ones. Although the story begins by mentioning the boys' admiration for heroes in books, by the end of the story they recognize that they have found everyday heroes within their parents and friends. "'And we don't have to look far for heroes. They were right under our noses all this time"' (Yep, 2006, 105). Throughout the devastation of the earthquake and the harrowing rebuilding efforts the reader witnesses the boys grow in both maturity and wisdom.

Yep uses a vivid writing style full of imagery and figurative language to help the reader experience the sights and sounds of the city of San Francisco after this harrowing event. For example, human characteristics are attributed to the house through personification. "The house is still trembling" (Yep., 2006, 30). Similes also help the reader understand the devastation of the earthquake. "The cable-car tracks have been twisted into strange shapes like shining wire" (Yep, 2006, 31). Another example of a simile may be found in the statement, "the walls crumble like paper" (Yep, 2006, 24). These descriptions allow the reader to recreate the terrible scenes of that day in their mind, and feel as if he or she is actually present during the aftermath of the quake. Yep also intertwines factual information related to earthquakes along with the storyline. "San Francisco is on the edge of the North American Plate. Next to it is the Pacific Plate, which holds the Pacific Ocean" (Yep, 2006, 8). These informative details allow the reader to gain insightful knowledge while enjoying a good book. 

Yep uses detail and description to describe the characters in the book, while successfully avoiding any negative stereotypes that are often wrongly associated with people of different nationalities.  

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

The organization of this book is one of its main strengths in my opinion. The alternating settings between Henry's and Chin's neighborhood make this a quick and enjoyable read. Yep lists several resources that confirm the factual information used in the book that readers may consult. However, this could be improved by including primary sources such as letters or diary entries from those who actually survived the earthquake. I feel this added resource would confirm the historical accuracy of this book.

5. REVIEW EXCERPT(S)

"Its natural disaster subject is both timely and topical, and Yep weaves snippets of information on plate tectonics and more very neatly around his prose." (SCHOOL LIBRARY JOURNAL)

"Told in the present tense, the narration provides a 'you are there' sense of immediacy and will appeal to readers who enjoy action-packed survival stories." (BOOKLIST)

6. CONNECTIONS

*Students can read one of the other books suggested by Yep relating to the San Francisco earthquake of 1906 such as THREE FEARFUL DAYS: SAN FRANCISCO MEMOIRS OF THE 1906 EARTHQUAKE AND FIRE (ISBN 0930235096)

*Students could create a timeline depicting the sequence of events following the earthquake. A color coded map of San Francisco could also be created to show the path of the earthquake destruction and fire damage.

*Students can research earthquakes and fault lines using nonfiction books or online resources.

Balloons Over Broadway: The True Story of the Puppeteer of Macy's Parade

1. BIBLIOGRAPHY

Sweet, Melissa. 2011. BALLOONS OVER BROADWAY: THE TRUE STORY OF THE PUPPETEER OF MACY'S PARADE. Ill. by Melissa Sweet. Boston, MA: Houghton Mifflin Harcourt. ISBN 9780547199450

     2.  PLOT SUMMARY

     This picture book biography tells the story of the Tony Sarg, a famous puppeteer, from the time of his childhood through adulthood. The biography recounts the innovative creations Sarg began making even as a boy. His love of toys, marionettes, and making audiences smile landed him the task of creating the first Macy's Thanksgiving parade. After several years of working on the parade, Sarg had a brilliant idea. He decided to create puppet floats for the parade that functioned as reverse marionettes, with the strings controlled from below. Sarg's idea was a monumental success and is still used each year in the Macy's Thanksgiving Day Parade.

3. CRITICAL ANALYSIS

Sweet's biography is accurate because she includes a complete listing of all bibliographies and sources at the conclusion of the book. She even includes quote sources for exact words taken from the life of Sarg. For example, the quote "Every little movement has a meaning of its own" was directly taken from Sarg in "Takes a Look." Sweet's accuracy is further supported by her avoidance of stereotypes or bias within the biography. Sweet even remained committed to accuracy in her illustrations. Although the toys in the book were created by Sweet herself, she aimed to stay true to the look and design characteristic of Sarg's toys (Sweet, 2011). In addition, Sweet used several illustrations crated by Sarg for his book THE TONY SARG MARIONETTE BOOK (Sweet, 2011).

The organization of this picture book biography is logically sequenced from childhood to adulthood. This layout does lend itself to a cover-to-cover read because it tells an entire story in a relatively short amount of time.

Sweet uses unique illustration techniques to design a book that is both inviting and intriguing to the reader. The colorful and creative watercolor scenes as well as collages and mixed media allow the reader to experience life during Sarg's time. The font used in this book, Museo, is easily readable and contributes to a sense of playfulness in the book. Lots of detailed images are included on each page. However, the placement of text within these images is organized, neat, and easy to follow in logical sequence.

Sweet's writing style tells the story of Sarg in a unique voice and format. Her passion for childhood, play, and innovation are evident in the excitement and eagerness heard in Sweet's tone. Furthermore, Sweet's passion for this topic is conveyed by the immense detail and care she put in to creating collages, toys, and paintings for each page of the book. Sweet does a good job of exposing the reader to a number of facts and details about the life of Sarg without overwhelming the reader with information.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

I found this book to be highly engaging and informative. I especially enjoyed the mixed media illustrations. The attention to detail and use of true-to-life objects reminds me of the I SPY books. I did find the lack of access points to be slightly frustrating while reading this book. A lack of page numbers, table of contents, or index does not allow one to easily skip around within the book. Therefore, I found it easiest to read this particular book from cover to cover.

5. REVIEW EXCERPT(S)

"Sweet tells this slice of American history well, conveying both Sarg’s enthusiasm and joy in his work as well as the drama and excitement of the parade. . .This one should float off the shelves." (SCHOOL LIBRARY JOURNAL, starred review)

“This clever marriage of information and illustration soars high.” (KIRKUS REVIEWS, starred review)

“A joyous piece of nonfiction that informs and delights in equal parts.” (BOOKLIST, starred review)

6. CONNECTIONS

*Create a puppet craft. The instructions for the activity may be found on Melissa Sweet's website: http://www.hmhbooks.com/kids/resources/BalloonsOverBroadway_ActivityKit.pdf

*Read other books illustrated by Melissa Sweet such as THE BOY WHO DREW BIRDS: THE STORY OF JOHN JAMES AUDUBON (ISBN 0618243437)

*Students can write about a favorite hobby or pastime they have enjoyed since childhood.

Fossil Fish Found Alive: Discovering the Coelacanth

1. BIBLIOGRAPHY

Walker, Sally. 2002. FOSSIL FISH FOUND ALIVE: DISCOVERING THE COELACANTH. Minneapolis, MN: Carolrhoda Books, Inc. ISBN 1575055368

     2.  PLOT SUMMARY

     Walker tells the story of the discovery of the coelacanth, a fish previously thought to have been extinct many years ago. Walker begins the story in 1938 with the first modern discovery of the coelacanth by Courtenay-Latimer in South Africa. The book progresses to tell of the difficult time the Courtenay-Latimer had trying to preserve the fish for further investigation. Other scientists such as J.L.B. Smith, Hendrik Goosen, and Eric Hunt also became involved in the search for additional coelacanths. It was decided that the best place to search for this rare fish was in the waters of the Comoro Islands.  Finally, a second coelacanth is caught and the scientists are able to learn more about this prehistoric creature. This achievement spurs many others to continue the search and study of coelacanths for decades to come. Eventually, it became necessary to ban catching coelacanths to prevent extinction of the species. Instead, scientists chose to study the coelacanth within its natural habitat by diving deep into ocean waters. A marine park was created in the Comoran Islands to protect the coelacanth species.

3. CRITICAL ANALYSIS

Walker's use of primary sources such as the letter written by Courtenay-Latimer to J.L.B. Smith helps to prove the great care and detail that went into ensuring this book provided accurate and factual information. In addition, Walker includes an extensive source list at the conclusion of the book. Walker details her communication with first hand witnesses such as Courtenay-Latimer as well as other experienced scientists in the author's note included in the selected bibliography. Within the bibliography, Walker lists all books, periodicals, and websites she consulted while writing this book. Additionally, Walker maintains a neutral voice and avoids bias even when mentioning some slightly controversial topics related to the protection of the coelacanth. Walker also does not hesitate to differentiate between plausible explanations and theory that has been proven over time. For example, Walker mentions a faulty explanation by J.L.B. Smith, "It seemed that Smith's image of the fish as a crawling hunter had been mistaken" (Walker, 2002, 42).

Walker organized this book in a logical and orderly fashion according to the passage of time. The book tells the story of the rediscovery of the coelacanth in 1938 and continues up to modern time, detailing research efforts along the way. This clear sequence allows the reader to easily move around from place to place within the book without feeling as though they are missing out on important information. Reference aids such as chapter titles, subheadings, and picture captions make the reading process efficient and streamlined for the reader.  A table of contents, index, and glossary provide the reader with additional access points that make it easy to find specific facts or time periods related to the coelacanth. Photographs, timelines, and illustrations are matched accordingly with text to provide the reader with a visual image related to the current text.

Walker uses a simple yet inviting design to connect text, photographs, and additional reference aids. The colorful photographs easily capture the attention of the reader and beg for further inquiry to learn about this unique fish. The placement of timelines and illustrated diagrams does not interfere with the text, but rather supplements the information Walker provides through words. Although this book requires a significant amount of reading, a pleasing font size and color avoids strain on the eyes of the reader.

Walker's style is evident in the passion and zest with which she writes about the coelacanth. One can almost sense Walker's excitement as she writes, "Although Smith wished he could rush to East London, he had to finish his work in Knysna first. He would just have to be patient" (Walker, 2002, 12). Additionally, Walker is able to weave a list of facts and details related to the coelacanth into an intriguing tale of adventure and exploration. In her author's note within the selected bibliography, Walker admits that much is still unknown about the coelacanth. "Even with the help of specialists, I found I had to accept that many coelacanth questions simply haven't been answered yet" (Walker, 2002, 69). This admission will likely encourage readers to develop this same curiosity and need to satisfy questions. Walker undoubtedly used this writing style to encourage further study and research on behalf of her readers.  Overall, Walker has created an interesting story full of facts and information related to a unique creature.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

Although this book appeared dull and uninviting at first, I found that I was quickly captured into the quest to find living coelacanths. I found the colorful photographs to be especially intriguing as I learned of this fish for the first time. One weakness I noticed was that the extensive amount of information presented in this book seemed to be overwhelming at times. The book covers the passing of time over several decades, and this may become overwhelming to a young reader. I feel that dividing the book into two parts (the earlier years and the later years) would provide readers with clear and defined access points.

5. REVIEW EXCERPT(S)

"An outstanding history of scientific inquiry, this title will appeal to future oceanographers and excite them with the news that there is still important research to be done." (SCHOOL LIBRARY JOURNAL)

"Walker writes well, making this relatively unknown area of science history an exciting story of exploration and discovery. Excellent, full-color photos illustrate the text." (BOOKLIST)

6. CONNECTIONS

*Students can read one of the other books suggested by Walker related to coelacanths such as A FISH CAUGHT IN TIME: THE SEARCH FOR THE COELACANTH by Samantha Weinberg (ISBN 1857029070).

*Students can read other books by Sally Walker related to ocean life such as SEAHORSE REEF (ISBN 1931465908).

*Students can work in partners or small groups to create a Prezi or PowerPoint presentation summarizing the information they have learned about coelacanths.

What To Do About Alice?

1. BIBLIOGRAPHY

Kerley, Barbara. 2008. WHAT TO DO ABOUT ALICE?: HOW ALICE ROOSEVELT BROKE THE RULES, CHARMED THE WORLD, AND DROVE HER FATHER TEDDY CRAZY! Ill. by Edwin Fotheringham. New York, NY: Scholastic Press. ISBN 9780439922319

     2.  PLOT SUMMARY

     This picture book biography recounts the life of Alice Roosevelt, daughter of President Theodore Roosevelt. Readers learn about the personality, lifestyle, and numerous adventures had by Alice from childhood through adulthood. Alice was not limited by the social standards of the time and dedicated her time to travel, dancing, socializing, and independent study. Later in life Alice became deeply involved in politics and offered advice and suggestions to bother her father and congressman husband, Nicholas Longworth. Because of Alice Roosevelt's lively nature and strong individuality, she left a lasting impression on Washington D.C. and the United States.

3. CRITICAL ANALYSIS

Kerley provides an accurate portrayal of the life of Alice Roosevelt. Her notes at the conclusion of the book document the credible sources that supplied the direct quotes from the life of Theodore and Alice Roosevelt. In addition, Kerley's accuracy is supported by her avoidance of stereotypes or bias. Finally, accurate illustrations by Fotheringham contribute to the credibility of this book as a picture biography. He captures the transportation, clothing, and interior decorating characteristic of the time period of Alice's life.

Kerley organized the story logically from early childhood through adulthood. This sequential pattern makes it easily understood by readers of any age. As a picture book biography, reference aids such as subheadings or table of contents are not featured. This organization forces the reader to progress from cover to cover without skipping around.  

Fotheringham creates a classic design that reflects the time period of Alice Roosevelt. The colorful illustrations and attention to detail make this an inviting book. Clothing styles and transportation of the time period are accurately depicted. A variety of fonts and staggered text placement contributes to the experience of living a fast-paced lifestyle like that of Alice. Furthermore, Fotheringham frequently features dotted lines within his illustrations to show Alice's energy and excitement. This design feature may be seen as Alice falls down the stairs in her leg braces or as she runs from shelf to shelf in her father's library eagerly searching for her next topic of study. Finally, the design of this book is enhanced by an oversized format that allowed Fotheringham to capture the larger than life attitude of Alice Roosevelt.

Kerley's unique style is reflected in her humorous portrayal of actual quotes used to describe Alice Roosevelt. For example, Kerley describes Alice's attitude with these words: "Father called it 'running riot.' Alice called it 'eating up the world.'" This ability to easily coordinate actual quotes with facts from Alice's life appears to come naturally to Kerley. In addition, Kerley provides a significant amount of factual information without overwhelming the reader. Kerley's passion for telling the story of Alice's life is evident in the humor and animation she uses on nearly every page. One example of the humor Kerley embodies is heard in the quote "She was turning into a TOMBOY!" The reader can easily imagine the disdain and disappointment Alice's father must have felt when he arrives at this absurd realization. Kerley successfully captures the life of Alice Roosevelt in an interesting and energizing picture book biography.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

I found this book to be very entertaining and enjoyable. I learned lots of interesting facts about Alice Roosevelt of which I was previously unaware. The colorful and playful illustrations also contributed to my enjoyment of this biography. A lack of access features is one weakness of this book. I feel a table of contents, page numbers, or an index would more easily allow reader's to browse this biography rather than reading it from cover to cover.

5. REVIEW EXCERPT(S)

The Robert F. Sibert Honor Book- 2005

"Irrepressible Alice Roosevelt gets a treatment every bit as attractive and exuberant as she was....The large format gives Fotheringham, in his debut, plenty of room for spectacular art." (Starred Review, BOOKLIST)

"Theodore Roosevelt's irrepressible oldest child receives an appropriately vivacious appreciation in this superb picture book.... Kerley's precise text presents readers with a devilishly smart, strong-willed girl who was determined to live life on her own terms and largely succeeded." (Starred Review, KIRKUS)

"Kerley's text gallops along with a vitality to match her subject's antics, as the girl greets White House visitors accompanied by her pet snake, refuses to let leg braces cramp her style, dives fully clothed into a ship's swimming pool, and also earns her place in history as one of her father's trusted advisers. Fotheringham's digitally rendered, retro-style illustrations are a superb match for the text."  (Starred Review, SCHOOL LIBRARY JOURNAL)

6. CONNECTIONS

*Students can create a timeline of the life of Alice Roosevelt using pictures and text.

*Students can read a biography about another presidential daughter. Students can then compare and contrast the lives of two different first daughters.

*Students can read another biography by Barbara Kerley such as THE EXTRAORDINARY MARK TWAIN (ACCORDING TO SUSY) (ISBN 0689830416)

One of Those Hideous Books Where the Mother Dies

1. BIBLIOGRAPHY

Sones, Sonya. 2004. ONE OF THOSE HIDEOUS BOOKS WHERE THE MOTHER DIES. New York, NY: Simon & Schuster  Books for Young Readers. ISBN 0689858205

      2.  PLOT SUMMARY

     Ruby Milliken's life has been turned upside down by the death of her mother. Now she must fly across the country to live with her celebrity father who has been absent for most of her childhood. Leaving behind friends, family and her boyfriend, Ruby must face life as a movie star's child. Although her father tries to buy Ruby's love with clothes, technological gadgets, and a bedroom outfitted for a queen, she will have nothing to do with it. Ruby is perpetually in a bad mood as she longs for the comfort of her friends back home in Boston. To compound her misery, Ruby is still very much in the grieving process over the death of her mother. Learning to overcome this pain, while adjusting to life in an unfamiliar place, nearly incapacitates Ruby. Finally, Ruby reaches the end of her rope when her long distance romantic relationship ends in betrayal. The sudden loss of a fellow classmate at her school also occurs within the same time-frame. At this lowest moment, Ruby is finally able to break down the barriers she has built towards her father, and the two are able to communicate. Ruby begins to realize she has a special place in her heart for her father, and her new life in California appears to be promising after all.

3. CRITICAL ANALYSIS

  

This novel-in-verse is constructed as a series of independent poems that tell the story of Ruby as she begins her new life in California after the death of her mother. Each poem is spread over one to one-and-a-half pages, each with its own unique title.

As a verse novel, Sones is able to maintain an interesting plot line that reflects the emotional highs and lows of a typical teenager. The progression of events including the death of a mother, moving, losing friends, losing a boyfriend, gaining a father, meeting new friends, and adjusting to a new home proves to be highly engaging and able to hold the reader captive.

Sones' primary rhythm throughout most of the novel is characterized by free verse. One example states "The tears surge to my eyes, / swelling and stinging like salty waves. / But I don't cry. / I never do anymore." (Sones, 2004, 37). Most of Sones' writing uses a short staccato rhythm to portray Ruby's irritable and annoyed attitude. Sones also occasionally uses paragraphs in the form of email communication between Ruby and her friends back home. These asides serve to break up the monotony that one might feel from reading a novel in verse. In addition, Sones uses this informal communication to highlight the relaxed and comfortable format teenagers use to correspond with friends.

Sones uses minimal rhyming, however when used it helps to emphasize an emotion felt by Ruby. For example, in the poem No Clouds, repetition and rhyme help describe the utter doom and despair Ruby is feeling. "No rain./ No hail./ No fog./ No nothing./[…] No rain./No hail./ No fun./ No friends./ No clouds./ No fog./ Just smog." (Sones, 2004, 139). The reader gains a sense of the doom Ruby is feeling and her inability to see anything beyond her immediate circumstances. 

Sones' choice of language accurately describes the thoughts and feelings of a modern teenager. Ruby uses sarcasm when viewing her father's grand home. "What?  / No moat? Really, Whip. / You're slipping"  (Sones, 2004, 39). Another example of typical teenager word choice may be heard in "he looks like such and idiot in that apron" (Sones, 2004, 51). Metaphors such as "suddenly I'm one big goose bump," allow the reader to experience the tension and angst felt by Ruby (Sones, 2004, 38).

Sones uses sensory details to contribute to the vivid imagery of the novel. Descriptions such as "curving through a forest / of anorexic palm trees, /[…] miles above an unnaturally green lawn" allow the reader to grasp a sense of the setting of the novel (Sones, 2004, 39).

One of Sones' strengths is conveying emotions through her novel. The reader easily identifies with Ruby as she faces the ups and downs of life after the death of her mother. Sones especially allows the reader to experience Ruby's emotions through the use of the intermittent email style writing. Ruby begs, pleads, and yearns for contact from her friends back home. It is through these emails that Ruby is able to deal with the grief she is experiencing over the death of her mother. Ruby writes to her deceased mother exposing her feelings of anger, sadness, and betrayal. The email communication provides details that help bring continuity to the individual poems. Readers will find they easily identify with the emotional roller coaster Ruby experiences, and will be relieved to learn she is ultimately satisfied with her new, fulfilling life.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

In my opinion, one weakness was the mature subject matter and language. Ruby openly discusses sexual content and experiences. In addition, Ruby addresses her deceased mother with some inappropriate language such as "I'm so pissed at you right now, that I'd be wishing you were dead, if you weren't dead already" (Sones, 2004, 177). Although this language and subject matter is very accurate of a typical teenager, it can be hard to imagine this novel on the shelf of a middle school or high school library from the perspective of an elementary teacher.

A strength of this book is the fast paced plot and the momentum provided by the use of free verse poetry. The reader's attention is held fast through the tumultuous battles faced by Ruby, and it is easy to finish the entire novel in just a few sittings.

5. REVIEW EXCERPT(S)

"A satisfying, moving novel." (BOOKLIST, starred review)

"A winning portrayal of a teenage girl's loves and losses." (PUBLISHERS WEEKLY)

"Romantic and sexy." (KIRKUS REVIEWS, starred review)

6. CONNECTIONS

*Students could write their own free verse poetry about an important event in their life.

* Students could read other works by Sonya Sones such as WHAT MY MOTHER DOESN’T KNOW (ISBN 0689855532).

*Students could characterize Ruby by creating a Glog on Glogster.com. The Glog could be created from Ruby's point of view, highlighting her new life and emotions.

Please Bury Me in the Library

1. BIBLIOGRAPHY

Lewis. J. Patrick. 2005. PLEASE BURY ME IN THE LIBRARY. Ill. by Kyle M. Stone. Orlando, FL: Gulliver Books Harcourt, Inc. ISBN 152163875

     2.  PLOT SUMMARY

     This individual poet compilation houses 16 poems by J. Patrick Lewis, all relating to reading, books, and the library. A creative use of poetic tools has the reader pause to consider new titles of old favorites, reading at the beach, and the qualities of a good book. Special types of poems, such as an acrostic and haiku, contribute to the variety of poetic styles found in this book.

     

3. CRITICAL ANALYSIS

PLEASE BURY ME IN THE LIBRARY is a poetry collection that emphasizes the value and importance of books and reading. A table of contents makes it easy to locate these 16 poems that address issues such as reading while playing with your food, the qualities of a good book, the joy of a classic book, or the pleasure of increasing your vocabulary through reading. Poems such as FLEA-TING FAME add a bit of humor and word play. The poem tells the story of a flea named Otto who plans to write his own "ottobiography" (Lewis, 2005, 6). Rhyme is used frequently throughout the collection, making this book a pleasurable read for young children. An example of rhyme used by Lewis may be seen in ARE YOU A BOOK PERSON? in the lines "A good book is a kind / Of person with a mind / Of her own, / Who lives alone" (Lewis, 2005, 28). Alliteration such as "Leap me a legend" or " Look lively" may be found in the poem AB-SO-LU-TAS-TI-CAL. This creative use of sound contributes to the pleasure one experiences when reading the poem aloud.

Lewis uses powerful language choice to create vivid imagery in the mind of the reader. Personification is used to describe a book on a shelf in ARE YOU A BOOK PERSON? "Standing on a shelf / By herself. / She has a spine, / A heart, a soul, / And a goal" (Lewis, 2005, 28). Vivid language, used to create metaphors, also contributes to the humor of these poems. In reference to reading at the beach without sunscreen, Lewis states "Some folks who forgot are TOAST!" (Lewis, 2005, 24). Imagery is also heightened by sensory descriptions such as the phrase "across this hot, steamy lagoon" used to describe a tasty bowl of Alphabet soup in EATING ALPHABET SOUP (Lewis, 2005, 8).

Finally, Lewis uses emotional appeal to connect the reader with the book. Most readers can easily identify with the pleasurable feelings associated with reading a good book, the comfort of a familiar library, or becoming lost in a magical world found only within the pages of a good book.

This poetry collection typically features a poem on one side of the page and a corresponding illustration on the opposite page. Small black and white sketch illustrations may be found on the same page as the actual poems themselves. However, several of the poems are placed on top of the actual illustrations. Stone uses dark colors such as brown, red, and black to create a feeling of reading by candle light in many of the illustrations. The acrylic paint and mixed media are used to create  dream like art. The images are not clearly defined in most illustrations, contributing to the feel of entering a magical world found within a book. Examples of these imaginative illustrations may be found in the starry skies featured on the table of contents page or in the whimsical creatures that appear in the illustration for the poem titled A CLASSIC. 

Stone also uses contrast to add to the originality of his work. For example, the illustration corresponding with WHAT IF BOOKS HAD DIFFERENT NAMES? features bold stripes on wall paper juxtaposed with splotchy polka dots on a kitchen table cloth. These creative illustrations, paired with inviting poetry about the love of reading, are likely to find numerous fans!

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

A major strength is the humor one experiences while reading these poems. It is easy for the reader to chuckle as he or she considers some of the absurd scenes described in poems such as WHAT IF BOOKS HAD DIFFERENT NAMES? or THE BIG-WORD GIRL. One weakness in my opinion is that some illustrations do not seem to clearly match the poem with which it is paired. Often young readers rely on clear picture queues to help them interpret the abstract concepts often found in poetry.

5. REVIEW EXCERPT(S)

" A semi-swell collection of 16 poems celebrating books, reading, language, and libraries." (SCHOOL LIBRARY JOURNAL)

" This homage to reading salutes all the essential elements: letters, words, books. Lewis' poetry is continually clever, whether pithily summing up children's classics…" (BOOKLIST)

6. CONNECTIONS

* Students could take turns reading poetry about reading or the library in an open-mike event held in the library.

*Students may read other poetry collections by J. Patrick Lewis such as IF YOU WERE A CHOCOLATE MUSTACHE (ISBN 159078927X)

*After preparing students in advance, schedule an author visit with J. Patick Lewis.

This is Just to Say: Poems of Apology and Forgiveness

1. BIBLIOGRAPHY

Sidman. Joyce. 2007. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS. Ill. by Pamela Zabarenski. Boston, MA: Houghton Mifflin Company. ISBN 0618616802

     2.  PLOT SUMMARY

     In this poet compilation book, Sidman records letters of apology written in the voices of sixth grade students. The students' teacher, Mrs. Merz, has required her students to write an apology to someone in their life in the form of a poem. In return, the students receive poems of forgiveness from the recipients of their apologies. The students' poems cover a broad range of apologies from the pain of putting a pet to sleep to dodge ball injuries to stealing donuts from the teachers' lounge. The second part of the book features the responses these students received after sending the poems of apology. Some recipients were completely forgiving, others were slow to resolve the issues, while some completely refused to release the grudge they held for the wrongdoing.

3. CRITICAL ANALYSIS

This poetry collection captures the mixed emotions associated with apologies and forgiveness. The heartfelt language and honesty, coupled with the colorful and original artwork, makes it easy for readers to sympathize with both the one apologizing and the one forgiving. A table of contents makes for easy page references when the reader is pairing apology poems with their response poem. An introduction and the title poem THIS IS JUST TO SAY begins the collection. Part 1 is comprised of 18 poems of apology, while Part 2 echoes these in the form of responses. Free verse characterizes these poems, therefore eliminating the need for rhyme. This makes for a very natural conversation type of language. This free flow of words without the restraint of rhyme reflects the openness and honesty of the students' voices.

Each poem is characterized by a unique sound. For example, in the poem NOT REALLY, Sidman uses repetition of the line "but not really" to emphasize the frustration and hurt Bobby is feeling because Maria refuses to go out with him. Figurative language may be viewed in the personification of the brownies in BROWNIES-OOPS! "The gooey hunks of chocolate / winked at me as I gobbled them." This use of personification helps convey the sense that the brownies were communicating with Maria, the writer, that her secret will be kept safe. In the same poem, imagery is heightened through sensory words such as "warm, thick / brick of brownies" (Sidman, 2007, 14).

The reader is likely to experience a range of emotions while reading this collection of poems. Some lighthearted apologies may cause the reader to chuckle, while others touch the heart and are likely to produce a few tears. Especially moving lines in the poem IT WAS QUIET reflect the pain and sadness a boy feels from having to say goodbye to his sick dog. "We wanted to save you some pain. / I hope we did the right thing" (Sidman, 2007, 20).

Zagarenski uses a variety of tools including canvas, wood, collage, and computer generated images to create the unique illustrations in this book. The illustrations are vivid and engaging with a variety of patterns including stripes, dots, squiggles, and other abstract designs. In addition, words are incorporated into the illustrations to complement the poem. For example, the page with the poem I’M TELLING YOU NOW features an image of a father with his son and a thought bubble with the word "proud." Computer graphics allow the implementation of scraps of graph paper, newspaper, and even print from dictionary pages defining key words such as "response" and "apology." These mixed media sources provide a unique texture that easily intrigues the reader as they journey through these heartfelt apologies and responses.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

I really enjoyed the organization of this poetry collection. I thought it was unique that the author chose to include responses to the poems of apologies. It was neat to observe the range of reactions from completely sympathetic and forgiving to refusing to acknowledge the apology. These responses are very accurate of real life situations.

One weakness was the organization of the book into two separate parts: apologies and acceptances. Some readers suggest that it would be easier to grasp each scenario if related apologies and responses were featured next to each other on opposite pages rather than in two separate parts. However, the table of contents helps remedy this slight disadvantage. 

5. REVIEW EXCERPT(S)

"Mrs. Merz assigns her sixth-grade students to write poems of apology, and what emerges is a surprising array of emotions, poetic forms, and subjects from dead pets and biting hamsters to angry siblings and betrayal of trust." (SCHOOL LIBRARY JOURNAL)

"…the poems successfully navigate the complicated terrain for those who seek forgiveness." (PUBLISHERS WEEKLY)

"Children will find much to identify with in the situations presented in the apology poems, and they'll appreciate the resolutions given in the responses." (BOOKLIST)

6. CONNECTIONS

* Students can participate in a sort of reader's theater by pairing up and reading aloud a poem of apology and forgiveness from the book.

*This poem collection could be used to begin a book club or discussion group on forgiveness and character building.

*Students can write their own apology poem and request a response from a sibling, parent, friend, teacher, etc.