Genre 6 - THE GRAVEYARD BOOK by Neil Gaiman

1. BIBLIOGRAPHY
Giaman, Neil. 2008. THE GRAVEYARD BOOK. New York: HarperCollins Publishers. ISBN 9780060530938

2. PLOT SUMMARY
On a dark night, a man, Jack, enters a house and kills a family only to discover the baby (and primary target) is gone. The curious child had wandered through the open door and across the street to the local graveyard. It is here that Nobody Owens is taken in, named, and cared for by a ghostly community. For the remainder of his childhood, Nobody—or Bod, as he is called—experiences the Freedom of the Graveyard where his new parents (the Owenses) and mysterious guardian (Silas) care for him. Through a series of episodic events Bod experiences life inside the safety of the graveyard gates and the dangers of the outside worlds (both human and ghoul). As the man, Jack, returns to finish his initial task, Bod comes into his own and eventually sets out for life in the world of the living.

3. CRITICAL ANALYSIS
A high fantasy novel, THE GRAVEYARD BOOK, intrigues readers as it gradually reveals Nobody Owens, Bod’s, story. Through a mixture of life and death, present and history, this world and others, the consistently contrasting stories and themes keep readers engaged in the book’s tale. Many readers, especially tweens and teens, can relate to many of the human emotions and desires of both Bod and Scarlett (i.e. wanting to go to school, wanting to experience freedom, wanting a phone, feeling friendship, trust, etc.), while older (even adult) readers may be able to empathize with the guarding nature of the graveyard’s inhabitants.

An inventively interesting and unique cast of characters make up the graveyard, and in each character is a bit of a history lesson and look at a different time and society. Even non-human characters (like the ghouls) present a bit of education through their chosen titles—i.e. the 33rd president and the Emperor of China. As each new graveyard character is introduced, Gaiman adds his own unique touch by sharing with readers the individual gravestone inscriptions. This aspect combined with the occasional black and white illustration by Dave McKean gives readers a brief visual insight into the world that Gaiman is trying to create. The author does an equally excellent job of crafting accents and dialects through his word choice and dialogue.

The timeless themes of good and evil and growing up are present throughout the book; and, while they are not presented in the traditional manner, they are still quite relevant and applicable to readers of all ages and interests. Gaiman does a stupendous job of creating a warmth and home within the darker setting of an ancient graveyard.

4. REVIEW EXCERPTS
Review in SCHOOL LIBRARY JOURNAL: “Gaiman has created a rich, surprising, and sometimes disturbing tale of dreams, ghouls, murderers, trickery, and family.”

Review in BOOKLIST: “This is an utterly captivating tale that is cleverly told through an entertaining cast of ghostly characters. There is plenty of darkness, but the novel’s ultimate message is strong and life affirming. Although marketed to the younger YA set, this is a rich story with broad appeal and is highly recommended for teens of all ages.”

5. CONNECTIONS
*Because such vivid descriptions are given about creatures and worlds that cannot be seen or visualized, have students create illustrations of specific characters or places (i.e. Ghulheim) as they picture them. Then have students share their illustrations with others to see how different individuals may have imagined the same thing.
*Have students predict what will happen to Bod out in the world of the living—briefly finish writing his story.
*What would Nobody Owens’ headstone say at the end of his life? Have students consider this, and then create their own unique headstones for Bod.

Genre 6 - RAPUNZEL'S REVENGE by Shannon and Dean Hale

1. BIBLIOGRAPHY
Hale, Shannon & Dean. 2008. RAPUNZEL’S REVENGE. New York: Bloomsbury. ISBN 15999070X

2. PLOT SUMMARY
Based on the classic story of Rapunzel, Shannon and Deal Hale bring Rapunzel to the Wild West in a graphic novel that depicts a quite capable young heroine with a bit of a temper, but an pure and loyal heart. After saving herself (a new twist) from her prison high up in a tree, Rapunzel ditches the egotistical prince and, instead, forms a friendship with Jack (from Jack and the Beanstalk). Through a series of favors for favors, Rapunzel and Jack make their way across some treacherous terrain with the ultimate goal of freeing Rapunzel’s true mother and teaching the evil witch (pretending to be her mother) a lesson.

3. CRITICAL ANALYSIS
In this new take on an old tale, the magic is still present. An evil witch with amazing growth power, tree prisons, magical beans, and lassoing braids all combine to create an adventure that is difficult to put down. In true graphic novel form, RAPUNZEL’S REVENGE is a nonlinear illustration of a determined heroine and her loyal friend and sidekick. Mixing the classic storyline with adaptations and new elements, the Hales craft a fresh new story that leaves the reader wondering what will happen next.

Characters that most readers are familiar with, take on new roles and new attitudes with hints of sarcasm and modern language. Trickery, jokes and fun, and friendship are all themes throughout the story which culminate to present the ultimate theme of good versus evil. This book appeals to both boys and girls with the female protagonist and an equally spunky male sidekick. The characters’ actions and motivations are understandable and most readers can empathize with the feelings that drive them.

Mixing the fantastical castle with the outside Wild West gives the book a bit of a more modern feel—this is accentuated with Rapunzel’s eventual denim and boots “get-up.” With each frame of the graphic novel, readers are sucked into the fictitious world and adventure that Rapunzel and Jack are a part of. This is a truly delightful and enjoyable tale, and one that is extremely difficult to put down.

4. REVIEW EXCERPTS
Starred review from SCHOOL LIBRARY JOURNAL: “While the witch's castle is straight out of a fairy tale, the nearby mining camps and rugged surrounding countryside are a throwback to the Wild West and make sense in the world that the authors and illustrator have crafted. The dialogue is witty, the story is an enticing departure from the original, and the illustrations are magically fun and expressive.”

From BOOKLIST: “This graphic novel retelling of the fairy-tale classic, set in a swashbuckling Wild West, puts action first and features some serious girl power in its spunky and strong heroine… Hale’s art matches the story well, yielding expressive characters and lending a wonderful sense of place to the fantasy landscape. Rich with humor and excitement, this is an alternate version of a classic that will become a fast favorite of young readers.”

5. CONNECTIONS
* Have students/readers try their own hand at adapting a well-known fairy tale into a more modern graphic representation.
*Compare and contrast RAPUNZEL’s REVENGE to that of the traditional fairy tale Rapunzel.
*Read in correlation with other Shannon Hale books and/or other versions of Rapunzel.

Genre 6 - THE FIRST PART LAST by Angela Johnson

1. BIBLIOGRAPHY
Johnson, Angela. 2003. THE FIRST PART LAST. New York: Simon Pulse. ISBN 0689849230

2. PLOT SUMMARY
THE FIRST PART LAST tells the dramatic story of Bobby, a sixteen year old boy growing up in New York City. With great friends and a beautiful girlfriend, Bobby does his best to live a normal teenage life, and he is quite successful until his girlfriend, Nia, gets pregnant. Forced to grow up all too quickly and raise a baby as a single father, Bobby quickly learns that life isn’t what it used to be and that his choices no longer affect himself alone. This brutally honest portrayal of life and difficult decisions warns readers of the seriousness of making “grown-up” decisions and the responsibility that follows.

3. CRITICAL ANALYSIS
The hallmark characteristic of contemporary realistic fiction—believability—shines through every page of THE FIRST PART LAST. The honesty of sixteen year old, Bobby’s, life and his personal feelings are at times hard to swallow, yet always relatable and easy to empathize with. Author, Angela Johnson, creates in Bobby, a well-developed character with a history, a present, and a future that play to the modern day teen. The decisions, actions, and consequences that Bobby must deal with are somewhat controversial issues in society, but that does not make them any less present in the lives of today’s teens.

Alternating between “then” and “now,” each chapter describes the moments leading up to Bobby’s new role as a father and the struggles that he experiences with that role. Gradually, readers learn the story of how the situation came to be—the choices Bobby and Nia made, the family adjustments, the heartbreaking outcome of the delivery, and dealing with the loss of a loved one while gaining a daughter. Johnson implements a unique style in the organization of the chapters, and it serves to propel the momentum of the novel forward.

While the topic for consideration is one that is highly controversial, Johnson in no way advocates for premarital intercourse or teenage parenthood. Instead, she presents a truth, an issue that is present in today’s society and is relevant to today’s teens. Depicting the unimaginable love a parent (even a sixteen year old) feels for their child in parallel with the selfishness of simultaneously being a child, Johnson fashions a warning to readers that emphasizes the seriousness of social decisions and the potential outcomes associated with them.

4. REVIEW EXCERPTS
From SCHOOL LIBRARY JOURNAL: “Brief, poetic, and absolutely riveting, this gem of a novel tells the story of a young father struggling to raise an infant.”

Starred review in BOOKLIST: “… from the first page, readers feel the physical reality of Bobby's new world: what it's like to hold Feather on his stomach, smell her skin, touch her clenched fists, feel her shiver, and kiss the top of her curly head. Johnson makes poetry with the simplest words in short, spare sentences that teens will read again and again.”

5. CONNECTIONS
*Could be used in correlation with human development courses, health courses, and seminars regarding safe sex and abstinence. (This would, of course, depend on parental and institutional policies.)
*Discuss the various roles of families and how the nuclear family has adapted and changed throughout generations.
*Create a discussion panel or group of guest speakers/single parents to talk about the hardships of single parenting and having children at such a young age. It is important to give a realistic impression to teens about the circumstances surround the issue—do not glamorize.

Genre 5 - KIRA-KIRA by Cynthia Kadohata

1. BIBLIOGRAPHY
Kadohata, Cynthia. 2004. KIRA-KIRA. New York: Atheneum Books for Young Readers. ISBN 0689856393

2. PLOT SUMMARY
“Kira-kira” means glittering in Japanese, but it truly defines the theme of Cynthia Kadohata’s book. In 1950’s Georgia, the Takeshimas attempt to integrate into the small Japanese-American community while functioning in the larger, predominately white, community. Upon moving to their new home, Katie, Lynn, and Sam’s parents hope to provide a better life for their children and themselves, working long hours at a poultry production facility in order to buy the house they have longed for. It is not long after the family moves that the eldest daughter, Lynn, is diagnosed with lymphoma. As readers see the Takeshimas struggle to pay for the medical bills and a house, they also see life in a different time. This is a time where discrimination is still present on many more levels than just color, and the struggles of a Japanese-American family are all in the name of love and well-being. Told through the eyes of Katie, whose love and admiration for her sister are immeasurable, readers are inspired by the theme and moral that, even in the hardest of times, it is important to never lose sight of the “kira-kira.”

3. CRITICAL ANALYSIS
KIRA-KIRA shines light on what may seem an anomaly in 1950s Georgia. Few Japanese-Americans found themselves in the community that the Takeshimas moved to, but the story and the times are based on truth nonetheless. Kadohata brings to the forefront many social issues that were present at the time: Lynn warns Katie before starting school that she may be ignored or made to feel like an “ant” because she is Japanese, and readers see signs of color discrimination early on when the family is forced to a back hotel room and only order their food to-go because they do not know where in a restaurant they are supposed to sit. Kadohata further gives a poignant depiction of work conditions in Katie’s mother’s poultry factory, where women are forced to wear pads because there are no unscheduled bathroom breaks. Down to the details of hairstyle, clothing, and daily activities, the setting and time period are both reflective of history and thought-provoking.

The bonds described among characters, especially among Katie and Lynn, play to the hearts of those with siblings. The mothering of an older sister and the awe of a younger one are both identifiable roles and easy to relate to. The individual personalities of each character shines through the pages, and, by the end of the book, readers have come to know a quiet, hardworking father; a delicate yet capable mother; an intelligent, loving older sister; a younger brother trying just to keep up; and, Katie, a driven young girl with a love and dedication for her sister, but with a bit of a tendency toward trouble. The characters all play roles that are identifiable and relatable regardless of ethnicity or decade.

Kadohata crafts a story that, while heartbreaking, gives readers hope and the inspiration to look for the good in everything in life. Events in the book present themes of hard work, honesty, and family bonds, and they give hope to society as we see the emergence of racial tolerance. KIRA-KIRA is a truly “glittering” literary work.

4. REVIEW EXCERPTS
Review in KIRKUS REVIEW: “Katie loves and admires her older sister, Lynn, only to lose her in this story that reads like a memoir about a Japanese-American family in the 1950s. Built around the loss of Lynn to lymphoma, it belongs to Katie and stays true to her perspective. The supporting cast of extended family and friends also fits within Katie's vision of life.”

Review in SCHOOL LIBRARY JOURNAL: “Told from Katie's point of view and set in the 1950s, this beautifully written story tells of a girl struggling to find her own way in a family torn by illness and horrendous work conditions.”

5. CONNECTIONS
*Discuss with students what lymphoma is and how it is treated. While a definition is provided in the text, there is never a solid explanation and it may keep children wondering. Also, discuss how medicine and treatments have changed since the 1950s.
*Consider the various aspects of discrimination present in the 1950s south. Examples include:
• White v. colored people (where do the Japanese fit in?)
• Katie and her family being ignored by whites, and then helped by whites (Hank
Garvin)
• The labor conditions in the hatchery and the production facilities
• The presence of union activity
*Discuss the themes of family roles and how they may have been adapted and modified over time but are still present in homes today.

Genre 5 - NUMBER THE STARS by Lois Lowry

1. BIBLIOGRAPHY
Lowry, Lois. 1989. NUMBER THE STARS. New York: Dell Publishing. ISBN 0440801648

2. PLOT SUMMARY
NUMBER THE STARS chronicles the compelling story of one Danish family who (like many others) put their lives on the line to secure the freedom of their Jewish friends, neighbors, and countrymen. At a time when the Nazis were in high power and beginning the “relocation” of Danish Jews, young Annemarie Johansen learns that, sometimes, life is not what it seems, and bravery is a necessary trait in the trying times of WWII. Before the end of the book, Annemarie will put her own life directly in harm’s way as she races against all odds to deliver a small package that will ensure the safe arrival of her best friend and family in the freedom of Sweden.

3. CRITICAL ANALYSIS
Lois Lowry creates a truly poignant story inspired by authentic historical events of Nazi control and Danish Resistance in Denmark during WWII. She carefully crafts the Johansen and Rosen families, whose love, faith, citizenship, and good-nature contrast the harsh brashness and inhumane actions of the Nazi soldiers. In a time where stakes are high and danger is even higher, readers see the protective nature of parents, bonds of siblings, strength of friendship, and loss of a naive and innocent view of the world. The characters are realistic, and while many readers may not be able to relate personally to the story that unfolds, Lowry does an excellent job of presenting this historical time in words and events that are easy to grasp.

Descriptive depictions of apartment-life in Copenhagen and the countryside of Gilleleje create a setting that draws the reader into the pages. Lowry’s ability to detail even the smallest elements (i.e. butter, buttons on a coat, and a loose porch stair) lends itself to a vivid portrayal of the times. Documenting much of the story’s inspirations in her afterword, readers find that truth and authenticity drive the fictional story of Annemarie.

The consistent theme of bravery is present throughout the entire book from the first encounter with Nazi soldiers on the streets of Copenhagen to the final mission that Annemarie must carry out. Readers come to love and respect the Johansens and the Danish people for their unselfish willingness to help their fellow citizens escape religious persecution.

4. REVIEW EXCERPTS
From SCHOOL LIBRARY JOURNAL: “The gripping story of a ten-year-old Danish girl and her family's courageous efforts to smuggle Jews out of their Nazi-occupied homeland to safety in Sweden. Readers are taken to the very heart of Annemarie's experience, and, through her eyes, come to understand the true meaning of bravery.”

From PUBLISHERS WEEKLY: “"The whole work is seamless, compelling, and memorable -- impossible to put down; difficult to forget."

5. CONNECTIONS
*If in the DFW metroplex, an excellent field trip to accompany the book is the Dallas Holocaust Museum. Though the book does not focus heavily on the Nazi movement and concentration camps, it is still good supplemental information for older groups of students that may mentally and emotionally grasp the contents of the museum.
*Discuss the true facts provided at the close of the book (i.e. the handkerchiefs, the Danish Resistance, and the German that gave the information to the Danish government about the “relocation” of Jews).

Genre 5 - THE GREEN GLASS SEA by Ellen Klages

1. BIBLIOGRAPHY
Klages, Ellen. 2006. THE GREEN GLASS SEA. New York: Viking. ISBN 0670061344

2. PLOT SUMMARY
THE GREEN GLASS SEA tells the story of life in Los Alamos, New Mexico, a town that, at the time, did not “technically” exist. However, it was in this town that readers come to know Dewey Kerrigan, a smart, young misfit that finds friends and family amidst the science and secrecy of daily life. Klages first introduces us to Dewey whose father is a scientist working out of the state, mother is long gone, and grandmother has suffered a stroke and can no longer care for her. Her father is one of the many esteemed scientists whose expertise is a commodity in high demand for developing the “gadget” that will surely end WWII. Dewey travels halfway across the country to join her father and settle into life on “the hill.” It is here that she would experience rejection, friendship, love, and loss, and it is here that she would find her second family. THE GREEN GLASS SEA paints a detailed portrayal, through the eyes of a young girl, of life in the top secret location of the Manhattan Project and a unique view of one of the darker periods in our world and nation’s history.

3. CRITICAL ANALYSIS
Klages does an excellent job of creating highly identifiable characters and settings in her book THE GREEN GLASS SEA. Both Dewey Kerrigan and Suze Gordon are representative of children and people that nearly any reader has come into contact with during their lifetime. Specifically, Klages developed characters that readers could relate to on many levels—emotional, physical, academic, etc. She depicts two young girls that are accurate portrayals of human nature. Throughout the events of the novel, Dewey and Suze experience their own individual conflicts, joys, and sorrow, and they also experience many of the daily struggles and battles that are timeless occurrences in many readers lives—the “only child” having to learn to accommodate another guest/family member, forging a friendship, and the loss of a parent, just to name a few.

The setting itself is vivid in each chapter. By the end of the book, readers may feel as if they, themselves, have been present on “the hill,” passing the motor pool or stopping by the PX for a burger. Even the smallest of details create an authentic setting for the story that takes place. From the green glass bottles of Coke to the comic books and clothing, the story teleports readers into the 1940’s with each detailed description. The final chapter and primary inspiration for the story and title, is one of the most descriptive in the book with its beautiful literary illustration which describes what the tested atomic bomb left behind in the desert sands.

The book tells of a time that truly changed our world and the way that we handle international relations. Though the book focuses solely on the creation of this massive weapon, children and adults today understand the serious repercussions of this “gadget” on many different levels. Through her novel, Klages sheds light on the scientists that developed the atomic bomb, the serious pressures they were under, the lack of control they had over their ultimate product, and the children and family life that occurred amidst it all.

4. REVIEW EXCERPTS
From SCHOOL LIBRARY JOURNAL: “Clear prose brings readers right into the unusual atmosphere of the secretive scientific community, seen through the eyes of kids and their families… Many readers will know as little about the true nature of the project as the girls do, so the gradual revelation of facts is especially effective, while those who already know about Los Alamos’s historical significance will experience the story in a different, but equally powerful way.”

From BOOKLIST: “The mystery and tension surrounding ‘war work’ and what Dewey knows only as ‘the gadget’ trickles down to the kids living in the Los Alamos compound, who often do without adult supervision… the characters are exceptionally well drawn, and the compelling, unusual setting makes a great tie-in for history classes.”
Starred review in BOOKLIST: Throughout, terrific design dramatizes the conflict between conformity and creative freedom..."

5. CONNECTIONS
*Follow up THE GREEN GLASS SEA with WHITE SANDS, RED MENACE—Klages’ sequel to the book.
*Use as supplemental study of the Manhattan Project and WWII with younger students that are just being introduced to the concepts.
*Discuss the implications of the bomb and how Mrs. Gordon’s concern is foreshadowing of many of the events that would occur as a result of atomic weapons (i.e. bombing of Hiroshima and Nagasaki, Cold War, etc.).

Genre 4 - WHAT TO DO ABOUT ALICE? by Barbara Kerley

1. BIBLIOGRAPHY
Kerley, Barbara. 2008. WHAT TO DO ABOUT ALICE?. New York: Scholastic. ISBN 0439922313

2. PLOT SUMMARY
Kerley documents the life of Alice Roosevelt, an ambitious, driven, and adventurous young girl with a mind of her own and a tendency to “drive her father crazy.” Written in brief, informative sentences, the author covers Alice’s personality, actions, ambitions, and her father’s role in her upbringing. The book is an entertaining account of a fun, life-loving individual as she grows from a small girl to an accomplished woman who makes her father proud. A true joy to read, regardless of age!

3. CRITICAL ANALYSIS
This picture book biography of young Alice Roosevelt invites readers into the pages with vivid illustrations and a warm look inside the life of President Roosevelt and his oldest daughter. Historical information is presented in a way that relates to readers and the relationships they may have with their own fathers and/or daughters. The author emphasizes key events in Alice’s life and her relationship with Teddy, which are later validated in a three-section author’s note with bibliographical information.

The book is organized as a story, flowing from page to page in the chronological order of Alice’s life. Though it does not lend itself to a reference style use, the biography does follow the traditional story-line format of the genre. The pages are not overflowing with words and information, making this an ideal book for read alouds and younger ages. Illustrator Edwin Fotheringham’s artwork fills the pages with color and interpretation of the stories and antics provided by Kerley’s text. Through an effective and inviting blend of art and text, readers ride the rollercoaster of life with young Miss Alice and her hunger for experiencing each day to the fullest, while “eating up the world.”

4. REVIEW EXCERPTS
Review in KIRKUS REVIEW: “Theodore Roosevelt’s irrepressible oldest child receives an appropriately vivacious appreciation in this superb picture book...”
Review in SCHOOL LIBRARY JOURNAL: “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.”

5. CONNECTIONS
*Follow up WHAT TO DO ABOUT ALICE? with Kerley’s other books about Mark Twain and Walt Whitman to emphasize the literary genre of biography to a younger audience.
*After reading WHAT TO DO ABOUT ALICE?, have students try their hand at creating biographies of their own (this could be done individually or in groups and could be modified based on grade level).
*Use book as a supplemental instructional material while studying Theodore Roosevelt. Even on the middle and high school level this would add an additional view point in which students may picture and understand the former president.

Genre 4 - PROFESSOR I.Q. EXPLORES THE BRAIN by Seymour Simon

1. BIBLIOGRAPHY
Simon, Seymour. 1993. PROFESSOR I.Q. EXPLORES THE BRAIN. Honesdale, PA: Bell Books. ISBN 1878093274

2. PLOT SUMMARY
In this informational text, Seymour Simon uses, Dr. I.Q. (who closely resembles Albert Einstein), to lead a group of multicultural children in an exploration of the human brain. Comparing the organ’s ability and functions to that of a familiar machine—the computer—Dr. I.Q. provides an interactive look at a scientific subject with hands-on activities and suggestions offered in many of the pages. Colorful illustrations, characters’ thought and word bubbles, “Try This…” suggestions, and a friendly feline sidekick add information, entertainment value, and appeal for the reader. Simon takes a complex subject and presents it in a relatively brief and concise literary offering— readers will receive an abundance of information in just 40 pages.

3. CRITICAL ANALYSIS
Simon manages to offer readers an overview of a complex and multifaceted topic in a brief literary experience. Cleverly comparing the brain to a computer, the goofy Dr. I.Q. introduces his students to the brain beginning with its general construction and then moving on to specific parts, functions, and more complex concepts surrounding the organ. While the information provided is a solid representation for introductory purposes, the scientific terms and concepts may be a bit too complex for younger ages. Still, if read in an environment that provides supplemental support, even younger readers may benefit from Simon’s book.

The pages of the book are filled with text that present the relative information about brain construction and function, while illustrations cleverly offer reinforcement and experimental suggestions through “Try This...” suggestions. This particular aspect of the book makes it somewhat interactive, if readers choose to carry out the suggestions. In general, the book has a forward momentum, where each subsequent page’s information builds upon that offered in previous pages. This particular characteristic makes it somewhat harder for readers to use the book for reference purposes, as it is difficult to locate specific concepts in the jumble of words on every page (in spite of an attempt at bolded key words). Scientific terminology is defined throughout the text, but no glossary or index is offered for readers who may benefit from a more direct definitional format.

Overall, the book’s colorful design and style may appeal to younger audiences, but the amount of wording could be intimidating to less experienced readers. An abundance of information is offered on each page, however, some of the pages give off a sense of chaos—leaving the reader unsure of where and how to approach the overwhelming text.

4. REVIEW EXCERPTS
Review in PUBLISHERS WEEKLY: “Youngsters fascinated by the inner workings of their heads may find the book stimulating as an introduction to such diverse fields as left- and right-brain theory and the study of brain waves.”
Review in KIRKUS REVIEWS: “A clearly written, brief—but surprisingly complete—discussion of the brain and its parts.”

5. CONNECTIONS
*As students/children read the book, perform the “Try This…” sections to reinforce information provided in the text.
*Break the book into sections based on concepts (i.e. right- and left-brain, parts and structure, etc.) and use the information provided as an introduction to those science concepts as they are taught in class. This could be used in almost any grade level.

Genre 4 - THE WALL: Growing Up Behind the Iron Curtain by Peter Sis

1. BIBLIOGRAPHY
Sis, Peter. 2007. THE WALL: GROWING UP BEHIND THE IRON CURTAIN. New York: Farrar, Straus and Giroux. ISBN 0374347018

2. PLOT SUMMARY
THE WALL is a “graphic memoir” of author, Peter Sis’, childhood in Czechoslovakia. Through a blending of graphics, narration, brief descriptions, and journal entries, Sis provides readers with a look into his earlier life in a country controlled by the totalitarian government of Communist Russia. Offering insight into the time period, he establishes the events leading up to the creation of the Iron Curtain so that readers have a frame of reference to draw from. Describing political, personal, and societal events, Sis covers all areas of life that were impacted by the control and constant monitoring of the government entity. THE WALL is a truly insightful and educational reading experience.

3. CRITICAL ANALYSIS
Peter Sis documents his childhood and early life in Czechoslovakia through the graphic memoir of a young boy, which would most closely fall under the category of “informational storybook” (due to the story-like nature of the character and life/events timeline). Providing a firsthand account and accurate historical information, Sis creates an educational asset to children learning about the Cold War era in an Eastern Bloc country. His story is relevant to readers of all ages as it touches on a truly monumental event in world history. Describing the political (i.e. government, “compulsory” actions and requirements, police, education, etc.) and social (i.e. music, art, clothing, hairstyles, personal expression, etc.) influences and events, he paints a vivid picture of what it meant to live in the Soviet Union in that time.

The book is organized so that it may be read as a story or referenced depending on what type of information the reader is seeking—journal entries, general informative writing, storyline, or graphic representation. It is not a book that must be read in a single sitting or from one cover to the other. Within the organization of the book is a freedom for the reader to experience the information that the author has to offer in their own individual way. Covered from front to back with interesting drawings and even a few historical photos of propaganda posters, the illustration invites readers into the pages without the intimidation of excess words on each and every page. The story can be experienced through pictures or words (or through a combination of both) making it an appealing choice to a variety of audiences. Sis presents the truth of a nation and what freedom means to him through his personal life journey and a unique authorship and style.

4. REVIEW EXCERPTS
Starred review in PUBLISHERS WEEKLY: “... the author pairs his remarkable artistry with journal entries, historical context, and period photography to create a powerful account of his childhood in Cold War-era Prague.”
Starred review in BOOKLIST: Throughout, terrific design dramatizes the conflict between conformity and creative freedom..."

5. CONNECTIONS
*Great middle school study aid as students learn about the various events leading up to and during the Cold War.
*Allow students to explore some of the creative aspects of the book in greater depth—i.e. Beatles and Beach Boys songs, clothing and hairstyles of the time period, banned Western books, etc.
*Have students begin to create their own graphic novels/memoirs about growing up during the War on Terrorism and 9/11. (This should be considered more for high school students and could be controversial due to the sensitive and current nature of the subject.)

Genre 3 - TROPICAL SECRETS Holocaust Refugees in Cuba by Margarita Engle

1. BIBLIOGRAPHY
Engle, Margarita. 2009. TROPICAL SECRETS: HOLOCAUST REFUGEES IN CUBA. New York: Henry Holt and Company. ISBN 0805089365

2. PLOT SUMMARY
Through first person narration Margarita Engle tells the story of Daniel, a young Jewish boy from Germany seeking refuge in Cuba after being turned away in both the United States and Canada. This poignant, story, based on factual historical events, is full of emotion and honesty as Engle’s words take the form of a beautifully flowing verse novel. She offers additional points of view as readers are exposed to a native Cuban girl risking everything to help care for refugees (Paloma), to her father (El Gordo) — a corrupt Cuban official accepting bribes for visas, and to a Russian refugee who has made his life in Cuba and accepted the reality of the war (David). Throughout the novel readers will experience an emotional response to the struggles that Daniel, David, and Paloma encounter as they begin to understand the details and effects of the war in Europe and the constant struggle to protect those seeking refuge.

3. CRITICAL ANALYSIS
Engle creates an eloquent story of family, friendship, love, trust, faith, and realization in TROPICAL SECRETS. Using figurative language and imagery that plays to the senses, she paints a vivid picture of the ongoing struggle and corruption of World War II, highlighting its presence in less prominent places (such as Cuba). The narrative voices strike the emotional chords of readers as they solicit feelings of sadness, loss, hope, and friendship. Engle is successful at making an emotional connection with her readers.

Through descriptions of the island, clothing, people, and celebrations like “carnival,” an expressive canvas of setting is laid out. The imagery in the language makes readers feel as though they, too, are present in Cuba. There is little rhyming in each of the pages due to the nature of the poem. It is a free verse narrative of an event in history. The rhythm, however, is an integral part of the novel, shifting and adjusting for the narrator, event being described, and the mood or emotion being conveyed. The overall tone of the novel is somber with glimmers of hope. While the book ends on a more positive note, it is still bittersweet as Daniel never again sees his parents and Paloma’s father is never punished for his corruption.

4. REVIEW EXCERPTS
Review in KIRKUS REVIEW: “Engle's tireless drive to give voice to the silenced in Cuban history provides fresh options for young readers.”
Review in SCHOOL LIBRARY JOURNAL: “The full-cast narration gives an authentic and distinct voice to each character and will engage listeners. This is historical fiction at its best.”

5. CONNECTIONS
*Read Engle’s previous two verse novels THE SURRENDER TREE and THE POET SLAVE OF CUBA, both reflecting the history of Cuba.
*Discuss lesser known countries that were affected by WWII and the Holocaust. Lead the children in a discussion about these topics offering for them to share any of their families’ stories

Genre 3 - SWIMMING UPSTREAM Middle School Poems by Kristine O'Connell George

1. BIBLIOGRAPHY
George, Kristine O’Connell. 2002. SWIMMING UPSTREAM. New York: Clarion Books. ISBN 0618152504

2. PLOT SUMMARY
Middle school is a time in any adolescent’s life that is both confusing and intimidating. Beginning a new school year in a new school with new faces and new expectations can at times be overwhelming and difficult to bear. In SWIMMING UPSTREAM, Kristine O’Connell George creates an anthology of poems about the middle school struggles, successes, joys, and woes that a sixth grade girl encounters throughout the year. Chronologically moving from the first day of school to the last, the book highlights those important middle school moments that current middle schoolers can relate to and that solicit vivid memories in adult readers. Through her variety of poems, George hits the middle school nail right on the head!

3. CRITICAL ANALYSIS
In her anthology of middle school poems, Kristin O’Connell George provides poetic variety to readers. From short, three-line, staccato poems to longer, more flowing poems with rhyming words, she creates breadth in the rhythm of the poems that fill the pages. George also provides alternative types of poems through the use of acrostics (“SNOB”) and variants of list poems (“Yearbook”). The variety she provides keeps readers interested, engaged, and wondering what is coming next. While many of the poems do involve rhyming words, this is not a theme throughout the anthology; each poem is written individually and crafted to reflect the purpose of that particular poem. Each poem tells a different story than the last, and though some are connected through characters, events, and chronology, each poem could stand alone.

George also manages to capture the many emotions of the middle school years. As she notes important (and less important) events that define middle school, readers find themselves understanding and relating to the plethora of emotions that flow from the pages—embarrassment, anxiety, stress, joy, goofiness, curiosity, young love, and so many more. She selects her words with care and precision to solicit the feelings that each poem calls for. Though the words may seem simple and meaningless, each word serves a purpose for drawing out a particular emotion, memory, or experience that will aid readers in understanding the meaning of the poems on a deeper level.

The anthology is designed in a thoughtful, organized manner. Though an index and table of contents are absent, the chronological orientation of the book makes for quick and easy reference. The illustrations do not take away from the words of the poems, but rather offer background noise and periodic breaks in the story playing out. The book is, overall, balanced well with both variety of poems and emotion, and it appeals to a variety of audiences—elementary school students preparing to embark on this new adventure, students currently caught in “the middle,” and high school/college students and adults that have experienced this interesting time of life and read to reminisce.

4. REVIEW EXCERPTS
Review in SCHOOL LIBRARY JOURNAL: “Students will relate to this voice navigating ‘upstream,’ while they try to find their own place in the middle-school wilderness.”
Review in BOOKLIST: "...mysteries of lockers and uncontrolled giggling are plumbed...rapture of the boy you like liking you...Sweet and on key."

5. CONNECTIONS
*Use the topics and themes in the book to discuss struggles with current middle school students. Allow them to share some of their worries, concerns, and joys.
*Allow elementary school students to try their hand at creating poems that focus on their school years.
*See if middle school students can think of some events that were not offered through the books poems. Discuss these and see if a poem can be written that captures their essence.

Genre 3 - BUTTERFLY EYES and Other Secrets of the Meadow by Joyce Sidman

1. BIBLIOGRAPHY
Sidman, Joyce. 2006. BUTTERFLY EYES AND OTHER SECRETS OF THE MEADOW. Boston: Houghton Mifflin. ISBN 061856313

2. PLOT SUMMARY
Joyce Sidman creates a world of science wonder and curiosity by invoking readers to answer her poetry riddles. Following a common pattern throughout the book, the author provides two riddles that ask readers to identify the creature or element being described. Upon turning the page, readers will then be introduced to newfound science knowledge surrounding the meadow and many of the creatures which are its inhabitants. Throughout the book, readers may test their own knowledge, inference skills, and contextual conclusions. The author is sure to provide sound reasoning and explanation to her questions before the back cover closes, leaving no one in the dark and without answers to the questions she poses.

3. CRITICAL ANALYSIS
In each of her free verse poems, Sidman highlights a central theme: the meadow. Through figurative language and symbolism, she paints a vivid picture of meadow life. Rhyming is used at times to convey a sense of flow and ease within each poetic phrase. At other times, more conventional speech and patterns are solicited to bring the essence of the poem to the reader. The range of rhythm and rhyming patterns offers just enough variance to keep the reader engaged and wondering what will be next. A sense of anticipation is also created with the questions posed at the end of each poem, leaving the reader to turn the page before discovering the answers. The contrast of poem and informative prose ensures that readers are given clear, meaningful answers to each riddle.

Sidman plays to readers’ senses using language to simulate touch, taste, sound, vision, and smell. The language choice is highly descriptive and it creates the imagery of each of the poems. Upon opening the book and reading the first poem, readers feel as though they have fallen head first into the meadow. The illustrations in the book are incredible representations of the elements and subjects of each poem. However, the illustrations seem to solicit much attention with their vibrant colors and contrastingly bold, black accents. While readers will definitely enjoy the artwork provided, it plays too great a role for a book of poetry. If readers are highly observant, they may find that the answers to many of the author’s questions are drawn into the pages’ illustrations.
A final aid for readers still developing their knowledge of meadowland ecology is the glossary provided in the back of the book. This reference guide ensures that S words are defined and appropriately applied to the context provided in the book.

4. REVIEW EXCERPTS
Review in SCHOOL LIBRARY JOURNAL: “This book is a handsome and versatile compendium, melding art, poetry, and natural history.”
Review in BOOKLIST: “The poetry draws children straight into an awe-inspiring natural world with infectious sounds and beats, inventive images, and a range of poetic styles that make the book an excellent choice for use across the curriculum.”

5. CONNECTIONS
*See if students can create their own poetic riddles, or create one as a group.
*Together read BUTTERFLY EYES to determine the answer to each riddle posed.
*Use BUTTERFLY EYES to introduce science lessons about meadowland ecology. The book could be broken down into various lessons with the poems/riddles used as anticipatory sets and the prose sections serving as a jumping-off point for lecture/instruction.

Genre 2 - Yummy: Eight Favorite Fairy Tales by Lucy Cousins

1. BIBLIOGRAPHY
Cousins, Lucy. 2009. YUMMY: EIGHT FAVORITE FAIRY TALES. Cambridge: Candlewick Press. ISBN 0763644749

2. PLOT SUMMARY
YUMMY is a compilation of eight cherished, children’s fairy tales, including “Little Red Riding Hood,” “The Three Billy Goats Gruff,” “Henny Penny,” “The Three Little Pigs,” “The Enormous Turnip,” “Goldilocks and the Three Bears,” “The Little Red Hen,” and “The Musicians of Bremen.” In each of her retellings, Cousins gives a straight-forward account of the tale’s events, disregarding the traditional sugar-coating often associated with such stories. Though, at time, brutal and violent, Cousins frames her stories in a humorous light that is accentuated with bold illustrations. With each tale, readers learn the importance of good versus evil and will discover that the common traits of fairy tales are still present in the pages.

3. CRITICAL ANALYSIS
Lucy Cousins does an excellent job of creating simple and candid versions of many well-known fairy tales. Brute honesty provides a foundation of humor in which readers may interpret each story’s plot, characters, and theme. Ensuring that the traditional messages of good and evil and happily-ever-after (among many others) are present, readers come away from each story having experienced the moral theme intended through its words. In short, simple word choice, each story is upfront and clear in its telling, making interpretation easier for even novice readers. Bright, bold colors with simple lines facilitate illustrations that mirror the simplicity of the stories’ words. In a world where most fairy tales are presented in less abrupt wording and plots, Cousins does not hesitate to have “Granny” swallowed up by a wolf who soon has his head chopped off in one swift motion, nor does she censor the boiling death of the “Big, Bad Wolf” when at last pig number three traps him in a pot of scalding, hot water. The overall organization of the collection is clear and concise, and the author even chooses to incorporate some of the lesser known tales such as “The Enormous Turnip” and “Henny Penny.” Overall, this anthology of fairy tales is a dazzling and fun read whose pages jump out and come to life.

4. REVIEW EXCERPTS
Review in KIRKUS REVIEW: “on the whole this lap-sized collection offers younger children an eye-opening cross-section of the far-from-innocuous world of folk literature”
Review in SCHOOL LIBRARY JOURNAL: “Beloved classics are successfully served by these bold, striking renditions”

5. CONNECTIONS
*Read YUMMY and then compare and contrast Cousin’s versions with other versions that the children might be more familiar with.
*Follow up with the introduction and reading of Cousins’ famous Maisy series.
*Allow students to illustrate their own versions of fairy tales, using YUMMY as a model text/illustration.

Genre 2 - The Girl Who Loved Wild Horses by Paul Goble

1. BIBLIOGRAPHY
Goble, Paul. 1978. THE GIRL WHO LOVED WILD HORSES. New York: Aladdin Paperbacks. ISBN 0689716966

2. PLOT SUMMARY
THE GIRL WHO LOVED WILD HORSES is a tale of following one’s heart and seeking destiny. This Native American legend tells of a girl whose love for the wild horses that roam the hills of her village will eventually lead her away from her family and home. Instinctively, the animals protect and accept the girl, knowing that her heart truly beats for them. After a year of being gone from her home, she is found and brought back to her village, where her longing heart soon makes her ill. Knowing that she will only thrive in health and happiness when with the wild horses, the girl’s parents relinquish her to the life she desires. After many years of running with the wild horses, the girl disappears, but a beautiful mare is seen beside the beautiful stallion that the girl loved so much. It is believed that the girl “had surely become one of the wild horses at last.”

3. CRITICAL ANALYSIS
Through his words and paintings, Paul Goble tells a beautiful story of a Native American girl whose heart leads her on a life-changing journey. This folktale embodies the conventional elements of traditional tales with its transformational motif (from human to horse) and cultural relevance. The setting is simple, yet clear and provides the perfect foundation for the events that play out. As with many folktales, readers see time pass in the blink of an eye, as years pass with nothing more than the turn of a page. Goble does an excellent job of highlighting the human nature of the wild horses through their ability to “talk” to the girl and take her in as one of their own. Remaining true to the Native American culture, the author ensures that the importance of the natural world is emphasized through the words of his tale and, ultimately, the ending events. Adding further authenticity, Goble incorporates Native American heritage through the inclusion of two traditional songs.

The detailed paintings that Goble uses to illustrate his tale swaddle the pages in color and symbolic representation. Though the art is two-dimensional, the movement in each page carries readers through the story, from one page to the next. The bold colors of the characters and setting contrast the white background of the pages with striking vividness, and the simple words and font allows the art to tell much of the story.

4. REVIEW EXCERPTS
Review in SCHOOL LIBRARY JOURNAL: “Paul Goble's beautifully-told, Caldecott Award-winning book receives a fine treatment”
Review in CHILDREN’S LITERATURE: “Beautiful, bright color illustrations on every spread expand upon the spare, but effective text. A true delight for those who love folklore and horses.”

5. CONNECTIONS
*Follow the reading of THE GIRL WHO LOVED WILD HORSES with other Paul Goble Native American folktales, making note of the similarities and differences in the stories.
*Lead children in a discussion of the meaning or moral of each folktale. Consider how other cultures may teach the same lessons.
*Using instruments and traditional Native American clothing/props, sing the two songs provided at the end of the book.

Genre 2 - The Rough-Face Girl by Rafe Martin, Illustrated by David Shannon

1. BIBLIOGRAPHY
Martin, Rafe. 1992. THE ROUGH-FACE GIRL. New York: PaperStar. ISBN 0698116267

2. PLOT SUMMARY
A traditional Cinderella story told through eyes and culture of the Algonquin Indians, THE ROUGH-FACE GIRL offers the customary components of good versus bad through a tale of sisters and their search for marriage. Only “she” who can see the great Invisible Being may marry him. While those with harsh hearts and selfish intentions make shallow attempts at being worthy brides, the Invisible Being’s wise sister knows better, testing them with brutal honesty. It is the kindred soul of the “ugly sister” that is truly worthy of the Invisible Being’s love, and it is her humble quest that leads her to her destiny. A tale of love and acceptance, THE ROUGH-FACE GIRL teaches readers that beauty truly lies within.

3. CRITICAL ANALYSIS
Martin creates a beautiful retelling of the traditional Cinderella story through his Algonquin Indian interpretation. Crafting characters that fulfill the expected roles of sister tales (“good sister,” “evil sister”), he ensures a recognizable symbolism. While the plot is simple and predictable, it lends itself to a forward momentum with readers seeking the final pages of resolution. Introducing the sisterly conflict through more permanent physical ailments than cinder and soot, Martin gives a more serious depth to the journey and obstacles of his protagonist. Contrasting the Cinderella versions that are more common in American society (i.e. Disney), THE ROUGH-FACE GIRL presents female characters that must seek out their groom, rather than the groom searching for the perfect fit of the coveted “glass slipper.” Readers may recognize an additional motif when, at last, the “rough-face girl” proves herself worthy of the Invisible Being—her scarred body and singed hair are transformed to outward beauty that reflects her pure heart. Set in an authentic North American Indian village, Martin is sure to include aspects of Algonquin culture through shelter, clothing, and lifestyle. He further emphasizes the importance of the natural world in this culture through his description of the Invisible Being’s bow which is made of “the curve of the rainbow” and his sled runner made of the “Spirit Road,” or Milky Way stars.

David Shannon carries out Martin’s story in each page’s strikingly detailed illustrations. Incorporating vivid color and soft brush strokes, he brings the Indian culture to life. Through facial features, expressions, and body positions, Shannon captures the true essence of each character, and he provides readers with a pictorial representation of Martin’s words. Each page contains elements of both beauty and truth, as the illustrations draw out the tale’s moral lesson.

4. REVIEW EXCERPTS
Review in PARENTS MAGAZINE: “There are many versions of Cinderella, but none is more eloquent or affecting—or more strikingly illustrated.”
Review in KIRKUS REVIEWS: “A strong, distinctive tale with art to match.”
Review in SCHOOL LIBRARY JOURNAL: “A splendid read-aloud.”

5. CONNECTIONS
*Compare and contrast with other versions of Cinderella that students may be familiar with.
*Use THE ROUGH-FACE GIRL as a catalyst for exploring North American Indian tribes; specifically, study the Algonquin customs and heritage.
*After introducing students to several different versions of Cinderella stories, allow them to create their own versions through a writers’ workshop, ensuring publishing opportunities at the end.
*Discuss the lessons presented in the story (i.e. inner beauty, good vs. bad, etc.) and allow students to share their own experiences with these lessons, making connections to the book.

Genre 1 - Talking with Artists, Volume 2, compiled and edited by Pat Cummings

1. BIBLIOGRAPHY
Cummings, Pat. 1995. TALKING WITH ARTISTS, VOLUME TWO, Volume Two. New York: Simon & Schuster Books for Young Readers. ISBN 0689803109

2. PLOT SUMMARY
The book compiles the love of art with the many of the artists who define the profession of illustration. Cummings brings to light thirteen prominent artists in the field of children’s literature, divulging biographical information and personal stories for each. In each new section, a new artist shares with readers a firsthand account of their “story,” events and experiences that influenced their lives and the paths they took to art. Cummings uses the same eight interview questions with each artist in order to showcase his/her personality and lifestyle. Through the pictures, illustrations, and interesting, personal tidbits, readers gain insight into the lives of these people whose artwork may resonate in their minds. Offering tips and suggestions, this book is a useful tool to the developing artist.

3. CRITICAL ANALYSIS
The first person responses and narratives are a wonderful aspect of this work, as they add originality and variation to the book’s words. With each new illustrator, readers hear a new tone and personality, differentiating from person to person. By opening each section with the “My Story” aspect, readers are led to feel a connection to the speaker, and then to associate their answers to the eight interview questions with genuine, heartfelt insight into their lives. In addition to the personal speaking of each illustrator, Cummings introduces the book with purpose and enthusiasm for the showcase of award winners that she presents.

The photographs in the book give a good overview of the pertinent aspects of an illustrator’s journey to professional art. Readers see the illustrator as a child and an adult which mirrors the inclusions of childhood art to more recent published artwork. It is intriguing to see each person grow into their adult selves while seeing how their artistry has also adapted and developed. A key aspect present within each section is the photo of each artist’s work area. Being able to see the environment in which each prefers to work, and to see what inspires the images that they create helps readers to know each person in greater depth.
This is an insightful and inspiring read for aspiring artists and picture book lovers alike. A useful tool and educational read!

4. REVIEW EXCERPTS
Starred review in HORN BOOK: “An inspired concept, executed with class!”
Starred review in SCHOOL LIBRARY JOURNAL: “Young artists will learn a lot… well designed and well conceived.”
Starred review in BOOKLIST: “A delight for aspiring artists.”

5. CONNECTIONS
*Teachers may assign biography studies to various students on a selected artist. Each student could use TALKING WITH ARTISTS as jumping off point for more research.
*Read in alignment with the other volumes of TALKING WITH ARTISTS in order to explore even more illustrators and their personal stories.
*When hosting an illustrator or implementing an “illustrator’s spotlight,” these books would be excellent introductions to focus the audience and prepare them for conversation with the speaker.

Genre 1 - Knuffle Bunny by Mo Willems

1. BIBLIOGRAPHY
Willems, Mo. 2004. Knuffle Bunny. New York: Hyperion Books for Children. ISBN 0786818700

2. PLOT SUMMARY
Mo Willems tells a story that resonates among children and adults who remember such tragic events as the loss of good friend (even a stuffed one!). As we follow Trixie and her daddy on a trip to the laundromat, readers may sense the building tension of an unforeseen tragedy that is revealed through a climax of baby blabber which swallows the pages. Knuffle Bunny is missing! Unbeknownst to a father, unable to make sense of his daughter’s failed attempts at communication, the favorite stuffed bunny has vanished. When mommy points out the missing family member, a humorous pursuit entails, taking readers down the same path that Trixie and her daddy took just pages before, but at a much quicker pace! When at last Knuffle Bunny is found (freshly laundered) Trixie speaks her first words in a rush of relief and excitement.

3. CRITICAL ANALYSIS
Willems’ tale of Trixie’s Knuffle Bunny accurately describes that panicked moment of life when we realize SOMETHING is not as it should be. The morals and values presented through the story describe the unconditional love of parents and the lengths that they are willing to go to protect their children from pain and sadness. The developmental milestone of “baby’s first words” is a perfect ending to the high-paced action of the book. Through short and simple phrasing Willems tells a story that plays out with the smoothness of a film.

The use color drawings superimposed onto black and white photographs give both contrast and emphasis to the depiction of Willems’ words. The photographs of New York serve as a backdrop for the characters and action that is taking place. The eye is drawn first to the action and then to the setting, providing an opportunity for exploration in each new photo. The smoothness and font of the letters in each word bubble offer further insight into the tone and volume of the voice that is speaking the words. When Trixie frantically babbles, “Aggle flaggle klabble!” to her daddy, jagged letters reinforce the panic in her voice and concern that she feels for her friend. The more linear serif font of her mother’s words, “Where’s Knuffle Bunny?” lead readers to sense a calm questioning tone. The muted green border of each page’s illustration complements the book without taking away from the action and scene of each page.

Willems’ has created a timeless story that is clearly conveyed through both words and art.

4. REVIEW EXCERPTS
Starred review in SCHOOL LIBRARY JOURNAL: “Personalities are artfully created so that both parents and children will recognize themselves within these pages. A seamless and supremely satisfying presentation of art and text.”
Starred review in BOOKLIST: “This comic gem proves that Caldecott Medal-winner Willems, the Dr. Spock and Robin Williams of the lap-sit crowd, has just as clear a bead on preverbal children as on silver-tongued preschoolers.”

5. CONNECTIONS
*Follow the reading of KNUFFLE BUNNY with KNUFFLE BUNNY TOO and KNUFFLE BUNNY FREE, making note of the similarities and differences in the stories.
*Lead children in a discussion of their own “Knuffle Bunnies” (whatever they may be) and the connections that they have to these friends.
*Put together an author’s spotlight of Mo Willems, showcasing his written works as well as his television achievements (i.e. Sheep in the Big City and Codename: Kids Next Door).

Genre 1 - Joseph Had a Little Overcoat by Simms Taback

1. BIBLIOGRAPHY
Taback, Simms. 1999. JOSEPH HAD A LITTLE OVERCOAT. New York: Penguin. ISBN 0670878553

2. PLOT SUMMARY
This carefully crafted picture book tells the story of Joseph, a man full of invention and creativity. As the material of his overcoat wears and tears, he cleverly devises new and practical uses for the material while it grows smaller with each subsequent use. Eventually, there is nothing left of the overcoat and Joseph draws on his memory of the coat as inspiration to create a story, driving home the moral “you can always make something out of nothing.”

3. CRITICAL ANALYSIS
Taback’s writing is morally driven as he builds a story that inspires innovation and adaptation in even the simplest of things. He shows his readers that a small imperfection does not mean all is lost. Each page offers insight into the Polish culture in which Joseph lives through small illustrated details or even the Yiddish folk song provided at the end. His phrasing is simple and direct with a pattern that would lead children to easily follow along—as each page turns, we know Joseph will make something new and use it for a new purpose.

The illustrations and design are particularly interesting as they blend several techniques into a common product. The artwork embodies a combination of watercolor, gouache, pencil, ink, and collage. Each page is a rainbow of color and contains small detailed stories and insight in to Joseph’s life through pictures, textures (especially within the collage pieces), and wording in the background setting. Polish culture is highlighted through photos with traditional Polish names hanging on the walls, the address on the letter under the bed, and the content of books on the tables and shelves. The use of die-cut holes ties the story and each page together into a seamless tale of ingenuity and illustration. With each turn of a page we see how Joseph’s uses for the overcoat material are tied together and how Taback links each scene to the next. While each page’s artwork may seem rigid and eclectic, it provides readers with the opportunity to see something new each time they open the book.

4. REVIEW EXCERPTS
Starred review in PUBLISHERS WEEKLY: “Children of all ages will joyfully swallow this book whole”
Starred review in BOOKLIST: “Taback's mixed-media and collage illustrations are alive with warmth, humor, and humanity”
Starred review in SCHOOL LIBRARY JOURNAL: “A book bursting at the seams with ingenuity and creative spirit”

5. CONNECTIONS
*Read in alignment with THERE WAS AN OLD LADY WHO SWALLOWED A FLY (also by Taback), noting the similar use of die-cuts.
*Have children discuss how other household items can be adapted or modified as they wear with age and use.
*Using a variety of material (i.e. paint, markers, crayons, magazines, pictures, etc.) create a “Taback-like” illustration that blends many medias into one piece of artwork.
*Lead a discussion with children about the moral of the story and how they have implemented its lesson in their lives (or how they might in the future).
*Employ the talent of a pianist, guitarist, etc. to perform a sing-a-long of the Yiddish song which inspired the book.