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.