Bibliography
Sierra, Judy. Schoolyard Rhymes, Kids’ Own Rhymes for Rope Skipping, Hand Clapping, Ball Bouncing, and Just Plain Fun. Ill. Melissa Sweet. New York, New York: Alfred A. Knopf. ISBN 0375825169.
Plot Summary
Sierra fills the pages of this entertaining book with rhymes from childhood. The rhymes are organized seemingly by topic with rhymes about newborns taking up two pages and rhymes such as “Teddy Bear, Teddy Bear” on the same pages as other bear themed rhymes. Some of these rhymes are recognizable to the reader and others are not. The front cover of the book promises "fifty of the funniest" rhymes, and Sierra accomplishes that goal. Desiging this book for pure fun, Sierra fills the pages with more verses than the average person probably knew existed and finds a way to take adults back to their days on the playground.
Critical Analysis
Sierra goes to great effort to fill this book with fun. She is not afraid to embrace the silliness related to nursery rhymes, and her selections range from easy to remember favorites to lesser known rhymes that are no less entertaining. All of her selections fit in perfectly with the book title; they are for jump roping, hand clapping, and playground fun, not meant to be taken seriously but included for the purpose of encouraging kids to match the rhythm and rhyme of the words to the physical expressions associated with this type of writing. More than anything, Sierra allows illustrations to take up the majority of each page, a great decision since the visuals by Melissa Sweet are a perfect partner for the words.
Judy Sierra acknowledges in her introduction that “many rhymes are pure nonsense”, and Sweet allows her illustrations to flow with this idea. A great example is the cover of the book which shows a lemon and a pickle, the pickle ready to strike with rolling pin in hand. Tiny Tim, who ate the soap and tried to eat the bathtub, is shown panicked as he is carried away within the alligator purse of the lady in the nursery rhyme. Facial expressions are key in the illustrations with Sweet fully partaking in the silliness and receiving sincere laughs due to her drawings of characters in hilarious situations. She uses bright colors generously, and the design of the entire book makes it feel suited for a playground with children jumping rope and reciting “Miss Mary Mack” repeatedly. Sweet moves effortlessly from page to page following Sierra’s given theme while making the words on the page jump from the book through visual interpretations. The illustrations make the book inviting, perfect for children or adults who want to remember the nursery rhymes and fun of their childhood.
Review Excerpts
“The illustrations bring a fresh focus to the collection with a sophisticated design.” Kirkus Reviews
“This collection highlights the similarities of all children at play and documents some of the playground's best oral expressions.” Children’s Literature
Connections
*Have students share chants and rhymes they know with the class, demonstrating hand motions or movements that go along with them.
*Have students interview parents, grandparents, or other family members to find out what nursery rhymes they remember. Lead a class discussion focusing on the interview results. Did parents and grandparents know the same nursery rhymes? How have the rhymes changed through the years? How did the family members remember learning the rhymes?
Sunday, September 28, 2008
Book Review 5
Bibliography
Goble, Paul. 1993. The Lost Children: the boys who were neglected. Ill. Paul Goble. New York, New York: Aladdin Paperbacks. ISBN 9780758730336.
Plot Summary
The Lost Children begins by reminding us that children are God’s greatest gift, but sometimes we neglect to appreciate them. In this story by Paul Goble, six brothers from a Native American tribe are neglected after their parents’ death, starving and without clothes. Camp dogs are their only friends, and nobody else is kind to them or wants them around. Hoping to find another home, they decide to be stars and are lifted to the Above World. Sun Man and Moon Woman adopt them, and Sun Man decides to punish those who were not good the children by allowing heat to cause the Earth, people, and animals to suffer. The only reason the heat ends is because the leader of the dogs prays for pity, and Sun Man feels bad for punishing everyone when he only wanted to punish those who were cruel to the children. The Lost Children are now called the Pleiades and can be seen in the Above World as a reminder of the neglect they endured and the gift that children are.
Critical Analysis
Goble’s story, based on a Blackfoot myth about the origin of Pleiades, is written in simple language, a folktale with a moral that is easy to understand for all audiences. Sadness saturates the page as the description of how these children are treated is revealed: objects are thrown at them, others flaunt their new clothes in front of the children, no effort is made to even pretend they are wanted. Goble’s story is a study in how society sometimes treats those without a place who have no one to protect them.
The illustrations give the story a dreamlike quality that fits in well with the folktale. The background is adorned with teepees with unique designs on each. This backdrop helps create the perfect setting for the rest of the story. As the children become stars, they float upward against blue colors, seeming to fly. The villagers, shaded in all brown with indistinguishable features, still mange to look cold, even without faces or features to see their expressions. Goble is able to use color and motion to portray the cruelty permeating from these characters. The sadness on the children’s faces is apparent though we never get an extremely close look of their features. Goble’s magic is his ability to draw his characters as if they live in a far way world but still make the reader feel an intense connection to their situation and pain.
Review Excerpts
“Goble's work here, as in the past, is notable both for its graphic design and for the narrative it adorns.” School Library Journal
“Goble tells this story with earnest simplicity, a gentle cadence to his words imbuing the text with particular significance.” Publishers Weekly
Connections
*Read Her Seven Brothers by Goble with students and compare how the seven brothers and their sister became the Big Dipper with how the lost children became Pleiades.
*Read Girl Who Loved Wild Horses by Goble and compare the use of animals in this story with the use of the dogs in The Lost Children. Have students create a chart or Venn diagram showing the similarities and differences.
Goble, Paul. 1993. The Lost Children: the boys who were neglected. Ill. Paul Goble. New York, New York: Aladdin Paperbacks. ISBN 9780758730336.
Plot Summary
The Lost Children begins by reminding us that children are God’s greatest gift, but sometimes we neglect to appreciate them. In this story by Paul Goble, six brothers from a Native American tribe are neglected after their parents’ death, starving and without clothes. Camp dogs are their only friends, and nobody else is kind to them or wants them around. Hoping to find another home, they decide to be stars and are lifted to the Above World. Sun Man and Moon Woman adopt them, and Sun Man decides to punish those who were not good the children by allowing heat to cause the Earth, people, and animals to suffer. The only reason the heat ends is because the leader of the dogs prays for pity, and Sun Man feels bad for punishing everyone when he only wanted to punish those who were cruel to the children. The Lost Children are now called the Pleiades and can be seen in the Above World as a reminder of the neglect they endured and the gift that children are.
Critical Analysis
Goble’s story, based on a Blackfoot myth about the origin of Pleiades, is written in simple language, a folktale with a moral that is easy to understand for all audiences. Sadness saturates the page as the description of how these children are treated is revealed: objects are thrown at them, others flaunt their new clothes in front of the children, no effort is made to even pretend they are wanted. Goble’s story is a study in how society sometimes treats those without a place who have no one to protect them.
The illustrations give the story a dreamlike quality that fits in well with the folktale. The background is adorned with teepees with unique designs on each. This backdrop helps create the perfect setting for the rest of the story. As the children become stars, they float upward against blue colors, seeming to fly. The villagers, shaded in all brown with indistinguishable features, still mange to look cold, even without faces or features to see their expressions. Goble is able to use color and motion to portray the cruelty permeating from these characters. The sadness on the children’s faces is apparent though we never get an extremely close look of their features. Goble’s magic is his ability to draw his characters as if they live in a far way world but still make the reader feel an intense connection to their situation and pain.
Review Excerpts
“Goble's work here, as in the past, is notable both for its graphic design and for the narrative it adorns.” School Library Journal
“Goble tells this story with earnest simplicity, a gentle cadence to his words imbuing the text with particular significance.” Publishers Weekly
Connections
*Read Her Seven Brothers by Goble with students and compare how the seven brothers and their sister became the Big Dipper with how the lost children became Pleiades.
*Read Girl Who Loved Wild Horses by Goble and compare the use of animals in this story with the use of the dogs in The Lost Children. Have students create a chart or Venn diagram showing the similarities and differences.
Thursday, September 25, 2008
Book Review 4
Bibliography
Ketteman, Helen. 1997. Bubba The Cowboy Prince: A Fractured Texas Tale. Ill. James Warhola. New York, New York: Scholastic Press. ISBN 0590255061.
Plot Summary
Bubba is a good ole’ Texas cowboy in this Cinderella story. He lives on a ranch doing all the work with his wicked stepdaddy and two mean and lazy stepbrothers, Dwayne and Milton. When Miz Lurleen “the purtiest and richest gal in the county” decides to throw a ball to find a real cowboy to help her run her ranch, Milton, Dwayne, and Bubba’s stepdaddy run Bubba around all day helping them prepare for the ball, but they refuse his request to come claiming that Bubba smells “more like the cattle than the cattle do”. However, Bubba’s fairy godcow has different plans for him and uses her magic to get him the right clothes and stallion to attend the ball. While dancing with Miz Lurleen, the clock inevitably strikes midnight which is when the magic runs out, and Bubba flees the ball in shame as he’s left standing in front of Miz Lurleen in his old clothes smelling like a rancher. He accidentally leaves one boot behind, and Miz Lurleen uses it to track him down and marry her “prince in cowboy boots”.
Critical Analysis
Ketteman’s version of Cinderella in this updated Texas classic is refreshing. Ketteman does not paint Bubba as a sad, complaining victim but a rancher who loves what he does and is rewarded in the end. Her use of southern slang such as “dogies” and “purty”, while a bit stereotypical, helps develop the setting and gets the reader into the country version quickly and effectively. The message is simple and beautifully received as Miz Lurleen and Bubba live “happily ever after, roping, and cowpoking”: others should and can love you for who you are even if your “fine duds” turn to “dirty rags” and you don’t always smell great, which is an invaluable lesson for anyone.
Warhola’s illustrations jump from the page due to the vivid colors and larger than life drawings of the characters. Miz Lurleen’s big Texas hair and parlor adorned with southern furniture and accessories help to reinforce the southern aspect of the story. The open landscape, never ending blue skies, and puffy marshmallow clouds that can suddenly turn cow shaped make the reader long for the simple life of the ranch.
True to fairy tale style, Milton and Dwayne are drawn as unattractive, clueless looking characters, while the step father’s black hat and harsh features make him an obvious bad guy. Bubba’s open, round, unassuming face is the perfect protagonist hero face, and Warhola even succeeds in making the cows and horses real characters in the story through his depiction of them laughing, being scared, and reacting positively to a happy ending. Even the moon is personified and shows concern as Bubba rides away humiliated after being revealed to Miz Lurleen. The illustrations make this story engaging and set the perfect tone for a happily ever after.
Review Excerpts
“Great fun and a wonderful twist on the Cinderella story.” Children’s Literature
“This Texas retelling of the Cinderella story will really rope in readers.” The Publisher
Connections
*Read a more traditional version of Cinderella and have students compare and contrast the two.
*Bring in retellings of Cinderella from different cultures and lead a discussion on the role of Cinderella. Does she/he play a victim? Which ones take control of their own fate?
Ketteman, Helen. 1997. Bubba The Cowboy Prince: A Fractured Texas Tale. Ill. James Warhola. New York, New York: Scholastic Press. ISBN 0590255061.
Plot Summary
Bubba is a good ole’ Texas cowboy in this Cinderella story. He lives on a ranch doing all the work with his wicked stepdaddy and two mean and lazy stepbrothers, Dwayne and Milton. When Miz Lurleen “the purtiest and richest gal in the county” decides to throw a ball to find a real cowboy to help her run her ranch, Milton, Dwayne, and Bubba’s stepdaddy run Bubba around all day helping them prepare for the ball, but they refuse his request to come claiming that Bubba smells “more like the cattle than the cattle do”. However, Bubba’s fairy godcow has different plans for him and uses her magic to get him the right clothes and stallion to attend the ball. While dancing with Miz Lurleen, the clock inevitably strikes midnight which is when the magic runs out, and Bubba flees the ball in shame as he’s left standing in front of Miz Lurleen in his old clothes smelling like a rancher. He accidentally leaves one boot behind, and Miz Lurleen uses it to track him down and marry her “prince in cowboy boots”.
Critical Analysis
Ketteman’s version of Cinderella in this updated Texas classic is refreshing. Ketteman does not paint Bubba as a sad, complaining victim but a rancher who loves what he does and is rewarded in the end. Her use of southern slang such as “dogies” and “purty”, while a bit stereotypical, helps develop the setting and gets the reader into the country version quickly and effectively. The message is simple and beautifully received as Miz Lurleen and Bubba live “happily ever after, roping, and cowpoking”: others should and can love you for who you are even if your “fine duds” turn to “dirty rags” and you don’t always smell great, which is an invaluable lesson for anyone.
Warhola’s illustrations jump from the page due to the vivid colors and larger than life drawings of the characters. Miz Lurleen’s big Texas hair and parlor adorned with southern furniture and accessories help to reinforce the southern aspect of the story. The open landscape, never ending blue skies, and puffy marshmallow clouds that can suddenly turn cow shaped make the reader long for the simple life of the ranch.
True to fairy tale style, Milton and Dwayne are drawn as unattractive, clueless looking characters, while the step father’s black hat and harsh features make him an obvious bad guy. Bubba’s open, round, unassuming face is the perfect protagonist hero face, and Warhola even succeeds in making the cows and horses real characters in the story through his depiction of them laughing, being scared, and reacting positively to a happy ending. Even the moon is personified and shows concern as Bubba rides away humiliated after being revealed to Miz Lurleen. The illustrations make this story engaging and set the perfect tone for a happily ever after.
Review Excerpts
“Great fun and a wonderful twist on the Cinderella story.” Children’s Literature
“This Texas retelling of the Cinderella story will really rope in readers.” The Publisher
Connections
*Read a more traditional version of Cinderella and have students compare and contrast the two.
*Bring in retellings of Cinderella from different cultures and lead a discussion on the role of Cinderella. Does she/he play a victim? Which ones take control of their own fate?
Sunday, September 7, 2008
Book Review 3
Bibliography
St. George, Judith. 2000. So You Want to Be President? Ill. By David Small. New York, New York: Philomel Books. ISBN 0399234071
Plot Summary
In So You Want to Be President, author Judith St. George tackles the job of teaching students about Presidents without making it the same as reading a text book. Using little known personal information, backed up by illustrations showing caricatures of the Presidents, St. George makes the men within these pages real people. Beginning with the good and bad of being President, St. George then moves through the book sharing information about where the Presidents came from and some of their habits and imperfections. She closes the book with the oath taken by all Presidents and the message that regardless of where someone comes from, the opportunity is out there and one should be ready to give themselves completely to the job to be a good President.
Critical Analysis
St. George’s writing contains unique facts, making Presidents seem like just one of us, emphasizing the point that anyone can be President. She includes little known quotes such as Warren Harding saying, “I am not fit for this office and never should have been here,” instead of the stereotypical speech written blurbs readers are used to. Her honest approach makes no attempt to gloss over the imperfections of those who have held office, but she does not set out to destroy the images of these men, just paint them more realistically. Through her easy to read but clever writing, readers find out which Presidents liked to fight, who was responsible with money, and who was the worst dancer.
David Smalls’ illustrations add to the feeling that the President is just one of us. Instead of presenting stoic, colorless figures usually seen of Presidents, Small draws them as cartoonish figures with red cheeks and noses and uses his illustrations to make the book fun, not typical. He places them in situations pertinent to the facts discussed in the book, reinforcing St. George’s writing with visuals. Small shows Taft being lifted into his specially built tub with a crane due to his size, chicken leg in hand. When St. George suggests that having the name William doesn’t hurt when running for President, Small provides an unforgettable, playful picture of all the Williams in cheerleading uniforms, pom poms included.
Mood is also conveyed in the illustrations through color and expression. For example, Nixon and Clinton are drawn heads down, slinking down stairs with the Lincoln Memorial looking down on them after their impeachments, while shades of blue color the page in shame. Whether serious or fun, Smalls illustrations align perfectly with St. George’s words, creating a book that will not be easily forgotten by those who read it.
Review Excerpts
“Author Judith St. George--along with Caldecott Honor-winning illustrator David Small--has created a book about the presidency that's serious fun.” Amazon.com
“She serves up diverse, occasionally tongue-in-cheek tidbits and spices the narrative with colorful quotes from her subjects.” Publishers Weekly
Connections
*Lead a discussion asking students to give examples of people who have become President or are running for office that might not have believed it was possible for them in the past due to others’ prejudices. Ex. Barack Obama due to race, Sarah Palin due to age and being a woman.
Read other books by Judith St. George about Presidents and their lives including:
*Take the Lead, George Washington
*Make Your Mark, Franklin Roosevelt
St. George, Judith. 2000. So You Want to Be President? Ill. By David Small. New York, New York: Philomel Books. ISBN 0399234071
Plot Summary
In So You Want to Be President, author Judith St. George tackles the job of teaching students about Presidents without making it the same as reading a text book. Using little known personal information, backed up by illustrations showing caricatures of the Presidents, St. George makes the men within these pages real people. Beginning with the good and bad of being President, St. George then moves through the book sharing information about where the Presidents came from and some of their habits and imperfections. She closes the book with the oath taken by all Presidents and the message that regardless of where someone comes from, the opportunity is out there and one should be ready to give themselves completely to the job to be a good President.
Critical Analysis
St. George’s writing contains unique facts, making Presidents seem like just one of us, emphasizing the point that anyone can be President. She includes little known quotes such as Warren Harding saying, “I am not fit for this office and never should have been here,” instead of the stereotypical speech written blurbs readers are used to. Her honest approach makes no attempt to gloss over the imperfections of those who have held office, but she does not set out to destroy the images of these men, just paint them more realistically. Through her easy to read but clever writing, readers find out which Presidents liked to fight, who was responsible with money, and who was the worst dancer.
David Smalls’ illustrations add to the feeling that the President is just one of us. Instead of presenting stoic, colorless figures usually seen of Presidents, Small draws them as cartoonish figures with red cheeks and noses and uses his illustrations to make the book fun, not typical. He places them in situations pertinent to the facts discussed in the book, reinforcing St. George’s writing with visuals. Small shows Taft being lifted into his specially built tub with a crane due to his size, chicken leg in hand. When St. George suggests that having the name William doesn’t hurt when running for President, Small provides an unforgettable, playful picture of all the Williams in cheerleading uniforms, pom poms included.
Mood is also conveyed in the illustrations through color and expression. For example, Nixon and Clinton are drawn heads down, slinking down stairs with the Lincoln Memorial looking down on them after their impeachments, while shades of blue color the page in shame. Whether serious or fun, Smalls illustrations align perfectly with St. George’s words, creating a book that will not be easily forgotten by those who read it.
Review Excerpts
“Author Judith St. George--along with Caldecott Honor-winning illustrator David Small--has created a book about the presidency that's serious fun.” Amazon.com
“She serves up diverse, occasionally tongue-in-cheek tidbits and spices the narrative with colorful quotes from her subjects.” Publishers Weekly
Connections
*Lead a discussion asking students to give examples of people who have become President or are running for office that might not have believed it was possible for them in the past due to others’ prejudices. Ex. Barack Obama due to race, Sarah Palin due to age and being a woman.
Read other books by Judith St. George about Presidents and their lives including:
*Take the Lead, George Washington
*Make Your Mark, Franklin Roosevelt
Book Review 2
Bibliography
Willems, Mo. 2004. Knuffle Bunny: A Cautionary Tale. Ill. By Mo Willems.
New York, New York: Hyperion Books. ISBN 0786818700
Plot Summary
In this entertaining, award winning book, artist and illustrator, Mo Willems, tells us about young Trixie’s trip with her dad to the Laundromat. The outing becomes an adventure when Trixie’s beloved Knuffle Bunny is lost and she is unable to communicate this to her father. Trixie’s mom saves the day when she realizes Knuffle Bunny didn’t make it home with dad and Trixie, and dad desperately searches the Laundromat until Knuffle Bunny is found and a happy ending can be experienced by all.
Critical Analysis
Willems’ descriptions of a young child’s attempts to be heard are entertaining and real with Trixie screaming “Aggle Flaggle Klabble” in hopes of being understood and eventually going “boneless” to get her emotions across. Willems’ writing allows his audience to see the world through a child’s eyes and experience the excitement of a walk through the park and the fun associated with loading the washing machine. With short, easy to read sentences, this story lends itself to being read aloud or silently by a young reader.
The illustrations used in Knuffle Bunny are unique to a children’s book. The background consists of realistic black and white photographs of Brooklyn, giving the entire setting a sense of reality. However, characters are drawn using bright colors that jump from the page making Trixie’s trip to the Laundromat an experience outside of the normal black and white normalcy of everyday life. The illustrations give the feel of seeing the mundane, adult tasks through the eyes of a child, and the exaggerated size of the word balloons as Trixie screams “WAAAA” or “Wumby flappy?!” emphasize the distress the loss of Knuffle Bunny is causing her. Trixie and her father’s facial expressions alone make this a great book to look at and make predictions about before reading the words. Willems is that adapt at expressing his characters’ emotions through his drawings.
Review Excerpts
“A seamless and supremely satisfying presentation of art and text.”
School Library Journal
“Willems chronicles this domestic drama with pitch-perfect text and illustrations that boldly depart from the spare formula of his previous books.” Booklist
Connections
*After reading Knuffle Bunny to students, have them write about an item that is special to them and share the reason why. Have them compare their reaction to losing this item with Trixie’s.
*After reading Knuffle Bunny, have junior high or high school students discuss and analyze how the illustrations played a part in the book. Help them transfer this knowledge to books without pictures when analyzing an author’s description and use of setting.
*Read other books by Mo Willems to see how he portrays other characters trying to get what they want. For example, Don’t Let the Pigeon Drive the Bust! Have students talk about how they see themselves in these characters’ reactions, and how their responses have matured with their age.
*Read Knuffle Bunny Too: A Case of Mistaken Identity
Willems, Mo. 2004. Knuffle Bunny: A Cautionary Tale. Ill. By Mo Willems.
New York, New York: Hyperion Books. ISBN 0786818700
Plot Summary
In this entertaining, award winning book, artist and illustrator, Mo Willems, tells us about young Trixie’s trip with her dad to the Laundromat. The outing becomes an adventure when Trixie’s beloved Knuffle Bunny is lost and she is unable to communicate this to her father. Trixie’s mom saves the day when she realizes Knuffle Bunny didn’t make it home with dad and Trixie, and dad desperately searches the Laundromat until Knuffle Bunny is found and a happy ending can be experienced by all.
Critical Analysis
Willems’ descriptions of a young child’s attempts to be heard are entertaining and real with Trixie screaming “Aggle Flaggle Klabble” in hopes of being understood and eventually going “boneless” to get her emotions across. Willems’ writing allows his audience to see the world through a child’s eyes and experience the excitement of a walk through the park and the fun associated with loading the washing machine. With short, easy to read sentences, this story lends itself to being read aloud or silently by a young reader.
The illustrations used in Knuffle Bunny are unique to a children’s book. The background consists of realistic black and white photographs of Brooklyn, giving the entire setting a sense of reality. However, characters are drawn using bright colors that jump from the page making Trixie’s trip to the Laundromat an experience outside of the normal black and white normalcy of everyday life. The illustrations give the feel of seeing the mundane, adult tasks through the eyes of a child, and the exaggerated size of the word balloons as Trixie screams “WAAAA” or “Wumby flappy?!” emphasize the distress the loss of Knuffle Bunny is causing her. Trixie and her father’s facial expressions alone make this a great book to look at and make predictions about before reading the words. Willems is that adapt at expressing his characters’ emotions through his drawings.
Review Excerpts
“A seamless and supremely satisfying presentation of art and text.”
School Library Journal
“Willems chronicles this domestic drama with pitch-perfect text and illustrations that boldly depart from the spare formula of his previous books.” Booklist
Connections
*After reading Knuffle Bunny to students, have them write about an item that is special to them and share the reason why. Have them compare their reaction to losing this item with Trixie’s.
*After reading Knuffle Bunny, have junior high or high school students discuss and analyze how the illustrations played a part in the book. Help them transfer this knowledge to books without pictures when analyzing an author’s description and use of setting.
*Read other books by Mo Willems to see how he portrays other characters trying to get what they want. For example, Don’t Let the Pigeon Drive the Bust! Have students talk about how they see themselves in these characters’ reactions, and how their responses have matured with their age.
*Read Knuffle Bunny Too: A Case of Mistaken Identity
Book Review 1
Bibliography
Cummings, Pat. 1992. Talking with Artists: Conversations with Victoria Chess, Pat Cummings, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner. New York, New York: Bradbury Press. ISBN 0027242455
Plot Summary
In this informative book compiled and edited by Pat Cummings, 14 artists answer the same eight questions and share illustrations from their childhood as well as their published books. Illustrators share professional information about where they get ideas and how they first found themselves published, as well as more personal facts. Pat Cummings herself answers the questions and attempts to make the job of illustrator appear attainable for anyone who loves to draw. She also thoughtfully includes a glossary of illustration terms in the back of the book to help readers understand the illustrators’ language.
Critical Analysis
Talking with Artists has the feeling of a personal conversation between the reader and the amazing illustrators within the pages due to the unpretentious approach. Each illustrator shares their story before answering the questions, using humor and personal experiences to connect with the audience. Advice from each artist such as “Carry a sketchbook wherever you go” and “Rejoice in who you are” litter each page to encourage would be illustrators. The book reads like an inspirational piece for anyone who wants to veer off the beaten path and pursue a less mainstream career. Finding out that a normal day is never normal for an illustrator, or that most work at home or close to it while still doing what they love gives hope and motivation to the reader.
The illustrations are the heart of this book. Not only are readers offered sneak peeks into illustrations from professionally published books such as The Tale of the Mandarin Ducks and Mother Goose’s Little Misfortunes, but they also see the illustrators’ drawings from when they were children. Victoria Chess offers a picture from when she was six of a butterfly, while Lisa Campbell Ernst shows a crayon on paper drawing of a bird from the age of seven. Seeing where the illustrators started and then turning the page to see where their illustrations ended up is inspiring for anyone, especially those aspiring to have a career in art.
Review Excerpts
“Full of insight and inspiration, this is an entertaining resource that young people, teachers, and librarians will enjoy.” School Library Journal
“An inspired concept” Horn Book
Connections
*After reading Talking with Artists, have students interview someone who is in the profession they would like to pursue, adapting Cummings interview questions to their own situation.
*Have students read Talking With Adventurers: Conversations with Christina M. Allen, Robert Ballard, Michael L. Blakey, Ann Bowles, David Doubilet, Jane Goodall, Dereck & Beverly Joubert and draw a Venn diagram comparing and contrasting the adventurers information with the artists.
Cummings, Pat. 1992. Talking with Artists: Conversations with Victoria Chess, Pat Cummings, Leo and Diane Dillon, Richard Egielski, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner. New York, New York: Bradbury Press. ISBN 0027242455
Plot Summary
In this informative book compiled and edited by Pat Cummings, 14 artists answer the same eight questions and share illustrations from their childhood as well as their published books. Illustrators share professional information about where they get ideas and how they first found themselves published, as well as more personal facts. Pat Cummings herself answers the questions and attempts to make the job of illustrator appear attainable for anyone who loves to draw. She also thoughtfully includes a glossary of illustration terms in the back of the book to help readers understand the illustrators’ language.
Critical Analysis
Talking with Artists has the feeling of a personal conversation between the reader and the amazing illustrators within the pages due to the unpretentious approach. Each illustrator shares their story before answering the questions, using humor and personal experiences to connect with the audience. Advice from each artist such as “Carry a sketchbook wherever you go” and “Rejoice in who you are” litter each page to encourage would be illustrators. The book reads like an inspirational piece for anyone who wants to veer off the beaten path and pursue a less mainstream career. Finding out that a normal day is never normal for an illustrator, or that most work at home or close to it while still doing what they love gives hope and motivation to the reader.
The illustrations are the heart of this book. Not only are readers offered sneak peeks into illustrations from professionally published books such as The Tale of the Mandarin Ducks and Mother Goose’s Little Misfortunes, but they also see the illustrators’ drawings from when they were children. Victoria Chess offers a picture from when she was six of a butterfly, while Lisa Campbell Ernst shows a crayon on paper drawing of a bird from the age of seven. Seeing where the illustrators started and then turning the page to see where their illustrations ended up is inspiring for anyone, especially those aspiring to have a career in art.
Review Excerpts
“Full of insight and inspiration, this is an entertaining resource that young people, teachers, and librarians will enjoy.” School Library Journal
“An inspired concept” Horn Book
Connections
*After reading Talking with Artists, have students interview someone who is in the profession they would like to pursue, adapting Cummings interview questions to their own situation.
*Have students read Talking With Adventurers: Conversations with Christina M. Allen, Robert Ballard, Michael L. Blakey, Ann Bowles, David Doubilet, Jane Goodall, Dereck & Beverly Joubert and draw a Venn diagram comparing and contrasting the adventurers information with the artists.
Monday, September 1, 2008
Purpose
The purpose of this blog is to fulfill a book review requirement for LS 5603. This is my first attempt at reviewing books, so I hope improvement and progress will be seen throughout the semester.
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