Review - Porch Lies: Tales of Slicksters, Tricksters, and Other Wily Characters

1. BIBLIOGRAPHY
McKissack, Patricia C. 2006. PORCH LIES: TALES OF SLICKSTERS, TRICKSTERS, AND OTHER WILY CHARACTERS. New York: Schwartz & Wade Books. ISBN 9780375836190

2. PLOT SUMMARY
Many hot summer evenings, everyone in the family, often joined by those from the neighborhood, would frequently settle on the front porch to enjoy iced tea or lemonade, homemade tea cakes, and a good story. Porch lies they were called - “tales of humor and exaggeration told to listeners of all ages.” This collection of original creations mimics the stories from the author’s past. Myths, legends, and historical figures from the African American oral tradition are placed into the author’s original stories. Meet Pete Bruce, a rascal who schmoozes several pieces of coconut cream pie from a local baker for free. Or what about Link Murphy, a scoundrel who procures a job as a chauffer for Mis Crickett Thompson and then begins a business on the side using her car. (And was he really trying to save her, or just steal her jewelry?) Then there’s that slickster Montgomery Red who tricks Ralph, the King of the Ghosts with an ordinary rock. These and many other “wily characters” are waiting to entertain the reader. Take the book onto the porch with some iced tea and enjoy the stories.

3. CRITICAL ANALYSIS
The stories in this collection are great for reading aloud with others. The stories are a unique blend of legend and history. While the stories are from the imagination of the author based on stories she heard on her grandparents’ front porch, she weaves in characters such as Jesse James and the Ku Klux Klan. The stories are not told in dialect, which might disappoint some who would like the stories to sound authentically African American. However, this may make reading the stories aloud easier for most readers and listeners.

Each story is accompanied by one illustration by noted caricaturist Andre Carrilho of Portugal. The illustrations are black and white, and are interesting and unusual, commanding a second look. The illustrations are perfect compliments to the interesting and unusual characters presented in the stories.

McKissack gives background to the ideas for the stories by painting an engaging picture of listening to “Porch Lies” on her grandparents’ front porch when she was a child in the author’s note at the beginning of the book.

4. REVIEW EXCERPTS
*Starred Review in Publisher’s Weekly: “Readers of these spry tall tales will have a grand time”
*Booklist: “In black and white, Carrilho's full-page illustrations--part cartoon, part portrait in silhouette--combine realistic characters with scary monsters."
*AudioFile: “Listeners and their children will enjoy Patricia McKissack's stories so much they might not even notice how this Caldecott winner has subtly woven in African-American history."

5. CONNECTIONS
*Research the historical references in the stories - such as Jesse James and the Ku Klux Klan. How do the tales in Porch Lies fit with the historical figures?
*Create illustrations of other scenes in the stories.*Read aloud for the fun of a good story that was meant to be read aloud. Discuss the characters. Do they remind you of anyone you know? Have you ever met a slickster, trickster or other wily character?

*Try downloading the audiobook and listening to the stories. What is the difference in reading them yourself and hearing them read professionally?

The Legend of the White Buffalo Woman - A Review

1. BIBLIOGRAPHY
Goble, Paul. 1998. THE LEGEND OF THE WHITE BUFFALO WOMAN. Washington, D.C.: National Geographic Society. ISBN 0792270746

2. PLOT SUMMARY
One of the most important Lakota legends tells how the Lakota people came to receive the first pipe from the White Buffalo Woman. After a brief history of the Lakota people, starting with their flood myth and proceeding through the rebirth of the nation and sad times of being forced from their land by their enemies, the people meet a beautiful, mysterious woman who visits the tribe, presents them with a pipe sent from Wakan Tanka, the Great Spirit, and declares that “from today, your people and my Buffalo Nation will be one family.” This pipe allows the people to pray to the Great Spirit, giving them great hope. Following the gift of the pipe from the Great Spirit, the Buffalo People later gifted the red stone so that everyone could make pipes.

3. CRITICAL ANALYSIS
The book jacket states that The Legend of the White Buffalo Woman is told “in stirring prose” and with some of Paul Goble’s “most breathtaking images.” I couldn’t agree more. The main story is that of how the Sacred Calf Pipe came to be given to the Lakotas of the Great Plains. But it is framed by the myths of the flood, the rebirth of the nation by the marriage of a Woman of the Earth and the Eagle of the Sky, and the war which caused the people great sadness and pain. The legend of the pipe is then followed by the legend of the buffalo path where the red stone was discovered that can now be used to create additional pipes. The combination of legends tells a rich, full story of the beliefs of the history of the Plains Indians. Bold print headings help the reader navigate smoothly from legend to legend.

Primary and Secondary references are included, along with an author’s note explaining the background of the pipe and the legend surrounding it, an illustration of a pipe that was given to the author from a pipe-maker in South Dakota with the symbolism of some of the parts explained, and some background on Pipestone Quarry in southwestern Minnesota, the place of the red rock which is now a national monument.

The images are breathtaking. (I was unable to determine specifics about the paintings). The colors are earthy and saturated. The clothing is authentically rendered in the style of the 1870s. In a forward written for All Our Relatives by Dr. Joe Medicine Crow, Crow Tribal Historian and the oldest living man of the Crow tribe, he writes about Paul Goble: “His art is tremendous because he is able to recreate the traditional forms with great accuracy and detail…He is able to recreate the spirit of the old stories with his illustrations and his words."

The rays of the sun are a must-see, and the battle scene with blood splatters and heads rolling will capture the attention of many young readers. The white buffalo calf joining the Buffalo Nation after presenting the pipe to the Lakotas, however, steals the show.

This book is an item that would be an asset to any collection of native American literature and art.

4. REVIEW EXCERPTS
*Kirkus: “Drawn just above ground level and clad in spectacular ceremonial costume, Goble’s stylized figures seem appropriately larger than life, and the Lakota prayers and comments he quotes further enhance the reverent tone.”
* Booklist: “In this picture book for older readers, Goble uses his characteristic decorative paintings to help retell an important sacred legend of the Lakota people."
* School Library Journal: “The Caldecott Medal-winning author tells the inspiring story of the first peace pipe, presented to the Lakota people to connect them to the Great Spirit, who will guide them through the hardships of life. One of Goble’s most stunning offerings to date."

5. CONNECTIONS
*Compare Goble’s illustrations with those of other picture book illustrators of Native American culture, in particular Byrd Baylor (I’m in Charge of Celebrations is my favorite.) How do the colors compare? How are the styles of the illustrations similar and different?
*Now compare the stories and how they’re told. Which do you prefer - the first person
point of view that is often used by Baylor, or the third person narrator point of view?
*Compare Goble’s art to other artists of the Southwest and Native America, for example Amado Pena or G. E. Mullan.
*Create your own art for a traditional Native American legend.

Review - Cendrillon: A Caribbean Cinderella

1. BIBLIOGRAPHY
San Souci, Robert D. 1998. CENDRILLON: A CARIBBEAN CINDERELLA. Ill. by Brian Pinkney. New York: Simon & Schuster. ISBN 0689848889

2. PLOT SUMMARY
Cendrillon has a godmother who loves her very much and wants us to know the real story. "You may think you know this story I am going to tell you, but you have not heard it for true." When Cendrillon’s haughty step-mother Madame Prosperine will not allow Cendrillon to attend the birthday ball for the handsome Paul Thibault, Cendrillon’s godmother, whom Cendrillon affectionately calls “Nannin’,” comes up with a plan to use her magic mahogany wand to help Cendrillion get to the party, where she meets the love of her life. Her beloved Nannin’ watches on, delightedly eating chocolate sherbet.

3. CRITICAL ANALYSIS
The story is told in lively language that includes French Creole vocabulary sprinkled throughout. (A glossary and pronunciation guide is provided at the end for the reader’s benefit). The style is humerous and full of imagery; for example, “the girl’s big foot, with toes like sausages . . .” provides a laughable look at the step-sister Vitaline’s attempt to get her foot into the delicate pink slipper. A slight twist in this variant of the Cinderella story is when Cendrillon has the opportunity to allow Nannin’ to use her magic that same day Vitaline claims to own the shoe. Nannin’ uses the wand to recreate the trappings of the night Cendrillon met Paul, but Cendrillon decides against meeting Paul under the spell, allowing the young man to meet her as she really is. The story is based on life on the island of Martinique, and the costumes and descriptors are based on West Indian culture.

Brian Pinkney’s illustrations using scratchboard, luma dyes, gouache, and oil paints are bold and vibrant. The brush strokes provide a sense of movement to each illustration. Particularly interesting is the fact that most of the two-page spreads include one larger illustration that covers both pages with another smaller painting included in the text box which is surrounded by a painted border. The beautiful green island of Mer des Antilles is lushly illustrated and Paul’s manor house sets the grand stage for a ball.

The illustrations by this Caldecott Honor Award winner and the text by the acclaimed author of over 50 children’s picture books is a treat to be shared by young and old alike who enjoy the Cinderella story.

4. REVIEW EXCERPTS
*Publisher’s Weekly: “The lyrical cadences of the text spattered with French and Creole words combine with the sensuous paintings to bring the tropics to life.”
* Starred Review in Booklist: “Particularly vibrant, both in its melodious language and its spirited art. . . A vital rendition of an old favorite."
* Starred Review in School Library Journal: “An outstanding Cinderella variant for any collection."

5. CONNECTIONS
*Use Macmillan’s Caribbean coloring books to allow children to create illustrations of their own which they can then use to author their own original stories.
*Read The Illustrated Anansi: Four Caribbean Folk Tales by Philip Sherlock and illustrated by Petrina Wright and compare the stories with Cendrillon. How are they alike? How do they differ?
*Compare the illustrations in Cendrillon to photographs of the West Indies. Discuss how Pinkney’s illustrations capture the “feel” of the beautiful islands of this region of the world.
*Compare Cendrillon with other Cinderella versions and variants. Allow students to write their own reviews of Cinderella stories to present to the class. Then compile the reviews to create a class book.

Review - A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL

1. BIBLIOGRAPHY
Marcus, Leonard S. 1998. A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL. New York: Walker and Company. ISBN 0802786561

2. PLOT SUMMARY
How does a Caldecott Award winning book go from doodles and ideas to finished works worthy of the highest honor in children’s book illustrations? Children’s book historian and critic Leonard S. Marcus looks at six winners - one from each decade beginning with the 1940s and going through the 1990s, when Marcus’s book was published. The children’s works covered include Make Way for Ducklings (1942) by Robert McCloskey, Cinderella; or, The Little Glass Slipper, (1955) by Marcia Brown, Where the Wild Things Are (1964) by Maurice Sendak, Sylvester and the Magic Pebble (1970) by William Steig, Jumanji, (1982) by Chris Van Allsburg, and Tuesday (1992) by David Wiesner. The book begins with an introduction about the award itself. Then the featured books and illustrators are discussed (in the cases of these six books, the illustrator is also the author). Finally, reference material including a list of the Caldecott Medal Winners from 1938-1998, a glossary of terms used within the book, and an index of proper nouns bring the book to a close.

3. CRITICAL ANALYSIS
Marcus’s book is fascinating, especially for those who love children’s picture books but don’t have much knowledge of how they come to be. While it’s not necessary for enjoying the “tours” of the books, familiarity with the six works definitely adds to the appeal of this read. The authors/illustrators and the stories of their award-winners come to life with engaging text and a behind-the-scenes look at each author and his or her featured work. Every turn of the page delights the reader with anecdotes, photos, descriptions of where the authors got their ideas, thumbnails and dummies of the art included in the books, other pieces produced by the artists and much more. Even with all that fun packed in, the book is bound in the size and shape of a children’s picture book, and is every bit as enjoyable to read.

The introduction gives historical background, explaining why the six books included were chosen, and providing information about how the dates work (the date the book was published versus the date the medal was given). Reference materials in the back include a list of Caldecott Medal winners spanning the 60 years from 1938 through 1998, a glossary of terms used throughout the book, and an index of proper nouns.

The reader will walk away from Marcus’s book feeling like these six artists and their special works are good friends. However, a word of warning is in order: your pocketbook may take a hit as you lay down this book to head to the bookstore to purchase not only these six treasures, but others in the Caldecott medal family as well.

4. REVIEW EXCERPTS
*Starred review in PUBLISHERS WEEKLY: “Filled with witty anecdotes and pithy observations, Marcus’s approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers.”
*Starred review in BOOKLIST: “Marcus, who interviewed each artist, provides a lively, informative introduction to each book and its maker. A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/illustrator studies." --Booklist (starred review)
Children’s Book Page: “My only gripe about this lovely little book is that it isn't longer!”

5. CONNECTIONS
*Use this book to introduce children to the inner workings of creating books.
*Allow children to go through the process of creating their own books by creating sketches and thumbnails, writing text, and creating final illustrations. Bind pages and create a classroom library of “local authors.”
*Gather the six books, examine each one while reading that section in Marcus’s book, and simply enjoy the amazing art and the wonderful stories. Find a friend to share it with.

Click, Clack, Moo - A Picture Book Review

1. BIBLIOGRAPHY
Cronin, Doreen. 2000. CLICK, CLACK, MOO: COWS THAT TYPE. Ill. by Betsy Lewin. New York: Simon & Schuster. ISBN 0689832133

2. PLOT SUMMARY
Farmer Brown can’t believe his ears when he hears the sound of a typewriter in the barn. Cows that type? Then he can’t believe his eyes when he finds a note nailed to the barn door. The cows are cold and want electric blankets! Soon the hens join in and go on strike with the cows. As demands and negotiations fly back and forth between Farmer Brown and the cows, Duck’s involvement as the neutral third party doesn’t quite go as Farmer Brown intended. Finally an agreement is reached - or is it? The twist at the end will delight readers of all ages.

3. CRITICAL ANALYSIS
Doreen Cronin’s background as an attorney sparkles in this, her first book in the Farmer Brown series. The simple text is lively. The negotiations are hilarious. Children may not know about a typewriter, but they get a good idea of how one sounds. “Click, clack, moo. Click, clack, moo. Clickety, clack, moo.” Typed notes are integrated seamlessly into the text, and Farmer Brown’s incredulous exclamations to the notes draw the human readers into the story. (Animal readers may have trouble if they do not understand Moo.)

Betsy Lewin’s watercolor illustrations are bold and bright. While the text indicates the passing of time with transitions such as “The next day” and “early the next morning,” the illustrations help readers differentiate between what is happening during the day between Farmer Brown and the animals, and what is happening at night in the barn as the colors go from bright to shades of gray. The expressions on the animals’ faces are full of personality and spunk. Farmer Brown certainly has his hands full with this bunch!

Fortunately for us, Doreen Cronin and Betsy Lewin have collaborated on several books with the promise of more to come.

• A Caldecott Honor Book
• An ALA Notable Book
• A School Library Journal Best Book
• Child Magazine’s Guide to Top Books,Videos, and Software of the Year
• Publishers Weekly Best Children’s Book of 2000/Picture Book

4. REVIEW EXCERPTS
*School Library Journal: “A terrific picture-book debut for Cronin.”
*Horn Book: “That typewriters may be as anachronistic to today's kids as rumble seats and spinning wheels won't lessen their enjoyment of this amusing story.”
*Journal of Adolescent and Adult Literacy: "A read-aloud must for teachers who wish to create classroom space for conversations about literacy and power with even the youngest of readers."

5. CONNECTIONS
*Have children log on to doreencronin.com and click on “Writer U” for fun ideas for writing stories of their own.
*Read some of the books on doreencronin.com under “Good Reads.” Talk about why she might like these books in particular.
*Read more books in the series - Giggle, Giggle, Quack and Duck for President were the next two, but there have been others as well. Children may then want to try writing their own adventure with Farmer Brown’s animals to add to the collection.
*Discuss the power of the written word as demonstrated by the notes in the book. How can our writing provide us with a voice that might otherwise be ignored?

Review - Caldecott Award Winner THE INVENTION OF HUGO CABRET

1. BIBLIOGRAPHY
Selznick, Brian. 2007. THE INVENTION OF HUGO CABRET. New York: Scholastic. ISBN 0439813786

2. PLOT SUMMARY
Twelve-year-old Hugo Cabret’s life is one of fear and hiding. Living behind the walls of the Paris train station, Hugo fights to survive after his father dies and his uncle disappears. Hugo’s life changes forever when he is caught stealing from a toy booth by the bitter old man who runs it. Hugo had been using parts from the toys to try to rebuild an automaton that his father had been working on before his death. Certain that the automaton held a message for him from his father, Hugo is desperate to finish it. However, getting caught gets in the way of his repairs. As he struggles to fix the mechanical man and discover the secret message, Hugo finds that the toy booth owner has a deep secret of his own that is threatening his well-being. Through an interesting twist of events, Hugo’s attempts to unlock the mysteries of the mechanical man and uncover the secrets of the old man suddenly become one and the same quest.

3. CRITICAL ANALYSIS
“I want you to picture yourself sitting in the darkness, like the beginning of a movie.” Thus states the introduction. The book begins with the idea of being in a cinema, and the black pages of the book simulate the movie theatre. Text boxes provide a white background for the black text that is easy to follow. Dialogue among the characters accompanies the narrator’s verbal descriptions. The language is simple, yet has an elegance to it which befits the 1931 setting. The story moves quickly and builds dramatically as Hugo tries to solve the mystery of the mechanical man.

However, the real jewel of this book is not the text alone, but the pencil drawings which accompany the text - 284 pages of them. Selznick tells a large part of the story through illustrations that pick up where text leaves off and tell the story until the text resumes. Most of the illustrations are Selznick’s own art; however, appropriately placed throughout the story are movie stills from the late 19th and early 20th centuries, and works by the filmmaker Georges Melies. The illustrations are fascinating as the reader turns page after page to see the beautiful drawings while continuing to “read” the story the pictures tell. They are full of movement and adventure. It would be impossible to separate the text from the illustrations. Neither can tell the story without the other.

This winner of the 2008 Caldecott Medal is fascinating, and the intriguing story will capture the imaginations of young readers and adults alike.

4. REVIEW EXCERPTS
*Starred Review in Publishers Weekly: “Here is a true masterpiece - an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching.”
*Starred review in Kirkus: “a uniquely inventive story told in text, sequential art and period photographs and film.”
*Starred review in School Library Journal: With characteristic intelligence, exquisite images, and a breathtaking design, Selznick shatters conventions related to the art of bookmaking in this magical mystery set in 1930s Paris.

5. CONNECTIONS
*Older elementary-aged children who are eager to break into the world of “big kids” chapter books may really appreciate this book. At 526 pages, this book looks like a real challenge. However, with nearly 300 pages of pictures, children will easily be able to finish this challenge and feel proud for having done so.
*Many of the drawings, especially the ones from the collection of George Melies, make good pictures for students to practice writing captions or short stories. In reverse, children may want to draw illustrations for portions of the story told in text.
*www.theinventionofhugocabret.com is a wonderful website to accompany reading of the book. Links take the reader to YouTube to actually view Melies’s A Trip to the Moon, see an actual automaton, learn about Brian Selznick, and much more.

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Welcome to Corbyn's Corner! Stay tuned for reviews of some of the best children's books available today and ideas on ways to use literature in your classroom or at home with your own children or grandchildren. I look forward to sharing some time with you!