Rosa

Giovanni, N. (2005). Rosa. NY: Holt.

        The brave actions of Rosa Parks in the midst of the civil rights movement in America are beautifully portrayed in Rosa. She is seen as a hard working woman who simply wants to go home and cook dinner but her bus ride home changes her life, and ultimately the lives of many Americans. Soon the attention shifts to the women who were inspired by Mrs. Parks and ultimately to the Montgomery bus boycott. Giovanni's story and illustrations beautifully portray a difficult time in our country's history.

Textbook Assignment #2
                                                    Evaluative Criteria - Organization

      The beautifully illustrated, well-told story of Rosa Parks is organized in such a way that allows the reader to see the civil rights hero simply as Mrs. Parks before she steps foot on the bus. We see her as a strong, hard-working woman who took her rightful seat on the bus, then stood her ground. The story is told chronologically which captures the struggle of Mrs. Parks’ time in history. By introducing other players involved in the boycott, we see other brave souls who were inspired by Rosa’s actions and in turn, helped change history for the better.

Where the wild things are

Sendak, M. (1963). Where the wild things are. NY: HarperCollins

Max is like most boys, he likes to stomp and roar and well, be a boy! In this classic tale, Max and his bedroom transform into a world full of wild creatures and adventurous places.Sail in a ferocious sea,stomp with wild things, and explore a new world. Max loves getting to do whatever he wants, but the wild world is a lonely place. Maybe following the rules at home isn't so bad and maybe it's worth trading the freedom for a lovely home-cooked meal. Any boy mom will understand and appreciate Max and his wild imagination. 

Textbook Assignment #1

Literary Example of Texture

      As Max travels from his lonely room to where the wild things are, we are treated to a variety of textures in Maurice Sendak’s beautiful drawings. The physical features of Max’s room transform into a world of tree trunks, leaves and grass. The detail and realistic quality of the ocean’s waves are beautifully done. When we’re introduced to the wild things, we are greeted by a band of scaly, hairy and feathered creatures. When the wild things march by with Max on their back, the reader almost feels compelled to help push back the big leaves of the thick forest. The amount of detail that went into these drawings is phenomenal. The Caldecott Award was well deserved in this beautiful picture book that also happens to tell a pretty cute story.

Evaluative Criteria - Setting

When Max is sent to bed without dinner, he longs to go off to a strange land where he can do whatever he wants. His bedroom transforms and carries him off to a world of adventure, wild creatures, and freedom. He soon realizes that all of these things can’t replace the comforts of home. Even if just imagined, Max’s setting must change in order for him to grow as a character.

Book Trailer

https://www.youtube.com/watch?v=sIK9cRWCEvY

Grade 1-2 Lesson plans

http://www.brighthubeducation.com/lesson-plans-grades-1-2/68864-where-the-wild-things-are-lesson-plan/

The Three Pigs

Wiesner, D. (2001). The three pigs. NY: Clarion. 

     We all know how books work. Characters stay in their story, they certainly don't jump out of the pages or visit other books. The imaginative twist in David Wiesner's adaptation of this classic tale shows a set of pigs who decide to change their fate, leaving the wolf completely bewildered. Where did those pigs go? They decide to rescue other doomed literary characters, rewriting not only that tale but also their own.  

Textbook Assignment #1 

 Literary Example of Composition

Some stories can be told without their illustrations, but David Wiesner’s version of The Three Pigs is not one of them. What starts as the classic tale quickly becomes an unexpected twist both in storyline and illustrations. The color used in the pictures changes in style continually as the pigs move through the story. One page is done in black and white, another in bright, cartoonish coloring, while another is done in muted tones. Line is used to show the characters moving in and out of the original pages, adding an unusual element to the plot. Finally, as the first pig jumps out of the page he emerges as hairy and more realistic than the wolf left behind in the house of sticks.

Evaluative Criteria - Illustrations

Many books can be told without the help of illustrations, but David Wiesner’s version of the Three Little Pigs is not one of them. The predictable tale takes a crazy turn when the pigs realize they can leave the book, taking the reader on a wild ride. The pigs leave their classic setting and are able to see into the book and then beyond. The illustrations take over and tell the story, complete with a wild paper airplane ride, a look at the reader and then to find other literary characters in need of rescuing. While the plot may be simple, the illustrations are complicated and incredibly crafted in a fun, unexpected way.

Book Trailer

https://www.youtube.com/watch?v=U41VWexL6gE

Author Information

http://thethreepigscaldecott.weebly.com/

Mirror mirror

Singer, M. (2010). Mirror mirror. NY, NY: Dutton.

       It's hard to say what is more dynamic, the brilliant reversible poems by Marilyn Singer or the beautiful illustrations of Josée Masse. Both demonstrate a shift in perception from one character to another. Familiar fairy tales serve as the basis for this poetry book but readers are treated to a new side of Cinderella, Rapunzel, Sleeping Beauty, Red Riding Hood, and others. The clever forwards and backwards poetry bends both the mind and imagination, while the illustrations delight the eye.

Textbook Assignment #1 

 Literary examples of composition

Josee Masse uses rich, vibrant colors to show the contrasting viewpoints in each fairytale. The literal line between each illustration shows an actual division of thought and perception, while also giving the illusion of movement from one view to another. Shapes are used throughout the book as a simple way to show two halves joined together to make one story (a circle for Rumpelstiltskin, a diamond for the princess and the frog, a heart for Beauty and the Beast) Seeing one story told from two vantage points causes the reader to see a familiar tale in a whole new way.

Evaluative Criteria - Style

In Mirror Mirror, the unique style exemplified so cleverly takes a commonly told fairy tale and presents it in a whole new way. The poetry is carefully crafted to be told forwards and backwards while revealing two contrasting viewpoints. This “book of reversible verse” challenges the reader create their own mirrored poetry. The author and the illustrator created a masterpiece in style, text and drawings that should inspire children to make their own unique creation.

About the author, author readings, lesson plans

http://www.teachingbooks.net/tb.cgi?tid=21923&a=1

Author's website

http://marilynsinger.net/category/books/poetry/

This is not my hat

Klassen, J. (2012). This is not my hat. Boston, MA: Candlewick

     When we meet the little fish in his handsome blue hat, he immediately admits that the hat is not his. Don't worry because the owner won't wake up and even if he does, he won't notice. And if he does notice, he won't know who took it. The confident thief has a plan, he'll hide! The big fish isn't easily fooled and while he never utters a word, Klassen's illustrations tell the whole story. The open ended conclusion create a perfect opportunity for discussion and the reminder that stealing is not a good idea!


Textbook Assignment #1

Literary Example of Line

As soon as we meet the little fish, he confesses his theft of the big fish’s hat. This confident little fish takes us on a journey to a safe hiding place for his new hat. The big fish never utters a word but the simple adjustments in his eyes show that he is on to the little fish. Movement is evidenced in the air bubbles following behind each fish as well as the eyes of the big fish tracking the thief. As the pages are turned, it feels as though the reader travels a great distance as the fish move through the water.

Evaluative Criteria - Plot

An overconfident fish tells his side of the story while the illustrations show a very different reality. This award-winning book would be a great way to teach children about plot. If this story was simply read aloud to students, without showing the pictures, their understanding of the story would be very different. The pictures show the beginning, middle, and end of this story. We are left to only imagine what happened to the little fish at the end, within the big, tall plants.

Lesson Plan - Brainstorming Ideas
http://www.candlewick.com/book_files/0763649902.kit.1.pdf

Book Trailer
https://www.youtube.com/watch?v=IhbYyEdYWY8

The paperbag princess

Munsch, R. (1980). The paperbag princess. Toronto, Canada: Annick Press

    Elizabeth is a lovely princess who is going to marry a lovely prince. When a dragon snatches the prince and ruins her beautiful dress, she doesn't just stand back and smolder. This brave princess chases down the dragon and outsmarts him, all while wearing a paper bag. Is Ronald grateful for all she did? Not exactly! His true colors shine bright and Elizabeth decides she doesn't need that bum. 

Textbook Assignment #1

Literary Example of Color

     Whether posing happily by her prince or chasing the fire-breathing dragon, Elizabeth’s world is saturated in color. The reader can almost feel the warmth from the fire as the dragon destroys yet another forest. Her dirty ragged appearance is such a contrast to the pink, lovely princess we meet on the first page. The rich, vibrant red is used sparingly but beautifully for the prince’s shoes and the dragon’s spikes; making a connection between the two characters in this story she should do her best to avoid.

Evaluative Criteria - Theme

     Elizabeth immediately wins over audiences with her determination and fearless bravery. Instead of using her beauty, which would have been useless, she outsmarts the dragon only find that the prince was not worth her time. A lot could be made about the fact that a girl rescues a boy but that is not the takeaway the author intends. The lack of gratitude reveals the prince’s true colors and in return, he loses the princess.

Sample Lesson

http://www.utexas.edu/cofa/dbi/content/paperbag-princess

Author Website

http://robertmunsch.com/book/the-paper-bag-princess

It's a Book

Smith, L. (2010). It's a Book. NY: Roaring Brook Press 

      It would seem that Lane Smith is using a monkey, a mouse and a jackass to provide commentary on our electronically obsessed culture. What is this strange object that doesn't scroll, charge, tweet, require a password, or allow edits? Well it's a book and this jackass just doesn't understand. While simple in premise, the target audience should be able to appreciate the sarcastic approach and social implications.

Textbook Assignment #1 - Literary Example of Shape

When the plot revolves around the seemingly simple explanation of a book, it’s easy to choose shape as the predominant visual element. But the simpleness of the illustrations keep the focus on the plight of the very patient monkey. Despite his best efforts, the jackass just doesn’t get it! This particular rectangular object is a book, not something that plays music, requires wi-fi, or needs a mouse. Even after spending hours in his angular chair, under the round clock with more explanation that he should require, the jackass still doesn’t understand. The pictures support the story with simple lines that define the setting without distracting from the theme of the book.

Evaluative Criteria - Style

The overall mood set by Lane Smith in It’s a Book is one of snark and sarcasm, making it perfectly at home on the shelves of a middle school library. With a main character who is literally and figuratively a jackass, the reader finds little hope that he will come to understand what this strange thing is in his hands. A physical style can be found in the author’s use of color-coded dialogue which helps the reader navigate the conversation between the three characters while also negating the need for a narrator.

Book Trailer

https://www.youtube.com/watch?v=x4BK_2VULCU

Interview with Author

http://blogs.wsj.com/speakeasy/2010/08/31/its-a-book-author-lane-smith-on-kids-and-technology/

Olivia

Falconer, I. (2000). Olivia. NY: Athenum

    Hope you're well rested because Olivia is a bundle of energy! Whether she's singing her favorite loud songs, dressing up in everything she owns, or building the most impressive sand sculpture ever seen, this imaginative pig captures your heart with her enthusiasm.  Besides, who has time for a nap when there's so many books to read or walls to paint?

Textbook Assignment #1

 Literary Example of Color

     Unlike The Paperbag Princess, Olivia’s world is not awash in color. Falconer clearly wanted us to focus on Olivia and her larger than life personality. Black and white are his colors of choice, with careful pops of red sprinkled throughout Olivia’s world. This bright red is never shared with the members of her family, further drawing the reader’s eye to Olivia. It is only when we are introduced to classic works of art, courtesy of Jackson Pollock and Edgar Degas, that we are allowed glimpses of a wider variety of colors. The contrast to the black, white and red throughout the rest of the book causes these masterpieces to stand out, rightfully.

Evaluative Criteria - Character

     The larger-than-life personality of Olivia earns this pig her own book. Her boldness and unending energy is more memorable than any one thing she does in the story. Many young children can relate to her curiosity, her determination and they way she drags her poor cat around. Many mothers reading Olivia to their children feel for her mother who must have lots of laundry!

Olivia Website
http://www.oliviathepiglet.com/

Link to Author Info and Lesson Plans
http://www.teachingbooks.net/tb.cgi?tid=5097&a=1



My Teacher is a Monster

Brown, P. ( 2014) My Teacher is a Monster (No, I Am Not!). NY: Little, Brown, and Company

          Bobby’s got a problem… his teacher. She’s a monster! She doesn't let him play in class or throw paper airplanes. His favorite form of therapy is a day at the park and he doesn't expect to run into Ms. Kirby there. Will she let him run, play and be loud? What starts as an awkward encounter turns into an opportunity for student and teacher to see each other in a different light.

Textbook Assignment #1

Literary Example of Shape

 The progression of this story is shared equally between the text and the illustrations. As Bobby’s feelings towards Ms. Kirby change, so does Ms. Kirby’s physical appearance. Peter Brown uses simple shapes as the basis for the character’s round faces, the oval rocks, the square desks, and the triangular trees.

                                               Evaluative Criteria: Setting

As any child will tell you, it’s weird to see a teacher outside of school. Bobby’s teacher was a monster so he really didn’t want to see her while he was playing at the park. This change of scenery led to Bobby and Ms. Kirby seeing each other in a new light. Once the setting of this story changed, the plot took a drastic shift. The characters needed the setting to change in order for this story to have a happy ending.

Author's Blog and Teacher Activity Kit

http://www.peterbrownstudio.com/uncategorized/my-teacher-is-a-monster-no-i-am-not/#.Vp_Gh8sUVdg



The Legend of the Bluebonnet

dePaola, T. (1983) The Legend of the Bluebonnet. NY: Putnam

Texans hold their state flower in high esteem and this lovely tale only adds to the allure of the bluebonnet. A Comanche girl who has little to give demonstrates an attitude of selflessness and makes a sacrifice to help her people. The result is a reward for her, her people, and generations to follow.

Textbook #1 

Literary Example of Color

Not only is this a beautifully told story but the color saturation used throughout this book is exquisite. The opening pages of this book are bleak and sparse just like the story line. As we learn more about the beautiful main character, her world comes alive in color and detail. The blues used in the night sky cause the reader to long for a night under the stars. The oranges and yellows of the torch practically glow from the pages. The reward for her sacrifice is a field of healthy green grass and pretty bluebonnets to enjoy, even to this very day.

Cultural Markers

Tomie dePaola’s beautiful Legend of the Bluebonnet not only visually represents the historic Native American life, but through She-Who-is-Alone, portrays a group of people that any race can find relatable. A reader need not have any prior knowledge of the Comanche Indians in order to understand the story and appreciate the plight of the main character. While the tribe is often seen as a working, cohesive group, we witness a few individuals who have selfish tendencies. This glimpse allows the reader to relate to a theme outside of a cultural association. The culture of the Comanche tribe serves as a backdrop for a story of sacrifice and reward.

Scholastic Discussion Guide and Lessons

http://www.scholastic.com/teachers/lesson-plan/legend-bluebonnet-discussion-guide

Martina the Beautiful Cockroach

Deedy, C. (2007). Martina the Beautiful Cockroach. Atlanta, GA: Peachtree 

When Martina needs to find a suitable husband, the cockroach’s grandmother has some unusual advice. Martina reluctantly complies and meets several potential mates. Only one passes the "coffee test" and does so in his own clever way. This Cuban folktale teaches the value of kindness and respect for ones elders.

Textbook Assignment #1 

Literary Example of Texture

     The illustrator Michael Austin brilliantly uses shadow and layering to give the perception of depth. The imposing rooster has an equally imposing reflection and the dominating pig has a massive shadow that follows him down the sun-soaked street. The lizard’s scaly skin gives the impression that the page should feel as abrasive as his attitude. In contrast, the delicate detail on the little mouse mirrors his sweet personality. Aside from the animals, the plants have a beautiful quality of glossy leaves and velvety flowers.

Cultural Markers

The cultural markers can be seen in the sprinkling of Spanish words throughout the text, the peeks into old-town Havana, and the Cuban’s affinity for their coffee. Martina’s respect of her grandmother also demonstrates the Cuban culture of appreciating the wisdom of one’s elders. It is only fitting that her eventual soulmate would not only be respectful of her, but indicate that he shares and respects her Cuban culture.

Book's Website http://beautifulmartina.com

http://www.teachingbooks.net/tb.cgi?tid=9095

Meet the Author

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Book Trailer

Lessons and Activities