ASK ME NO QUESTIONS

Budhos, Marina. Ask Me No Questions. New York: Ginee Seo Books, 2006. ISBN 978-1-4169-0351-2.

PLOT SUMMARY:
In post 9/11, Muslim sisters Nadira and Aisha suddenly face deportation with their family back to their native Bangladesh. After having grown up in New York City, but living on expired Visas, the family flees to Canada to seek asylum. Their father is detained, their mother stays in Canada and the girls return alone to New York to try to resume life as normal as possible. Older sister, Aisha, is graduating from high school with dreams of being valedictorian and attending college, while younger Nadira is less secure and confident. When the family crumbles including Aisha, Nadira must rise above her years and maturity to try to assist the family.

CRITICAL ANALYSIS:

Marina Budhos has woven a story that is believable and most of all makes us all think about the issue of illegal immigrants. This hot topic in today's society is looked at in post 9/11 when Muslims were suddenly singled out and feared. A quiet and proud family, Aisha and her Nadira simply want to be like other American teenagers. Aisha is a star student, popular, and looking at colleges and a bright future until the expired Visas threaten to send them back to a country they no longer know.

In a male dominated culture, when Aisha and Nadira's father is detained and their uncle is also detained, the women in the family have to step up to help the family. Each woman in the family handles the situation differently; Aisha and Nadira's mother initially is uncertain and timid, but eventually finds strength to help her husband and her family. Aisha falls apart, jeopardizing her schooling and possible college acceptances. Younger sister Nadira becomes the strong one, helping her sister and mother, while researching what she can do to help their situation.

The fear and shame the girls feel at school is palpable. They are fearful of telling anyone about their situation so they withdraw from their friends, teachers and social situations. Their extended family (Aunt and cousin) also handle the stress and situation differently.

The story leaves readers thinking about families, illegal immigrants, and what it means to be American. As each character grows and changes, readers will identify with each one.

REVIEW EXCERPTS:


School Library Journal:
Nadira and Aisha are clearly drawn characters, but they don't quite come alive, and their Bangladeshi-American background is more a backdrop than a way of life. Still, this is an important facet of the American immigrant experience, worthy of wider attention.

Horn Book Magazine:
Nadira and Aisha's strategies for surviving and succeeding in high school offer sharp insight into the narrow margins between belonging and not belonging, and though the resolution of the story is perhaps more optimistic than realistic, it feels earned.

Publisher's Weekly:
The message drives the story here; the motivations of the characters are not always clear, and the ending may strike some as a bit tidy. But the events of the novel are powerful enough to engage readers' attention and will make them pause to consider the effects of a legal practice that preys on prejudice and fear.

Booklist:
The teen voice is wonderfully immediate, revealing Nadira's mixed-up feelings as well as the diversity in her family and in the Muslim community. Readers will feel the heartbreak, prejudice, kindness, and fear.


CONNECTIONS:

* This book makes the perfect discussion starter to talk about illegal immigrants in America. This is a hot topic today and students may not know much about it. Talk to students about what they did to try to stay in the country from hiring lawyers, using their money, and staying under the radar. Ask students what they would have done? Should the family have given up and returned to Bangladesh? Why or why not?

* The family was targeted primarily because they were Muslim. Ask students if this is fair? Can they compare this to any other groups that have been unfairly targeted in history?

* Have students talk about the strengths and weaknesses of each character. How did they change? Which character(s) do students identify the most with.

* What do students think we should do about illegal immigrants? Should they all be deported? Or all allowed to stay? What about the children that have grown up in America? What if they were born in America?

* Ask students why so many people want to live in America. What is better about America? Do they think people from other countries may have unrealistic expectations about America that they don't find out until they immigrate?

IN OUR MOTHER'S HOUSE

Polacco, Patricia. In Our Mothers' House. New York: Philomel, 2009. ISBN 978-0-399-25076-7.

PLOT SUMMARY:
An adopted African American girl tells the story of her unique family. Her family is made of of herself, adopted Asian American brother Will, adopted redhead sister Millie and their two mothers. Their childhood and family life is shown, along with the love of their two mothers, the acceptance of them by most people and the dislike of them by one neighbor. Years later all of the grown children return to their mothers' house as married adults. After their mothers' death, Will and his family move into the house so there is still a gathering place for all of the families to come together.

CRITICAL ANALYSIS:

In classic Patricia Polacco style, the story is gentle, flowing, and heartwarming. Without mentioning gays or homosexuality directly, Polacco shows young children that families can be different. By focusing on the love the moms have towards each other and their family, readers will see that families are more alike than different.

While most of the community supports this loving family (setting is in progressive Berkeley, California), one neighbor, Mrs. Lockner shows obvious dislike for the family. Without any confrontation, her face, the way she stands with her arms crossed, and the way they pulled their children away, her feelings are obvious. Rather than voicing why the Lockner's don't like them, Polacco leaves it to the reader to discover. The Lockner's children do seem to like the family as they help to build the treehouse (before their parents pull them away) and they happily accept the invitation the block party, so hopefully the cycle of ignorance will be broken.

The illustrations are rendered in colored pencils and markers and show the bustling, busy happy family. The two moms, Marmee and Meema are shown with their physical differences and their different personalities. Readers will likely recognize some familiar traits in either or both moms with their own families.

REVIEW EXCERPTS:

Library Media Connection:
The writing style is truly Polacco and the colorful illustrations are warm and loving. This is a strong and memorable story of a peaceful, devoted family unit.

School Library Journal:
This gem of a book illustrates how love makes a family, even if it's not a traditional one. The narrator continually reinforces the affectionate feelings among her mothers and siblings, and the illustrations depict numerous scenes of smiling people having a grand time. But the story serves as a model of inclusiveness for children who have same-sex parents, as well as for children who may have questions about a "different" family in their neighborhood. A lovely book that can help youngsters better understand their world.

Booklist:
Quieter moments radiate the love the mothers feel for their children and for each other. Similar in spirit to the author's Chicken Sunday, this portrait of a loving family celebrates differences, too.

CONNECTIONS:

* This book makes the perfect starting point for discussions of families. Particularly where there might be a need, use this book to jumpstart discussions about the various makeups of families. Students are bound to have varied home lives, if not with gay parents, then likely some will come from divorced, single, widowed, or step families.

* The children asks their moms multiple times why Mrs. Lockner didn't like them, but the mothers never addressed the question directly. Instead they showed the children how much they were loved. Without mentioning homosexuality, ask students why they think Mrs. Lockner didn't like their family. See what they bring up. Ask them if they think this is fair. Ask them why they think Mrs. Lockner didn't like their family.

* Most of the neighborhood supported the family. How did they show their support? (Halloween, Block Party) Consider having a school wide block party or Halloween party. What kind of games or costumes can students plan?

* The family spent many special times together including cooking and eating together, building and playing in the treehouse, and sewing dresses for the two moms. Have students discuss special family times or traditions they might have.

* Read And Tango Makes Three to show a beautiful story from the animal world about an animal family (penguins) with two dads.

DJANGO: WORLD'S GREATEST JAZZ GUITARIST

Christensen, Bonnie. Django: World's Greatest Jazz Guitarist. New York: Flash Point, 2009. ISBN 978-1-59643-422-6.

PLOT SUMMARY:
A biography of Django Reinhardt (1910-1953) who was born in Belgium, in extreme poverty in a gypsy encampment. Traveling without access to school, music was his love. Abandoned by his father, Django moves to Paris and is considered "Gypsy Genius" and "Prodigy Boy" until a fire almost kills him. After months in a hospital, Django picks up a guitar but his left hand no longer works. He goes back to Paris and surprises onlookers with his new form of music. Django became a star and toured with American jazz musicians including Duke Ellington at Carnegie Hall.

CRITICAL ANALYSIS:

The story opens poetically and melodically when Django is born, with a myriad of sounds (dogs barking, banjos talking, lauging, screeching, baby crying) which is a premonition for his life full of music. Music envelops the book except for the dark, desolate time Django spends in the hospital after nearly losing his life in a fire.

The paintings are simple and colorful with broad strokes and feel musical themselves. You can almost hear the music when you see the gypsies dancing around the fires and see Django playing later in his life to happy onlookers applauding. The illustrations during the time Django spent in the hospital are a contrast with dreary grey being the predominant color.

After the story is an afterward showcasing Django in his later years when he became a famous Jazz guitarist. It is important to see that Django became successful after his disability occurred. The history of Django's people, the Romas, is also told as is the history of his name and other information. Django had over 200 albums released and a few of them are highlighted to reflect his career.

REVIEW EXCERPTS:

Booklist:
*Starred Review* The story of Django Reinhardt is a natural for younger audiences unlike so many other jazz musicians whose troubled lives and complex music have become the stuff of picture books. Christensen supports the inspirational story with rich, vibrant paintings that capture the texture and tone of the landscapes in Django's life: burnt oranges and various shades of brown bring the Gypsy campfires to vivid life, while bright blues shimmering under the sharp yellows of stage footlights depict the electricity of the guitarist in performance. The art steals the show here, but the text works fine, too, describing the essence of Django's story without overwhelming middle-graders with too much detail.

Library Media Connection:
In simple text, children will be fascinated to read of Django's rise against tremendous odds-his severe poverty in a gypsy encampment, his horrifying injury that almost ended his ability to play music. Christensen's oil painting illustrations are masterful with rich color, and their size and composition will make a group storytime easy to follow.

School Library Journal:
Christensen uses impressionistic oil paintings and lyrical text to introduce readers to Reinhardt in this appreciative tribute. In stark colors, Christensen conveys the hopelessness of the musician's situation, trapped in his iron-railed hospital bed. She includes enough detail to give perspective, but it is her lush paintings that so effectively give life to the man's effervescent charm and determined courage. This inspiring account of an individual overcoming tragedy and adversity should find a wide audience.

Publisher's Weekly:
Christensen’s soft, rhythmic prose echoes her evocative images as Django explores the music scene of 1920s Paris, before suffering serious burns on his hands and leg when his wagon catches fire. Despite his injuries, Reinhardt teaches himself to play again, his career “just beginning/ Bright and brilliant stages waiting.” A sensuous tribute to an illustrious musician.

CONNECTIONS:

* Listen to some of Djano Reinhardt's music.
Some of his music can be heard here:
http://www.last.fm/music/Django+Reinhardt

* Django played the guitar and banjo. See if any of your students (or you or another teacher or librarian) play the guitar or banjo. If so, have them play for the class.

* Django's disability affected his arm and his playing of music. Have students try to do some everyday things such as reading a book or carrying things with one arm to see how difficult it would be.

* Talk about what personality traits Django must have possessed in order to overcome his childhood and his personal tragedy and still become a great Jazz guitarist. Ask students if they feel passionate about anything. Ask them how hard they would work to do what they love?

* Listen to Jazz music. Have students close their eyes and talk about what feelings they experience while listening. Listen to other forms of music (Rap, Rock, Country) and see if they experience different emotions.

CULTURE 6 INCLUSIVE LITERATURE

TEA WITH MILK

Say, Allen. Tea with Milk. Library Binding ed. Austin: Houghton Mifflin/Walter Lorraine Books, 1999. ISBN 978-0395-90495-4

PLOT SUMMARY:
The autobiographical story tells the story of Allan Say's parents. His mother, May, a Japanese American moved back to Japan with her parents. She was considered an outsider there and felt she didn't fit in anymore in either America or Japan. May enjoys tea with milk, which was different from native Japanese people. When her parents try to find a match in marriage for her, she leaves to go to bigger city of Osaka. After getting a job in a store as a guide for foreign businessman, May meets a young man named Joseph. He had been to an English school in Shanghai, so they both spoke Japanese and English. He also enjoyed milk in his tea. After they married, Allan Say was their first child.

CRITICAL ANALYSIS:
Allen Say tells a story from his heart-- the story of his parents and how they met. His mother, May, grew up in America, but moved back to Japan with her parents after high school. Considered a foreigner in Japan, she longs to move back to America. When she travels to the big city of Osaka, she realizes she can be happier here and moves away from her family. She gets a job at a department store as the store's guide for foreign businessmen. When a young man takes her tour three days in a row, May learns that he also speaks English as he went to an English boarding school. They become friends and share their love of tea with milk. When he is transferred, they marry and have their first child, the author and illustrator, Allen Say.

This story is a beautiful way to showcase many things-- feeling like a foreigner in your own country, a beautiful love story, and a strong woman. But the illustrations are what ties the story of competing cultures together. Broad, vivid, watercolored paintings with detailed and vivid details look entirely realistic. Some of the paintings show the characters in California, some in their small hometown in Japan, and others in the larger city of Osaka. The details are incredible. The faces look almost as realistic as photographs, and the architecture of the buildings both inside and out are detailed and authentic. The Japanese culture and people are shown in an authentic way which fits the time period. Within the department store, the differences in cultures are shown with the Japanese people wearing traditional clothes and being somewhat smaller in stature from the foreign Caucasian visitors who are elegantly dressed.

The culture clash that May feels between her two cultures is felt very strongly. The fear and longing in her face is evident, and the facial expressions completely show the depth of feeling in the story. May and her new husband, Joseph, realize that home is in whichever country they make it. They manage to combine their backgrounds, their cultures and heritages, as they say that they spoke English to each other, but Japanese to Allen. May wore a kimono sometimes and she and Joseph always drank their tea with milk and sugar.



REVIEW EXCERPTS:

Library Journal:
This perfect marriage of artwork and text offers readers a window into a different place and time.

Horn Book Guide:
The illustrations capture Masako's unhappiness and also her eventual contentment as she learns to combine two cultures.

School Library Journal:
The pages are filled with detailed drawings featuring Japanese architecture and clothing, and because of the artist's mastery at drawing figures, the people come to life as authentic and sympathetic characters. This is a thoughtful and poignant book that will appeal to a wide range of readers, particularly our nation's many immigrants who grapple with some of the same challenges as May and Joseph, including feeling at home in a place that is not their own.

Publisher's Weekly:
Say's masterfully executed watercolors tell as much of this story about a young woman's challenging transition from America to Japan as his eloquent, economical prose. Through choice words and scrupulously choreographed paintings, Say's story communicates both the heart's yearning for individuality and freedom and how love and friendship can bridge cultural chasms.

CONNECTIONS:

* Ask students about their backgrounds. Are any of the students first generation Americans? Second generation? Did any of their ancestors come through Ellis Island or Angel Island? Have them ask their families for their backgrounds if they don't know. Have students make a family tree. How far back can they trace their family history? Share the family trees with the class.

* Have tea with milk and sugar with the class. Try the tea without milk and sugar. See which ways students like or don't like their tea. Draw a graph or make a Venn Diagram to show how students prefer their tea.

* Ask students if they speak another language at home. If so, do they also speak English at home, or just their native language? Do they have relatives that don't speak English? If so, do the relatives wish to learn English? Students can teach their relatives some English words.

* See if you can find a Japanese class to be pen-pals with your students. If so, compare traditions such as food, clothes, and schooling.

* May's parents hired a matchmaker to find her a husband. Ask students how they would feel if their parents chose their spouse for them. See if students can think of any advantages to this. Ask students to research which cultures still arrange marriages. Research to see the divorce rates of arranged marriages, versus marriages that aren't arranged.

THE YEAR OF THE DOG

Lin, Grace. The Year of the Dog. First Edition ed. New York: Little, Brown Books for Young Readers, 2005. ISBN 0-316-06000-3.

PLOT SUMMARY:
When Pacy rings in the Year of the Dog with her family during Chinese New Year, she learns that this year is the year for friends and family. While her sister, Lissy tells her she will find her best friends, her mom says she will decide on how values and what she wants to do with her life. Taiwanese-American Pacy (called by her American name Grace at school), feels conflicted about her traditions and the fact that she is different at school, until a new girl comes to school. Grace is excited to meet Melody, another Taiwanese-American girl, and the two become best friends, fulfilling half of Grace’s Year of the Dog wishes. As the year winds down, and the next New Year is fast approaching, Grace worries that she still doesn’t know what she wants to be.

CRITICAL ANALYSIS:
First time novelist, Grace Lin, herself Taiwanese-American weaves a story rich with culture that will appeal to young readers whether they are of Asian descent or not. Lin skillfully brings cultural facts and background into the story by including italicized stories told by Grace and her family, such as “How My Name Changed From Pacy to Grace”, and “Mom’s First Day of School”. These stories flow nicely and introduce the Taiwanese and Chinese cultures to readers.

Lin, an accomplished illustrator, also includes small interspersed black and white drawings to accompany the stories. The small illustrations are right with the text, and make the story feel almost diary-like, as if Grace herself is adding them as she tells her story. When Melody and Grace plan to go to a Red Egg party, there are illustrations along with the text to show readers how to color the eggs red, and also fun illustrations such as Lissy getting red dye on her nose when she dyes the eggs.

While some may feel the addition of the cultural stories to be somewhat forced, it doesn't feel that way. Instead, it is an easy introduction to Chinese New Year, and Chinese and Taiwanese customs. The story itself flows nicely, with good character development, and will appeal to many students, whether or not they are of Asian descent.


REVIEW EXCERPTS:

Horn Book Guide:
Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective.

Horn Book Magazine:
With a light touch, Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective. The story, interwoven with several family anecdotes, is entertaining and often illuminating. Appealing, childlike decorative line drawings add a delightful flavor to a gentle tale full of humor.

School Library Journal:
A lighthearted coming-of-age novel with a cultural twist. This is an enjoyable chapter book with easily identifiable characters.

Publisher's Weekly:
The well-structured story, divided into 29 brief chapters, introduces traditional customs (e.g., Hong Bao are special red envelopes with money in them, given as New Year's presents), culture and cuisine, and includes several apropos "flashback" anecdotes, mainly from Pacy's mother. The book's inviting design suggests a journal, and features childlike spot illustrations and a typeface with a hand- lettered quality. Girls everywhere, but especially those in the Asian-American community, will find much to embrace here.

Booklist:
Lin, who is known for her picture books, dots the text with charming ink drawings, some priceless, such as one picturing Grace dressed as a munchkin. Most of the chapters are bolstered by anecdotes from Grace's parents, which connect Grace (and the reader) to her Taiwanese heritage. Lin does a remarkable job capturing the soul and the spirit of books like those of Hayward or Maud Hart Lovelace, reimagining them through the lens of her own story, and transforming their special qualities into something new for today's young readers.

CONNECTIONS:

* Have students see which Year they were born in. Were they all born in the same year or in different years? Research what each year is significant for. See which years are supposed to get along with others, or not get along. Have students look at the year in which their parents and/or siblings are born and see what animals they are. Look to see when Chinese New Year is and what the New Year's animal will be.

* Celebrate Chinese New Year. This would be a great story to read before Chinese New Year, and then culminate with a celebration. If you have any Asian students, see if they can bring in any artifacts or food to accompany the celebration. Perhaps their parent(s) would be willing to come into the classroom to help celebrate and share their traditions. If you don't have any Asian American students, consider inviting someone else to come talk to the students (friend, co-worker, neighbor).

* Have a Red Egg party. Die the eggs with students like Grace and Melody did. Decorate for the party.

If you are going to celebrate Chinese New Year or have a Red Egg party, make sure you speak to Asian "experts" to make sure you don't do anything inappropriate that they might consider offensive.

THE NAME JAR

Choi, Yangsook. The Name Jar. New York: Knopf Books For Young Readers, 2001. ISBN 0375906134.

PLOT SUMMARY:
A young girl, Unhei, moves from Korea and goes to school in America for the first time. When the students on the bus can't pronounce her name and tease her, Unhei debates choosing an American name. The other students give her a name jar and put suggestions in the jar. A young boy, Joey, befriends Unhei, and ultimately Unhei decides to keep her Korean name.

CRITICAL ANALYSIS:
A beautifully poignant story that all children can relate to. As virtually every child has had their name made fun of, or have wished they had a different name, children of every descent will appreciate Unhei's debate over choosing a new American name. Unhei experiences what most children do in school when they are new; some children make fun or her while others befriend her. The students in her class want to help her choose a new American name and put suggestions into a name jar.

Readers get a window into Unhei's world as we see her Korean home, with her mother's cooking, her traditional furnishings and decorations, and see her missing her grandmother who is still in Korea. Unhei's grandmother had given her a name stamp with her Korean name on it. Unhei's name, meaning Grace, was given to her by a namemaster, and she uses the stamp whenever she misses and thinks of her Grandma. Unhei goes to a Korean store, meeting storeowner Mr. Kim, who helps her to realize the important significance of her name. Her new friend, Joey, also helps Unhei to appreciate her name as he chooses a Korean name and has a name stamp made as well. When Unhei announces to her class that she has chosen her Korean name, she teaches the students and her teacher how to pronounce it, and her new friends happily learn how to say it.

Yangsook Choi's illustrations are colorful, soft, and illuminate the story. The Korean stamps look like actually inked stamps, and the skin tones, eyes, and hair color of the children and other family members are realistic and truly portrayed. On the bus and in the classroom, students of many different skin tones and backgrounds are represented. The Korean market that Mr. Kim owns combines the modern technology of a computer with the Korean signs and boxes of food. The glass of the name jar shines and each name inside stands out as precious choices. As Unhei looks into the name jar to imagine her possibilities, her eyes are full of wonder and the reader can feel her debating her choices.

When students suggest she close her eyes to draw a name from the jar, Ralph points out, "What if she doesn't like the name she draws?". Rosie counters with, "Well, we didn't get to choose our names when we were born did we?". This statement has the students debating their names. This is something all of us can relate to whether we like our names or not.

This story is a great introduction into another culture, and one that all readers will benefit from. If students have a classmate with an unusual name, they will want to learn how to pronounce the name and find out the significance of it.


REVIEW EXCERPTS:

Horn Book Guide:
The sensitively told story is illustrated with warm paintings that portray Unhei's multicultural urban neighborhood and school.

Booklist:
The paintings are mostly in gold and earth tones, and the figures have both stature and simplicity--as does the story.

School Library Journal:
Attractive golden endpapers feature random repetitions of the stamp imprint interspersed with her classmates' handwritten suggestions on scraps of torn paper. The bold, bright paintings that illustrate the story are realistic, warm, and appealing.

Kirkus Review:
Choi draws from her own experience, interweaving several issues into this touching account and delicately addressing the challenges of assimilation. The paintings are done in creamy, earth-tone oils and augment the story nicely.

CONNECTIONS:

* Ask students if they have ever thought of changing their name. Ask them what name they would choose if they could. Put all of these names into a name jar (one for boys and one for girls) and then have the children choose a name from the jar. Have the students use these names for a day.

* Ask students if they've ever had their name made fun of. Talk about how it made them feel. Use the discussion so students can see the harm of making fun of someone.

* Have students ask their parents about the origin of their name. Were they named after someone? If they were named after someone, was it a relative? If so, is the relative living? Find out which cultures or heritages often name children after deceased relatives. Use online sources to look up meanings of their names.

* Try to find the Korean name that is closest to student's given names. What does the Korean name mean? Have students try to draw the Korean name. Make a name stamp, either with student's given names or with their Korean equivalent.

CULTURE 5 ASIAN PACIFIC AMERICAN LIT

CRAZY HORSE'S VISION

Bruchac, Joseph. Crazy Horse's Vision. New York: Lee & Low Books, 2000. ISBN 1-880000-94-6.

PLOT SUMMARY:
Tells the story of Lakota warrior, Crazy Horse, from childhood through his transformation into one of the best-known Native American heroes. As a young boy known as Curly, he was a brave leader of few words. When he was able to sit upon a wild horse, he was able to keep the horse, which he then rode to hunt buffalo, and later in battles. Dismayed by the harsh and unfair treatments his tribe was receiving from the white soldiers, Curly went off by himself to receive a vision to guide him. His vision told him to "keep nothing for yourself", which he then led the rest of his life by. His father, knowing his son would defend their people, gave Curly his own name, Tashunka Witco, meaning Crazy Horse.


CRITICAL ANALYSIS:
Bruchac and Nelson beautifully portray the legend of Crazy Horse and the vision that focused his life. The story itself unfolds melodically, and the quiet bravery of Crazy Horse shines through. The Native Americans in the story are seen as peaceful and brave, while the White soldiers are depicted as unnessarily killing and rampaging.

The illustrations (acrylic painted on wooden panels) are profoundly necessary to tell the story. The illustrations and the story are interwoven beautifully together. Both Bruchac and Nelson write extensive notes after the story. Abenaki Indian, Bruchac , gives history about the Lakota (Sioux) Indians, and more about Crazy Horse's life and death. The story ends with Crazy Horse going forth as a young warrior to defend his people. The author's note includes much more about Crazy Horse, including his defeat of Custer at Little Bighorn, and his stabbing death by a white soldier as he was trying to talk about peace.

Artist S.D. Nelson, of Lakota (Sioux) descent explains in his note following the story about how his paintings were influenced by the traditional ledger style of his ancestors. The endpapers show the Battle of Little Bighorn, which was the ultimate win for Lakota chief, Crazy Horse. He explains how Indians sent to boarding schools were often given ledger books to draw, and many used these ledger books to preserve their legacies and heritage. He also talks about the colors he uses in his paintings, such as blue for Crazy Horse to symbolize the sky and the connection with the spiritual world. Other traditional symbols are also used in the art such as lightening bolts and hail spots to represent the powers of a thunderstorm, and dragonflies and lizards to represent speed and elusiveness. The vibrantly colored and outlined paintings of the Indians, their horses, and their surroundings contrast to the more subtle backgrounds of the white soldiers. For the most part, the Indians are portrayed larger than life, while the white soldiers are in the background. This is effective to show the significance of Crazy Horse and his transformation into the chief of the Lakotas.


REVIEW EXCERPTS:
Parent's Choice Gold Award

Horn Book Magazine:
Nelson's acrylics on wooden panels, patterned after drawings in ledger books done by children attending eastern "Indian Schools," contain scenes and individuals also reminiscent of the two-dimensional figures recorded by Plains Indians, including Sitting Bull and No Heart. The purest forms appear on the end papers, which vividly depict Crazy Horse leading warriors during the Battle of Little Bighorn.

School Library Journal:
While there are many stylistic similarities to Nelson's art in Gift Horse (Abrams, 1999), here the artist has a stronger sense of book design, and takes better advantage of double-page spreads, full bleeds, and tight croppings. A fine introduction to a hero long overlooked.

Publisher's Weekly:
As he did in Gift Horse, Sioux artist Nelson blends contemporary and traditional elements for the striking illustrations that accompany this story of the legendary Lakota warrior. Bruchac's description of the vision quest is compelling, and his decision to limit his canvas to a few select events demonstrates his understanding of his audience; an afterword describes subsequent events in the warrior's life.

Booklist:
Bruchac has created a memorable tale about Crazy Horse's childhood, capturing the spirit of one of the most dedicated and daring leaders among the Lakota. In beautiful illustrations inspired by the ledger book style of the Plains Indians, Sioux artist Nelson fills the pages with both action and quiet drama.

CONNECTIONS:

* Have students research the Battle of Little Bighorn. Then have them reread this story. What were they surprised to learn? Do they feel this story accurately represents the history? Try to find a story from the perspective of General Custer. Does this story lean more towards the white soldiers?

* Ask students how they feel about Indian reservations. First talk to them about the history of reservations and how they came about. Also talk to them about boarding schools. Compare these boarding schools to current boarding schools. What is the same? What are the differences? Have any students visited Indian reservations? What were their opinions then about them and have thier opinions changed? Why do they think many Native Americans choose to stay on reservations now?

*Talk to students about insider and outsider perspective when writing books about other cultures. Both the author and the illustrator for this book are insiders. Find some examples of books that are written or illustrated by outsiders. Use some books with flaws as examples. Ask students if insiders can also write or illustrate flawed books? Ask them if outsiders can write or illustrate as well as insiders? If so, in what instances?

THIRTEEN MOONS ON TURTLE'S BACK

Bruchac, Joseph and Jonathan London. Thirteen Moons on Turtle's Back. 1992. Reprint, New York: Putnam Juvenile, 1997. ISBN 0-698-11584-8.

PLOT SUMMARY:
In this book of Native American poetry, a boy's grandfather explains to him that there are thirteen moons in each year and thirteen scales on turtle's back. He explains that every moon has its own name and every moon has its own stories. He then tells one story (poem) for each moon. Each poem is attributed to a different Native American tribe.

CRITICAL ANALYSIS:

The book opens with a drawing of a turtle showing the thirteen scales on his back which correlate to the thirteen moons of the year. Each moon's poem is then presented chronologically on a double page spread. On the left hand side is the moon's name, the poem, and the number of the poem with a corresponding Native American tribe's name. The illustration for the poem takes up the entire opposite page and about half of the page with the poem. The poems start in the winter (January), progressing through the seasons through the end of the year.

A combination of animal and nature stories, most of the poems are "why" poems or porquoi stories such as "Moon of Falling Leaves" which explains why some trees drop their leaves in the fall while others stay evergreen, and "Moon When Deer Drop Their Horns", which tells the legend of why deer lose their horns each winter. The authors (Bruchac and London) include an author's note about the importance of the cycles of the moons to most Native Americans. They explain that many Native Americans look to the turtle's back as a form of calendar. They also mention that not all Native Americans look to moons as being important in their culture. They point out that some tribal nations call the moons by different names, and that their representation is one of one moon story from each of thirteen Native American tribal nations throughout the continent.

The illustrations by Thomas Locker are gentle and muted like the poems. The colors and the darkness or lightness are representative of the changing seasons and the animals that the poems are about. The nature is vibrant, from the sunsets over the snow, to the changing colors of the fall leaves. This book would make an excellent introduction to so many things-- the thirteen moons of the year, the various Native American tribal nations, and porquoi stories.

REVIEW EXCERPTS:

School Library Journal:
Locker's large, dark paintings stand parallel to or in tandem with the poems but are not integral to them. They create a mood and capture portions of the text, encouraging viewers to look ``at'' rather than ``into'' these images. There is a sense of vastness in these paintings, and sometimes a harshness, but little of the lushness or the warmth of the land.

Booklist:
The large format with minimal text will appeal to younger children, while the alternative calendar, based on changes in nature, will interest middle readers. An unusual, easy-to-use resource for librarians, teachers, and others wishing to incorporate multicultural activities throughout the year.

Publisher's Weekly:
His oil paintings are eye-catching in their depth of color reflecting dramatic seasonal changes. Trees, skies and woodland creatures are rendered in vivid hues that combine to produce an enthralling vision. This unusual and intelligent book is an exemplary introduction to Native American culture with its emphasis on the importance of nature.

CONNECTIONS:

* Take a blank traditional calendar and label the thirteen moons. This could be done before reading the poems. Have students discuss which season each poem might represent before reading. Have them brainstorm animals they feel might portray the different moons or things that might be happening in nature (plants growing, ice forming, trees losing their leaves).

* Discuss porquoi tales. Can they think of other porquoi tales? Read some. Then have students make their own porquoi tale. Nature and animals are obvious subjects, but what else could you use?

* Have students figure out what moon you are currently in. Read that tale again. See what similarities or differences you might see in nature right now.

* Create a classroom calendar highlighting the thirteen moons. Name each moon and write a poem to represent each moon.

* Research the phases of the moon. You could add these to your calendar. Read some of the wives tales about full moons. See if your class notices anything unusual when there are full moons. See if you can find any evidence to support changes in nature around full moons.

JINGLE DANCER

Smith, Cynthia Leitich. Jingle Dancer. New York: HarperCollins, 2000. ISBN 978-0-688-16242-9.

PLOT SUMMARY: Jenna, a young girl of the Muscogee (Creek) Nation and of Ojibway (Chippewa/Anishinabe) descent, wishes to jingle dance for the first time at the next powwow. Since there isn't enough time to gather the required jingles for the dress, Jenna asks the older women in her life to borrow a row of jingles to make her own dance regalia.

CRITICAL ANALYSIS:
Cynthia Leitich Smith is a mixed-blood member of the Moscogee (Creek) Nation, like the character Jenna in the story. The authenticity of the Native American story is intact, as many of the qualities are present to suggest authenticity in culture. The number four is emphasized in the story, with Jenna borrowing four rows of jingles from four important women in her life. Even the onomatopoeia of sounds in the story such as tink, tink, tink, tink, and brum, brum, brum, brum are presented in fours. Traditional foods such as fry bread are eaten, and a traditional story about a bat is told as well. The characters' features are well-defined and consistent with the tribe represented. The soft watercolor paintings are illustrated by Cornelius Van Wright and Ying-Hwa Hu. The illustrations complement the soft rhythmic text and the caring story. They help to show the close relationship Jenna has with the strong females in her life, and particularly with her grandmother. When Jenna dances in the powwow, she is dancing for each of these women, yet she has only borrowed some of the jingles, allowing each of them to keep enough jingles to continue to make their own music.

The author's note following the story is informative and thorough. It tells about the tribe Jenna supposedly descends from, including facts about its people. The dance and its importance are explained, as is the tradition of the jingles on the dance regalia. A glossary is also included for the few words that may be unfamiliar to readers.

REVIEW EXCERPTS:

Horn Book Guide:
Dance regalia and modern-day life are ably depicted in fluid watercolors.

School Library Journal:
Watercolor paintings in bright, warm tones fill each page. This picture book will not only satisfy a need for materials on Native American customs, but will also be a welcome addition to stories about traditions passed down by the women of a culture.

Booklist:
The colorful, well-executed watercolor illustrations lend warmth to the story.

Publisher's Weekly:
Van Wright and Hu's (Jewels) lifelike renderings capture the genuine affection between Jenna and these caring older women. Their easy integration of Native and standard furnishings and clothing gracefully complement Smith's heartening portrait of a harmonious meshing of old and new.

CONNECTIONS:

* In the glossary, fry bread and Indian tacos are described. These are foods that were eaten in the book. Make fry bread with your class, and then use the fry bread to make Indian tacos. If you don't want to make traditional fry bread, you can talk about fry bread and Indian tacos, but simply make traditional "American" tacos. Talk about the differences between tacos we are familiar with and those in the story. What kind of meats are used? Are the toppings similar?

* Because regalia is spiritual and highly valued, it would not be wise to try to copy it. Instead, research regalia and see which tribes use it. What are the differences between tribes and their regalia? What other tribes (if any) do jingle dancing at powwows?

* Have girls with longer hair (or boys if their hair is long enough) braid their hair or each other's hair. Have some students make one braid, and others make two. Barrettes, ornaments, and feathers are often used, so use these as well if possible.

CULTURE 4 NATIVE AMERICAN LIT

TOMAS AND THE LIBRARY LADY

Mora, Pat. Tomas and the Library Lady (Dragonfly Books). 1st Dragonfly Books Ed ed. New York, New York: Dragonfly Books, 2000. ISBN 0-375-80349-1.

PLOT SUMMARY:
Tomas' migrant family picks fruit and vegetables for Texas farmers in the winter and for Iowa farmers in the summer. When his family (Papa, Mama, Papa Grande, and brother Enrique) drive to Iowa for the summer, his grandfather tells him to go to the library to learn some new stories. The librarian befriends Tomas, and helps him to check books out under her name. Tomas spent many days that summer reading in the library and bringing books back to share with his family. At the end of the summer, his family returns to Texas, and Tomas must tell the librarian and the library good-bye. The story is a fictional accounting of Tomas Rivera, a migrant worker who was encouraged to read by a librarian in Iowa and later became the chancellor of the University of California at Riverside.

CRITICAL ANALYSIS:
As Tomas' story unfolds, the marriage of Spanish into the English text is seemless and flawless. There is the perfect blending of Spanish words into the story, without it being overpowering whatsoever. When Tomas read to his grandfather, he read first in Spanish and then in English. This seems like the natural way to blend the languages as his grandfather would likely have limited English vocabulary skills.

The scratchboard illustrations enhance the story. The muted colors, the use of shadowing, and the shades of skin color are brought to life through the illustrations. When Tomas read to himself, his imagination went wild. He imagined himself in the story, smellin smoke at an Indian camp and riding a horse across a hot, dusty desert. The illustrations show Tomas on the side of the page reading the book while the focus is on the larger illustration showing the cowboys, horses and Indians coming to life. Tomas' love of reading and the importance his family places on stories and storytelling are evident in the story and the illustrations. When Tomas hugs the book towards the end of the story, it is easy to feel the warmth and emotions he is feeling.

REVIEW EXCERPTS:

School Library Journal:
Colon's earthy, sun-warmed colors, textured with swirling lines, add life to this biographical fragment and help portray Tomas's reading adventures in appealing ways.

Booklist:
Colon's beautiful scratchboard illustrations, in his textured, glowingly colored, rhythmic style, capture the warmth and the dreams that the boy finds in the world of books. The pictures are upbeat; little stress is shown; even in the fields, the kids could be playing kick ball or listening to stories. Perhaps the most moving picture is that of the child outside the library door, his face pressed against the pane. In contrast is the peaceful space he finds inside, where he is free to imagine dinosaurs and wild adventure.

Kirkus Review:
A charming, true story about the encounter between the boy who would become chancellor at the University of California at Riverside and a librarian in Iowa. Colon's dreamy illustrations capture the brief friendship and its life-altering effects in soft earth tones, using round sculptured shapes that often depict the boy right in the middle of whatever story realm he's entered.

CONNECTIONS:

* Research scratchboard art. Have students create their own scratchboard art. One how to site for kids is http://www.kidsart.com/q010100.html.

* Ask students why the librarian checked the books out for Tomas rather than he for himself. If students are old enough to discuss, talk about immigration and the current issues and controversies surrounding immigrants.

* Take a field trip to the local library. Have students get a library card if they don't have one and check books out. Focus on books that students can use for storytelling. Have students get into small groups and practice storytelling. They can create their own story or retell a story from a book. The teacher or librarian can also tell a a story and have students practice retelling it.

BOOK FIESTA!

Mora, Pat. Book Fiesta!: Celebrate Children's Day/Book Day; Celebremos El dia de los ninos/El dia de los libros. Bilingual ed. ABRIL: Rayo, 2009. ISBN 978-0-06-128877-7

PLOT SUMMARY:
A bilingual (Spanish and English) picture book celebrating Children's Day/Book Day; El Dia de los Ninos/ El Dia de Los Libros. Children celebrate the holiday by embracing their favorite books. Through children's imaginations, reading takes place everywhere from inside a whale to inside a submarine.

CRITICAL ANALYSIS:
On April 30, 1996, Pat Mora organized the first Day of the Books to coordinate with the Day of the Child. This book is a perfect introduction to students, teachers, and librarians to get their creative juices flowing. After reading the book, everyone will want to embrace their own Day of the Books! The book is truly bilingual, with most double page spreads having English on one side, and the Spanish on the opposite page. The multiculturalism shown in the illustrations is what makes this book so special. The children are depicted from many different cultures, and all are shown enjoying reading. There is even a child in a wheelchair. Even the books are multicultural if you look closely; many of the covers show Chinese characters or Spanish words. The bright, vivid paintings show expression. Different cultures are evidenced in the paintings, from houses and animals of different backgrounds, to different parts of the world. At the end of the night the children read to the moon; letters hang down from the moon (READ BOOKS) while the boy reading in the house has letters leaving his window and snaking up to the night sky.

After the story, Pat Mora offers suggestions to parents, schools and libraries to start their own Children's Day/Book Day; El dia de los ninos/ El dia de los libros. She calls the celebration a Book Fiesta. Pat Mora's webpage is also mentioned (www.patmora.com). Through her webpage, readers can get many further ideas to celebrate as well.

REVIEW EXCERPTS:

ALA-Pura Belpre Award winner
School Library Journal:
His upbeat iconic style shows how much fun this celebration can be and portrays round-faced kids reading to a variety of pets and riding an elephant or sailing with a whale. Students will be encouraged to join in the book-based activities. This lively selection will motivate and excite children about the adventures they can go on through reading.

Booklist:
The straightforward, bilingual text in Spanish and English is beautifully illustrated in bright, bold, acrylic paintings that integrate books and letters into timeless scenes of multicultural children cavorting, exploring, and, of course, reading.

CONNECTIONS:

* Plan and organize a Children's Day/Book Day. Decide whether this should be for one class, a grade, or the whole school. Who should organize? Parents? Teachers? Students? Find ideas on Pat Mora's webpage (www.patmora.com). The ideas are limitless! Start small and add on each year. Generate excitement!

* Do you have Spanish speakers in your class? If so, have them help read the Spanish translations. Talk about the differences between English and Spanish, such as the accents over certain letters. What do they mean and how do you read them? Are there any of these in the English language?

* Try translating a simple children's book into Spanish. Have Spanish speakers help you or use a Spanish dictionary. You can also use online translators such as babelfish. Have students illustrate their new books. Either have each student create their own book, have small groups work together, or have each student responsible for one page. These would be fantastic to display at an Open House or for Children's Day/Book Day on April 30.